The atest null+void Podcast comes from Japanese born and based artist Yu Miyashita. Also known as Yaporigami, Miyashita has come on to our radar by the way of his Grind Analysts // Fig. 1 12″ from Stray Landings which perfectly shows off the grinding industrial constructs of his ore techno focussed moniker Yaporigami as well as the more experimental leaning work he presents under his birth name, where here he employs choral samples satisfyingly amongst the noise. The whole release carries a kind of weight of grandeur that gives a sense of impressiveness not least for the depth of his production ability.

Here we present an hour long mix under the artists Yaporigami moniker with a distinct techno skew while we talked his back story about how time spent in Brighton initially engaged him with production during his school years and touch on the production process that yielded his latest record.

I picked up that you spent some time in Brighton and that’s when you were most active making breakcore – what was going on there that supported what you were doing in the studio? The city is known for having a history of experimental music with Wrong Music being active there for a time…

There was one artist in particular called CDR (on 19-t label) that inspired me to start making breakcore. I was introduced to his music by a friend who was living in Brighton at that time. He was also friends with the label owner of 19-t who lived in Brighton at the time too. It’s a very Brighton story I guess… I originally moved there to study English and A-levels. Then moved on to study Architecture at The University of Brighton and switched my course to Digital Music soon after. I used to perform at events like Instrumentality, Overkill, Wrong Music etc. Those kind of events were quite active in the town at that time.

Is it right you’re basing yourself back in Japan now – what have you got going on out there?

Yes. Luckily I started getting some sound design/soundtrack work from production companies in Tokyo. It’s been a good opportunity for me to expand my skills as it requires a different approach compared to that I’m using on my solo works. I started getting mastering offers from European labels as well recently which I feel quite happy about. Also since I’m physically in Japan, I’m more committed to the Japanese scene now and am both meeting and working with inspiring people here. Personally I feel like I’m experiencing Japan again from a Japanese point of view and non-Japanese point of view having lived in the UK for a while.

Your most recent release was with Stray Landings – how that meeting come about?

The SL team found my Soundcloud page and a track on there that moved them in some way. I then did an interview with them and that somehow led us to the idea of doing a release on SL. The whole thing was very spontaneous and synchronic I feel.

This one might be a bit obvious but for this release you’ve presented tracks from both your monikers Yaporigami and Yu Miyashita can you tell us a bit about what separates out the work you release under these different monikers?

I’m still analysing both the monikers myself. If I’m not afraid to quote Joscelyn Godwin (since I read his book in Japanese, the terms I’m using might not be appropriate) – Yaporigami is a physical/intellectual project and Yu Miyashita is more of a spiritual/intellectual project I think.

One thing that really stands out proud is a very, very keen and sharp element of production in your tracks, can you talk is through your production process a bit?

I’m gradually realising that how I am and how I feel is really crucial to the music born through me. In terms of the production process I tend to improvise with and mutate sound materials until I start to get excited about them. Then I’ll record those sounds for a while until I start to get impatient, then cut the best bits (to my ear) out of those recordings. After that I’ll start to compose an arrangement from those cuts.

What kind of artists would you say have inspired you along the way?

Two of the biggest influences on me were CDR and Aphex Twin.

Can you talk us through the mix you’ve recorded for us, how did you go about the track selection?

The T++ choice is meant to be a thank you to the Boomkat reviewer who wrote about the SL release. That person gave me a good insight into how my tracks sound by putting his/her perception of the music into text. All the other tracks were intuitive, unplanned selections from my favourite collection of Techno tracks including ones I was recommended.

Yaporigami/Yu Miyashita Grind Analysts Fig​.​1 is available to buy now on special edition 12″ vinyl and digitally via their Bandcamp store here.


