No Geography is the ninth studio album by English electronic music duo The Chemical Brothers, released on 12 April 2019 by Virgin EMI Records. It is their first album in four years, with their previous being 2015's Born in the Echoes.

In March this year, the largest private real-estate project in US history opened on the west side of Midtown Manhattan. The critics hated it. Built over a mostly disused railyard, the $25 billion development, called Hudson Yards, is an opulent mix of high-rise flats and offices, a shopping centre, an arts space and a rose-gold folly the New Yorker called "a shawarma-shaped stairway to nowhere." This past July, I walked along the High Line on a cloudless Friday afternoon and gawped at its tallest skyscraper, thinking of its 1,100-ft high observation deck, an aggressive glass chevron, as an "up yours" to urban planning.
You don't have to guess what Madteo thought about it. On his last album, the exceptional Noi No, he referred to the city's hedge-fund daily as something that more closely resembled a public good. "What are you reading," Madteo asked on "Il Capoline" with a sneer, "The Wall Street Urinal?" His catalogue reflects a very different New York. You get a sense of his sardonic personality through track titles like "Laissez-Faire Couture," "U$b Schtick" and "Alan Greenspin," but the music's winding, unpredictable depth is more revealing. It can resemble a rickety train of thought, which runs from the bodegas, record shops and flea markets of his day-to-day in Queens to a ruminative, second-guessing inner self.
On Madteo's new album, Dropped Out Sunshine, we ride the whole route, starting in his lounge. In the first few seconds, a string section plays the sort of tragic refrain you hear in telenovas when the camera cuts to a hospital room. The patient, it turns out, is Drake. We get a shelling of MPC-triggered kicks and multi-pitched mantras like "This one's for you" and "Baby, you're my everything." Here, Madteo turns a seconds-long intro section of "Best I Ever Had" into a three-minute pummeling, wringing as much from its beat-length samples as possible. You wait for it to settle down, but it's a coin that keeps spinning until, in the last few seconds, the string section returns.
Madteo records often have a lived-in, curtains-drawn atmosphere, and there's a fair amount of that here. By the album's last third, this mood combines with a pleasant fatigue—the blustery gothic drone of "To The One Of Fictive Music" and "The Lies That Bind," a knackered study of Grouper, pull your lids down like graffitied shutters. That's no surprise given the LP's exertions elsewhere. Check, for example, the madness of "Resident Alien (Broke-'N-Steppers Reluctant Club Mix)," where ragga loops stumble amid record scratches that sound like police sirens. On hearing "Same Way"'s churn of tense, prickly synth chords, I suddenly wanted to hear a DJ mix them with a hyperswung 12-inch from A Made Up Sound. "NYC (Where U B?)," a rare but not unprecedented glimpse of full-on sunshine in Madteo's music, is a disco-house joy machine with Wu-Tang adlibs.
The titles of Madteo's music are full of sly ambiguities. In "NYC (Where U B?)"'s case, it's a reference to Ol' Dirty Bastard's yelp ("Where you be, motherfucker!?"), but it could also nod to a disappearing way of life. "I hang out a lot with older native New Yorkers," he said in 2016, "and they're constantly lamenting the loss of what they feel made the city truly great"—the possibility, he explained, to pursue a creative life while earning very little. Instead of bohemias like The Cedar Tavern, where abstract expressionists got shitfaced with Beat poets, New York was filling up with "$20 burgers and $15 cocktails, places for trust fund babies to sit with 'friends' and stare at their smartphone screens."
Some of the album's source material may already be on the Spotify playlists of these casually expensive restaurants. But Dropped Out Sunshine is unlikely to accompany a forkful of saffron fries. Take "Evol On," a punch-drunk trap cut with a hypnotically assertive warning: "I can't show no love to a snake / I can't show no love to a bitch who acting fake." "Would Eddie House Mind?" is even stranger. The titular blues artist sings about defiance—"Don't you mind people grinnin' in your face"—with a texture of heartbreak, encouraged by claps from a small audience. Coupled with the wail and grind of feedback, the effect is surreal. This spectral, out-of-time ambience adds an unexpected vulnerability. Yet the sentiment, of persevering against sceptics, is made stronger by its presence here, half a century later.
Between 2017's Scientrysts EP and this album, Madteo's releases had all come out on cassette, a format that seems especially suited to his grimy, freehanded style (it may also reflect a view on vinyl's creeping expense). On the most recent of these, the DDS-released Forest Limit, rotting field recordings and welts of noise constituted some of the unfriendliest stuff Madteo has made. As the tide has ebbed on "outsider house," his music has only become freakier. Sometime after Madteo asks, "What is going wrong with your life today," on Dropped Out Sunshine's final stop, the music's stoned fog begins to clear. We've come off the rails.

