picnic
Bonus

from the artist's bandcamp: Over the course of nearly a decade of releases, Szarehave have been a mainstay of UK dance music,cementing their reputation through a string of essentialreleases for labels like Horizontal Ground, Idle Hands,Field, Project 13 and Different Circles. We’re extremelyproud to add another name to that list, with this diverse selection of tracks that comprise both new ideas and forgotten loops, re-visited and re-tooled.The first track, Miner, is named after a street in Downtown Stockton, CA. Whilst Miner isn’t directly about the Central Valley of California, the juxtaposed rhythmic and thematic iterations that outline its structure reflect the uncanny incongruence of the environmentthat birthed it. From the opening bar, the rhythms are pounding, frenetic, and totally unhinged… We won’t give away the payoff though; listen to the tune.Cut with Glass - written after a recycling mishap - perfectly encapsulates a vintage side of the Szare sound - minimal, free from ornamentation, and with an approach to uk sound system culture that exhibits a more westward-gazing sound palette than initially meets theeye.Drop Shadow rounds off the package; as much an exploration of concrète as it is bass music, the drop to 100bpm facilitates one of the most controlled and perfectly executed arrangements we’ve ever heard out of Szare. The spasms of noise throughout are used as a fundamental instrument, complimented by pointillist licks of dubbed out vocals andstrings that reach a fever-pitch in the closing third.

Pure Space Records welcomes a newly emerging Naarm (Melbourne) producer, Dividens with his EP ‘Blueprints’. Across four tracks Dividens masterfully guides us through the fringes of modern drum n bass, eerie Dub and restrained Jungle styles.Starting strong, ‘Audio Blueprint’ provides a fast and erratic baseline cushioned only by a deep, squelching synth. It’s a textural and delicately refined track, with each sound finding its perfect place with twisted effect.Completing the A-side, in confidence, is ‘Rollin Smoke’. An acid tinged take on electro, composed with trancey pads and tight percussion.Flipping over we find ‘Bionic’, luscious pads swirl amongst a deep sub bass rhythm before freefalling into stints of breakbeat. The ominous tone of the track is coloured by the disorienting vocals; lean in and let the bass hold your feet firmly on the ground.Finally, ‘Tell Dem’ rounds out the release with a tasteful amount of dub. Here a mass of swamp-like synths envelop you completely, while the tight break patterns elevate the energy through to the final moments of the release.

ORANGE MILK RECORDS: ...Headbanging In The Club is an ode to the Pittsburgh underground electronic music community. In a small city with very few recognized club spaces, we make our own clubs in the underground on our own terms. We celebrate our unique intersections of noise, punk, breakcore, IDM, and DnB as we headbang and thrash around. What defines a club space? Who says we can't bring the club to the punk venue? We challenge the frameworks of club culture and what it means to dance in the club. This album is the essence of a hardcore dance experience on the fringes of the Burgh. && we headbang in the club.with love,W00dyAll tracks were written for live performance and have been played all over the US in the past three years.

Efficient Space: ...Oz Echoes peels away another layer of Australia’s ‘80s DIY hive mind. The Oz Waves successor exposes a deeper circuit of micro-run cassettes, community radio archives and irrationally abandoned studio sessions, as Steele Bonus sequences a 10-track compendium of drone pop, psyche-electronics and agitated tape cut-ups.From the Sydney cassette network, The Horse He's Sick returns with an industrial car crash, alongside Wrong Kind of Stone Age’s pagan cacophony and primal riddims. M Squared dynamo Patrick Gibson appears in both Height/Dismay and Mr Knott, his respective studio-as-an-instrument collaborations with Dru Jones (Scattered Order) and ex-Slugfucker Gordon Renouf - the former’s worn out apparition hails from an instantly deleted 1981 7”, while Mr Knott entrust one of the compilation’s five previously unreleased tracks.Matt Mawson represents Brisbane music media-printed matter collective ZIP, as Adelaide’s Three D Radio grants access to their vaults of live-to-air recordings and aspiring demo submissions, rescuing the slap-happy punk-funk of The Frenzied Bricks and Jandy Rainbow’s prodigious beginnings in Les Trois Etrangers and Aeroplane Footsteps. Synchronously in Melbourne, Ash Wednesday (Karen Marks, The Metronomes) leads Modern Jazz’ improvised proto-techno and EBM pioneers Shanghai Au Go-Go home record their sardonic synth-wave.A cherry-picked cast of unusual suspects, Oz Echoes’ unfamed artist and non-band narratives are detailed by track-by-track liner notes with rarely published archival visions and artwork from Video Synth, prompting further rabbit hole ventures into this golden era of creative risk-taking and instant action.