01. Moin – Elsie [Confessions, 2012]
02. These Hidden Hands – Diesel [Hidden Hundred, 2013]
03. Shifted – Chrome, Canpoy & Bursting Heart [Bed Of Nails, 2013]
04. Ben Clock – Coney Island [Ostgut Ton, 2009]
05. Tommy Four Seven – Arx [Stroboscopic Artefacts, 2012]
06. Grischa Lichtenberger – Atm [Semantica Records, 2011]
07. Szare – Red Desert [Krill Music, 2012]
08. Dettmann – Argon [Ostgut Ton, 2010]
09. T++ – Voices No Bodies [Honest Jon’s Records, 2010]
10. Xhin – Link [Stroboscopic Artefacts, 2009]
11. Rrose – Worn/Scarred [Sandwell District, 2012]
12. Monolake – Excentric [Monolake / Imbalance Computer Music, 2003]
13. Akkord – Typeface [Houndstooth, 2014]
14. Errorsmith – Free For All [Errorsmith, 2002]
15. Jean Nipon – Put It In The Trunk [ClekClekBoom Recordings, 2012]
16. Karenn – Chaste Down [Works The Long Nights, 2011]
17. Objekt – Agnes Demise [Objekt, 2013]
18. Pfirter – Erosion [MindTrip Music, 2013]

Photo credit: Shunsuke Watanabe

Audio Report: 29/05/2015 w/ Luke Vibert, DJ Stingray + more

There’s been a bit of a lapse in these due to a overload on the work and travel but it’s time for the return of the audio report highlighting the recent week’s best audio…

01. Kerrier District – Kerrier District 4

Luke Vibert delivers his first Kerrier District album in ten years for Hypercolour, lose swung drum programming and samples feature heavily on this one and is now available to buy and listen to via the label’s Bandcamp page.

02. Luke Vibert mix for Giles Peterson Worldwide

A bit more Vibert as this mix sees him uncover the wonderfully odd funk section of his record collection for Giles Peterson.

03. Radioactive Man – Whitelight Monochrome (DBridge Remix)

Following up his Whitelight Monocrhome EP for Reindhart records at the end of last year a remix EP is set for imminent release with DBridge, Jerome Hill and Shengi all providing their own versions. Here’s DBridge’s low roller version…

04. DJ Stingray at Panama Racing Club

Intergalactic FM present an hour of audio and video streaming a fresh live mix from DJ Stingray.

05. THEM002 – Cardopusher – Mindwarp

The latest from the Them techno camp comes from Cardopusher with some satisfying acid injected techno and Joe Farr on the remix.

06. Skanfrom – Data Tracks

Sleeparchive, ahem archives a tape release from 1998.

07. Bass Agenda 103: TUDOR ACID Interview

08. Creme Podcast #28 – Legowelt – The Infinity Quadrant Exploration Team Reveals A New Map

09. Warlock – Seventeen Camels

A stream of the title track from the latest release from Warlock which is out this week on Kick + Clap.


Some spacey machine work from Fear of Flying’s BLM to round off this week’s selections.


Chris Moss Acid began his sound riffing off the IDM that was prevalent in the late 2000’s Netlabel community, finding homes for his earlier releases on Swishcotheque, Net Lab and Wrong Lab among others. At the turn of the decade CMA turned to more techno and acidic tilted realms gaining notoriety for his raucous hardware sound and taking out pretty much his full studio for his live sets around Europe. In the last few months he’s enjoyed a resurgence in releases, with the tracks he penned in 2014 being signed to respected vinyl imprints Don’t, Computer Controlled and Shipwrec that we’ve been feeling and getting pretty excited by so we dropped the Bournemouth based producer a line to ask if he’d step up to provide our latest podcast. What he’s delivered is a DJ mix containing 97% his own production which you can listen to alongside our interview where you can find out a bit more about his history, how he creates his tracks and what more he’s got forthcoming that we can look forward to in the coming months.

Kind of if you think of acid, and rave your name immediately comes to mind but where did it actually all start out for you?

Musically, my earliest memory, my brother giving me a cassette tape of GnR Lies, in about 1987/88, he kept the insert cover because it had that naked chick in the cover and he thought I was too young. I knew shortly after that I wanted to make music, even though it came like 10 years later, when I got my first 4 track, guitar and drum machine. I was lucky my family have pretty good taste in music, so I always had the KLF, Barry White, Armando, Frankie Knuckles, 808 State, The Cure, Metallica, Nirvana, Daft Punk and selected Pete Tong essential mixes playing when I visited aunties, uncles and cousins.

