Beats News

Returning with his first album in 13 years, Errorsmith's 'Superlative Fatigue' long-awaited release on PAN arrives as his perhaps most optimistic record yet.
Placing a strong emphasis on spectral exploration, the tracks tell an inherent story and span a musical arc with his recognisable synthesised tones, computerised vocal effects and timbral changes in motion.
In comparison to his previous productions, Errorsmith (Erik Wiegand) sees the release as less abstract, harsh or aggressive: 'I would say it is rather accessible and cheerful; at times ridiculously cheerful but still very sincere and emotional.' He suggests. 'I find it touching when this little android raises its pitch at the end of 'Lightspeed' or the android catching its breath in 'My Party' for instance.'
The album title, 'Superlative Fatigue' reflects this tension between an over-the-top, hysterical emotion, against more deeply felt expressions or realness. Besides collaborating with the likes of Mark Fell, to Berghain resident Fiedel as MMM, and Soundstream as Smith N Hack, Wiegand has released a string of seminal dancefloor tracks. Building his own instruments using modular software synthesizers is a large part of his work. Where almost all the sounds in the LP were created with his synth, 'Razor', (a synthesizer plug-in he developed for Native instruments, released in 2011) or slightly modified versions of it.
Premiered at Unsound Festival last year, this new material he has developed since has finally taken form in this epic full-length.
The album is mastered by Rashad Becker, featuring artwork by James Hoff and layout by Bill Kouligas.

Quick run of remixes for Addison Groove's recently released 'Changa' — The white-label style series from Tony aka Headhunter aka Addison Grooove is now here, in it's fourth edition, coming with a series of Shango remixes from Ejeca, O'Flynn, Nan Kole, Amit and Subp Yao. You know the deal.....

Subapical is pleased to present Dutch producer Albert Van Abbe's The Pulse Projects - Black Catalogue Rituals (2004-2005)
The Pulse Projects Black Catalogue Rituals (2004-2005) show Albert Van Abbe's grittier electro/industrial focused work all recorded in the mid noughties. Here he serves up 4 tracks from the archives.

MEDi close 2017 with Gantz's Dying on Acid EP.
Following collaborations with El Mahdy Jnr on the Spry Sinister 12, Commodo & Kahn on the Volume 1 LP & Commmodo for Buckwild / Free Focus......his latest EP sees Gantz working with Elif Dikeç, Dedw8 & spoken word artist Rider Shafique to deliver yet another unique and intersting record.

Sam Kidel from Young Echo opens proceedings with a beautifully rolling, pastoral re-arrangement of the melodies of South East Of The Mountain, keeping a watchful eye on the original, dread b-line. Then some chilled ragga from O$VMV$M, versioning Skeletal. Finally Helm takes the helm, with a startling re-animation of Bloom, brilliantly tipping the registers of Music For Airports on their side.

Savage Grounds return to Lux Rec for the third time, with their third record. Atrocities comes after Unpleasant Music for Unpleasant People, released in 2015, and Over Fences, 2014. It is, as much as the previous 2, the result of investigations in music, live, composed with a minimum amount of instruments. The duo, comprised of CCO and Daniele Cosmo, worked with a Roland 606, a Roland 909 and a modular synthesiser. Experimenting with FM modulation and loose sequences. The result is concrete noise, anger, ghostly voices, and above all, the sheer conscience of human failures.

H.Takahashi, Tokyo based Architect and sound designer follows up his revered collection 'Where To Be' on Where To Now records with 'Raum', a full length LP suite of meditative Pulse Minimalism.

'Raum' draws it's cues from a melting pot of closely connected yet wholly individual strands of Minimalism - from the Japanese Minimalist works from the likes of Hiroshi Yoshimura and Satoshi Ashikawa, to masters such as Erik Satie and John Cage, and Ambient leaders Brian Eno and Roedelius, Takahashi soaks this historical influence and rings it out it through a modern filter to create a record of stillness, ethereal beauty, and transcendent energy.

Takahashi composes all of his music on his iPhone, and this is no gimmick, rather a conscious decision which allows Takahashi to constantly create 'on the go' without the constraints of space, and for Takahashi 'Raum' serves as a mediation on the relationship between sound and it's environment.

