Bleep x Geometric Love 2020 T-Shirt
Exclusive Bleep design by Geometric Love studio. Geometric Love is run by Steve Hyland – a creative and conceptual graphic designer and image maker. He has previously created video and still work the likes of Analagical Force, A Strangely Isolated Place, Future Massive, Well Street Records, Touched Music, Karsten Pflum, Humanoid, Datasette, Fabrica, The Fitzwilliam Museum and the London Design Museum.
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2020 Mid-Year Roundup
All of the eight tracks on Cape Cira find K-LONE balancing gentle beats with melodies and textures that are nothing short of delightful. Gone are the bass blasts and screwface beats that characterised K-LONE’s early work. In their stead we get soft and lilting four-to-the-floors - just enough to dance to, not so much to kill the vibe. Indeed, some of the tracks largely do away with drums so as to concentrate on creating lush, sun-kissed atmospheres.
No matter what the drums are doing at any given moment, K-LONE uses tuned percussion, synthetic keys and pulsing sub-bass to create rich, woozy music that sways like a palm tree in the breeze. Those who latched onto the New Tab and Beautiful You LPs put out by Khotin a couple of years ago should sink into Cape Cira, as should fans of the labels Mood Hut, 1080p and Planet Euphorique.
On his debut LP Cape Cira, K-LONE draws from fourth-world, new age and Balearic house to create an absolutely stunning set of edge-of-the-dancefloor reveries.
On her debut LP Workaround, vital modern techno practitioner Beatrice Dillon builds something new from the bass-heavy turns taken by the British scene in the 2010s. The focus on sub and space across these tracks places Workaround in the lineage of labels like Hessle Audio and Livity Sound with the presence of producers Batu, Untold and Laurel Halo among Workaround’s credits.
The album sees Dillon slicing and dicing samples from tabla player Kuljit Bhamra, Jonny Lam of the Pharoah Sanders Band, cellist Lucy Railton and the kora of Senegal’s Kadialy Kouyaté. Blending such a varied array of sonic archetypes and traditions is no mean feat, and as such it is to Dillon’s credit that she manages to create such a uniform sonic world here. From the deft and danceable percussion programming and chirruping synth chords of the more dancefloor-friendly numbers to the detailed, almost electroacoustic craft one finds in shorter entries such as ‘Workaround Five’, everything on this album is imbued with a refreshing compositional verve.
Workaround presents a new British techno sound for a new decade.
- 1 Workaround One 3:38 Buy
- 2 Workaround Two 4:22 Buy
- 3 Workaround Three 4:25 Buy
- 4 Workaround Four 5:51 Buy
- 5 Workaround Five 1:36 Buy
- 6 Clouds Strum 4:45 Buy
- 7 Workaround Six 1:29 Buy
- 8 Workaround Seven 3:19 Buy
- 9 Workaround Eight 4:26 Buy
- 10 Workaround Nine 1:24 Buy
- 11 Square Fifths 4:32 Buy
- 12 Workaround Bass 0:42 Buy
- 13 Pause 0:12 Buy
- 14 Workaround Ten 1:18 Buy
DJ Python’s Mas Amable is one of the most celebrated dance music LPs of the new decade, and with good reason. The producer’s second album for Incienso is an absolutely stunning listen, one that’s full of gorgeous textures but still manages to pack a consistent dancefloor punch. Mas Amable flows more like a mix than an LP. After beginning proceedings with the scene-setting ambient number ‘Te Conoci’, unerring house-paced dembow rhythms proceed to run onwards throughout the rest of the tracklist. The unbroken flow of rhythm allows the listener to really sink into the album and makes it perfect for home listening, but remove any of these tracks from the flow of Mas Amable and their insistent beats will also be a boon to any DJ set.
Unfurling across fifty minutes, DJ Python’s Mas Amable LP is a delightful and welcoming demonstration of his “deep reggaeton” sound.
