Beats Vinyl New Releases - News

Massive bass. That was the idea behind Primitive Ignorant. That and history; his and Britain’s. Primitive Ignorant is Sym Gharial from 80s Matchbox B-Line Disaster and Sikh Punk is about him growing up as a Ladbroke Grove Sikh; not fitting in until he found release with punk rock, bands and, for better and worse, drugs. It looks at the Brexit-fuelled return of the racism he experienced as a kid and traces its roots back to the lingering arrogance of Colonialism and Empire.

It's digs into rejecting his Sikh roots, bleaching his skin, (in peak whiteness, Sym appears on the cover of Pulp’s Different Class), experiencing addiction, racism and coming out the other side, completing a redemptive arc. Sym’s been clean for ten years and embraced his Sikh roots, wearing a turban once more at his wedding last year.

Sikh Punk is loosely inspired by Sandinista, his favourite Clash album as he pushes into new musical genres. There's no guitar, for a start. From the outset, the idea was to carve out a HEAVY POP between Health’s rough edges and Chromatics’ reverie although inevitably it ended up somewhere quite different. He's a bassist so Sikh Punk is bass-driven, using R'n'B production tics to make it kick hard. Sym is not, however, a singer, so aside from some screaming and BVs, he's found other people to sing his very personal lyrics: casting him as the record’s id and other voices as its ego.

Leonore of International Teachers Of Pop sings on Dress Like Me; Jon from The War On Drugs added mournful Jerry Dammers' brass to Sikh Punk I-V, narrated by Sym’s nephews Ivo and Sahib, IDLES’ Joe Talbot and Sym’s hero, Mick Jones from The Clash, reading extracts from Oscar Wilde's Ballad Of Reading Gaol and Panthea. Bess on Worship Art is an old friend from Ladbroke Grove, Daisy on Beautiful Scum he met online over lockdown and Le Junk is a friend who sits close to Iggy’s edge; Pete Teleman puts in an appearance; Katie Kaboose sings White Jeans and Eyeliner about an old friend Adam who turned him onto art and cinema but died at 17. There are found sounds throughout from Portobello Market and it’s all mastered by Barry who cut Like A Virgin, Prince’s Kiss and the last Radiohead record. Primitive Ignorant’s visual collaborator, Steve Gullick supplied the sleeve to the limited vinyl edition and shot the Ballad video.

+Digital Download

Pailhead was a collaboration of vocalist Ian MacKaye (Minor Threat, Fugazi), Ministry’s Al Jourgensen and Paul Barker, and drummer Eric Spicer (Naked Raygun).

In 1986, MacKaye was just a few years away from his genre-defining work in Minor Threat and on the cusp of starting an even more influential band, Fugazi. Al Jourgensen was also undergoing a transition with his band Ministry after the release of “Twitch”. He wasn’t the guy who would release the game-changing “The Land Of Rape And Honey” a couple of years later, but he was well on his way.

Alain met Ian when he was living in London. Both found common ground musically and politically and decided to collaborate on a project that would fuse elements of industrial music with hardcore punk. The result was a bunch of unique and unrepeatable hymns.

Pailhead released one first single “I Will Refuse” / “No Bunny” in 1987 and next year the 4-song EP “Trait”, both on the legendary Wax Trax! Records.

Limited edition of 500 copies on grey vinyl with deluxe sleeve with soft touch lamination and sticker with classic band logo.

From the physical transformation of organic elements that melt generating new textures, Espleni is created. Fragmented into nine pieces, it starts with an inmersive melody starting a route without return where you can explore frozen territories of heavy structures.

This reflects the union between body and raw material, an interest
that was already glimpsed in its first release with Bestiarie (2015).
The distortion of organic sounds arrives to wide landscapes of noise, sometimes moderated and in others uncontrolled. Noises that are juxtaposed in a constant dialogue until its definitive bifurcation.

This project starts from the recording of everyday sounds that surround the author, using a Zoom H5 recorder, with which he later experiments, manipulating and gathering them until creating a musically harmonic composition.

