Deadbeat and Sa Pa are pleased to present their first collaborative album on the anniversary of BLKRTZ's 50th release, and defer to Albert Camus to describe the "Whys" and "Whats" of it:

" I leave Sisyphus at the foot of the mountain. One always finds one's burden again. But Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He too concludes that all is well. This universe henceforth without a master seems to him neither sterile nor futile. Each atom of that stone, each mineral flake of that night-filled mountain, in itself, forms a world. The struggle itself toward the heights is enough to fill a man's heart. One must imagine Sisyphus happy."

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Appleblim. Deadbeat. Shackleton. For anyone with a penchant for dub wise low end sonics and bleeding edge beat science over the last 2 decades seeing any one of these names on their own on a record would make it something well worth having a listen to. Having all 3 together on the same record however very easily launches it into the realm of "buy on sight". Comprised of 4 side long tracks previously only available via the BLKRTZ Bandcamp page, Dub Conference vol 1 sees these 3 masters of bass weight meditations exploring some of the most low slung and psychedelic corners of their respective catalogues. Vinyl only and strictly limited edition, this is a meeting of the minds not to me missed.

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Canadian Berlin based producers Scott Monteith aka Deadbeat and Colin de la Plante aka the Mole are please to announce the release of their debut collaborative album, simply titled Deadbeat meets the Mole. While the two have performed and toured extensively together over the years particularly via their shared association with the Mutek festival and the Cynosure and Wagon Repair labels, this is the first time they've worked in the studio as a duo. Composed over the lock down period in Berlin, the album's ten tracks traverse the full range of their shared bonkers musical interests, taking in low slung house, dub, hip hop, and smoked out sound collages. When asked about the albums motivations they had this to say: “I guess Capital H Hosers is a badge we could both wear pretty honestly. Perpetual tweakers of knobs and pushers of buttons both literal and personal might be another. Stay at home dads. Tellers of untold incredibly bad jokes. Yet miraculously, some 20 years on, still somehow on the same weird page, and counting our lucky stars for all you kind folks who still care to listen. We finally got around to making an album during this little unscheduled vacation from normal life, and we hope you'll have as much fun listening to it as we did making the stuff.”

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The 401 highway which connects Detroit on it’s southern end and Montreal some 900 km to the north east is quite possibly one of the most ugly, boring drives known to man. A seemingly endless stream of nondescript pine wood forests and cookie cutter suburban hell holes fill the gaps between 3 magnetic poles. Detroit, the Motor City of former untold grandeur, and current bastion of cheap rents and boundless American artistic enterprise. Toronto, the city Drake built, alongside the World Champion Raptor basketball team from which this EP takes it’s inspiration. And Montreal, the sin city of the north, the French Canadian Mecca of contact dancing strip bars, where bikers and the Mafia’s 6th family jockey for power and have everyone from the mayor’s office on down in their pockets. No great surprise then that this geographical well spring of nocturnal indulgence and scrappy street hustle has produced some of the greatest music purpose built for late night dance floors, be they housed in gay bars, illegal raves, private lofts, after parties, or forward thinking drug dens. And if any two people were qualified enough to recount the sordid tales one might find in the nooks and crannies of these secret sanctuaries of the wee hours, rest assured Ryan Crosson and Deadbeat have stories for days. For the 20th release on Deadbeat’s BLKRTZ label, these 2 long time friends deliver 2 atom bombs of breaks driven groove filled with dubbed out vocals, massive funk and impossibly heavy bass weight, sure to appeal to fans of their previous work and Djs from across the dance music spectrum. House, Techno, Breaks, Two Step, Dub Step, Hardcore...File under HEAVY weaponry and love for days.

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Expertly made dub techno for the dance floor.

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The album began with the simple idea of asking friends from across the globe for messages of hope. No musical input was provided before hand, and each participant was free to interpret the request as they saw fit. Though some of the names involved will be familiar to electronic music listeners (Gudrun Gut, Thomas Fehlmann, Mike Shannon), the common thread linking all of them is their friendship with Monteith and the many hours he has spent enjoying their company over the years. As so often happens when good conversation is shared among good friends, the results are as surprising as they are inspiring, spanning original prose, dialectic word games, and timeless quotations in six languages. Each song on the album was then composed around the content received, and named after the people who did the speaking. Ranging from the overtly political to the tenderly inspirational and many points in between, Wax Poetic For This Our Great Resolve provides verbal expressions of hope as diverse and rich as the experiences of the people who so generously delivered them.


