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Day 11 of Bleep Advent is a Warp Records label day.

To celebrate we have selected Warp releases on sale, Warp Key Ring / Bottle Openers and exclusive glow-in-the-dark Warp stickers to be given away with all Warp Vinyl & CD orders –
http://link.bleep.com/advent-warp

Sign up to get daily updates of Bleep Advent:
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This week's Album of the Week is the long awaited and highly anticipated debut album from Floating Points bringing to the table the culmination of his various takes on house, jazz and electronica with a scientific grounding and talent for production –
https://bleep.com/release/63430-floating-points-elaenia

Having started life in 2009 with four vastly unique singles that dabbled in a variety of different styles that were at once distant but all tied together with a slick sound and talent that vastly outweighed his discography, Floating Points showed he was a dab hand at hip-hop laden electronica as showcased on J&W Beat, disco laced funk as explored on Love Me Like This, beats from the Ninja Tune school of cold-cuts i.e. For You and a galaxy's worth of sparkling house as on Vacuum Boogie. Having gone on to produce a series of stunning and varied 12" singles since then it's not until now that he has finally opted to give us a proper full length in the form of Elaenia. Realised with an entire ensemble of musicians Elaenia is a varied and hugely strong album that sees Floating Points explore sounds previously unheard in his music while supplying a fresh and fully transformed vision of his music to date. Opening with a subtle synth melody that's more radiophonic workshop than Moodymann deep house Nespole slowly unfolds on itself with subtle piano keys and synth lines slowly shining through but with a restraint of tease that can't quite hold itself back, especially when the bass line bubbles underneath around the two and a half minute mark. The track carefully rolls along never giving away too much but building anticipation throughout. Silhouettes (I, II, III) follows suit with jazz-lead licks and soft drums across its three part body transitioning between library-lead jazz jamming and live instrumentation before the string section comes through giving nod to The Cinematic Orchestra and the finest soundtrack work of Egisto Macchi, an absolutely stunning track and a real culmination of everything he has produced to date. This is followed by the album's title track Elaenia which explores more darker territories of a one note drone and bass tone that expertly updates Eno's Thursday Afternoon. Argente goes back to the library influence with its cascading synth melody oscillating around before it suddenly disappears in a cloud of smoke dropping effortlessly into the robotic clockwork of Thin Air, its fast action shuffling percussion and half heard keys creating a quiet moment of experimentation that's both tense and exhilarating. The album caps off with two of the finest tracks Floating Points has ever put his name to in the form of the late night dreamlike For Marmish whose smooth notes sail through the reverb drenched definition which flourish in its melancholic glow while Peroration Six starts off on a hip-hop lead axis before breaking out into a stunning chord progressive number with atmospherics of a serious nature hiding underneath but as ever expertly engineered to ensure repeated listens. Ending the album and bringing the curtain down on whats sure to be one of the highlights of the year regardless of what you're in to.
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When Spaces released his debut EP One on Bleep, very little was known about the producer. Since then he has released the Potential EP and picked up wide support, most notably from Björk, who had Spaces co-produce the final track on her Vulnicura album – now he returns to Bleep with Two:
https://bleep.com/release/64802-spaces-two

Spaces returns with Two, the second in a trilogy of releases, hitting straight back with his unique blend of puncturing percussions and weird, compressed textures. To finish, this EP has the added bonus of a remix from Mark Fell (SND/Sensate Focus), an early supporter of Spaces' work.
With the opening track 'Make The Switch', Spaces reveals his most dancefloor-friendly cut to date. Although be warned, with its unexpected piercing distortions and glassy siren hits, this is not for a faint-hearted dancefloor. Chase Back follows up with a 4/4 groove built around a loud, cacophonous build, which crescendos to a new plateau bound to please more adventurous DJs looking for a segue tool.
On the other side 'Noon To' creates a feeling of claustrophobia, an ever-approaching drum pattern closes in on your senses then distortions make way for an eerie multi-coloured calm in the storm making this the standout song of the EP. For the final track, Mark Fell re-imagines 'Make The Switch' as an intricate plethora of percussion rolling and tumbling its way through a playful logic that is distinctive and can only be his own.
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To celebrate our album of the week Donato Dozzy's The Loud Silence, and the pre-order for Move D / Jordan Czamanski's Live in Seattle, we are having a Further Records digital sale –
https://bleep.com/spotlights/further-records