The earliest ”WTF is that, I have to do something like that” memory probably Pacific State by 808 state. That sax brings back the goose bumps even to this day. Also I guess, re-hearing Aphex’s Selected Ambient Works 85-92 made me want to write electronic music, then re-finding all my favourite tracks from when I was younger and re-listening to them as a producer was a great experience, still buzzing off that feeling, loads of ‘oh thats how he did that’ moments.

What does Bournemouth have to offer the average acid lover?

Absolutely nothing, I’ve given up trying to do anything here, DJ/Live sets. But it’s worth coming down in the summer just for the beach culture. It’s pretty nice, much better than the ‘’music’’ scene. While it’s shit for acid music, if you look beyond that, I do get a certain of inspiration from living and hanging out in Bournemouth, I just wouldn’t want to play here musically.

What does your studio look like? Can you run us through the full works and about what your production process looks like?

Well, let’s see, my studio literally hasn’t changed a lot since 2005! So that is mostly 10 years of the same set up. apart from buying a MPC1000 2 years ago the core basics have been pretty much: TB-303, SH101, TR707, TR606, Boss SE-70 FX, ESQ1 and a Akai MPC1000 which is broken and I only use it as a drum machine. Might as well mention my mixer too as I class it as important as anything else, it’s a Mackie DFX12 and has some pretty pointy reverbs and flanges built in.

If you listen to some of the earlier’ tracks (2005-2009) I did, there is more strings and melody, pretty much what was classed as IDM back then. I used more VST’s and computer based sequencing, around 2010 I bought a ESQ1 synth off Ed DMX and that’s when I kind of went a bit more hardware just as the mighty empire of IDM was dying and acid was showing it’s face again. Between 2010 and 2015 I’ve become more and more minimal, but harder, a massive influence for this ‘sound’ was listening to albums like ‘The Brown Album’ by Primus and stuff like The Strokes ‘Is This it’ and Big Black – ‘Atomizer’. Which brings me on to answer the next question!

When you take it out live you still bring a very extensive hardware set up with you – how different is this from the studio? What else goes into the preparation for these shows?

These days it IS pretty much my studio in a suitcase, but back in the early days I used to use **too** much gear, you know? I used to basically make a new 1 hour show up of brand new music each live set, which took me about a week to program with the drums, 303, 101 settings drawn on paper, and at these shows I used to just get lost, had too many options what to use, and as I didn’t have much music anyone knew, it was pretty much a live improvised set, sometimes it worked out fine, but more often than not, I used to leave feeling pretty heartbroken if the set didn’t go very well.
It wasn’t until I played Incubate in Holland a few years ago that I decided to use basically 2 drum machines, a 303 and a laptop, and after that, I needed to work out how to play out my live sets, so I went back to the way it should be, instead of ripping through 40 live tracks, I took my time and enjoy the acid house, listening to the Armando Gallop’s WBMX DJ set and Daft Punks’ ‘Live 97’ always gives me tons of influence, so recently it’s been a complete riot, I’ve fallen back in love with playing live, with a few records that have been coming out I’ve been able to do live versions of them and, for me at least, it’s pretty enjoyable, just got to be simple!

Of late you’ve had a really great run of releases – does this reflect a particularly fruitful time making music or has your productivity always been pretty consistent for you?

The last/next releases out on vinyl is pretty much the work I did last year (2014) Jerome Hill and Ferdi Shipwrec both approached me at the same time both wanting an EP (with Ferdi/Shipwrec, I had just recently had a co-producer credit on a Drug Cvltvre EP on the label), so from April 2014 up until October 2014 I was just smashing out tunes, the harder techno tracks went out on Don’t and the more acid house/IDM tracks went out on Shipwrec. Then i have a 12’’ out on Computer Controlled Records, which was pretty much all the tracks i really liked from all the sessions I did from the Don’t/Shipwrec sessions which didn’t get used. I really wanted them out on vinyl as I was going off releasing stuff on digital/Bandcamp. So the CCR’s 12’’ has been sent off on Monday so should be out in a few months. Which marks an incredible feat of 85% of the tracks I wrote in 2014 came out on vinyl.