Die Form is the legendary post-industrial electronic project leaded by French artist Philippe Fichot and active since the late 70's. Tears of Eros was originally released by the German imprint Hyperium Records in 1993 and shows Die Form on it's most intense and productive years. Sexual deviations, sadomasochism, fetish and domination set to danceable beats with a dark atmosphere.
This mini-album is re-issue for the first time on vinyl including all the original songs plus a different version of Doctor X. Limited to 333 copies with die-cut jacket silk-screen printed on deluxe black paper, printed inner sleeve and numbered card.

We wanted to put out an album for quite some time but were waiting for something really special.

Entitled "Aslant Sand LP" these works are the first time these two producers have come together.
Although I'm sure that you will find out who is behind this......for the moment we want to keep this secret so that you can listen without bias and with fresh ears.

As dangerous as this is to say...For us, this is reminiscent of early Warp releases with multiple influences that have stood the test of time.
There is lots to digest here.......and we really hope you like this as much as we do.

Timeless cuts to suit all intimate dancefloors.

Format: Gatefold Double 12" LP
Artwork By Philip Mitton.

The Interpol officers are looking for two crooks responsible of a bank robbery at the beginning of 2019 in Bristol (UK). According to the investigation they go under the aliases of Abele and Caino, they were armed and in motorcycle during the raid in the financial institution. The two outlaws are already known to the authorities as OOBE and Aniello. The suspects are ARMED and DANGEROUS. The advise is to call without hesitation the following number : +4401179149042. The reward for any useful information will be of 999, 99£.

Revolting Cocks' origins date to late 1984, when Front 242 started their first American tour as an opening act for their then-label mates Ministry. Afterwards, Alain Jourgensen asked Richard 23 to join forces and produce a dub-remix project. After returning to Brussels, Richard proposed this collaboration to Luc Van Acker who decided to team the band just after talking with Al over the phone.

“Big Sexy Land”, originally released through the legendary Wax Trax! Records in 1986, is the debut studio album by this supergroup featuring a mix of industrial, hard rock and EBM with dominating sampling and strong synthesized beats. It was composed mostly using a very expensive Fairlight CMI II synthesizer, sampler and work station that Al Jourgensen got funded by Sire Records. Luc Van Acker attributed album's mixing to Jourgensen's sessions with Adrian Sherwood on Ministry’s “Twitch”. Al surreptitiously took notes on Sherwood's settings, but, without any context for the numbers, they had to later guess at what the settings were for, such as reverb and delay time.

Album's title is a reference to a strip club in West Berlin. Al Jourgensen said that club neon sign was “the biggest capitalistic tease” for citizens in East Germany. The idea to use Revolting Cocks came from an incident that took place in a Chicago bar. According to Luc and Al, they all was trying out "insulting French expressions" on a waiter, ordering something they said meant “revolting cock” which led the waiter to say, “You are revolting cocks!”.

“Big Sexy Land” would be the only album made by the original incarnation as Richard 23 quit in 1986, after falling out with Jourgensen over an Adrian Sherwood's remix of the song "You Often Forget”.

Limited edition re-release on double vinyl with gatefold sleeve and expanded artwork including all original tracks plus the singles “No Devotion”, “You Often Forget” and another remix of “T.V. Mind”.

This new and grainy Sbire release sees La Chaux-de-Fonds electronic craftman Gaspard de La Montagne work as per usual with Nathan Baumann. The two of them share a long history of forward thinking music projects, including EPs, videos, movie soundtracks and so on. Things have changed on this one though as Baumann co-signs the record, instead of an usual credit mention. Both artists describe these 7 tracks as a small album which average format of tunes leans towards pop music. A thoughtful and progressive tracklist bounds all titles together as a whole journey, landmarked by Baumann's ethereal vocals and minimalistic french lyrics. This new approach makes Auras a moving and bittersweet journey that will see you wander from a crowded club to your lonely bed.

The second album to be reissued by Mannequin and Platform 23 Records of the music from Bourbonese Qualk, Hope saw the politically active musical entity expand on their mix of music, art and politics.

