Downbeat | Electronica | Leftfield Vinyl 260 Items

Türkises Standardvinyl (180g) des Blockhead Klassikers ’The Music Scene’ (2009) inklusive Downloadcode.

Electronic music pioneer Lustmord released an album titled [other] in 2008, to date the only Lustmord album with guitars on it, performed by Adam Jones (tool), King Buzzo (melvins) and Aaron Turner (isis). The albums The Dark Places of the Earth and Beyond, both released in 2009, areextensions of the ideas explored in [other] and are taken from the same recording sessions, but with the guitars removed and the essence of [other] distilled and reduced.[other] was a journey with friends, whileThe Dark Places of the Earth and Beyond take the concept and listener further, deeper, in-between and beyond. While is some ways [other] is as close to a "rock" album as Lustmord will ever make, The Dark Places of the Earth and Beyond are pure Lustmord, a sound that many others imitate but can never equal. Lustmord is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with Throbbing Gristle members Chris & Cosey as well as appearing on early albums by Current 93, Nurse With Wound and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE Melvins, Clock DVA, Jarboe, John Balance of Coil, Paul Haslinger (tangerine Dream), Puscifer, Wes Borland and more, including Grammy Award-winners Tool on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°rabrot, and he is considered to be the founding father of the dark ambient music genre.

Electronic music pioneer Lustmord released an album titled [other] in 2008, to date the only Lustmord album with guitars on it, performed by Adam Jones (tool), King Buzzo (melvins) and Aaron Turner (isis). The albums The Dark Places of the Earth and Beyond, both released in 2009, areextensions of the ideas explored in [other] and are taken from the same recording sessions, but with the guitars removed and the essence of [other] distilled and reduced.[other] was a journey with friends, whileThe Dark Places of the Earth and Beyond take the concept and listener further, deeper, in-between and beyond. While is some ways [other] is as close to a "rock" album as Lustmord will ever make, The Dark Places of the Earth and Beyond are pure Lustmord, a sound that many others imitate but can never equal. Lustmord is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with Throbbing Gristle members Chris & Cosey as well as appearing on early albums by Current 93, Nurse With Wound and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE Melvins, Clock DVA, Jarboe, John Balance of Coil, Paul Haslinger (tangerine Dream), Puscifer, Wes Borland and more, including Grammy Award-winners Tool on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°rabrot, and he is considered to be the founding father of the dark ambient music genre.

5 tracks, recorded in Oxford, Missouri in early 2008

Just when you thought it was safe to buy another mash up ep, Aldo Vanucci is back and this time hes keeping it biff baff … Already airplayed by Rob Da Bank and Ali B!

Guests on the album include Dorian Concept and Cid Rim, Muhsinah, Dudley Perkins & Georgia Anne Muldrow, but Clonious is a good nice dude, too!

Mixed and produced by Jim Abiss!

Koushik specializes in making that hazy, hip-hop-based downbeat sh*t that you could easily compare to contemporaries such as Four Tet (who released Koushik's first single on his Text label), RJD2, and DJ Shadow. What sets Koushik apart from the others is a beautiful '60s psych-pop element that tends to pervade throughout. It shows itself in the spacious panned strings, acoustic guitars, and harpsichords that fall in and out of each other, and the beats have a harder regimented classic true school hip-hop sound, that Fourtet and Prefuse tend to stray away from.

At the heart of Vertical Ascent is a dream crossing of Basic Channel, Larry Heard and Can, as at home with calypso as it is Stravinsky. Dig?

Elektro-Punk von Jan Müller (Tocotronic, Dirts Dishes), Rasmus Engler (Herrenmagazin, Dirty Dishes, u.a.), Thies Mynther (Stella, Superpunk), Julia Wilton (Pop Tarts) u.a.

incl. remixes by T.Raumschmiere and Chloe

On vinyl for the first time, ‘Random Album Title’ is a seminal body of work in electronic music from Canadian producer deadmau5. The vinyl includes “Not Exactly,” “I Remember,” “Arguru,” and more. This award-winning, chart-topping album is arguably the most sought-after physical piece of work from deadmau5’s impressive catalogue - this is ‘Random Album Title’.