On Sixteen Oceans Kieren Hebden reconfigures the Four Tet sound. His previous album New Energy reached back to the folksy style of his early output, its tuned percussion and stringed instruments spilling out over the sides of his beats. On this new record, his lead singles hark back to the crisp techno cuts Hebden was producing around the time of Pink and There Is Love In You. ‘Teenage Birdsong’ brings its lilting downtempo hip-hop drums and chirping lead-line coming off like a more cerebral Gold Panda joint. Meanwhile ‘Baby’ is a crisp two-step garage jam built around the chopped-up vocals of none other than Ellie Goulding.
However, the new-age sonics that dictated New Energy are far from done away with on Sixteen Oceans. ‘Insect Near Piha Beach’ contains a similar drumbeat to ‘Baby’ but treats it with cerebral string tones derived from Laraaji. There are also plenty of occasions here where Hebden does away with the beats entirely to really lean into the more weightless sides of his sound - ‘Green’, ‘Harpsichord’, ‘Mama Teaches Sanskrit’ and ‘4T Recordings’ are all gorgeous ambient tracks helmed by dawn-chorus electronics.
After two decades of creating music, Four Tet proves once again why he is one of the most influential producers of our time.
Just over eighteen months on from the visionary success of 2018's Safe In The Hands Of Love, Yves Tumor pushes visceral sonic boundaries with his new full-length studio album Heaven To A Tortured Mind. In a sense, Heaven To A Tortured Mind occupies the anthemic soundworld of the androgynous underworld that was explored in his previous album Safe In The Hands Of Love.
Offering up a dozen pieces of vivid avant-pop, co-produced by Justin Raisen (Sky Ferreira, Ariel Pink, Charli XCX) this selection also comes off as slicker than its predecessor, less prone to rupture and seemingly more comfortable with its poppier impulses. There are even moments here which present as a kind of variation on the neo-soul sound that has been turned murky and swampy at Tumor’s mephistophelian hand. As such, along with Tumor’s disruptive contemporaries like Dean Blunt.
Heaven To A Tortured Mind finds Yves Tumor growing into his position as an outsider popstar. The result is a beautiful, forthright LP from a supremely unique talent.
- 1 Gospel For A New Century 3:18 Buy
- 2 Medicine Burn 4:04 Buy
- 3 Identity Trade 1:59 Buy
- 4 Kerosene! 5:05 Buy
- 5 Hasdallen Lights 2:07 Buy
- 6 Romanticist 1:46 Buy
- 7 Dream Palette 2:55 Buy
- 8 Super Stars 3:05 Buy
- 9 Folie Imposée 3:05 Buy
- 10 Strawberry Privilege 3:52 Buy
- 11 Asteroid Blues 2:02 Buy
- 12 A Greater Love 3:04 Buy
Back in 2018 The Fear Ratio – the duo of producers James Ruskin and Mark Broom - broke a several-year silence with the release of an eponymous live EP. Fast forward to 2020 and we find the pair back in their old stomping ground of Skam Records with a new LP entitled They Can't Be Saved. In many ways They Can't Be Saved is a signature set from The Fear Ratio. This is a record of quietly-experimental electronic music, its tracks operating largely in a space between Warp acts like Plaid and the squelching IDM of, say, Analord-era Aphex Twin.
Tracks like ‘Small World’ and ‘The Invisible Girl’ feature fidgeting beats that will have you looking over your shoulder more than once. We are also introduced to some Craven Faults-esque hauntology on ‘The Curse’. The rest of They Can't Be Saved is caught between those beautiful opening tracks and the more paranoid numbers that follow - see the disintegrating beauty of closer ‘A406’, for instance.
James Ruskin and Mark Broom's IDM-adjacent project The Fear Ratio have created a timeless album, perfectly soundtracking our year so far.