Staunchly independent, doing the recording and design via their Recloose Organisation label, by 1984 the group had occupied a large disused building on the Old Kent Road, becoming the base for the band's activities as well as other creative and political activism.

Recorded at the Ambulance Station, Hope is full of unceasing drum machine rhythms, electro pulses, echoing samples and lo-fi synths matched with strummed guitars and dub bass. The accompanying drones and snarled vocals go beyond any early 80's industrial tag to be something more unique, with the uncompromising, conceptual and avant flashes showing a more experimental buzz, an awkward quasi-funk noisy nuisance.

Remastered by Rude 66, this is music as much for then and today, a radical, revolutionary cultural force that acts as a positive social charge.

Chinese industrial/dark techno producer XIAO QUAN “Righteous Invasion” title track from upcoming cassette EP on Hangman Satellite

Definitely the producer of the week with two EP, one together with DJ , Chineseelectronic experimentalist XIAO QUAN, not new to this playlist, is finally receiving the attention he deserves with his industrial-charged energized, hypnotic and erratic techno sound

Premiere on Fill-Lex Records of the Russian-Greek producer based in Seville Maxim Gkikaev aka Rise Black, in which he presents us with themes composed from 2016-2019, the first release in its volume 1, volume 2 will be published at the end of the year.
With an electro heart, these songs take us through his last years, a mixture of various types within the genre, more aggressive, or with sweetness, in sad and melodic moments or more experimental and raw, with a continuity as few know how to do. Broken bases and broken rhythms with melodies that will stay in your mind in direct trip to the brain.

Rise Black and with his other aka Oscitin has released on labels like Moustache Records, Retrowave Records, Underground Music Experience or his recent publication in Tripalium Records Corporation in his sublabel Digital Mutant Series.
Apart from his facet as an artist he combines it with editing as co-owner of labels such as UME, NYY Records and Another Perspective, and he is the host of the Electronic Wave parties in the Prisma room in Seville.

An album with 11 tracks that will not leave you indifferent, come in and enjoy

Debüt-EP des Londoner Duos Jockstrap (Georgia Ellery & Taylor Skye) auf Warp. Jockstraps Mixtur aus harten Dubstep/Industrial-Beats, klassischer Komposition und verdrehten, zum Teil perversen Fantasy-Erzählungen begeisterte die Fachmedien (Dazed, Pitchfork, BBC 6Music, The Quietus, The Face, The Guardian) bereits bei ihrem Einstand, der digitalen "Love Is The Key To The City" EP (2018, Kaya Kaya Records), woraufhin es Lobeshymnen hagelte und Warp Records das Duo vom Fleck weg signte. Die beiden Künstler kollaborierten einzeln und zusammen bereits mit Underworld, Dean Blunt, Injury Reserve und Damon Albarn's Africa Express, zudem spielte Georgia Ellery in dem mehrfach prämierten, britischen Film "BAIT".

- "My favourite avant-garde situationists." - Mary Anne Hobbs (BBC 6Music)
- "One of my favourite bands." - Matt Wilkinson (Beats1)
- "Jockstrap are giving classical romance a surreal twist." - The Face
- "Melodiously sweet and sophisticated yet tempered by bursts of naivety and caustically fucked up-ness." - The Quietus
- "I don’t know what kind of music Jockstrap are making right now, but I like it." - The Fader

James Clements (ASC) debuts his first full-length album under his Comit alias, titled Remote Viewing.

Born out of his love for music that was often classed as 'IDM' during the mid-to-late 90's, and labels such as Morr Music, City Centre Offices, Merck and Hobby Industries, Comit is a new avenue for James that builds upon his background in drum & bass, his ambient projects for the likes of Silent Season and his admiration for a more nostalgic electronic sound.

It was this appreciation for early IDM that became the impetus for James' infamous Deep Space mix series in the early 2000's and resulted in a brief output of inspired productions as both ASC and Intex Systems. But this sound never fully evolved until it became a devoted project. The first outing for the Comit alias came as a limited 7" on the Short Trips label in 2016 and is now finally presented in its realized form within Remote Viewing.