It kind of feels like there’s been a nice new wave of labels rising for this kinda music – do you think that’s the case?
Yeah sure, I’m not bang up to date on everything that’s been coming out for the last few years though. Even though it’s not a new label but 030303 are always bringing some new artists though as well, which are always amazing releases, I know for a fact there has never been a BAD or disappointing 030303 release. And even though it’s not a 100% acid label i am totally in love with Mako Records (Proxy’s label), also Jerome Hill’s Super Rhythm Trax has put out some monster acid stuff recently.

Where do you feel your music is most felt like recently you had some great gigs in london for Jerome Hill at Don’t and Bangface – could you enlighten us to where else in the world people are really feeling your take on techno?

Definitely in Europe, Holland and Belgium in particular, I’ve always felt much more at ease playing in these countries. But that Don’t gig in Dalston was really special, it was the first time playing live in England for about 5 years (no one ever asks me), and it being a label night of Don’t, so, I guess there was a slightly large expectation after going on after such a fierce set by Paul Birken, but I think it was my favourite live set I’ve ever done, it was also one of the first times i played out all the new stuff live, and first time I took a slightly more techno stance in a set.

The Bangface set was also pretty nice, although I was on a stage like 5 foot above the dance floor i didn’t have such an intimate setting as I did at the Don’t party.

What’s next for you? You’ve just had EP’s released on Don’t Shipwrec and CCR are there any others signed we can look out for?
At the moment I’m having a little break for a few weeks (as of March 21) but come April, I’ll start to write some new music in a slightly newer approach for next year, but looking back at this year, I have a 10’’ vinyl coming out, though i can’t say much about it, but it’ll be amazing, by the end of the year, as well as the Computer Controlled Records 12’’ Righteous Acid Beats EP

And a cassette tape of some old tunes on Acid Waxa, I like going through my archive and hearing old tunes that i forgot about and putting them out for free on Soundcloud, you know giving something back to the people.

This mix you’ve done it’s pretty much all your own production right – what kind of exclusives can the listeners look out for?

Yeah apart from 2 or 3 tracks they’re all my own tracks. There is a few italo tracks I’ve been working on and off for a few years, some brand new stuff as well, which I’m not sure if they’ll end up being released, too soon to tell. But it’s been 7 years since i last did a mix of all my own productions, so it was pretty fun.

null039: SHINRA

Heading up the null+void Podcast #39 is Shinra (real name James Clarke) an artist felt pretty closely to this site, he’s set to be the first producer on our soon to be launched label with the record set to drop this year.

In the mean time he’s been busy in the studio feeling a sense of rejuvenation after a latent period and has produced over an hour’s worth of new material that he first tried out in support of Anklepants at a Love Love Records gig at the end of last year, a set he’s reworked to present today.

With something special coming from him in the way of a four tracker EP and null001 it was a pleasure to speak to Clarke and talk back through his recording and production history while also touching on how he’s found a new sense of productivity that has spurned all the fresh production that you can hear in this mix.

It’s funny I can actually remember the night I first met you at one of our mutual friend’s house parties which was probably over ten years ago now, he’d taken all the furniture out of his bedroom and you were the first DJ ever to be known (by me) to be playing on Traktor – how long back did you start playing and making music?

I’ve played the piano ever since I was a child, and my first memories of making electronic music are using a copy of Octamed which came free with a magazine on the Amiga 600 when I was about 10 years old. I can vaguely remember that it came with some rave samples (stabs and vocals and drum loops) and I had a lot of fun playing them, pitched up and down, using the computer keyboard. It was just messing about, really. I have no idea what kind of music I made, or even if I was particularly aware of musical genres at that age! After that, for some reason, a friend and I both bought some decks when we were about 13 and taught ourselves how to DJ.

Looking back, that seems like a strange thing to do, but it seemed to make sense at the time. I’ve still got quite a random vinyl collection of French house music (I was really into Thomas Bangalter) and slightly incongrously, Paul van Dyk-style trance from about 1997-2001. In about 2000, I discovered Aphex and Warp records, and my musical tastes changed (I’m still fond of the French house, the trance – not so much).

The first tracks that I finished properly were done when I was about 18 or 19. They were mostly hyperactive breakcore/drum and bass. I’d moved to London around that time, so I speculatively sent off a CD to Saint Acid, who offered me my first ever gig, an hour set at Bang Face in March 2005. I think I’d sent off the CD a bit prematurely because I only had about 45 minutes of music to play! So before the big day came I had to write some more tunes to make up the full hour. That gig went really well, and between 2005-2010 I played various gigs around the UK (and also in Belgium). Since 2010 I’ve not really been active, so now I’ve got to build a following from the ground up…but I’m ready to get out there and start playing live again.

