commodo returns to his spiritual home of black acre with more genre busting grimy basswerk.

dubstep

the 3rd album from clap! clap! as limited red & purple double vinyl.

ltd clear vinyl repress - first ep from alfa mist and richard spaven as 44th move.

b-stock! remains of sticker on the coverbackside

the 3rd album from clap! clap! on black double vinyl.

first ep from alfa mist and richard spaven as 44th move.

afro meets jazzy feel , check

black double vinyl in gatefold sleeve.

black acre favourites return with a new ep featuring a special remix from the one and only daniele baldelli! the original pioneer of the cosmic scene delivers a tripping dance floor remix alongside the a live 12 min version on this special limited twelve inch. taken from the second clap! clap! album, ode to the pleiades is delivered here in a way you’ve never heard before. think khidja or that amazing insanlar record on honest jon’s from a while back. rolling, tribal percussion, turkish saz, thumping modern kick drums and loads of whistle blowing. simply screams party time to us.

cervo is no stranger to producing high quality dancefloor ready house cuts. released on 13th october, ‘deyo / kasoa’ is no exception to this rule. after a tough period mentally and a formative trip to ghana, cervo combines his love for field recordings with his well known take on the classic house structure. the end result is slighter harder than his previous work but signifies his growth and development as an artist. the lead track, ‘deyo’, starts as it means to go on. straight away the punchy and energetic percussions draws you in and remains captivating for the entire track but it’s the melody that stands out. the sense of urgency is soothed by looping bass and piano riffs, complimenting each other perfectly throughout. ‘kasoa’ is approached differently than the flip ‘deyo’, more care and consideration is taken. it slowly builds up with field recordings as the backdrop providing context before allowing a clear and definitive vibe to be established.

kamoda’s latest offering, ‘the distorted haunted ballroom ep’ offers three fresh tracks from the colourful artist - body & soul, ( ( (bye) ) ) and dopey forests - a tripped out, twisted journey.
a man of many talents, jun has produced art under his illreme moniker, as member of hip hop trio, baleine 3000, and as cartoon illustrator (usca.) his forays into music have lead to work with revered global labels, think mister saturday night, black acre, mall grab’s steel city dance discs and more.
opener and lead track, body & soul is a raucous jam. killer, frenzied percussion, short riffs and vibrant erratic trumpets fuse industrial elements with far-flung balearia, teasing between warehouse rave and rainforest ravine.
second track ( ( (bye) ) ) is a hazy, hypnotic cut, body & soul’s wild elements rolling into a tug of war between arcadian bleeps and lawless euphoria.
dopey forests offers up a less frantic but still slamming dance floor ready slice of dreamlike vocals paired with driving percussion. a mesmerising, final jaunt to round out ‘the distorted haunted ballroom ep’ with an ethereal, spooky stomp.

ernestas kaušylas aka brokenchord is a music producer and composer born and raised in utena, a small industrial town in lithuania. kaušylas was quickly picked up by black acre, releasing both a 7inch single and an ep, after an exclusive mix of his was aired on bbc radio one’s experimental showhosted mary anne hobbs in 2010.
endless transmissions is the brainchild of kaušylas who single handily (bar two tracks) wrote and performed the entire album. the only collaboration was with jazz drummer, augustas baronas , who he encouraged to play as mechanically as possible. the lp pays homage to creativity and the ability topush the limits of technology with the physicalness of a human body. kaušylas explains “machines that mimic human grooves is boring but the other way around it becomes quiet interesting”.

“rocks foe returns to black acre with new, eight-track project ‘fight the good? fight’ — a dark and conceptual record built around the notion of, according to rocks himself, “everything being an internal and external battle”. a powerful lyricist and complex story-teller, rocks’ sound combines hyper-fierce spitting with his own, abstract beat sketches. having released his impressive debut ep, ‘legion’, back in 2015 — a raw, self-produced grime-rap hybrid — he has since remained dormant to the outside world, bar a quick-fire feature on commodo’s ‘how what time’ lp in 2016.