For Takahashi this creative process 'feels something like an invisible phenomenon taking over & mutating these constantly changing spaces into abstract sound, creating a brief pseudo space which expresses and highlights the features of the environment for a moment in time.' Although perhaps quite an abstract statement of intent, when deeply immersed into Takahashi's pieces this idea of slowly gliding through different architectural spaces is naturally conjured through the gentle repetitive pulse which runs through his work and the playful unstructured tonality of objects which weave around this forward (or upward) motion.

'Raum' was created across the city of Tokyo, be it a Café / Park / Office / Road / Platform / Subway these pieces explore the power sound holds to emotionally enhance and mutate the listeners environment.

the power of the music presented is in that which is barely there, embracing space, silence, and cyclical repetition. The music is to help us function - it's music to work to, to sleep to, to help us find a sense of space and oneness within a world that is increasingly wild and untameable.

Paris-based producer Von D debuts on Dub-Stuy with a four-track EP of hair-raising and socially-conscious dub music boasting a cast of world-class vocalists and musicians.

The EP centers around its title track, a spacious and heavy riddim with a deadly groove, live guitar, and a stunning lyrical turn from NYC's Jahdan Blakkamoore. Showing his versatility, Jahdan adapts seamlessly to the riddim's contortions to deliver a damning statement of the wicked scam politicians and the 1% are running on the rest of us. Liberation over Liberace!'

Continuing the social theme of the title track, London's self-styled future dancehall singer Don Cotti lends his rugged voice to 'Mek A Truce'. The track unfolds somewhere in between song and dub version, with horns and sound effects taking turns between Cotti's incantations for people to mek a truce' regardless of race or religion. The last collaboration on the EP sees Von D reach back to the music's foundation with a vocal from Lone Ranger, a Jamaican deejay who began his career with Coxsone's Studio One in the 1970s. On 'Till A Morning', he shows off his finely-honed chatting by inviting all to come and dance over a jumping riddim featuring live guitar, bass and piano.

Closing the EP is a sample of the legendary Bunny Lee talking about King Tubby and Lee Perry birthing dub before Von D unfurls his own studio experimentation on 'Surrealiste Skank', a dedication to the timeless power of dub music.

Wicked Scam further cements Von D's talent for combining an authentic sound with a modern ear. The bass envelopes the listener without ever choking them, the melodies uplift the soul, and the lyrics feed the mind.

Hot on the heels of the label's gqom scorcher, this compelling cabinet of oddities bundles together four different artists, both familiars and newcomers. Blank Mind founder Sam Purcell kicks off, with some orchestral music flanged to giddy abstraction, heralding the return of Alan Johnson, to test its weighty dynamism in freer, surreal mutations. On the flip, a two-drum-kit jam blazes with propulsive yet disintegrating energy. And, to close, the recording debut of Variete, put down on a Scandinavian Christmas Eve morning: a gently purposeful, reflective ascent.

Hyped new signing to DJ Madd's Roots & Future label is Itoa, who comes alive with his debut full EP on the label having being previously recruited to remix some of Madd's own material.

The result is a fresh approach within the Dancehall/Dubstep framework with a bit of footwork inspiration thrown in the mix. Certainly an artist to keep a keen eye on.

A bit of an emotional moment for us - this much needed repress of one of our very favourite slabs of vinyl that have passed through these doors over the years. Exploring the very outer limits of dancehall and techy D&B, both sides writhe and snarl at 90bpm, beating you over the head with pressure cooked kick drums, drop forged snares and, those ugly, ugly mentasms. Upon it's original release, it was a challenging and very rewarding record - one that had DJs scratching their heads, dancers demanding wheelups and, more recently - more than a few emails from people asking if there were any copies left stashed away. Both side's disregard for genres and conventions mean this plate sounds just as fresh now as it did upon it's original release date - arguably it's better stationed for tactical deployment now than it was back in 2013 - The current crop of stripped back dancehall (and halftime D&B that has been undoubtedly informed by it) are in rude health and prime for disruption with this record. That said, regardless of which styles you play - this is one of those wildcard riddims that can be used at peak time to wreak havoc on any dancefloor. Blacklabel, sticker sealed pressure, with a yellow paper insert of the original artwork. One of those records you'll pull off the shelf in years to come, no doubt about it. Edition of 300, with insert and stickered centre labels.