Broken, glitchy breakbeats weave amongst emotive and often melodic chord progressions, all stemming from James' expansive collection of analog synthesizers. It's a sound that feels distinct and very separate to James' music as ASC, whilst adding a new evolution to the genre we may have previously described as IDM.

By now you must be already familiar with Qual being the solo project of William Maybelline, one half of the Lebanon Hanover duo.When William first stepped into the scene as an individual artist back in 2014, he declared the intention to explore the very grimmest areas in synth-based music. While Sable debut LP was unapologetically gothic in subject matter and sound, Qual's most recent and uncompromising outputs of Cupio Dissolvi EP and last year's album The Ultimate Climax merge the despairingly freezing properties of 90s EBM with the more aggressive sensibilities of industrial techno without ever diluting the intensity of either. Brand new 4-track EP Cyber Care is the perfect synthesis of both these aspects. On A side the slither of the title-track and the mechanical assault of Inject Your Mind will make you feel the hardest, most vicious side of Maybelline's creation. B side's I Have To Return Some Video Tapes and Motherblood will toss you into a ice-cold galaxy of paranoia and disorientation.

This is not an appealing world, as Qual is impossible to listen to half-heartedly - it will drag you by the jaw and butcher you in a dirty alleyway.

Black 12 vinyl limited to 500.

New myths; remember downstream, the truth and sacred geometry. Unlikely and bright, it weighs waves like an anchor through pinch unconscious - unread and still. We are understanding - process born from fact. The rope is taut, calm, made of ritual and leading us back - but in telling it transforms; pre-linguistic, stamped, fully dynamic, the start refracts into new versions and inwards we fold. It remains rhythm in absence, but grows as we watch. Next thread drawn from the Mirror Zone, this one built by Vector Trancer. Our plate reads panoptic; dark dub and ambient loaded with psychoactive EBM. See further; MSB's vital experiments powered by half-speed Beat Box; distant Objets D'Art channelling through Namlook's Fax; pared down FSoL at the hands of Autocreation. Celestial fringe echoes, viridis mantra, and guttural/ceremony trudge. Direct knowledge, heavy and charged.

Cándido is the new artist upcoming at Soil Records.

Beatalicio is the new of the mini album that come up on vinyl at the end of September 2019. Includes 8 tracks influced for many styles from the New vawe, Synthcore, Ebm to the krishnacore from early 90´s.

Welcome to the Panopticon of darkness! With Unbroken, the German pioneers of European Gothic Metal, CREMATORY, dare to perform a tightrope act in the somber void. 15 energetic tracks within brutal riffs, deep growls and tight drum grooves prove the band’s diversity — even after almost 30 years in business. The concise influences of Neue Deutsche Härte turn Unbroken into a bravura-piece in an industrial guise. The opening track of the album takes the listener into a darkly-nuanced soundscape, appeals to the strength and self-determination of the band and their fans, and allures with a certain kind of hymn character. The most contemplative CREMATORY album to date closes with the final tracks "As Darkness Calls", a powerful first class offer, and the emotional ballad "Like The Tides”. The latter presents the fragile side of the band and symbolizes an ode of transience, love and pain. CREMATORY remains Unbroken!

LTD EDITION.

Third volume of the series MATERIAL ELÉCTRICO this time released on vinyl. Compilation of international mutant electronic underground.

A tour around experimental electronics covering abstract rythms (Santiago, Black Zone Myth Chant), industrial new ebm beat (Celldöd, Klack, Violet Poison, Bässt), minimal wave (Circa Tapes, Sam de la Rosa) and the great collaboration between Sam De La Rosa & Kyle Dixon (Survive, Stranger things soundtrack)

Limited edition of 260 copies. Mastered at Sountes Studio. Artwork by Joni Kosmos and typogragpy by Israel Pinilla.

Glad to rescue this authentic lost treasure from music genre. TEMPLEBEAT, Italian group now extinct which moved between EBM and Industrial. The formation created in 1990, is part of the self-named second generation of EBM groups. Originally published on cassette in 1992 by label also Italian, Energeia.