Box set featuring remixes of the song “Innocence”

2024 Reissue of the classic Bersarin Quartett debut album.

“It's rare that I'm able to give an album my fullest recommendation without trepidation. (...) Bersarin Quartett is one such album. There's nary a misstep, every potential danger has been avoided and smoothed out to present the optimal audio experience for your dollar. (...) Something this good can't possibly be real." The Silent Ballet (8.5/10)

So yes, references to Stars Of The Lid, Ulver's Perdition City, Bohren & Der Club Of Gore and Cinematic Orchestra are fully justified. (...) An excellent debut album, great for nocturnal couch consumption, closing your eyes and dreaming away. (...) Slickly produced without becoming becoming empty chillout fastfood, Bersarin Quartett does what it promises and does it well and a recommendation for everyone into the bands I mentioned earlier. Musique Machine (5/5)

This music could be written on a lonely island or onboard of a spaceship looking on our planet. Time becomes a new unit and feelings become more weight. This is a real great album that owns a special atmosphere and a nonesuch orchestral sound. Wonderful tracks with wonderful titles that leave the listener with a feeling of freedom and contentment. A wonderful perfect 10. Cuemix (10/ 10)

Make no mistake, Bersarin Quartett is an incredible release in the electronica world, but one that fans of many other genres will enjoy. Sputnikmusic (4,5/5)

Reissue of SND’s god-tier triple pack, packing a pinnacle of avant-dance beat science certain to connect with fans of garage, UKF, footwork and experimental techno. When this peerless masterclass in nanoscopic funk editing, a decade after SND’s seminal early trio of self-releases, »4,5,6« marked a leap in form from their self explanatory »Tender Love« LP of 2002 with a return to their early EPs' avant club focus, but drawing on processes and tekkers they had sharply refined over the interim.

One of Celer's best albums, released on triple vinyl for the first time.

“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, Coil’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other Coil release.

Both “ayor” and “Backwards” had by the time the album was first released already become favourites in Coil’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums Coil did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect. The New Backwards” effectively became the final official Coil studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator. The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated Coil archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996. Thanks to everyone there, especially Trent Reznor who made it all possible. Written & Produced by Coil & Danny Hyde. Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007. For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall. Mastered by Jessica Thompson. Front artwork by Ian Johnstone. Artwork licensed from The Estate of Ian Johnstone. Layout Cold Graves and Oleg Galay.

Attention: To avoid later mournings, we want to inform you that picture “vinyl” is no audiophile format, it’s a collectible format. Especially for music like Coil with it’s wide stereo spread, swirling high frequencies and deep dronning basses. The more stereo and bass, the wider and deeper the grooves have to be, to provide all information to the needle. But picture discs have only a very thin plastic-foil over the pictures, it’s no vinyl, just plastic, similar to pet bottles. On picture “vinyl” can not be pressed so deep and wide grooves, that it would sound as well as a real vinyl. That’s the same for ALL picture LPs, not only Coil.

General conclusion: Of course our picture LP editions are enjoyable for listening too! But to get the best sound quality, you should buy black or any coloured transparent vinyl, those sound best. For your collection just buy whatever you think looks best.

“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, Coil’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other Coil release.

Both “ayor” and “Backwards” had by the time the album was first released already become favourites in Coil’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums Coil did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect. The New Backwards” effectively became the final official Coil studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator. The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album now!

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996. Thanks to everyone there, especially Trent Reznor who made it all possible. Written & Produced by Coil & Danny Hyde. Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007. For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall. Mastered by Jessica Thompson. Front artwork by Ian Johnstone. Artwork licensed from The Estate of Ian Johnstone. Layout Cold Graves and Oleg Galay.

“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, Coil’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other Coil release.

