Cerca:about group

· Bart Davenport's 7th album since his 2002 solo debut
· West Coast yacht rock meets '80s English pop
· Produced by L.A. Takedown's Aaron M. Olson
· Confirmed live dates in Los Angeles, San Francisco, Portland, Seattle, San Diego, Vida Festival (Spain)

Recorded in Boyle Heights, Los Angeles, Blue Motel is the new album by Bart & The Bedazzled, a brand new musical enterprise by Bart Davenport and his seventh album proper since his solo breakout in 2002. Alluding to Los Angeles with the lights down, it's an amalgam sound of '80s English pop and West Coast yacht rock jams, sprinkled with cinematic flourishes clearly influenced by the understated production of L.A. Takedown's Aaron M. Olson. The jangly pop aesthetic, resplendent with choppy chorus tinted guitar, snappy snares, sax and bass is underlined with life trodden stories about day jobs, dating, financial insecurities, lost innocence and most prominently, time travel.

The album lives somewhere in an imagined past (or future) that is curiously both the 1960s and 1980s conveying the groups's nostalgia for a fantasy world with a cheeky cynicism, despite a perception of a world that is, for Bart, on the downfall. To that end, Davenport's songs are, as always, delivered with a happy and sad sensibility reminiscent of the great Burt Bacharach. From the surreal yet humorous 'The House That Built Itself' to the sad surf music of 'Halloween By The Sea' or the romantic L.A. noir of the title track, Blue Motel arrives with a spoonful of tears, a nod and a wink.

The Bedazzled band lineup, united by their love of the 'Elegant '80s', includes the guitar of Wayne Faler (Dream Boys), drums, percussion and beats by Andres Renteria (Jose Gonzales) and post-punk bass lines from Jessica Espeleta (L.A. Takedown). The four friends from Los Angeles, united in their affection for the more sophisticated sounds of English '80s groups like Prefab Sprout and Style Council give the setlist a more distinctively pop flavour compared to Bart's soulful last outing on his album Physical World, also released on Lovemonk. Blue Motel features regular appearances from female vocalist Nedelle Torrisi (Domino, Asthmatic Kitty) who notably adds the lush layers of harmony on 'The Amateurs'. Saxophonist Billy McShane is also featured on three songs with improvisations that evoke the scene of whales in outer space.

Producer Olson often incorporates soundtrack and avant-garde elements in his own work. His gift for song arrangement, understanding of the synth and penchant for subtlety all shine brightly on Blue Motel.

Spread across two 180g discs, spanning 24 cuts and served in a gatefold sleeve designed by members and affiliates, the Young Echo LP is a capsule intended for cementation through time.
It's been almost five years since their last album. As a group, extended radio submissions, prolonged studio sessions and notorious club nights make up the cogs of time. Over the course of these years, the network has grown continually, both as one, and with singular, multi-directional paths from each of the 11 artists that make up the Young Echo collective, counting Jabu, Vessel, Kahn, Neek, Ishan Sound, Ossia, Manonmars, Bogues, Rider Shafique, chester giles and Jasmine towards the crew, with projects such as Bandulu, FuckPunk, O$VMV$M, Gorgon Sound and ASDA adding to the table in their individual ways.However, this record aims not to be judged on any single producer or vocalist. It is most effective as a whole, simply titled Young Echo. Of course each of the artists has an important part to play, but it is very much about the act of balance, accepting individualism to form a greater whole.A good example is the welcome addition of new energy coming from Jasmine (1/3 of Jabu) who injects endless space with her vocals, perfectly answered by the cool-killin' wordplay of Manonmars - who makes his long awaited debut here - sharing stage with the immediate poetry of ASDA's very own chester giles, along the mighty sound of Rider Shafique, and Bogues' versatile style that can flit between rap & song within seconds. Five very different vocalists that could've tried to find a compromise, but instead choose to connect in different ways, finding their niche in the equal range of rhythms and sounds that sprawl in this shared space, the juxtaposition.
Detuned soundsystem stylings, love songs swaying in hacked up ambience, skeletal dancehall, microphone technique, dread electronics, outsider pop, this record manifests the outcome of the shapeshifting anarchy which rears it's head when no one idea can rule, embracing the diversities when one path must be made up of many.