What kind of artists did you first get to know that inspired you to get involved yourself?

Fairly soon after getting into electronica through Aphex and Squarepusher, I bought the Braindance Coincidence, which introduced me to lots of Rephlex artists like Bodgan Raczynski, Ovuca, DMX Krew. It’s such a great album, and there’s a distinctive homemade sound to a lot of it which inspired me to try and make some similar music myself. So I think it’s probably those artists which initially sparked my interest in making my own music.

Can you tell us a bit about what you actually use to produce, how has it developed over the years?

When I started making music properly, I used a tracker program – Renoise. I still think that Renoise, and trackers in general, are probably the best tools to chop up breaks and make jungle/breakcore with. But I found it awkward to sequence whole songs with Renoise, so I started to use Cubase.

Since then (like everyone else!) I’ve migrated to Ableton which I think is a fantastic piece of software. I mostly work just with a Nord Lead synth and samples/soft synths in Ableton. I’d love to get some more hardware, but haven’t really got the room.

In the past you’ve released for the likes of Love Love and Wide Records can you tell us about your involvement with these crews?

My involvement with Wide Records began pretty simply – I’d stopped making breakcore and had got more into electro, and was looking for somewhere to release my new music, so I sent some demos to them. They got back to me asking to release an EP, which ended up being “1986”. After that I did several remixes (I’m particularly proud of my one for Chrissy Murderbot) and another EP. Alan (DJ Cutlass Supreme) and John (Debasser) who ran the label were great – they were really supportive of me. It’s a shame that the label has wound down now, but I’m really grateful to them for putting out those EPs.

I’ve only been involved a little bit with Love Love records – I first met Sam (Fez) at a night we both played at in Reading called Fractals. He ended up asking me for a track for their first compilation which was “1985”. We’ve kept in touch since and I played at their recent Anklepants night, which went really well. They’ve been putting out some excellent music – I particularly liked Scrase’s 2 recent EPs.

Like the tracks that are going to be on null+void’s first release by yourself are a few years old now – but you’ve made a hefty weight of pretty great new material that features in the mix what kind of stuff have you been feeling over the last year in the studio?

This past year, after a long period of very low productivity, I’ve been making myself finish a lot more music, and have been working on trying to build up momentum, which seems to be working, so I’ve been feeling pretty positive and the ideas have been coming pretty fast. Influence-wise, I’m not quite sure what I’ve been feeling when I’m actually in the studio – I try not to be too obviously influenced by other things, but I suppose that whatever I listen to seeps into the unconscious and will come out somehow. Stuff that I’ve been listening to a lot recently includes Shadow Dancer, Clark, Jodey Kendrick, Objekt, Bill Youngman, Stephan Bodzin, Lazer Sword, Datasette…lots of different stuff.

This set was also recorded at a party for Love Love Records is it a kind of hybrid DJ / live set? can you tell us how you put your sets together when you play out?

This set started off as the Love Love set, but I’ve since gone in and changed about half the tracks, so it’s pretty different now! This was done mostly as an Ableton DJ set, with a few extra loops – since the music is unknown anyway, I didn’t see the need to deconstruct it live. So this set was done as a showcase of the different types of music I’ve been working on recently, just to get it out there and heard. For future gigs, I’m working on a new hybrid DJ / live set at the moment – I’m collecting and creating a load of pretty stripped down, relentless electro, with some techno thrown in. A bit like DJ Stingray but a bit slower and with a bit more of a UK sound rather than all Detroit. My favourite kinds of live set all have some kind of mystique to them (like Dopplereffekt in their masks, or Stingray in his balaclava), so I’m going for a similar thing – I often find it a bit off putting to see a laptop DJ just staring at a screen, so the set I’m putting together is designed to be experienced in a darkened/smoke-filled room – I’d rather not have stage lights on me so that the focus is on the music rather than me…

In the future, I might work on a full live set, but I’m not that convinced that it’s a great idea to spend a lot of time in the studio perfecting tracks, only to deconstruct them and make a slightly less polished version live just for the sake of doing something on a stage. If there’s hardware involved, that’s another story, and is much more exciting to watch – but since I don’t use much hardware, for the moment I’ll be sticking to DJing my own and other suitable tracks, with some extra loops thrown in, and a midi controlled 303 emulator for some acid squelchiness.