Another compilation on SVS Records. This time, Cosmos #1.

Originally released on Pinch's Tectonic label in 2010, Jack Sparrow's Circadian' was regarded as one of Dubstep's more experimental albums. With acclaimed reviews from Mixmag (4/5) and Resident Advisor (4.5/5).
Navy Cut releases Shoal' & Dune' from Circadian via Tectonic for the first time on vinyl. The tracks have been remastered and treated to full sleeve artwork.
Navy Cut LTD001 is limited to 300 copies and introduces a new branch to the label offering limited vinyl releases from Jack Sparrow and Author.

Thank you for the support in 2017 and looking forward to a stacked schedule for Navy Cut in 2018!

Rounding out a busy year, Livity Sound are proud to present a brand new four track EP of deadly club ready rhythms from Paris' finest, Simo Cell.

The seventh EP on FireScope Records, the new sub label of the legendary B12 Records, welcomes Bauri (Martin Abrahamsson) a producer based in Malmö, Sweden. Bauri has been releasing tracks on labels such as Drumcode, Neo Ouija, Sloboda, Random Island and is known to cross various styles of electronic music. The EP entitled Vinkelvolten showcases Bauri's form of techno on a platform that; as promised; will diversify and show consistency. This EP takes us on a journey built around gorgeous sounds and crisp abstract beats to a place calmness and peace. Originally part of Bauri's 2nd album that never got released due to the slow down in the IDM scene; these tracks have matured like a fine wine for 12 years; and now are on a 12' released by B12.
'Warm Fuzzy Feeling' A stunning baseline wraps the listener up into a hypnotic loving hug while strings and beats take us on a journey of peace and calm.'Kirmumxyl' Abstract beats and voice like accompaniments conjure up images of a place of loneliness but calm; inspired by Swedish ambient artist Tupilaq.
'Vinkelvolten I' The title track - its again built around abstract sounding beats with a wonderful every present top line; disjointed in nature but creates a sense of calm that is ever present in this EP.'Amethyst' filled with shimmering melodies, again a soothing track that that creates a sense of green to this dynamic producer.
Finished in glorious green and grey marble vinyl with exclusive full colour artwork by the wonderful Catherine Prendergast AKA Cellar Door,

Two spontaneous recordings made by Mystic Jungle and Rico Milord during an hot midsummer night at West Hill Studio (Camaldoli, Naples). Lo-fi reverbered analog cheap drums, fm synthesizer, electric bass and lazy guitar movements amplified in a vintage space echo.

REPRESSED !!

Having made his debut on Throne of Blood as a contributor to Moon Rock Volume 4, Cass. returns to the label with a blissed out 12' that builds upon the low-slung atmospheres of his recent output on Emotional Response and International Feel (in collaboration with Jan Schulte) to create a heady and modern sound influenced by both Balearic and 80's pop sonics without every losing sight of the dance. The a-side 'Red Atlantic' pairs a steady 4/4 kick with circular melodies, dreamy pads, and melancholic vocals before Cass. injects a post-punk bassline to beautiful effect. Autarkic (Disco Halal, Golf Channel) emphasizes the disco punk elements, twisting 'Red Atlantic' into a dancefloor bomb with a looping take on the bassline, an insistent horn motif and a much more off-kilter atmosphere. On the flip, 'The Voynich Manuscript' feels much closer to the best moments on Youth Sessions, Cass.'s brilliant full length on Emotional Response, slowing the tempo and pairing another pulsing live bassline with a narcotic melodic line built from woozy, pitch-shifted tones. It's both glisteningly pretty and tripped-out. Longtime friend and label contributor Cosmo Vitelli drags 'The Voynich Manuscript' back into dancefloor territory, upping the tempo and toughening the lushness of the original into an insistent late night chugger that's been doing the business on dancefloors for a couple months now.