On Blizzards, his first LP since 2017’s Providence, Nathan Fake skirts the borders of IDM, techno and rave revivalism. Fake employs a kind of hazy reimagining of early rave and 90s club sonics here to create a halcyon club trip at once utopian and wistful. Tracks often employ rolling breaks and bright, reverb-drenched keys to hit great emotional heights - see how ‘Pentiamonds’ and ‘Eris & Dysnomia’ spiral into the stratosphere in near-ecstatic reveries.
Fake’s music has always been characterized by a willingness to experiment, and this sensibility can be detected again throughout Blizzards. From the very first moment of opening cut ‘Cry Me A Blizzard’, a track in which breakbeats hypnotically shift in and out of sync with an insistent kick-drum. Blizzard’s mid-section also sees fake channeling the boundary-pushing energy of early Rephlex and Planet Mu.
Nathan Fake holds rose-tinted revivalism, experimental energy and club heft in balance on his new LP Blizzards.
Every so often, an artist comes along to rejuvenate electronic music, with her third solo LP The Mosaic of Transformation, Smith as good as cements herself among the greats. But like any great innovator, the key is in the details, a fact that only bolsters the grand themes of love and movement.
Though Smith’s dulcet vocal reverberates throughout the LP like a guiding voice, her delivery serves a purpose as another instrument among a carefully curated heavenly chorus of electronically manipulated strings and modulated synth patterns; a steadfast counterpoint to the vivacity of ‘The Steady Heart’, a glossy outpour from the digitised wall of ‘Remembering’. Even when instrumentality reigns supreme, such as on ‘Carrying Gravity’ and ‘The Spine is Quiet in the Centre’, her innate sensibilities find means for expression beyond words.
At heart, The Mosaic of Transformation tells a universal truth through its ungraspable ethereality; we, each of us, contain the same electricity as the instruments that pull together the observable world, in art and utility
- 1 Unbraiding Boundless Energy Within Boundaries 1:07 Buy
- 2 Remembering 5:53 Buy
- 3 Understanding Body Messages 1:24 Buy
- 4 The Steady Heart 5:39 Buy
- 5 Carrying Gravity 7:04 Buy
- 6 The Spine Is Quiet In The Center 5:11 Buy
- 7 Overflowing 0:28 Buy
- 8 Deepening The Flow Of 0:27 Buy
- 9 Expanding Electricity 10:36 Buy
Kate NV’s Room For The Moon runs the thoughtful approach to songcraft and texture that characterises Talk Talk’s best work through the same filter of playful irreverence often used by Haruomi Hosono. Anyone familiar with the Moscow-based artist’s 2018 LP для FOR will recognise the sonic palette that she works with here. Like its predecessor, Room For The Moon is replete with warm chords, energetic tuned percussion tones and bright synthesised strings.
However, there are two clear evolutions in Kate NV's sound present here - the increased emphasis given to rhythm, and the amount of tracks which prominently feature her vocals. Whereas для FOR was a largely drum-free record, several of the numbers here drive forward on punchy beats that lean to either no-wave disco (‘Ça Commence Par’) or post-punk reminiscent of early records by Japan and The Cure (‘Plans’).
Room For The Moon is a delightful record of off-kilter pop productions from Moscow-based artist Kate NV.
2020 Mid Year Roundup Digital Bundle
MP3 + Black T-Shirt:$115.00
Bleep x Geometric Love Bleep x Geometric Love 2020 T-Shirt T-shirt, S Black T-Shirt
Arca KiCk i MP3
K-LONE Cape Cira MP3
Beatrice Dillon Workaround MP3
DJ Python Mas Amable MP3
Four Tet Sixteen Oceans MP3
Yves Tumor Heaven To A Tortured Mind MP3
The Fear Ratio They Can't Be Saved MP3
Nathan Fake Blizzards MP3
Kaitlyn Aurelia Smith The Mosaic of Transformation MP3
Kate NV Room For The Moon MP3
Available: July 3, 2020