Both “ayor” and “Backwards” had by the time the album was first released already become favourites in Coil’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums Coil did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect. The New Backwards” effectively became the final official Coil studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator. The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album now!

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996. Thanks to everyone there, especially Trent Reznor who made it all possible. Written & Produced by Coil & Danny Hyde. Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007. For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall. Mastered by Jessica Thompson. Front artwork by Ian Johnstone. Artwork licensed from The Estate of Ian Johnstone. Layout Cold Graves and Oleg Galay.

FREDDIE (RED ASTAIRE) CRUGER returns with dope new 4 track EP. The title track is a laidback 90s hip hop cut (ala PETE ROCK) with both rap and instr versions. "KEEP STRIVING" is a lush melancholy downtempo jam while "WE'RE REALLY GOOD" is a upbeat and percussive piece of dancefloor dynamite.

Originally released in 2008 on Type Recordings, Caesura by Helios aka Keith Kenniff returns in a new 2022 edition vinyl re-release, remastered by Taylor Deupree.

Keith Kenniff had been with Type from the very beginning, and in the fifth year of the label he offered his fifth gorgeous release. In those five years Keith's style had evolved constantly, with his drifting piano compositions taking the Goldmund label and the Helios sound moving out from underneath the clipped beat-heavy electronics of 'Unomia' and into a more unique place, even incorporating vocals on the 'Ayres' mini album. 'Caesura' however was his 'proper' follow-up to the acclaimed 'Eingya', and has seen Keith return to the instrumental sound he knows so well. In fact in many ways 'Caesura' is a more electronic work than its predecessors, blending layer upon layer of synthesizer and adding his assured drumming to come up with the perfect meeting of indie-pop and ambient music. The haunting cinematic element is still present of course, but these songs are more rounded and confident than any in Keith's career to that point.

From the delicate bliss of 'Hope Valley Hill' which opens up the album with gauzy nostalgia and, as the title promised, hope, through the chunky pop of 'Come With Nothings' it is clear that Keith's music is as arresting as it ever was. Taking cues from the lilting indie-electronics of Ulrich Schnauss and the unfussy ambience of Brian Eno, Keith manages to inject this with his knowledge as a composer. The epic harmonies of 'Backlight' for instance reveal a lightness of touch rarely heard in the genre with sweeping synthesized chords buzzing alongside Keith's signature guitar.

Accompanied by more gorgeous artwork from Matthew Woodson, 'Caesura' still is a glowing record for the winter months, and a glimmer of hope to keep the seasons at bay.

Electronic/Industrial music pioneer Lustmords tenth studio album [ O T H E R ], originally released in 2008 and to date the only Lustmord album with guitars on it, performed by Adam Jones (tool), King Buzzo (the Melvins) and Aaron Turner (isis). [ O T H E R ] originally came out on independent record label Hydra Head Records, founded by Isis frontman Aaron Turner and former home of bands such as Converge, Pelican, Jesu, SUN O))) or Boris. As one journalist put it at the time, [ O T H E R ] is a "grim example of a consummate artist who is working frmly within the parameters that he has laid out for himself over the years." This album shows Lustmord at his most characteristic, and the icy, ominous guitar playing of Jones, Turner and Ozborne resonates perfectly within the deep soundscapes that make up this frightening yet inspiring journey. As a matter of fact, the material on [ O T H E R ] is so powerful that it moved Williams to create two ambient remix versions of it, and one dub remix EP exploring the sounds of this record to the greatest extend of his ability. In 2022, and also available now, Lustmord further collaborates with artist such as Godflesh, Mono and Zola JesuS, to name but a few, for THE Others (Lustmord Deconstructed) on re-interpretations on [ O T H E R ] tracks. Lustmord is the artistic moniker of Brian Williams. Born in North Wales, he started his musical career in 1980 and soon became a pioneer in the early industrial music scene in the UK. He was a former member of SPK during arguably their most crucial era, and went on to work with Throbbing Gristle members Chris & Cosey as well as appearing on early albums by Current 93, Nurse With Wound and others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed. Additionally he created several video game soundtracks, television scores and solo albums, as well as collaborating with artists as varied as THE Melvins, Clock DVA, Jarboe, John Balance of Coil, Paul Haslinger (tangerine Dream), Puscifer, Wes Borland and more, including Grammy Award-winners Tool on their much acclaimed effort Fear Inoculum. To this day, Lustmord is actively recording and releasing music, his latest release being the collaborative album Alter with Karin Park of A°rabrot, and he is considered to be the founding father of the dark ambient music genre.