C.O.W. ist ein Deutsch-Chinesisches elektronisches Produzentenkollektiv und Kunstprojekt. Mit der Vision neu und frisch zu sein haben sich C.O.W. im Dezember 2015 gegründet. Die vier erfahrenen Produzenten aus Deutschland und China entschließen sich dazu ihre Identitäten zu Gunsten der Kunstfigur C.O.W. aufzulösen. Mit der Gründung von C.O.W. verlieren sie sich der multimedialen Welt des Internet. Verschmelzen im Digitalen. Erzeugen eine neue Wirklichkeit.

Sie produzieren und spielen insbesondere instrumental-elektronische Musik, die von jazzigen Interludes bis hin zu no-brainer-beats das volle Repertoire ausschöpft. Die musikalische Verwirklichung von C.O.W. spiegelt sich auch in ihrem prägnanten visuellen Konzept wider. Um ihre Anonymität zu wahren treten die Künstler hinter 8-bit Pixelmasken auf. Ihre selbst-kreierten Visuals untermalen dabei das digitale Konzept des Kollektivs. Die Persona von C.O.W. kommt vor allem durch die Kombination des Optischen und der Musik voll zur Geltung.

Gewagt, extravagant und frech schaffen sich die Künstler somit ein eigenes Genre. C.O.W. sind schwer zu platzieren: Wenn man muss, kann man sie neben Flying Lotus und Hudson Mohawke ins Regal stellen. Wir allerdings empfehlen einen gesonderten Platz für besondere Kunst und geile Musik!
$hanghai Mone¥
Mit - $hanghai Mone¥ veröffentlichen C.O.W. die langerwartete Fortsetzung ihrer ersten erfolgreichen C.O.W. EP. Während sie Ihrem einzigartigen Stil treu bleiben, zeigen die Produzenten mit $hanghai Mone¥ eine funkigere wenngleich dunklere Seite ihrer Kunst. Die Bässe sind betont schwerer und länger und das gesamte Setup theatralischer. Der Hörer wird perfekt auf den Herbst vorbereitet. Mit der neuen EP veröffentlichen Sie auch ihre erste Vinyl, die die beiden EP's beinhaltet und so die Vielseitigkeit von C.O.W. zeigt - von Frontcover zu Frontcover.

Pressestimmen
- Sie sind das größte Musik-Mysterium seit Daft Punk und den Gorillaz: C.O.W. . Wer hinter dem Quartett steckt Offiziell bekannt ist nur, dass sie aus Peking und Berlin kommen sollen. Das ist aber eigentlich auch gar nicht wichtig, denn die Musik spricht für sich: Ein bisschen Trap, ein paar Vocals, die durch den Autotune gejagt wurden und sehr viel Elektro.
Bayrischer Rundfunk/PULS // Mixtape-Rezension (Online)

- Ihr Future-Bass-Trap-Amalgam ist dabei eines der Ausrufezeichen dieses Abends. Beweise für die Verschwörungstheoretiker-Hypothese, dass Daft Punk und Justice sich dahinter verbergen könnten, ließen sich aber auch während dieses selten Liveauftritts des Kollektivs nicht ausfindig machen. Ob es C.O.W. 2017 gehen wird wie Banksy oder Elena Ferrante Um diese Gruppe wird man in den nächsten Monaten jedenfalls nicht herumkommen.'
Süddeutsche Zeitung // Puls Festival 2016 (Print & Online)
- Originally a German-Chinese musical project, the quartet better-known as C.O.W. developed to a holistic artistic persona looking for company in a local Asian grocery store wearing nothing less than a drag-cow-costume. they make energy-infused beats with strong jazzy intros followed by drops that are super attractive to dancers and music-lovers alike'
ixdaily (Kanada)
- Ein neues Musikkollektiv namens C.O.W. macht die Runde. Angeblich eine Beijing-Berlin-Connection, alles ein bisschen ominös. Was man weiß: vier Leute aus verschiedenen Ländern, alles bekannte Beatmacher.
Bayrischer Rundfunk/PULS // Band Der Woche (Online)
- À mi-chemin entre Flying Lotus, et Hudson Mohawke, à mi-chemin entre la la Chine et l'Allemagne, le collectif de producteur et DJs C.O.W. , se présente comme une grosse Weißwürste électronique copieu- sement arrosé de sauce soja et de húqín.'
- Darauf treffen Futurebeats auf Einflüsse aus Jazz und TripHop. Hinter C.O.W. stecken vier Beat- Produzenten aus China und Deutschland, die anonym bleiben wollen. Angeblich haben sie sich auf
einem Opernbalkon kennengelernt.'