Plus all Further Records Vinyl / CD orders come with a Further Records sticker for a limited time only.
Sale ends 10 October 2015
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You can now download the debut EP from the mysterious producer named Zap Francis. These beats first aired on Black Milk's Boiler Room set about a year ago but, other than that, not much is known about Zap Francis. Vinyl shipping now too –
https://bleep.com/release/63499-zap-francis-zap-francis-ep

When Black Milk (rapper and producer from Detroit) was questioned on where the tracks came from, he answered: “Zap Francis gave them to me”.
With this debut E.P., Zap delivers 6 tracks of instrumental hip-hop that soundtracks journeys across intergalactic realms.
From the opening hi-hat of shuffle and bass and synth-line drops of ‘Scuffer’, you know what you are dealing with here. The soothing tones of ‘Spirit Felt’ shows a more delicate side to the mysterious producer. From the neck-snapping snares of ‘Chime End’ to the frenetic closing track of ‘Age Of’, the self-titled marks a new era of Zap…
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Elysia Crampton, formerly known as E+E, drops this ambitious patchwork masterpiece on FaltyDL's Blueberry Records, cementing her status as a true modern luminary. Shipping this week –
https://bleep.com/release/62211-elysia-crampton-american-drift

Reminiscent of a lot of the Hippos In Tanks catalogue, Crampton operates in a highly experimental sphere. Mixing influences ranging from South American tribalism to brash Southern US hip hop. The record is based around themes of post-colonial narratives in the USA as well as histories surrounding marginalised communities. Crampton is firmly part of a new, stereotype-baiting generation of conceptual artists. Joining the leagues of Mykki Blanco, Fatima Al Qadiri and visual artist Boychild - who one song is dedicated to - American Drift cements her status as a true modern luminary.
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Announcing: Our Favourite Music of 2015 –
bleep.com/albums-of-the-year-2015

Featuring Flako, Holly Herndon, Oneohtrix Point Never, Bjork, Floating Points, Romare, Kerrier District, Julia Holter , Kelpe + more –
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This week's Album of the Week is Rabit's return to Tri Angle Records as he flexes the full palette of his production muscles with Communion. Plus we have three incredible digital bonus tracks –
http://link.bleep.com/rabit-communion-extended-edition

For the past few years Rabit has been a key player in the new wave of producers taking influence from the classic grime sound which has its roots in E3 and transporting them into new digitised realms of club-focused widescreen avant-electronic experimentation. Being far removed from the central core (Rabit is based in Texas) of this fledging underground, Rabit has no less made a huge splash cutting his teeth with razor-raw recordings for Glacial Sound, Soundman Chronicles and Different Circles - his track made in collaboration with Mumdance and Logos Inside The Catacomb is a sure-fire future-classic of this genre-less FWD facing worldwide scene, but it's on Tri Angle that he really comes into his own and flexes the full pallette of his production muscles with Communion. Having stated the LP is 'heavily politicised' in press leading up to the release it's hard not to hear the abrasive but delicately woven soundscapes within as a reaction against the suppression of modern life; be it under strict regimes of struggling to get by, nightlife the world over being destroyed by clubs closing down and the general vibe (here at least) of winter rolling in fast. But! don't let that make you feel this is an LP racked with darkness, while there are vast shadows cast over the sonic structures on show here, the feeling throughout is one of elevation and unknown pleasures. Opener Advent sets the tone perfectly switching between quick fire blasts of percussion and robotic destruction with a backdrop of heavy eye lids and Coil-like sheets of aching sadness before Snow Leopard recalls the half-heard echos of his Baptizm EP. Tracks like Artemis take classic grime sounds - guns cocking and bullets dropping, blade-like slashes of sound right through the middle of the speaker field but behind the macho weight there are more tactile, soft, and heavy-hearted eye- down feelings explored the further you dig in. Pandemic is full-on Robocop aquatics, while Glass Harp Interlude takes things down a slick route of glacial-like chords that's like Jam City's Classical Curves if it was harking back to early 2000's techno. Black Gates represents the most club-focused cut and explores new dub-rooted sounds not previously touched on while LostFile2 (an absolute highlight) downs itself with a fluid dub techno machine gun drum roll. Communion is a diamond in the current underground rough, and will have you going back for more, time and time again and points the way forward to interesting new directions while raising the bar for those around.
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This week's Album of the Week comes from Burnt Friedman and Atom TM (aka Uwe Schmidt) as they congregate once more as Flanger for their first full LP in a decade, landing down in a fug of jazz-club smoke on Friedman's own Nonplace label –
https://bleep.com/release/62531-flanger-lollopy-dripper