Your record is going into production now but what else have you coming up release wise you’d like to share here? Any other releases or remixes due out?

Coming up this year after the Null+Void release, I’ve got an EP of quirky melodic electro/electronica coming out on Lifecycle’s Ricochet records. I’ve also completed an acid electro remix for Chevron which should be coming out soon when his album drops on Balkan. And another new acid track will hopefully be getting a release on Balkan a bit later in the year, which I’m really excited about…

Shinra Facebook /// Shinra Soundcloud

Audio Report: 21/02/2015 w/ Stingray, Datassete, Sync24 + more

Recommended listens from the week just gone…

1. Bleep43 EP002 with Stingray 313 and Mariska Neerman

For Bleep43’s second release the London ex-party camp have invited Stingray 303 and Mariska Neerman to each put together two tracks for a split EP. They’ve just upped the whole release to stream while they have promised a release date for just a few weeks time…

2. Datassette – Offal (1999-2014)

All I can say is a big yes to the trend for tune dumping, there’s so many tracks that yield good listens stranded on hard drives this 100 tracks compendium of ideas, demos and full tracks from Datassette is essential listening.

3. Crack Mix 87 – Sync24

Great to see Cultivated Electronic’s main man Sync24 in the mix for Crack Magazine, it’s all to promote his upcoming set for Electrix at Bloc this March, more info and ticket to that here.

4. Neil Landstrumm – The Rise Of Slime

This track’s taken from the next EP upcoming on Sunil Sharpe’s Earwiggle imprint that includes tracks from DeFeKt, Bintus, AnD, Boner M. Neil Landstrumm’s offering The Rise Of Slime was upped by Boiler Room last week which you can listen to in all it’s doom rave goodness here:

5. POWVAC011 – V/A ‘Vectors 2′ Preview

A teaser of what’s up next on Bintus’ Power Vacuum imprint with Jerome Hill, Vacated, Cylob and Anklepants all contributing tracks it’s shaping up nicely.

6. Chris Moss Acid – Slam The Box EP (Free Download)

A free download of Chris Moss Acid’s Slam The Box EP from last year in MP3 grab it while you can, or for a high quality file head to bandcamp here.

7. Pip Williams – Concerning Irregular Figures

A new production from Pip Williams with little explanation from the maker, but it’s been on repeat on my player this week.

8. DJ Stingray – Unknown to the Unknown Mix

Every single mix that DJ Stingray drops lives up to expectations – frenetic and fast paced he has his own and inimitable way of playing electro.

9. L.I.E.S. podcast 20-DJ Overdose “True Patriotism”

For their 20th podcast US West Coast label L.I.E.S. invited Rotterdam’s DJ Overdose to put together a fresh mix, he’s turned out a 57 minute mix of electro drawing on his early Miami bass influences.

10. MNLTH – Headlight

A full stream upped this week from MNLTH, lifted from producer’s Time EP which you can buy now via Bleep

Audio Report: 13/02/2015 w/ Spaces, Kerrier District, ALSO + more

Here’s the latest round up of null+void’s recommended listening…

1. Tesla 286 – Zukunft

This record first appeared on Housemeister’s AYCB label last year and it’s a pretty glimmering expression of electro and electronica sounds, it’s now been upped to stream in full making it top of our recommended listens this week.

2. µ-Ziq – Mucky Puppy

Made years back by µ-Ziq inspired by hearing Aphex Twin’s demos when they were actually first made and released this week as part of a feature set up by Boiler Room inviting a host of artists to comment on Aphex’s recent (and continuing) release of archive tracks as user48736353001 on Soundcloud.

3. LOVCAST #04 Beatwife Guest mix [February 2015]

In just a few weeks time I’ll be at Power Lunches with the Love Love Records crew with Beatwife and Scrase (tickets here). Here, Beatwife lays down a whole load of acid and amens.