Special Request drops the fourth and final album of 2019. Concentrating purely on the heavyweight original hardcore ethos of taking whatever you want from anywhere, these tracks are made for shelling down dances and losing your marbles.
Those who have been paying close attention will recognise the face-melting drum treatments from those instagram clips, constructed using purpose-built equipment and a healthy amount of irreverence.
Elsewhere we find clock mechanisms worked into the layers of various tracks, the voices of Francis Bacon, David Lynch and others & eventually one such clock speeding up to oblivion, merely hinting at where Special Request is taking you next...
Vinyl editions to follow in 2020 and will be released and deleted on the same day. Pay 0.00 for these downloads. Enjoy life.

Bedroom Tapes is comprised solely of lost material from a recently discovered box of cassettes that emerged in the process of a house move. These tracks capture some of Paul Woolford’s most wide-eyed and naïve creative impulses at a tender age.Seemingly lost forever, some were part of sessions that led to him being siged to now-defunct UK techno imprint Blue Basique. This is the first chapter in this archive and an intimate portrait of the artist at a key stage of his creative development.
The tracks have been carefully mastered with a loving hand by Matt Colton who has been meticulous to retain their idiosyncrasies.
Released on 2xLP vinyl - Cut and mastered by Matt Colton at Metropolis, manufactured at optimal media, Germany.

Earlier this week, Four Tet announced that his new album, Sixteen Oceans, would be out in March. It’ll include “Teenage Birdsong,” one of the tracks he released last year, and today he’s shared another song that’ll appear on it, “Baby.”
It features vocals from Ellie Goulding, whose voice gets chopped and sputtered on top of a thumping beat. The song drops out two-thirds through into a pretty ambient breakdown (complete with bird song) before coming back harder and stronger for the end.

Theo Parrish is an American DJ and record producer based in Detroit, Michigan. He is an owner of the Sound Signature record label. He is a member of 3 Chairs, The Rotating Assembly, and T.O.M. Project.

Composed after moving from San Francisco to New England, juneunit's debut album serves as an exploration of liminal spaces neither here nor there - but never straying from its foundation. These tracks exist in a grey area between ambient soundscapes reminiscent of the natural beauty that penetrates New England and phantasms of the electronic music scene of the Bay Area. A catharsis sculpted in sound, this album is at once ethereal and pensive; hopeful and melancholic; celestial and grounded.
While juneunit shares that unreleased albums she’s made in the past center on a narrative concept, this debut is, at its simplest, a stripped-down baring of her transient soul. The entire collection is exploratory in nature, with reverberating tones that reflect the presence of empty or unfamiliar spaces.
There’s a distinct evolution through the track progression. She starts by making room on “olun,” with an ambient calling out to her surroundings. It’s 2 minutes in before we hear a beat, as she begins to find footing in a foreign place. “enwm” is the beginning of a catharsis, an exorcism of frustration through dense, deep synth tones that feel tense, but also relieving, and it's not long before the music opens up. Side A’s “xyo” is where the scene is dressed for us - we’re spinning in a dark, foggy nightclub — this is a comfort zone.
While Side A plays melancholic in its vast use of soundscapes, parts of Side B glimmer and become lighter and more layered, a reflection of a deeper understanding or periods of meditation. “wlkhm,” for example, unfolds effervescently — almost heavenly. And we end on a hopeful note, with Side B’s “cyclp” as a shining punctuation. It’s in bouncing, distant drumbeats and ethereal synths that we can feel juneunit's emotional release is complete.

Toronto’s Nathan Micay first rose to prominence under the alias Bwana, where he released everything from of-the-moment post-dubstep like 2011’s “Baby, Let Me Finish” to anthemic progressive house tracks like 2014’s “Flute Dreams”, gradually leading to more ambitious, concept-driven releases like the Akira-inspired 2016 mini-album Capsule’s Pride. But it was with last year’s “First Casualty” that Micay’s work took on a new dimension. Tellingly released under his own name, “First Casualty” was a euphoric, melodic club record that became an underground anthem, sitting somewhere between progressive house, trance, and techno, but ultimately just sounded like – well, like Nathan Micay.

