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“Geo Rip is John Jones (Dope Body, Nerftoss) with Aaron Leitko and Mike Petillo (Protect-U), making its vinyl debut. Broken samples and electronics improvised live to tape. An auspicious, thrilling, varied first outing — daredevil, visceral, and fresh — in short supply. Customarily gorgeous TTT livery and top-notch sound. Don’t miss it.” – Honest Jon's

Heavy Machinery Records is proud to present 'Pressure Acts' the spectacular new EP from Melbourne electronic quartet Big Yawn. Big Yawn make experimental electronic music by fusing a wash of sweeping synthesizers, heavily refracted vocal sampling, motorik style percussion and disorientating dub FX. Their latest studio release 'Pressure Acts' creates a space where breaks compete with live drums compete with drones. Relentless pummelling bass lines and kinetic dub FX come standard. Big Yawn's energetic and unrelenting live performances create a definitive impression on this release. The sonic textures in the record are lush, stoned, frenetic and fun. The music is sinister yet also tongue-in-cheek — Phil Collins and Slipknot may have even been sampled. The first single 'Ragazzo' is ideal for joy rides in HSVs and/or flaunting at the local disco parlor - a dank blend of YMO style pop hooks, driving bass, delicate synths, and a robotic pulse. 'Pressure Acts' by Big Yawn is a joint release brought to you by Heavy Machinery Records and Research Records.

BT50 sees the return to the fold of XY0815. Showcasing his ever-expanding palette, Gates Need Inputs Vol. I sees the Weimar based producer stepping away from the dancefloor. Brighter in mood than previous contributions, the first volume of two, presents XY0815 displaying his typical finesse and restrained flex on electronica and downtempo.

For whom the bells toll: Notte Brigante is back in the longplayer spheres, unearthing for mother earth nine tracks by French producer, musician and PMR label runner ASSID, that spellbind under the entitlement “Connaissance des Lois Cosmiques“. An utterly surprising, dark-ish fever dance of many styles, synth-ages, tribal zones, and cosmic flashes! Ingredients, that ASSID sucked up from his many musical adventures. As Trackmark he is active since 1998 and self-released four longplayers that glitch abstract through the electronic galaxies. He is also part of the Strasbourg, France based band The John Merricks, living the psychedelic dream in unity with lo-fi swing, dub, electronic, Acid rock and all that noise. When he feels like going fully electric, he joins his buddy Doudouboy and invents as Electric Muezzin abstract dub, that thrills all delays and echoes of creation. With “Connaissance des Lois Cosmiques “, the man from the Drôme department in the Auvergne-Rhône-Alpes region of France distributes an amalgamation of all his different artistic avenues. You get dubbed. You get cosmic. You get waved into a darkness, that is illuminated by psychedelic drifts, but at the end it’s just a trip! Hand screen printed cover in two different colors, surprise. Also a little card is slipped in the cover. Out around March 15th, 2022, edition of 300 copies.