Warehouse find !

first come first serve

Edition 1 is a various artists compilation and the ninth release on Alix Perez' 1985 Music. The album is to be understood as a statement of intent as well as a snapshot where the label is right now.

Alix has assembled his favourite artists operating within the 85bpm / 170bpm axis and the result is a coherent album that cements ties with newcomers such as Monty, Deft and Tsuruda whilst also bringing new light to existing relationships with Fracture, Ivy Lab and Chimpo amongst others.

It's an exciting time for 1985 Music, an outlet that's quickly becoming known for great art across the board: be it music, clothing or design

Stepping up for release number 47 on Boka Records is Foundation Audio's Chad Dubz, coming correct with a supremely well rounded 4 track EP.

New 4 Track EP release from Piezo for Swamp 81 sublabel, 81. Mastered at TenEightSeven

20TH ANNIVERSARY 4 TRACK SAMPLER

Following Swayzak's Gestures Of A Sycophant, the third release on Beatnik Boulevard sees the return of Appleblim after he launched the label in style with the Conch Shell Motives EP. This time the Berlin-based producer is working alongside long-time collaborator and fellow Bristol bassweight alumni Komon - the duo have turned out EPs for Aus Music and Apple Pips in the past, but this 12' represents the first new material from them since 2014.

The heads-down, meditative lilt of Appleblim & Komon's Bristol past looms in the shadows on this EP, but it's shot through with a steely, modernist dance floor bite and high-end sound design. Know Yourself pivots around crafty, 2-step kinked drums but there's plenty of space afforded to atmospheric synth surges that plunge the track into a mood-altering headspace just to the left of the conventional dance floor.

In a more overt step away from the club, Enigmatic Light finds the pair exploring reduced, experimental approaches without discarding their penchant for heavy drum pressure. The sparse but booming kicks and bass stabs provide a powerful anchor to the swirling array of melodic matter coursing through the track, striking the perfect balance between structured arrangement and free-flowing sonics.

Stepping Out Of Yesterday closes the EP out with a beautiful, crooked reflection peppered with rich, chiming dub ripples, out of which a sprightly acid line emerges to affirm the electronica leanings of the track, and the EP as a whole. It's a fitting end to a record that sees both producers striking out into exciting territory where the moody soundsystem pressure of their past can coexist with the shimmering, psychedelic production that comes so naturally to them.

Dear all,

USM are proud to announce the release of a 4CD hardcover DVD-style box & 2LP reissue of Roni Size's Mercury Music Prize winning and platinum selling NEW FORMS album released to celebrate it's 20th anniversary. Alongside albums by the likes of Fatboy Slim, Orbital, The Chemical Brothers and Underworld, NEW FORMS is one of the definitive dance albums of the 90s and this will be the first time it has received the deluxe treatment.

The 4CD set includes the original 2CD album REMASTERED, 1 CD of Roni Size's current NEW FORMS 20th anniversary live show (an 80 minute mix programmed by Roni featuring 60% previously unreleased re-edits of tracks from New Forms and the set that he will be touring throughout 2017/2018) and 1CD of remixes, mostly only issued on vinyl at time of release. The 2LP contains the biggest cuts from the original 2CD album. The 5,000 word sleeve note booklet comes from respected dance music writer Joe Muggs.

Roni will be touring autumn to support UK/Europe/USA and is fully behind this release. They have a PR in UK and US and social media team ready to help promo it.

Contributions by Batu, Bambounou and Parris

The 2nd release on Youth comes from London artist Shamos. With Lyster having met Shamos through NTS it wasn't long before they were DJ'ing together around parties in London and Shamos began sharing music with him. Shamos, who last released on Funkinevens Apron label, comes with a heavy 4 tracker bringing the punkier dregs of new wave, dreamy abstract house and tripped out hardware jams, on limited red vinyl.

1991-2 revisited.