Re-release with stefan marx’s new artwork. it’s a mule musiq classic,kuniyuki classic. theo parrish made a beautiful remix of the main song of kuniyuki’s 2nd album “all these things” limited repress. don’t sleep!

Originally released in 2008 on CD and in a very limited vinyl edition, "The Malady Of Elegance" by Goldmund aka Keith Kenniff finally gets its long-deserved vinyl re-release, featuring a new artwork and remastered audio by Taylor Deupree.

Taking cues from 'Corduroy Road' Keith Kenniff (aka Helios) again restricts himself to the piano in conjuring up his humble soundscapes and again we are pulled into a deep, meditative and filmic world as the notes glide to a slow, pensive meter. Keith's precedent release was the challenging 'Two Point Discrimination' EP, released on the Western Vinyl label as part of their portrait series, but where that record was a collection of haunting experiments in form and sound, 'The Malady of Elegance' sees us back into the warming, homespun territory of 'Corduroy Road'. That's not to say these compositions are upbeat, far from it in fact, but there are lines to be drawn to folk music, and while Keith no longer draws on the American Civil War as a primary influence there is still the sense that the ghosts of old America haunt the keys.

On top of these references we see Keith tripping somewhat fittingly into a flickering filmic world somewhat in line with his taste in European film. There is a delicate narrative on show throughout the record from the opening hopefulness of Image-Autumn-Womb through the melancholy of Now to the sensitive romance of the album's closer Evelyn. Listening to the record almost creates its own cinematic accompaniment in the minds eye, and this is simply a testament to Keith's incredible talents as a composer.

Fans of Erik Satie, Sylvain Chauveau and Hauschka need look no further, 'The Malady of Elegance' is a deeply personal meditation which you cannot help but get lost inside.

Utterly unmissable first digital edition of SND’s god-tier triple pack, cruelly out of print since 2008, now finally available to discerning dancers/DJs - packing a pinnacle of avant-dance beat science certain to connect with fans of garage, UKF, footwork and experimental minimal techno A peerless masterclass in nanoscopic funk editing, ‘4,5,6’ has never bettered in our books. It originally arrived as a limited pressing of 300 x 3LPs in 2008 but has been sorely notable by its lack of availability ever since, often leading us to offer wild handed descriptions to bewildered mates, who, even if they looked for 2nd hand copies, would still be stumped as nobody in their right mind is selling a set. However that is all corrected with this first digital edition, representing one of the most crucial reissues of the decade and an unmissable opportunity to revel in some of Mark Fell and mat steel’s finest work, bar none. When it landed in 2008, a decade after SND’s seminal early trio of self-releases, ‘4,5,6’ frankly took our heads off. It marked a leap in form from their self explanatory ‘Tender Love’ LP of 2002 with a return to their early EPs’ avant club focus, but drawing on processes and tekkers they had sharply refined over the interim. Aspects of the deep house, garage and computer music that originally inspired them are rendered inside out, revealing and recalibrating their mechanics in something like an iridescent Haynes manual one could dance to, or simply marvel at if the legs weren’t willing. It stood out a mile from the rote minimal techno and dubstep of the time, which had started moving in the “future garage” direction by 2008, and effectively gave the sharpest side-eye to that sound, innovating-not-imitating in order to update and galvanise the original ‘90s forms with visionary mix of pointillist and mercurial flex. But, no mistake, for all its radical restructuring of garage and related styles, the results aren’t intended for chin stroking: they’re a direct, physically urgent extension of Mark and mat’s deeeep love of dance and electronic music, itself rooted in original synth-pop/industrial and the first wave of US deep house/garage/techno that took their generation, and cities such as Sheffield, by the balls.