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Units and Measurements is the collaborative project of Christopher Hreno, Mathew Jonson and Colin de la Plante. The project sees these long times friends and veteran producers exploring the limits of hardware based improvisation and deep synthesis and effects programing . Documenting a single epic 24 hour session at Jonson's mothership studio in Berlin, this first release sees the trio exploring some of the headiest ambient and tunneling hypnotic techno to be found in any of their admittedly vast individual back catalogs. This release is without question a portrait of 3 masters of their craft at work, and quite unlike anything else you are likely to hear this year.

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Scott Monteith's 10th Deadbeat album, Walls & Dimensions,is now available through his own BLKRTZ label. Comprising 8 tracks and featuring vocal contributions from a diverse range of Berlin based artists, as well as for the first time Deadbeat himself, this 10th outing sees Monteith elegantly showcasing his wide ranging musical interests with a striking new sense of gravity and cutting lyricism not seen in his previous works.

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Deadbeat presents the second vinyl only release leading up to his forth coming album, Walls and Dimensions. While the first installment featured a lucious extended ambient drone piece over 2 sides, part 2 features extended dubs of 2 of the albums dance floor cuts filled to the brim with the space age dub effects, mournful melodies and rumbling bass lines Deadbeat fans have come to expect. Another exciting indication of things to come with the soon to be released 10th Deadbeat album.

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First in a 3 part series of vinyl only releases leading up to the 10th Deadbeat album in late 2015 – First ambient Deadbeat material running time of 40 minutes – Comes on clear vinyl with clear PVC sleeve

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Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate. Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order. Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement. If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

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Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate. Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order. Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement. If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

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The latest installment in Deadbeat's Infinity Dubs series sees him submerging his rhythms deep into the echo chamber, offering up 2 solid state dubs with basslines so low only the largest systems will even register their presence. Enlightenment through stoic repetition is the order of the day here, and Deadbeat once again proves his unrivaled skills as a master hypnotist on both cuts. Don't sleep

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Limited edition (500 copies worldwide) 6xLP Box set with remastered versions of Deadbeats LP's "Wild Life Documentaries", "Something Borrowed, Something Blue" and "New World Observer"

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Deadbeat continues his Infinity Dubs series with 2 more peak time burners of dubby dancefloor goodness. ID3 features the unmistakable vocals of frequent collaborator Paul St Hilaire aka Tikiman arriving mid way through the side and invoking a perfect summer time message of peace and love for all. ID4 on the flip meanwhile takes things into vintage hardcore territory with a razor sharp lead voice of classic analog stabs and a tougher than tough rhythm of thrashing two step snares and power techno kick drums. Whether prime time at the club or beach side these 2 newest salvos from the BLKRTZ don are sure to kick any summer dance floor worth it's salt into a frenzy.

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Originally released on Montreal's long defunct Intr_version label in 2001, Primordia was Scott Monteith's first foray into the album format, and some 13 years on serves as a remarkable document of the driving aesthetic touchstones which even at this early stage were bubbling to the surface and have gone on to define the sound of his Deadbeat project in the many years since. Over the course of 7 colossal slabs of crackling digital atmospheres and rumbling drone, a dirge of muted kick drums serve as the only steady anchor in a sea of wildly unhinged and naive sound experimentation, with the whole lovely mess plummeting into a endless cloud of decaying echos, granular processing, and cracked software reverb plugins. With it's production coinciding with the first years of his tenure at the Montreal based music software company Applied Acoustics systems, Primordia is the sound of the young dub Padawan reveling in the endless possibilities of modular software synthesis, and relishing each and every new discovery and mistake along the way. Re-released on CD and for the first on lavish double vinyl with remastering by long time friend and cohort Stefan Betke aka Pole

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Originally released on Montreal's long defunct Intr_version label in 2001, Primordia was Scott Monteith's first foray into the album format, and some 13 years on serves as a remarkable document of the driving aesthetic touchstones which even at this early stage were bubbling to the surface and have gone on to define the sound of his Deadbeat project in the many years since. Over the course of 7 colossal slabs of crackling digital atmospheres and rumbling drone, a dirge of muted kick drums serve as the only steady anchor in a sea of wildly unhinged and naive sound experimentation, with the whole lovely mess plummeting into a endless cloud of decaying echos, granular processing, and cracked software reverb plugins. With it's production coinciding with the first years of his tenure at the Montreal based music software company Applied Acoustics systems, Primordia is the sound of the young dub Padawan reveling in the endless possibilities of modular software synthesis, and relishing each and every new discovery and mistake along the way.Re-released on CD and for the first on lavish double vinyl with remastering by long time friend and cohort Stefan Betke aka Pole

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A new series of techno excursions ending in lock grooves entitled the Infinity Dubs.

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