SOFT SMELL
夏日已逝，青春嬉靡。金色菠萝散发的果香，雨后空气中的泥土味，潮湿木头的自然清新。
Lin Feng 用合成器和Rhodes Piano混合出薄雾般的Jazz和声并与跳跃的BassLine结合，仿佛踏着阳光与浪花。
他把这些奇妙的气味吹到你的耳边，无论是动感的House，抑或安静的Beat，都充满着奇幻夏日味道。
同时Lin Feng包办整张专辑Bass，Guitar的演奏和封面设计制作，将自己对音乐和美的理解倾注于这张全新专辑中。
Emily Yao

A huge return from Sam Shepherd as Floating Points with Crush, his first album in four years and his first with Ninja Tune. It twists whatever you think you know about him on its head again.
Available as a limited Indie Shop Exclusive Edition - 140g black vinyl housed in an glossy sleeve with exclusive alternate cover art. Artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’. Download code included.
A tempestuous blast of electronic experimentalism with some of Shepherd’s heaviest, most propulsive tracks yet, nodding to the UK bass scene he emerged from in the late 2000s, such as the dystopian low-end bounce of previously shared striking lead single ‘LesAlpx’ but also some of his most expressive songs with his signature melancholia.
It’s the sound of the many sides of Floating Points finally fusing together: the carefree selector, the considered composer and the passionate label curator.
Standard LP: 140g black vinyl housed in a glossy sleeve with artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’. Download code included.
CD: CD in card digipack with fold-out booklet featuring a score of album track ‘Birth’.
Artwork by Hamill Industries.

22 BORIS BREJCHA
5th album

When Peggy Gou released her debut EP ‘Art of War’ in 2016, she made a list of career goals. One of them was to become the first South Korean DJ to play Berlin’s techno institution Berghain, an objective she achieved only a few months later. Another item on that list was to record an instalment of !K7’s DJ-Kicks series. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” Now Peggy Gou can tick that off her list too as she proudly presents the 69th edition of the mix series.
The Berliner-by-choice started working on the mix last year. It was a busy time for the 28-year-old: she’d just scored her first Mixmag cover and her single ‘It Makes You Forget (Itgehane)’ was receiving awards and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey. An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983.
The same level of attention was brought to the arresting cover artwork, in which the well-documented animal lover references both Korean iconography and the endangered status of the creature of the country's foundational mythology, the tiger:
"I had the concept of this cover in my mind for a long time - as the first Korean woman to contribute to the DJ-Kicks series I wanted to do something from my heritage, so I chose the tiger, which is very important in Korean traditions and a metaphor for my personality," says Peggy. "As it is not humane to shoot with a real tiger, I and the photographer Jonas Lindstroem used a library image to make a composite. The tiger 'disappears' when you turn to the inside-cover photo, to highlight that these beautiful animals are already extinct in my home country and in danger of disappearing from our world entirely" **.
The journey through her record shelves kicks off with ‘Fluresence’, the 1993 classic by British ambient stalwart Spacetime Continuum, before Peggy throws in the first of the mix’s three exclusives, ‘Hungboo’. “It’s the first track I ever made,” she says of the mellow tune that features birdsong, muffled koto chords, phrase singing and heavy dub bass. Considering its long gestation – she started working on it in London and finished it in Berlin – the tune is an impressive testament to her growth as an artist and how she has strived to find her own musical voice.
Further down the track list you find tunes by her biggest influences such as Aphex Twin (‘Drukqs’ standout ‘Vordhosbn’) and Andrew Weatherall (his 1990 remix of Sly and Lovechild’s ‘The World According To Sly and Lovechild’), as well as tracks by rising artists such as Deniro or JRMS. The latter’s contribution is a secret weapon from Peggy’s recent DJ sets which will eventually see full release through her brand new imprint Gudu Records.
The other exclusives come from Milanese duo Hiver, who deliver the hypnotically pulsating banger (‘Pert’), and Parisian house auteur I:Cube, who shared a hard-drive of unreleased tunes with Peggy when he remixed ‘It Makes You Forget (Itgehane)’. “After he allowed me to use a track for my mix, he lost all the files”, she says. “I had to send him back his own track and he renamed it from ‘Unreleased’ to ‘Cassette Jam 1993’.”
With I:Cube’s hazy, sample-laden house track fading out, Peggy Gou takes the needle off the record and the 73-minute listening session comes to an end. A listening session that highlights her distinct taste and deep interest in music and shows that her journey has just begun.
** If you opt to 'pay what you want' your additional contribution will be donated to

Maya Bouldry-Morrison wrote and produced Resonant Body at the end of December 2018. She recorded the songs at her cabin in New Hampshire. Half of the profits from the new record will be donated to the Sylvia Rivera Law Project (SRLP), which “works to guarantee that all people are free to self-determine gender identity and expression, regardless of income or race, and without facing harassment, discrimination, or violence,” according to the organization’s website.
Resonant Body follows Octo Octa’s 2019 For Lovers EP and her album Where Are We Going? from 2017.