Originally released on January 26, 2009 via Magic Bullet Records, this excellent split release between This Will Destroy YOU and Lymbyc Systym (featuring all songs exclusive to this release) now sees formal reissue via Dark Operative. All tracks were recorded in succession in late 2008 at Elmwood Studios in Dallas, Texas with Grammywinning engineer and mixer John Congleton at the helm. This Will Destroy YOU recorded their songs first with Lymbyc Systym arriving in town toward the latter part of those sessions to carry right into the tracking of their material immediately following. Mixing of the entire album was done all at once at the conclusion of tracking to ensure sonic consistency across both sides. Since its initial release, “Field Studies” stands tall in the discography of both bands, with This Will Destroy YOU’s “Freedom Blade” having garnered numerous syncs over the years and the entirety of Lymbyc Systym’s material being regarded by fans and critics alike as among the best they ever wrote and recorded. Marketing /

Finally, this Portishead classic is back in print!!

Back in!

Originally released via the R&S Ambient sub-label Apollo in '92 and repressed more times than anyone could even begin to keep a count of, Aphex Twin's Selected Ambient Works 85-92 is not only one of the most important releases in both the Aphex catalogue but also electronic music as an entire entity. A richly woven tapestry of blissful sounds that offer the listener new surprises, twists and turns no matter how many times they venture through its cosmos. The techno equivalent of mainlining serotonin, Selected Ambient Works 85-92 should be prescribed on a daily dose twice a day for any and everyone reading this...

The blueprint for today's growing beatscene and a must-have from 2008. Appearences from Laura Darlington, Gonjasufi, Ahu (as Dolly) and more.

all their hits collected on this album

by Kouncil House, 30Hz and Smart Systems

the producer for the likes of Lupe Fiasco, Dudley Perkins, Georgia Anne Muldrow, Guilty Simpson and Wildchild steps out with his family of London-based singers

A Bad Diana is a project from Diana Rogerson, someone I first became aware of aged 12 when I read about Nurse With Wound and their United Dairies label in Smash Hits magazine. I was confused, mystified and intrigued in equal measure, and a couple of years later as a result I bought my first Nurse With Wound album. This led to an interest in all things NWW related. I guess Diana could be described as the matriarch of the Nurse With Wound world but she also had her own very distinguished pre-history with Fistfuck, an early-80s extreme noise outfit. She then made two mid 80s cult classic albums as Chrystal Belle Scrodd, both far out there rollercoaster rides of audio wildness, highly recommended to anyone with wide open ears. She then moved to rural Ireland and raised a family. There was the odd collaboration and then in 2007 A Bad Diana’s “The Lights Are On But No-One’s Home” was released on CD. I feel this is her meisterwerk and it has become something of a cult favourite over the years. Now for the first time, almost two decades later it is available on vinyl on Optimo Music Archiv. Produced in association with Steven Stapleton and Colin Potter from Nurse With Wound and irr. app. (ext.)’s Matt Waldron this is some seriously beautiful and strange listening. Next level sound design means this is an incredible headphone record but it is also a deeply warm and engaging home listening gem. Beautiful, magical, ultra hypno, soulful reverberations with the deep emotion of Diana’s voice tones and bio-vibrations.

Ursula 1000 returns to ESL Music with a brand new jam called "step Back" featuring London MC Sista Widey in a bashment/dancehall style. Flip it over for a skanking dub rocker from Jstar!

“… an album which shows that Carter Tutti are in a state of continuing evolution” – The Wire. 2007’s Feral Vapours of the Silver Ether will be available here for the first time on vinyl, and was the second release under the Carter Tutti name. On it, the electronic and the acoustic are merged in a seamless, crafted album that is awash with echoes of the sea, the moon, the open road, and flatlands.