Lovely album from artist and musician Dolphin Midwives (aka Sage Fisher) using harp, voice and electronic processing. It's a controlled and dynamic album that blends the organic with the digital, resulting in a body of work that fuses the tranquility and intense strength of the natural world. Recommended!

The album was recorded in early 2018 by Jason Powers (The Decemberists, Chromatics, Matthew Dear) at Type Foundary, and mastered by Rafael Anton Irisarri at Black Knoll Studio (Alva Noto, Ryuichi Sakamoto).

One of Sweden's most acclaimed bassists and Grammy award winner (producer 'Thåström - "kärlek är för dom", "beväpna dig med vingar" and "Den morronen") and collaborations with, among others, Bill Laswell (Material, Herbie Hancock, PIL, Mick Jagger), Youth (Killing Joke, The Orb, The Verve) and Mick Harris (Napalm Death, Scorn, Lull) release his solo debut with the album 'Lower Zone'.

With electric bass and various electronics, Ulf creates magical sound worlds somewhere between dark ambient and industrial.The idea for this solo project came up in 2015 when Ulf decided to challenge himself in a way he had never done before: to go up on stage, alone with electric bass, effects, loop pedals and a wall of amplifiers without knowing what to do.
A blank paper, what happens can happen based on what instinct and impulse decide together with the technology and the instrument. Improvisation with elements of ambient, dub and free form.

English aural terrorist Never Worse debuts on Strange Therapy with the 6-track cassette Gutter. Being true to its name, the work is a series of grinding assaults in which modern industrial/noise music with rhythmic tendencies becomes a template upon which brooding soundscapes are sculptured.

Bite The Concrete welcomes us with its haunting dark vibes, before it explodes in an industrial march made of mechanical movements and ominous lines. The rhythmic mantra uses pauses in order to convey a sense of dread. The listener will find himself crushed under the obsessive track. Dead Tooth presents grinding distortions and shrilling effects, evoking a factory-in-hell wherein an obscene ritual is consumed amidst the ever-functioning machines. An eerie atmosphere pervades the number, but the grittier side of the music is not forgotten. Cannibal is a dissonant tour de force with ritualistic noisescapes among which ghostly harsh vocals moves, preying on our fears. An ancient world made of prehistoric rules collides with the industrial setting, fusing past and present in an ominous mantra.

The Title Track is a dark dimension with grim landscapes and underlined tension, an affair full of grit and epochal visions. It slowly adds the usual ritualistic elements in a well crafted structure in which a suspended tension never find its climax, losing itself instead into nothingness. Misery is a dark ambient voyage exploding with considerable disturbances and droning effects. A crawling movement guides us toward ominous moments of silence, ready to be assaulted by obsessive marches. The last track is a remix of Bite The Concrete by experimental artist Oil Thief, who reworks the track into a more experimental take on noise music, full of shrilling effects and compulsive stomping attacks. Rhythmic noise innuendos enrich the palette here used, offering a hypnotizing repetition. But it doesn’t end here: the second half sees a different course dwelling in melancholic synth-lines, before returning to harsher territories.

It’s time for your next treatment. The latest strange therapy session, led by Tomohiko Sagae, guarantees to break through your blood-brain barrier immediately after entering your ears. His Deba Bōchō EP is a brain damaging mind cracker, packed with five tremendous tracks.

DB#1 kicks off the session with pulverizing power. Beams of nerve wrecking noise crash into you. Grinding and screeching, slowly flowing up and down, this one clears your head of every last bit of clarity and sanity.
DB#2 marches onwards with mechanical mayhem. The steam-powered mechanism propels itself with distortion. Get rolled over and beaten down by a gabber’esque flurry of punching and pounding, crushing all matter it comes across.
Operant remixed DB#2 into an evenly intriguing piece. The steam makes place for electricity. Twisted vocals like ghosts stuck in the circuitry peek above the static-drenched, rhythmic layers. It keeps on kicking, surging with low-end energy.