jun kamoda has been a solid contributor to japan’s electronic music scene for quite some time. producing under his illreme moniker for over 15 years & also as member of hip hop trio baleine 3000. he is also a cartoon illustrator for japanese independent magazine ‘usca’.
2016 saw him release ‘the clay ep’ (with *that* physical graffiti tune) on new york’s seminal imprint mister saturday night as well as a track for a dirt crew recordings compilation. having recently remixed clap! clap!’s ‘hope’, jun kamoda’s debut for black acre is set for release in june.
infectious licks and raw drums come together to form ‘blind disco’, an animated production that blends a cacophony of samples into a raucous party jam. ‘ramen funk’ is a moodier cut by comparison, featuring a medley of percussive elements, vibrant guitar melodies and a seedy bassline, until ‘savanna on the palm’ chops up and loops a wailing vocal sample before leading into echoing chords and a twisted groove in a mesmerising conclusion.

following in the wake of the hotly tipped second clap! clap! lp on black acre, ‘remixes’ is reloaded with 3 dancefloor targeted bullets. peckham’s disco provocateur, medlar steps up first with a re-thinking of ar-raqis with clinical cut’n pasting precision creating a thumping bongolian edit. paleman takes a more stripped back approach, reducing hope to its bare heart-racing essentials. last up is japan’s jun kamoda, turning to his reliable sp1200 to create a galloping clockwork carnival smasher!

* nan kolé, producer, dj and head of influential label on-the-rise, gqom oh!, returns to black acre for his debut proper with ‘bayefal’, after first collaborating with nervous horizon’s wallwork on his ‘facts / fyah’ 12” at the back end of 2016. * originally from rome, although now a resident of london, nan kolé has been a major player in the expansion of durban’s gqom sound after discovering it in early 2015. through his label, gqom oh!, he honed in on a network of south african producers operating out of durban, unlocking the keys to a world of music largely untapped by audiences outside of southern and western africa. * ‘bayefal’, he explains, was made while still living in rome and was inspired by a group he formed called pepesoup, which consisted of an italo-liberian singer, karima 2g, and senegalese percussionist and singer, moustapha mbengue. “for me, he (mbengue) was a mentor and taught me a lot spiritually but also mentally”, kolé explains, “and without his hard work i wouldn’t be here for sure. this track is dedicated to him, as he s a muslim bayefal.” a joyous, steadfast drum workout made in the carnival spirit, ‘bayefal’ also serves as an ode to his love for both west african rhythms and more specifically, the gqom sound. * on the flip, ‘malumz’ — backed up with two dark, brooding remixes by durban’s citizen boy and crew, formation boyz — is another track rooted in personal experience. “malumz is a tribute to my gqom oh! family”, kolé explains. “they call me malumz, which in zulu means ‘uncle’. the first time citizen boy called me ‘malumz’, it was overwhelming — i felt a change in my relationship with all the guys, because they started to treat me more as a family member, which meant a lot.” * the original mix, a stark, pulsing drum-track dotted with playful whistles and bleepy sampling again celebrates kolé’s fascination with the gqom sound, while first citizen boy and then formation boyz flip ‘malumz’ with harsher, grittier tones and crunching, industrial textures.

brainmath returns from a three year hiatus with a woozy 12” of dubstep & electronics from acre, following up his incredible debut album for tectonic. as always - limited info, limited pressing.

one of italy’s brightest new talents, clap! clap! (aka cristiano crisci) returns with his second album for black acre, following on from his colorful breakthrough debut lp ‘tayi bebba’. bringing together disparate inspirations and styles onto the dance-floor of his mind, ‘a thousand skies’ sees clap! clap! create a high energy and inventive kaleidoscopic fusion of sound – drawing on the traditional global rhythms of the old world, hip hop, footwork, uk bass and house.

the maghreban returns with essential new house odyssey ‘brooklyn’, named after his dead cat. his second outing on black acre, ‘brooklyn’ is a breathtaking night flight, viewed through a prism both phantasmagorical and seedily terrestrial. trance inducing caribbean percussion, possessed chants, motown bass, sci-fi synths, wayward filter sweeps, analogue free jazz - all get their moment to shine in the weird and wonderful 8-minute microcosm that is ‘brooklyn’. flip-side ‘the carpenters’ strikes a more domesticated tone, with motorik industrial dub eventually giving way to haunted sci-fi bachelor pad lounge.

vinyl only - limited sampler of the forthcoming clap! clap! lp premiered by gilles peterson
no repress / 1per customer

ayman rostom has really taken to the maghreban, with a succession of singles for versatile and his own zoot label that have shown him fully capable of bringing his sampling talents to the realm of house, disco and techno. the latest missive from the maghreban comes on black acre, a label rostom has previous with after that superb library music lp as dr. zygote a few years back. two tracks deep, lose it presents all that we love about the maghreban, the title track sees a classic “girl i’m starting to lose it” phrase lifted off an early jungle classic from boogie times tribe assembled with a monstrous analogue bassline and plenty of feverish effects tweaking in the mix. “wrong move” is just as smart, delving into the darkest depths of rugged breakbeat science.

