Bleep

Berlin-based Dutchman Dave Huismans unveils more material from the archives of his A Made Up Sound project. Arriving via the Clone Basement Series, Archive III sees him continue in the straightforward style of its two predecessors: 'Cheater VIP' opens with muscular percussion work, which follows through to the sticky hi-hats of 'Funkstation'. 'Us' keeps us in suspense with rolling subs and shuffling rhythms, and 'Them' boosts the intensity even further with ultra strong kicks.

London imprint Berceuse Heroique are firmly establishing themselves as one of the open-minded in the landscape of electronic music labels. Following an excellent Koehler & Kuno collab, they continue their hot streak of releases landing Pan, Tectonic and Keysound affiliate Beneath. After appearing on their The B Sides series with ‘Wip’, this is the London producer's first solo release for the label. Throughout, he utilises reverb as a means to create space in his arrangements, and alarmingly pitched synths to keep us in suspense. 50 / 50 leads the way with acid style synth work and hard-hitting kicks, whereas ‘Soho's’ rolling bass and fragmented percussion laces elements of early dubstep and basement techno with the darkest kind of funk.

Wen continues to keep wheels in motion following his debut full-length on Keysound, which dropped summer 2014 and more recently, his three track 'Finesse' EP for Tectonic. Heading over to Soundman Chronicles for new four-track 'Senary Cycles' the producer continues his foray into shadowy bass textures. Setting the scene, 'Arlington CT9' is a bleak, atmospheric dub haze which carefully builds towards 'Pace Myself', a contemplative cut which sees the stark vocal call out "rave scene, back to the basement" swim through old school dubstep flavours. 'Lunar Tide Cycle' displays an adept hand for cyclic, hypontic percussion, while closer 'Switch' brings in a splintered female vocal, split across a murky, minimal web of sound.

Vinyl Tracklist

Arlington CT9

Pace Myself

She Giv

Lunar Tide Cycle

Switch, Gravity Flux

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.

Visionary new material from Italian afrofuturism enthusiast DJ Khalab who presents his Eunoto EP on familiar label territory: Black Acre. Home to the likes of Alex Coulton, Fantastic Mr. Fox and Dark Sky, his take on the fusion of tribal drums, traditional African vocal samples and deep bass work fits in well. His textures are as dense as the thickest jungle: ‘Tiende!’ delights us with accentuated syncopation and hints at footwork like the EP’s opener, and ‘Medal Of Freedom’ is a dubstep anthem commemorating African American poet Maya Angelou.

Straight from homely but enduringly left-field shelves of Honest Jon's Records of Portobello Road, Tapes’ Kenrick Diggory takes on the sounds of the Wareika Hills in Jamaica for this truly unique release where he refines and reshapes two versions of Datura. It’s a truly dynamic meeting of sounds where the rural drums and ritualistic rhythms are met with a dreamy flute and a raw but effective guitar line. The Mystic version takes it down to just the drums and brings the cathartic sounds of the Hills to the fore.

Piteous Gate is the debut LP from M.E.S.H. a member of the notorious crew Janus; a nine track affair of widescreen club-rooted electronics and sound design club destroyers. Named in reference to a cult sci-fi novel The Shadow of the Torturer (notoriously hard to follow as the book unfolds) the sounds found within Piteous Gate are a mish-ma(e)sh of styles from club-rooted free wheeling hardstyle, grime indebted stripped-back awareness and even dare we say it, the spaciousness found between the drums of early dubstep but injected with a THX dolby surround sound Terminator 2 special effects futurism that's looking further out than most other producers in similar fields. Opener Piteous Gate sets the tone with a vast array of intricately manufactured presets to build a track of epic proportion. Optimate takes an almost trap like snare roll abut the industrial mechanisms still working away ensure the track has a menacing undercurrent to it. The various styles on show on paper almost shouldn't work but when strung together they create a seamless flow of intricate electronica that could only have been produced in the current internet age of super speed digest-all-your-influences-in-seconds music production, Piteous Gate offers a glimpse into another world of music production that mixes the experimental club grime of artists like Mumdance with early internet bulletin board notices and star gazing antics of Legowelt, one of the most crucial PAN's yet.

Steve Rutter returns with the first new B12 EP since 2008: Bokide 325 is brought to us by Slam’s Soma Records imprint — following a number of self-releases and their legendary work for Warp throughout the 90s, it’s the pair’s first EP on the Scottish label. Bokide 325 sees the UK representatives of Detroit techno explore undiscovered sonic territories, carefully venturing forward on extraterrestrial planets. Ambient tempos and mysterious melodious progressions set the tone for the EP: both ‘Into The Void’ and ‘Terra Incognita’ aptly illustrate spacious scenarios, its elements gently fading in and out; whereas 'Unsound Mind’ infuses slowed-down injections of acid over eerie string synths.