Chìsake [Algonquin]: to chant; to conjure; to cast a spell; this generally involves a shake-house, or shaking tent, in which the conjurer goes into a trance; the conjurer then has an out-of-body experience, going into the future to predict coming events, or into the past; as well as going into any locality in the universe to seek out someone or something generally practiced for ancestral divination. The unaccompanied flute pieces within this album are adaptations of Anishinaabeg shaking tent chants. The Anishinaabeg also known as Anishinaabe are a group of culturally related Indigenous peoples that reside in areas now called Canada and the United States. They include the Odawa, Saulteaux, Ojibwe (including Mississaugas), Potawatomi, Oji-Cree and Algonquin peoples. The word Anishinaabeg translates to “people from whence lowered”. The Anishinaabeg origin myths describe their people originating by divine breath. The shaking tent or conjuring lodge was the setting for a divinatory rite performed by specially trained shamans otherwise known as Chìsakewininì. During the shaking tent ceremony the Chìsakewininì would construct a special cylindrical framework typically of birch or spruce uprights planted in the ground with respective wood hoops to bind it together. This created a tensile structure of which birch bark, deer skin, or cloth was used as a covering. Rattles of caribou and deer hooves, or cups of lead shot, were tied to the frame. The floor was usually softened with freshly cut spruce boughs. The vertical axis of the shaking tent represents the realm of mediating beings, while the horizontal axis the earth or world of humans. The Chìsakewininì would enter the shaking tent at night and once inside would not be visible from onlookers. The singing of chants and drumming would summon the Chìsakewininì’s spirit helpers, whose arrival was signified by animal cries and erratic tent shaking. During this transcendent state, the Chìsakewininì could dispatch these spirit helpers or Manidò to distant regions to answer questions from the onlookers about the most auspicious places to hunt, the well-being of a distant relative, and what would happen in the future. The chants were usually sung using vocables before, during, and after the Chìsakewininì entered the shaking tent. Like many other similar divination ceremonies, singular or collective, the opening chants begin lyrically. They gradually turn to more reductive abstract structures midway and then end in lyrical chants. This symbolizes the performer and listener leaving the external literal world, entering a more abstract state of mind, and then returning. Traditionally all songs were carved on birch bark for record-keeping with mnemonic pictographs or other marks for future use. Tally mark clustering, sometimes used for song-keeping throughout the Anishinaabeg, is used for this album’s track titles and numerical sequence. The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear teeth, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener’s attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in the middle tracks traditionally represented the “throat rattling” vocalization of the tonic note or sometimes known as the horizon of which the melody floats off of. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with the Chìsakewininì ceremonial actions. All songs are repeated seven times to signify the seven sacred directions: east, south, west, north, above/sky, below/earth, and center. -Timothy Archambault

Rajan James, the Jamaican-born English-raised musician’s ‘Impossible Dreams’ is an inspirational sax-laced single that walks a fine line between North American boogie and British synth-pop influences of the 1980s, yet manages to sound distinctly her own. Left Ear has salvaged both the unreleased full-length versions, including the instrumental for a 12” single.

In the early 80’s Rajan headed to the States for a 5-week holiday, which turned into a 3-year hiatus. It was here that she was initially looking for inspiration from gospel singers, a natural progression from the choirs she had been singing in back home, even performing solo alongside her drum machine. It was in the States she saw what she describes as the “future” of music, particularly “dance” music. Rajan returned to England with an open mind and an enriched cultural appreciation for a diverse range of sounds. It’s at this stage that she recorded ‘Impossible Dreams’ and released it on Steve Ayers’ ‘One Giant Leap’ compilation.

Unfortunately, due to the release being an album of demos the track was cut short to make way for songs from other artists. Furthermore, it was never picked up for a single release and faded into obscurity. Rajan did release a single the following year called ‘Time’, unfortunately, the label went into receivership and the release failed to make ground. After this, Rajan explains that “life got in the way and music had to take a back seat”. Thirty-seven years after the fact and Rajan’s ‘Impossible Dreams’ sounds just as relevant today, with an eternal message of optimism and hope.

“Remember don’t give up on Your dreams it's never too late. If you fall get up and try again” Blessings R T James

Literally terabytes of bodyspam gush from my cleavered gut contorting and hurling a harsh beige pumping swirl of bile and chunks that blow into a gash of nicely printed paper bagging under my chin like a bib FLY EMIRATES a thin chord of acid dribble stringing from my lip. Mate. It’s a cold tight cold feeling with a clingy close bubble of hugging close silvery shiver effect that sticks around my ribs, up the spine etc etc and you can’t expect me to sit around on the runway like some lemon I’ve got disposable income, looking down I find a freshly lost brown leather wallet and rifle through it, a stack of nearly complete loyalty cards Pret, Nero, Itsu and many more as well as a Monzo card, i press the service buzzer and order a Heineken.