4. EPM #65 – Egyptian Lover – Live

Originally recorded in 2004 at STEREOLIZE Electro Bass Festival, Paris 2004 on Egyptian Lover’s first European tour.

5. ALSO – Blyford Bass

More dreamy production from Second Storey and Appleblim’s ALSO project coming soon to R&S.

6. SPACES – Potential

Last year SPACES released his debut EP for Bleep after being discovered as part of their FILTERED new talent project, it caught the attention of Bjork and lead to a pretty cool working relationship with one of their collaborations landing on the Icelandic songsmith’s latest LP Vulnicura – which is kind of an opportunity that only dreams are made for for any producer. In the following week of this announcement this EP emerged online, for free download showing the latest solo studio offerings which I recommend you check out to get a picture of Flynn’s ear for sound design and vision for changing up structures in a pretty unique and mesmerising way…

7. 70/|/| K|\|4PP

Icasea boss Tom Knapp has also caught the archive dumping bug and upped a load of tracks tagged #oldshit to his Soundcloud.

8. Kerrier District – Soundcloud Archive

Vibert’s gone and got a soundcloud account this week which times neatly with the announcement o fKerrier District Four coming out this year on Hypercolour the same label who presented 2014’s Ridmik LP. Here Vibert’s DJ sets and first Kerrier District LP have been made available to stream…

9. Flourescent Grey – The Acroplane Guide To Electronic Music Mix / 1955-1984 (2011)

A few years back Acroplane records released a project by Flourescent Grey Antique Electronic Synthesizer Greats 1955-1985 which now has three volumes to it and saw US based Flourescent Grey dig into the electronic music archives sampling records from the archives to create something new but representative of the history of synthesiser tracks. Just last week the artist put the archive into an hour long mix which is now up for streaming…

10. DJ Stingray 313 – Cognition EP Previews

New Stingray coming soon on Lower Parts.

Audio Report: 30/01/2015

A bumper edition catching up of all the best audio of January 2015.

1. Fran Hartnett DJ Set at Process Cork

Here’s a DJ from Dublin who majors in techno but with a great mix of broken and distorted beats making for a compelling and interesting listen.

2. user48736353001 – Aphex Twin archive dump

109 tracks and counting from Aphex Twin

3. Aphex Twin – Computer Controlled Instruments Pt2

This project released on Warp, sees Aphex Twin link up a range of instruments to midi mixing machine like drum programming with organic sound.

4. Also – Formation

ALSO are Appleblim and Second Storey – here’s a track from their collab out now on R&S.

5. Second Storey – One Sound (Luke Vibert Remix)

Second Storey’s label Houndstooth linked him with two of his all time musical heroes to remix his latest EP with both Cristian Vogel and Luke Vibert taking the reigns and here’s Vibert’s offering.

6. Cristian Vogel Lost In The Chase (Veslemes Video Edit 2015)

7. Helena Hauff – 50 Min Boiler Room Mix

8. London Modular Alliance – In Vacuum 120

9. Galaxian – From Glasgow To Detroit

With a title that references his inspiration and connection with Detroit’s DJ Stingray this track is Glasgow based artist Galaxian’s own hi-speed underwater take on electro.

10. Various Artists – Mutant City Acid

Unless you got hold of one of the 303 vinyl copies available this bandcamp stream is the only way you’re going to get to hear Balkan Vinyl’s. Volume two is in the works so don’t sleep when pre-orders go up.

11. NE170: L/F/D/M

12. Pip Williams – Fleck ESC – Nice Guy (Pip Williams Remix)

This remix is lifted from Fleck ESC’s new EP for Electrix, this Pip Williams remix kind of nails it.

13. Clark – Winter Boots (Part 1)

A suprise free EP from Clark this free download employs samples from Die Antwoord, Frank Ocean and Diana Ross.

14. Cristobal Tapia de Veer – Utopia 2 Soundtrack

Utopia was the most visually stunning and dramatically compelling television to come out of the UK in memorable history and the soundtrack by Cristobal Tapia was a huge part of making it so special (and weird). Here’s the previews of the soundtrack for the second (and regrettably final) series of the Channel Four epic.

15. Radioactive Man – Transponder

Lifted from his new 12″ on Reindhart Records