DB#3 hits harder than the heaviest machinery. A distortion-tipped drill digs deeper and deeper, eradicating everything in its path. Metallic hammering and system shattering sounds lay bare the core of crude craftsmanship.
Stave’s remix of DB#3 works like a tension building sharp-shooter. Stripped down of excess energy, it stutters onward, grabbing you tight in bursts of beats like a Gatling gun. It’s a straight up skull shaker

Unhuman brings you balance between body and mind, with both intriguing introspective atmospheres and energetic activating sounds. This is the newest Strange Therapy session, a spiritual and physical treatment. A journey through the brain and the body.

Shadow Of The Serpent kicks off. It creeps up your spine with a gnarly crawler of a synthline. A good old break-beat boulders underneath the soul-sucking background sounds. Its sharp teeth create craters deep enough to let you bathe in their shade.
Fire Rash Peeling leaves you no time to rest and punches your body straight into EBM’s dirtiest territories. Dangerous dancefloor material, complete with industrial strength claps, perforating percussion and pads forged in feedback. Feel it from your face to your feet.
A moment of meditative mayhem follows with White Bone Spirit, a halftime wave weapon. An anxious arp drives a battering bassline forward with high velocity, boosting its impact as the sustain increases. No light is left by its dripping drums and ghoulish growls. Deep, dark, doom.

The Fallbeil Remix of Shadow Of The Serpent allows you to reflect on your beginnings through a completely morphed mirror. An evil alien energy disrupts your last peace of mind. This is how: crushed up corrosives, vague voices, an everlasting eerie ambience and an 808 loaded up with extra hate.
Autumns is responsible for the final treatment of this session with his own interpretation of White Bone Spirit. Lunatic loops and metallic mayhem make you move your body parts until you lose ’em. It’s driving, it’s terrifying, it’s wonderfully classic horror like dancing with the dead.
credits

SC-164 is a project based out of Brooklyn, NY. The Channel series will include music exclusively by Greg Schappert aka Donor, under his SC-164 alias, and will be focused around Electro, Industrial and Experimental music.

Triumvirate = the combined power of a group of three in creative collaboration.

CARTER TUTTI VOID (Chris Carter, Cosey Fanni Tutti and Nik Void) have an-nounced their third and final studio album containing all new studio recordings, Triumvirate brings Chris Carter, Cosey Fanni Tutti and Nik Void’s collaborative partnership as Carter Tutti Void to a conclusion.

The trio first came together as a collective for a live performance, in-vited by Mute for the Short Circuit Festival in 2011 and released their acclaimed debut, the live album Transverse the following year. Carter Tutti Void went on to release f(x) (Industrial Records, 2015), their first stu-dio recording and performed a handful of selected shows, culminating in their final live performance in Hull, part of a series of events for Hull City of Culture 2017 centred around the COUM Transmissions retrospective at Humber Street Gallery.
For some time Carter, Tutti and Void have been awaiting an opportunity when all three artists were able to gather at Carter and Tutti’s Studio47 in Norfolk, where the album was recorded, produced and mastered. Triumvirate was ap-proached with the improvisational spirit of previous Carter Tutti Void albums. The rhythms, created by Chris Carter, formed the foundation and starting point from which the process began of melding the live instrumentation of Cosey Fanni Tutti and Nik Void’s searing guitars, vocals, effects and the arsenal of sounds each had amassed from a variety of sources, some sounds manipulated to extremes, all fed into the mix. Tying the album together is the power of three, and a free open approach to sound shared by the trio.

Carter Tutti Void are Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Void (Factory Floor / NVPR). Chris Carter recently released his first solo album in 17 years, Chris Carter’s Chemistry Lessons Vol. 1 (Mute, 2018) and Cosey Fanni Tutti’s TUTTI, her first album since 1982, came out ear-lier this year on Conspiracy International (home of Chris and Cosey since 1982). Nik Void is currently working on her debut solo album.

Global tracks is a mystery; browsing the name online gives nothing associated with the artist. All we really know is that Gothenburg is home base. Most points toward that this is Global Tracks first release and Hoga Nord Rekords are more than proud to be first out giving his/her music out.

