Bleep

The latest release from Rabit’s Halcyon Veil label is an EP from Danish producer Why Be. Why Be has been releasing music unofficially for a few years and making low-key collaborations with artists like Elysia Crampton and Total Freedom, but the Snipestreet EP is his first dedicated set of tracks, a set of warped, disjointed, but importantly still very club-ready tracks for the adventurous DJ.

Tri Angle affiliate Rabit officially launches his highly promising Halcyon Veil imprint with the debut EP of Myth, a producer from Southwest London. Evaporate follows a coherent, rich musical storyline told by arpeggiated synths and weightless beats. Created on “cheap computers” using classic gun shot imagery (’Semagi’) and kick-drum free rhythmic frameworks (‘Seven’), Myth's instrumentals are rooted in the lineage of grime’s recent mutations, yet deploy a more melancholic harmonic scheme. This is what makes him stand out against other contemporaries riding on the revival wave: his take on 2-step seems somewhat progressive, with the melodies developing and reappearing reimagined over the course of the EP. ...And if anyone thought the opener sounded familiar: ‘Lonely’ is the instrumental version of Rabit’s and Myth’s rework of Ciara’s ‘Backseat Love’.

The first Muslimgauze compilation release made up of tracks taken from the first eight limited Muslimgauze releases and initially released in 1997 by Staalplaat. Bryn Jones ties together drone, found-sound, analogue hiss and abrasive sampling into tracks that stutter and lilt with a magnetic pull and hallucinatory power. Opening track 'Vanilla Jellaba' stutters on a cracked, barely contained beat, 'Najibullah Headless' marries metallic, scraping noise to low-slung grooves and 'Help Of Hammas' is noisy and deranged in the best of ways.

Janus crew member, Texas born, Berlin based Lotic releases Heterocetera on Tri Angle. Having featured on Bjork’s recent sit-in for Rinse FM alongside a flurry of press attention, the stereotype-baiting producer’s first official outing is undeniably worthy of the hype. His Berlin-via-Houston sound is an apocalyptic mix of haunting synth melodies, destructive beats and skewed experimental electronica. It’s fitting that this EP has landed on Tri Angle- electronic music that stretches the bounds of genre and sound to form exciting new sonic shapes.

Following major releases for Type, NNA Tapes, and a constant stream of cassette releases under a bewildering number of aliases, US underground wunderkind Jeff Witscher arrives on Bill Kouligas’ unstoppable PAN label with full-length ‘Vanilla Call Option’. The 11 tracks collected here approach themes of travel and boredom via the traditions of musique concrete and computer music. Hell has stripped his work of its previous classical sensuousness, bringing its glitch surface to the fore in a sound which recalls the likes of Florian Hecker, Peter Rehberg, or a more generous Alva Noto. The album impresses most though when more luxurious elements briefly appear: ‘Var_Len’ adds angel synth voices to the laptop scree, and ‘Merci Cheri’ is a gorgeous distant chorale which adds crucial variety.

The U.K's Ali Wells has been storming the heavier end of the techno-spectrum for a few years now, peddling a serious line in oppressive Hardwax bangers. Here he is with his debut record proper, and it's a thing of raw, untrammelled beauty. Straight from the Sandwell District do these tracks emanate; scorching , bleeding, rusted metals, super-strength techno machinations, stung with a fevered melancholia. Ancient Methods, Surgeon, Andy Stott, Kangding Ray, Shackleton, Mordant crew lookout.

Having engineered LPs since 1997 at Berlin’s Dubplates & Mastering, it was always a given that one day Rashad Becker might put out material of his own. This mammoth album is it, divided into ‘Dances’ (zapping white noise, razor sharp and crazy as a ship’s cat) and ‘Themes’ (demented, drawn out analogue landscapes). If you want a career cutting landmark albums these are the frequencies you need to hear in your head.

Bleep exclusive digital-only track: ' Sternum Sanctum'

Loopy unleash the debut LP from FIS, an epic journey into the deepest darkest corners of tense noise rooted sound design electronica. Having first emerged in 2011 with a few well placed 12"s for the Exit and Samurai Horo imprints that showcased FIS as a producer on the edge of the new wave of DNB producers finding focus around the Autonomic crew but also looking towards the wooden smash-&-grab post-punk noise of Cut Hands and Powell. It wasn't until Tri Angle picked him up for two sure shot EP's that his style really shifted towards the more grey-scale psychedelia noise that he has perfectly honed on this LP. While we are huge fans of his earlier work (Club Track on The Commons and the entire Duckdive EP are essential listens) his more noise rooted but subtle and constantly morphing sound is something rather unique and fresh and an avenue we are excited to explore. Opening with the title cut The Blue Quicksand Is Going Now lacerated synths bleed through while a sickening grinding emptiness of sound eats its way through the middle and outside before quickly dissolving. Ak continues the bass heavy snarl recorded for Mumdance's Fabriclive but opens up to a more fuller expanse while Happy Alone recalls the earlier poison dart DNB releases while giving a feeling of the fear and humidity felt by Dutch whilst fleeing through the jungle in Predator, the hidden tense danger spilling out of the speakers while the digital extra track Sternum Sanctum closes on a spiraling concrete mixer of psychedelia so sharp you could cut glass with it. The title is a great association to the feeling found within the sounds captured as experiencing the LP from start to finish is somewhat like wading through quicksand, every step is a slow movement through thick sludge whilst being swallowed whole. A sickeningly claustrophobic record we can't recommend highly enough and a sure shot for anyone into the club-rooted Blackest Ever Black, the jungle indebted 7 am Andy Stott and the skull and crossbones dance of Shackleton.

Manchester producer Acre follows up his early releases for Visionist’s Lost Codes and Pinch’s labels Cold Recordings and Tectonic with his debut album Better Strangers. The album takes the grime, dubstep, and techno styles that Acre has explored in the past as a jumping point to explore stranger, more experimental, and more distinctive areas. There’s a greater depth to Acre’s sound designs and textures on Better Strangers, while tracks like ‘Tarantula’ and ‘Dek U’ are subtly melodic, conveying a greater emotional resonance than before.