Eternal is a piece of the best underground rap in Bogotá.
Shaby had already recorded songs that were classics not only in the rapper neighborhoods of the south of the city, but in all Colombia.
Classics of the rapper scene, classics of the city ... Eternal collects some of them, remixed and mastered, to make it clear what it is about.
(Shaby, is known as one of the founders of the mythical Bogota rap group "Fondo Blanco." What happened to this great artist after the end of the group).

But this is not only about collecting the story. Remixing and re-producing these themes that became anthems - we managed to get a wider audience, beyond the rapper who has been able to follow these stories, to appreciate the level of one of the born talents of this dirty south - of the dirty south.

Eternal is a bit of history, to remember some of the best rap themes of this South American continent.
It is also one of the best voices in the Colombian underground scene. In this album you'll find unpublished songs that have the same signature, the same power ...
It is not the return of a great artist. Shaby has always been there... preparing more of what's coming next.

For her first single, the sublime title 'Loverboy' comes out as a big urban spleen, released in a space made of asphalt and artificial paradises. Groups like Hooverphonic or even Portishead play around this throbbing softness that is Loverboy, splashing about in the electronic lounge of the 90s.

The opener, 'Alien Lady' features a flute-driven solo backed up by a funky guitar riff that then transitions into a tropical beat and Tanja narrating the story of feeling a stranger in a big city, not understanding the social codes and clues 'I don't speak the language in the way that you know' while Worth to you is a dreamy, glitched-out hypnotic track which maintains an edge of mysterious sexuality and her signature sense of intimate detachment.

If the atmosphere coming out of Lomboy's work can be sometimes felt as prude and even shy, it certainly does not intend to hide with embarrassment the aphrodisiac scent that permeates it. On the contrary, this modesty perceived in the interpretation and in the production sensually envelops the different compositions, and imparts to this guilty pleasure the feeling of a stolen kiss. Warped Caress brings us to vertiginous heights and takes us into abyssal depths throughout the five tracks. This suggests at times a diegetic representation of this erotic world seen through the insolent prose and at other times a mimetic representation where each instrument plays an important part in every story told.

Dark Entries Editions is proud to reissue Ghost Town' the 1984 debut 12' single by Mono Band from Italy. The project was conceived by producer Rene 'D'Herin and Massimo Fantinatiti aka Fantenax. They teamed up with songwriter and guitarist Luigi Venegoni aka Svengile who had previously worked with progressive and jazz-rock bands Arti & Mestieri and Venegoni & Co. as well as cosmic disco group Stratosferic Band. Treading the lines between Italo Disco and the darker side of New Wave, the trio crafted a mysterious sound. Melancholic arpeggiators, a throbbing baseline, stuttering samples, and the classic Linn drum machine run throughout the track. Vocals were handled by an uncredited Carlo Rossi who raps about a ghost town filled with fear. When female vocalist Elena Sansonetti begins to softly whisper the chorus one might get goose bumps. The trio were joined in the studio by DJ Mike aka Michele Paolino of Make Up/Mike Up, DJ Moody, Fabrice Bellini of Art Fine and producer Miceli. The song was recorded in a few days at Dynamo Sound Studio in Turin and originally released on the popular Discomagic Records. This reissue includes the original vocal version, backed with a longer dubbed out instrumental Ghost Version' on the B-side. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The 12' is housed in an exact replica of the original sleeve with an astrological photo the planets orbiting the sun. Each copy also includes a 2-sided postcard.

For fiends of: Cursed, HIs Hero is Gone, Tragedy.

Formed in 2008 in South Florida, Centuries current lineup now includes members based in Pittsburgh, Pennsylvania and Nashville, Tennessee, and in the UK from Manchester.

Since their 2013 debut Taedium Vitae (Southern Lord), the group have refined their sound into something more focused, and intense, and The Lights Of This Earth Are Blinding surges with ten new tracks of the band's harrowing, metallic, punk/crust-influenced hardcore, delivered with a calculated, very deliberate approach.
 
