Beatcave is an independent music imprint based in Antwerp, Belgium.

for enquiries / press / licencing/ radio / sending demos or anything else:
beatcave at compositie01 dot be

A Unity of Miseries:
HFF is an Electro-punk act from Los Angeles, USA, in the vein of bands like Portion Control and Cabaret Voltaire, as executed by electronic body mutants Greg Vand and Susan Subtract. Their unique hard beating electronics is heavily infused with body horror and seeks to revive us all from our spectacle-induced coma. Unlike the swarm of revival, retro, and oldschool bands out there hoping to capture your nostalgia or naivety, HFF is looking to pump your bodies and refresh your mind from the tired beat.

The Night was born in Novemeber of 2009 at the Twin Cities Electropunk record release showcase in Minneapolis, Mn . Since then Dre and Zach have been melting people souls with dreamy vocals, chilly, airy synths, creepy samples and devilishly danceable drum beats reminiscent of old school Shoegaze-Synth Pop-Industrial stuff that never actually existed, but you always wished it did.


The Night released their debut 7 in. Helltown on Dec 21st 2011 at the 7th Street Entry. It is available at http://thenight.bandcamp.com/


"Dre, the daughter of a preacher and profound  lyricist makes you feel like something is lurking in the shadows behind you while  Zachariah’s new wave synths and classic drum machine beats get you in the mood to put on everything black you own and smoke cigarettes all night in the coolest goth club in town. The few songs they have out are really amazing and i’m not the only one who thinks so." -Totally Mag

"Their songs sound like collaborations within themselves -- two halves not quite fitting together as you'd expect -- yet still sounding extraordinary and alluring." -City Pages



"20jazzfunkgreats has found its new chanteuse, Portable Morla, who produces digital torch songs to light data-rich landscapes, think of them as imaginary soundtracks for romantic indie flicks involving real-life nerds, its vignettes innocent and honest and devoid of the twee market-capturing antics that make 20jazzfunkgreats think of butcher knives and bike chains. Her music soars with golden wings of synthetic romance in an ethereal, wonderfully sentimental space intersecting the neon balladry of the 1980s robotic soul movement. Or, if you want to simplify, Planningtorock with a BSc with honours in a STEM subject. This is the sort of music we fall in love to. " -20jazzfunkgreats

"Playing synths, drum machines, melodica, and various toys, Portable Morla creates tunes that sensually slither into earshot. She composes low-lit torch songs that slyly seduce rather than slap you upside the ass. Dub influences her production style, lending her songs a lo-fi, intimate spaciousness...Morla's beats are relatively gentle, which allows more room for her lush, sparkling electronic embellishments to blossom. Overall, Portable Morla's introverted brand of electronic-oriented songcraft bears a distinctive sound palette and vocal tenor that will linger long after the last song dissipates into the ether." -Dave Segal (The Stranger-Seattle)

"Portable Morla just landed on our planet and offers us "the void that exists". A synthpop diamond in this garbage dump that is Earth. Never had the feeling that simplicity is a higher form of intelligence? Proof is here with this 8-bit manifesto about our modern civilization, aliens, technology, and art. Portable Morla wields delicate synth melodies, classy beats and a leading voice of a rare quality, to reach distant galaxies where unknown lifeforms deal with the same shit we kill ourselves over every day. The Void That Exists is part of an almost extinct species in the 21st century: Poetry." -The Darkest Love (France)

"Portable Morla is a one-woman minimal electro-dub project emanating from outer space – or, more correctly, Seattle, Washington. As the cover art might suggest, however, The Void That Exists is one of those rare little pearls that successfully uses themes you might find in old school, kitschy sci-fi and translates them into the world we experience everyday right here on earth, and from an entirely unique perspective too." -[sic]Magazine

www.mute.com

Mute was founded by Daniel Miller in 1978, and since then has signed and developed some of the world’s most influential recording artists – including Goldfrapp, Liars, Moby, M83, Erasure, Depeche Mode, Nick Cave & The Bad Seeds, Laibach, Yeasayer and Richard Hawley – and become home to a crop of emerging talent and recent signings such as Cold Specks, Polly Scattergood, Big Deal, Beth Jeans Houghton, Josh T. Pearson and Apparat.

Whilst maintaining a firmly eclectic roster, from the earliest days of The Normal, Fad Gadget and DAF through to the techno era with artists such as Plastikman / Richie Hawtin and Speedy J, and to the present day with electronic artists such as Diamond Version and Maps, the label has always been a champion of electronic music.

Mute is also home to the catalogue of a host of seminal artists such as Can and Cabaret Voltaire.

After years playing in many bands with many egos Henry decided it was time to explore new territory. After buying several synths and computers Henry found his love of making electronic music. After a few more years of learning the ropes Henry took the name Idiom Lull as the title for his music. Now after a few musical releases(The Loop Status EP and Phosphoric) Henry is looking for a vocalist to come in and turn the music in much more than just instrumental.

They’re called Abiotics, come from Piacenza and among them are hidden notorious faces of the italian underground.
The matter formed by this new entity is an obsessive synth-punk, carrying the delinquent attitude of garage, first love of the band
members. The Abiotics creature respects the discipline and the rhythms imposed by the machines, making this chased slavery into
something tense and scary. With Suicide on theyr minds, Abiotics sums layers of synthetic patterns, vocal lines inbetween PIL
and Cabaret Voltaire, guitars and effects. Drum machines ruthlessly proceed as robotic tarantulas, while the bass drum kick winks
at certain rave music (At The Party). There are cultured quotes (She Lied steals a bass line from Ghost Rider), warmer electronic
(Shake It) and electro boulders (Nein). Abiotics coming is willing to change the listening perspective, showing a contemporary
and glacial face of punk.
fabio pasquarelli - www.retrophobic.com

thenight is following