With albums like 'Selected Ambient Works' by the Aphex Twin and cities like London and Sheffield as a ground for the sound, Global Tracks displays how breakbeats should sound in 2019. The music is mostly influenced by Jungle, but also by Footwork and Dancehall. The roots lie shallow but the phantom behind this music don't give up with trying to recreate the nineties straight up, instead he/she develops the legacy from all the best and most drug marinated DJ:s from England circa 1995.

Breakbeat has a new vanguard in this mysterious shadow crawler that we know almost nothing about, but rumor has it Global Tracks is locked up with the machines under ground somewhere in Vastra Gotaland in Sweden working on new broke up beats, ready to surface when the time is right for more, deep and ganja oozing dance music!

’Shock Industrialization’ pits modern masters of industrial noise, Japan’s Linekraft and key Hospital
Productions disorderly Alberich, in a killer, pummelling split session.
With blatant disregard for your aural health, the pairing pull no punches in four torrents of
acrid filth seemingly wretched up from the belly of the beast. For those concerned, ’Shock
Industrialisation’ highlights the contrast between American and Japanese noise conventions thru a
prism reflecting on Cambodian civil war and it’s arguable predecessor of the Korean war.
Linekraft’s side speaks to a sense of psychotomimetic chaos with the howling bitterness and
astringent textures of ‘Bunch Of The Serve The Enemy’, while ‘History Of My Betrayal Act’ opens
with intelligible vocals that become mired in waves of attrition, joined by cranked-up sirens and
consumed by tarry bass distortion.
Alberich’s side is arguably more linear, sputtering and railroaded like Kareem’s most brutalist
clatter, but also distended with blown-out noxious clouds ofdistortion in ‘Tube-Ni mine Shaft’,
before offerign a sort of vocal response to Linekraft’s call in ‘Mountains Of Soul’, burying his
signature, hellish voice in clambering, white hot noise.

Veyl Industries is releasing ‚Dreams & Memories‘, the debut work from Ori, one half of TV.OUT. This 8-tracker
features malevolent electronics, experiments with noise, textures and blood.

Repetition is learning. Retrace, the new EP from Jeff McIlwain aka Lusine, moves along this line of thought, reflecting the Texas-raised/Seattle-based producer’s recurrent, iteration-embracing approach to music-making and living. Following 2017 full-length Sensorimotor, which explored the body’s instinct versus the brain’s intent, this introverted 4-tracker finds McIlwain just as kinetically-curious. Balancing focused programming with washy, less concrete sonics, Retrace plays with the unexpected by drawing from slight variations on the same idea.

Sequenced into his trademark mix of polyrhythmic synths, processed vocals, and organic instrumentation is the more prominent use of a looper. The technique lends each composition an uncanny kind of multiplicity. Opener “Not Alone” repeats and stretches vocal phrasings from Hardly Art-signed American singer-songwriter Jenn Champion, building onto itself until a climactic, near-duet reset. South Korean musician Yousun Cho aka CIFIKA brings a fluttering of bilingual directives to “Step On,” a buoyant exercise in electronic pop. The title track embodies the whole, allowing a single synth pattern to morph, regenerate, and bloom before returning to its original form.

After just 6 months since first seeing Big Yawn perform, we are thrilled to welcome them to the Research family. A compelling prelude to their debut album "No!" due out in late 2019.

Over six years the Melbourne-based group has evolved, with members of the band running various releases through label and collective Fallopian Tunes. As of 2019, Big Yawn had become a four-member music group, motivated by a history of studio production, prolific collaboration and quality hangout time.

The groups freshest effort 'Skin Rat/Thomas' captures the band performing live in the studio, and it's typical Big Yawn: fat and punchy low-end bass; drums and live drum processing; delay fx samples; thick syrupy synths. 'Skin Rat' is a hyperbolically dubbed out, tongue in cheek, magnetic blend of UK garage, footwork and breaks. And 'Thomas' takes cues from a slightly damaged post-punk sound, amplifying a brittle and sinister type of atomic porn-funk.

Limited to 200 copies. Hand numbered and housed in a screen-printed sleeve, artwork by Julian Hocking.