Cerca:omar s 998

Another banger from Omar-S and features a track produced by Patrik Sjeren. As aways pre-ordering is essential as FXHE's always sell out straight away.

Dave Lee teamed up with Omar. A gifted, prolific artist, Omar learned his craft classically, playing the trumpet, piano, bass guitar and percussion. A former principal percussionist of the Kent Youth Orchestra and later a graduate of the Guildhall School Of Music, Omar was awarded an MBE in 2012 for services to music.

'Starlight' is a gorgeous, mid-tempo dance record, with Omar’s silky vocals backed up with rich production: soaring live strings, groove-laden clav and a warm bassline creating a heady, inviting atmosphere. Almost viscerally life-affirming and unashamedly positive. This is an exclusive 7” version.

On the B side, Destiny II featuring Aria Lyric - I'm Here For This. An uptempo boogie synth filled track in the spirit of Leroy Burgess’s 80’s offerings. Written by Dave Lee, Audrey Martells & broken beat don Kaidi Tatham. An exclusive new track not part of the album Produced with Love II.

Landscape Tantrums Lost for two decades, the recent rediscovery of Landscape Tantrums the first attempt at recording the music that would become The Mars Volta’s De-Loused In The Comatorium revealed an important and hitherto missing chapter in the group’s evolution. Selfrecorded by Omar (assisted by Jon DeBaun) at Burbank’s Mad Dog Studios within a head spinning four days, Landscape Tantrums captures De-Loused in somewhat embryonic form, though much of what would make The Mars Volta’s debut album such an electrifying, sublime experience was already in place: the fearless invention, the fusion of futurist rock elements and traditions from outside of the rock orthodoxy, the sense of virtuosity working in service of emotional effect. From a distance, The Mars Volta must have seemed as if they were on a high when they walked into the studio to record what they expected to be their debut album (“I didn’t think of it as demos or a dry run,” Omar says). The group had recently played the Coachella festival to rave reviews, a vindication of the quixotic risk Omar and Cedric had taken, quitting At The Drive In to lead such an uncompromising musical proposition.






Their debut EP, Tremulant, had similarly signalled their singular vision, and been rewarded with similarly positive feedback. But the truth was that The Mars Volta entered Mad Dog in tatters, scarcely believing anything other than failure lay within their reach. They’d recently lost their bassist, Eva Gardner, and parted ways with keyboard play Ikey Owens. Tensions were brewing with drummer Jon Theodore, too himself a replacement for founding drummer Blake Fleming Omar questioning Theodore’s commitment to the group. And sound manipulator Jeremy Michael Ward’s drug problem had gotten so far out of hand that he’d been sent to rehab, and wouldn’t return until two days into the Landscape Tantrums. The pressure upon Omar was intense, and it began to manifest in the form of physical and emotional breakdowns. His art was his life, but now he began to wonder if it was actually going to kill him. Under such heavy manners, miracles occurred at Mad Dog. Surely that’s the only way to describe the music contained on Landscape Tantrums, as Omar fashioned early versions of Inertiatic ESP, Drunkship Of Lanterns and Eriatarka that rivalled the Rick Rubin produced versions that ended up on De- Loused for intensity, precision and immediacy, as Cedric delivered a powerfully intimate reading of Televators, and as a bare bones version of the group sketched out the peaks of what would become their debut masterpiece in barely half a week, on a shoestring, and believing they wouldn’t last long enough to see it hit the shelves. Listening to Landscape Tantrums now, with the benefit of hindsight and the knowledge of what these songs will become, one notices Cedric has yet to fully find the voice that will lend The Mars Volta their devastating authority, that Eriatarka will evolve even further under Rick Rubin’s watch, and that the lyrics to De-Loused’s climactic chapter, Take The Veil Cerpin Taxt, have yet to be penned. But one also notices how lithe the group sound here, how hungry, and one appreciates the raw edge that Rubin would later polish to a venomous sharpness. More than mere historical curiosity, Landscape Tantrums is an essential text for the dedicated Mars Volta aficionado, and a breathtaking album in its own right.


[a] a1. Roulette Dares (The Haunt Of) [Unfinished Original Recordings Of De-Loused In The Comatorium]

We celebrate our number 30 with a double pack, featuring one of the creators of techno in Spain: Groof.

Roberto Gemelin, from Madrid, is Groof. He's Robert Calvin too. No matter which of his alias you know him by, he's one of the most active producers in the Madrid arena.

Aka Robert Calvin, he released materials with Turbo (Tiga's label) in 2004, having previously collaborated with Star Whores in a joint release with Alek Stark (2002).
Also important are the remixes he did for Disko B or for Sindicato Records and MSX, paying tribute to Megabeat with his recreation of the great classic Strange.

His background as Groof is even more extensive, as his early steps go back to the times of Minifunk (the cheeky and shameless label from Barcelona that was then managed by Omar and Dj Loe). With them he recorded Mambo! (1999) and I want you (2000). He has also recorded with WarmUp, Fieber, Rainwaves or Shareware Records.

At the end of the ninetees Groof shared Quite Unusual with Oscar Mulero: the start of a deep friendship that nowadays brings us WU30 mini-album.

'Angel exterminador' is on the A side; modern and dark techno, based on cemented beats and deep synth work. A track that is constantly growing and evolving; quality and punch in one track.

'Diagrama esporadico' goes next: relaxed BPM, 909 beats, spacey arpeggios, and analogue synth percussions for a mental feeling.

'Gummy' starts with weird flanged noises, fed with distorted drums and drones that create an elastic feeling, hence the gummy name. Scientific techno.

'Amb' goes back to darkness, subtle ambiences and drones, fixed sequences and a clever arrangement.

'Vac 04' continues on the same mood: obscure synths, classic drum machines, sharp hats and white noise.

Closing the release, 'Islands' is a liquid track based on lush keyboards, and a dubby feeling with those endless delays. A classy number.

A nice mini-album which is diverse, complex, classic and futuristic at the same time.