Flanger released a string of albums on Ninja Tune in the late nineties / early noughties and now find their perfect muse, influenced by the dark jazz arts brought fast forward into 2015. Both artists bring something unique to well worn jazz tropes. Friedmann - a master percussionist - winds up polyrhythmic patterns to Lollopy Dripper, inspired by West Africa, while Schmidt adds playful glitch electronics and FX (think Jan Jelinek, Pole) to a heady brew that sits strangely, beautifully into this genre of one. Also features some prime sax skronk from frequent collaborator, New Zealand's Hayden Chisholm.
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How to pay with Google Play credit? I hope i can buy over this currency.
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This week's Album of the Week is Co La's second album for Oneohtrix Point Never's Software Recording Company, No No. A weird, wild, and totally unique record –
https://bleep.com/release/62338-co-la-no-no

Baltimore’s Matt Papich is an established member of the international experimental and noise music communities – he was formerly been a part of improvisational drone trio Ecstatic Sunshine and, more recently, he released an album with Max D on PAN under the name Lifted. But it’s his solo work as Co La that Papich’s music has been at its most exciting and freeform. Since 2011, Papich has put out a series of cassettes, LPs, and mini-albums for labels like NNA Tapes and Hands In The Dark, which culminated in the release of the album Moody Coup through the Software label (run by Daniel Lopatin aka Oneohtrix Point Never) in 2013. Co La is now issuing his second album for Software, No No. No No manages to be ecstatic but absurd, creepy but cute, and obscure but accessible – usually all at the same time. Papich takes a mixture of hyper-clean sounds, including both synthesized noises and field recordings, and transplants them onto bouncing, energetic club rhythms. Every sound has a recognisable material property in the real world (bubbles popping, doors squeaking, babies crying, etc.), but they’re utilised in unfamiliar and unconventional ways. Everything is layered relentlessly, piling up like unread stories on a news feed; often, these sounds threaten to overwhelm the listener (as on ‘Gush’, which is full of Felicita-esque cut-ups of chattering voices). But more often than not it’s totally clean and direct, with tracks like ‘Crank’ (best described as a dancehall banger that’s in the process of melting) making up some of the more immediate and visceral material on the album.
All vinyl orders include Edge Harmonics CD.
"This is essentially a redacted version of No No - I removed as many rhythmic and melodic sounds as possible...it leaves an impression of the record, a kind of a relief. The process was a hegemony of delete, so what's left is detailed, but very incomplete." Co La
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This week's Album of theWeek comes from widely revered Italian abstract-techno don Donato Dozzy as he lands down on key Washington State label Further Records (Rrose, Strategy, Jo Johnson) for this high-concept album of electronics…and mouth harp –
https://bleep.com/release/62290-donato-dozzy-the-loud-silence

In April 2015, Dozzy returned home to his parents’ house in Italy and began recording sessions with his childhood mouth harp, or ‘marranzano’. Made ‘indoors and outdoors, half-way up mountains and on the edge of the Mediterranean sea’, Dozzy spins and processes the percussive mouth-harp into a wave of multi-timbral phrases underpinned by a trance-like throb. It takes a real master to take such a humble, primitive instrument and elevate it to this level. It's not the first time Dozzy has modelled a release around one sound or instrument—earlier in 2015 he released Sintetizzatrice, which was made entirely from the voice of Rome-based singer Anna Caragnano.
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Long-running film and TV soundtrack organisation Silva Screen Records move into the Delian mode here with this 7” pressing of two crucial pieces from the first lady of the BBC Radiophonic Workshop , Delia Derbyshire. Shipping now –
https://bleep.com/release/64313-delia-derbyshire-the-delian-mode

Radiophonic freaks will be well aware of these tracks, but still moist at the thought of grabbing them on super limited 7 vinyl, gatefold sleeve with pull-out poster. For the uninitiated, this a perfect primer to these next-level sonics. ‘The Delian Mode’, the A side track on the disc, was composed as incidental music for the BBC’s long-running star gazing series The Sky at Night in 1969 and ‘Blue Veils and Golden Sands’ was written for a 1967 documentary. You read that right, this music was made in the 1960s. Incredible.
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