nice price deal !!! better strangers is the debut album by manchester based producer acre, set for release by tectonic recordings on 6th november 2015. the album follows eps on both tectonic and sister label cold recordings and visionists pan collaboration label codes. as influenced by rave & jungle, grime and techno as electronica, ambient and drone, his ep releases have been rhythm driven snapshots of other-worldliness spliced with dancefloor sensibilities. acre has sought to explore a wider variety of textures on better strangers to re-contextualise elements from uk bass music, bring them away from the dancefloor and open up new possibilities.

full colour sleeve 12 inch.

returning home after the acclaimed holding ep and the highly regarded clap clap remix, lurka continues with his journey into sonic bat country. partials kicks off with lurka’s typical intrigue, pads swell with distant spectres of percussion build into the most saturated kick of the year slapping you in the face like wet rag, while an architecture of syncopated hats and bit crunching snares lock the angles a shower of haunting bells falls. dancehall for witching hour. mach steps in with an equally holo-deck soundscape. drums swing in awkward alliance with dry wooden blocks and woozy binary language. both tracks united in their skewed viewpoint and distinctive awkward funk.

here at black acre, we are extremely excited about starting 2015 with a bang - a 12” from new sensation on the circuit, dan shake. he is the first artist outside of detroit to cut his teeth on moodymann’s mahogani music, winning plaudits here and across the atlantic for his catchy groove laden “3am jazz club- ep. now with much anticipation, the tony allen & fela kuti acolyte returns with two crunchy dilla-eque takes on soulful club music. * out of sight is a carefully constructed dance floor number packed with low-end theory and seductive vocal stabs. low-slung fuzzy bass swinging perfectly between ghost-horns and driving drums. traders ii, a collaboration with canadian based rennie foster, see’s dan’s dna marker driving kicks smashing acid atoms against a sharp live horn section bringing the ethereal jazz cat to the dance.

limited 1-sided white label 10 inch. he is back, in the run up to 2015’s longplayer dropping another slice of broken electronic pop this time teaming up with us isolationist and icey voiced songwriter kid a. here fmf delivers his trademarked frosted heartbreak chords with a grime lilt on the drums and low-end. we have enlisted the deft remix skills of visionist acknowledged leader of the new grime movement who adds his own low slung mood take on fmfs fractalised funk.

after storming the gates with his warmly received tambacounda ep, clap! clap! returns to deliver his debut longplayer. tayi bebba is a conceptual work that manages to balance a highly cerebral concept with making some good old-fashioned bangers. tayi bebba is an album tour of an imagined island, each song representing a location, event or ritual. sonically, it is a fast moving charge across the soundscape, fusing field recordings and found sound with incredibly surgical drum programming. flavours of house, footwork and hip hop punctuate your migration with a very specific sound palate, giving this amazing work a cohesive feel.

launching after the seminal tambacounda ep clap! clap! drops 2 works carved from the same tree as the soon to come long player. buck is a customary quick-step drum workout where the world both modern and ancient collides to create an explosive oldworld sci-fi b-boy stomper. on the flip ichnusa is a more dreamy psyched out acid voyage across the planes.

after blazing trails with his debut longplayer exits and wowing the sceptical chat rooms with his all-hardware boiler room blow out, the north country bit smasher returns. the iiva ep is mini album of experiments, re-animations and rebirths. like dr herbert west with a hypo of fluro-serum loops haunt plunges elbow deep into his hardrives sonic corpses unleashing an army of weaponised soundscapes. unlike its big brother exits, iiva sets an immediate agenda, drums burst through fizzing tape hiss and field recorded found sounds are given urgency and purpose. along with an army of hooded mystery collaborators pans nhk even joins the fray with a radiophonic technoid rerub of iiva. all action.

bristol acetate carver and drum major, lurka launches his black acre debut with three unpredictable drum machine battle drills. kicking off with *holding* a technoid inflected dancehall pounder with a relentless low-end theory. the anxious heartbeat littered with schizophrenic percussion and alarm bells bursting into an undead army marching anthem. with *nah so* we are back on slightly more familiar turf, crushing kick drums perform the body blows under intricate hi-hats programming. *kmt* the most meditative of the three with nods to alan howarths bleak synthesiser work while high-fiveing schooly ds drum machine.

since his debut in 2009, loops haunt has continued to confound and excite with an output as mercurial as it is rare. toying with jungle and hip hop on zenith and outright sound design on ark, the wilderness-bound beat alchemist uses his isolation to explore and even create his otherworldly sound palate. lurking behind immaculate drums are the windswept sounds of the desolate north and mechanized textures plucked from his father s own workshop. here we embark on loops most complete work to date. exits is designed to be listened to as one continuous track, opening with ambient mood and emotion, layering outboard synths and found-sounds on the title track and trap door. an unexpected calm beginning is shattered in the second act with the pounding rhythms and industrial heart beats of howl and iiva. exits is an insight into a uniquely unpredictable talent and rare chance to be immersed in his sound.

clap! clap! is longtime jazz player cristiano crisci, also known in electronic circles as digi g alessio. with cross genre accolades and support spanning the globe he is already established a one of italys brightest talents, supporters include, annie mac, diplo, toddla t, skream ...
here in full chopped up afro-future mode he fuzes the hiss crackle and fuzz of heavy tribal sampling with broad stroke drum programming. the fluidity of time signatures and deft jazz minded drumming gives the tambacounda a woozy and hallucinogenic feel, tracks travelling from deep jungle drama to carnival ecstasy.

amsterdam local, ivory coast progeny and grime-juke-jungle gene-splicer, h-sik makes his black acre debut in rude style with two concrete-junglist chemical weapons. first up is the muscular drum workout *sonic rage* which layers a ridiculously powerful, yet deftly chopped 808-amen bombardment with delicate citric pads, bleeps and lost droideka language. on the flip is the orwellian *no promises* a natural pairing of vangelis atmospherics and committed drum-funk workout, building with undead voices and b-boy breakdowns.

comes with code for free mp3 download.

limited blood splattered white and red vinyl, 300 copies only.

shrouded in mystery and rarety loops haunts musical outpourings are the stuff of urban folklore. a strange alchemy of rugged rzaesque drums lay a contrasting bed for his spectral outboard sound bombardment. in contradiction with prior experiments, zenith has a strong and muscular loop based drum aesthetic running throughout from the nyc leanings mun rhul to the straight up amen bothering hardcore of zenith itself loops haunt has never sounded more relevant on a soundsystem!
black acre finish off a strong 2012 in anarchic style!

primitive world music lurks in the shadows of the weirder, experimental side of the dance floor - juddering bass, knocking kick drums, dropouts and pops and scuzzy, fizzing synth lines alongside the jacking percussion. think morton subotnick meets marshall jefferson - this is house musique concrete.

nice price deal !!!

romare is a young london to paris transient crate digger, collecting dusty snippets of undead voices and antiquated rhythms. once in his underground lab, these pieces of yesterday are chopped, spliced and reattached to create the sound of tomorrow. this ep explores the connection between the history of african and african-american culture in the form of collage to create musical conversations between the past, present and future.
samples of songs, speeches, interviews, field recordings and films were carefully chosen and rearranged: rhythms from africa are integrated with voices from harlem, conversations about race and identity between writers and ethnomusicologists are constructed, speeches from activists are conjoined with the voices of prisoners. this process of combining pre-existing material has inspired three >meditations on afrocentrism<.
in keeping with black acres genre dodging output, romares merging of traditional rhythms of africa with the contemporary tempos of footwork and house is a bridge between the tradition sound palette of africa and future dance rhythm.
support: untold, moxie, fantastic mr fox, jamie xx

very little is known about the ldn poltergeist known as alby daniels. he is a voice, a bedroom beat-machine with a tomorrow-ist take on soul music.

it is with great pleasure that we announce the release of our very first vinyl compilation on acre recordings.
we are proud to present music from funckarma (djak-up-bitch, ad noiseam), ben milstein (touchin bass, pyramidtransmissions), phausis (rebel intelligence) and c. mantle (handsette, spacebar sentiments).
the release has been mastered by the highly regarded denis blackham of skye mastering and the audio quality is, as we wished, extremely high. the cutting is by mobineko - also excellent quality and not hyperloud. the 1950s influenced constructivist graphic design work is by lawrence clift.
this is a limited edition of 250 copies.