The album was recorded in February 2017 by Kris Hilbert at Legitimate Business (Catharsis, Torch Runner, The Body), mastered by Brad Boatright at Audiosiege (Integrity, Black Breath, Halshug), and completed with artwork by Phil Trona.  
 
About the new album the band remark..."The Lights Of This Earth Are Blinding is a dark album that carries a theme of constant self-doubt.  It follows how we choose to accept our loses and the reaction to life, as well as the journey we take to make peace with the demons we've made.' The new track 'Bygones' is streaming below.

The album is the fourth LP from FM Belfast. Broadcasting from their home on a remote island you can sense that the tracks are personal. The album has 11 tracks, 11 intimate stories to dance to. It's like you've been invited to a Cabin Fever Dance Party in their living room. The lyrics are about bliss, euphoria, trying to be a human in this strange world, friendship, of loss and growing up.
ALL MY POWER The first song of the album deals with guilt. When you're surrounded with people who wake up early and do everything they are supposed to do but you can't get out of your own bed. This will make you feel guilty. The others don't need to rub it in since you already have bad feelings about yourself. There are two characters in the song. One is a blamer while the other one is being blamed. FOLLOW ME I'm not longer blind, you can follow me". The song is about a person who is no longer blind to the world around her. It's about taking responsibility for your choices. We are not just a group of individuals, we are citizens of this planet and we can't stand idly by when powerful people are destroying it in front of our own eyes. We have ways to connect and we can band together against the hatred and violence. The rich and the greedy are taking everything and ruining it for the rest of us. Being kind is not the same as being naive, it's a choice everyone can make.

ENJOY
Enjoy life while it last. Don't watch the world go by without having a good time. "Here's to feeling alive, everywhere, all of the time".

UP ALL NIGHT
Sometimes you just postpone everything you're supposed to be doing and run away from your problems. The night is the best time for procrastination, you can hide in the dark and nobody can see you waste your life.

AGENT
Like many songs on the album, this one is about holding your head above water in this strange world we live in. It's easy to get blindsided and lost but who's going to speak up for the weak if you don't do it.

YOU'RE SO PRETTY
The lyrics for You're so Pretty originally come from a short story written by Lóa. They are about getting old without maturing. The song is about being restless and broke. Sometimes you feel like there is nothing left to do but shout.

STREAMERS
Streamers is a quiet love-story about having found the person you want to sit next to for the rest of your life and watch crappy TV together. Lyrics are by Árni and Lóa.

LEAVE A MARK
Even if things are not great today, there is always tomorrow. Leave a Mark is a personal reminder to do something about the life you are given and not waste time. It doesn't have to be important, it could just be writing your name on a wall. I little bit of "I was here" for the people who come after you.

FEARLESS YOUTH
It's a nostalgic song about being a fearless adolescent and the friends you used to have. The lyrics are written by Örvar who's also a founding member of MúM.

STROBE
The Strobe is an atmospheric track. It's made for people who want to dance in a euphoric bliss. The lyrics are like a mantra: It's getting dark so turn on the strobe. Don't think, just get lost in the dance.

THE GAME
The Game tells you to resist the power of bad people and bad governments. There's a big game being played and you don't need to participate, you can resist. The power hungry people of this world will never be satisfied but you don't have to support them.

Berlin based Japanese industrial synth duo group A make their debut on Mannequin Records with a killer 3-tracks self titled EP.
.
Tommi Tokyo (synth, drum machine, vocals) and Sayaka Botanic (violin, tapes and sampler) released 2 studio albums and 1 live album in Tokyo, before to move in Berlin in 2016. With their mixture of dark minimal synth, avant-noise, striking visuals and performance art, the duo still carries on the very breath of early industrial pioneers such as Throbbing Gristle, Die Form, Klinik, Cabaret Voltaire.

The EP was recorded in Tommi's bedroom and later mixed together with Mannequin Records head Alessandro Adriani in his own studio in Berlin. The first two tracks of the EP, 'T.O.P.' and 'Ketabali' represents the duo personal reaction against the current economy, an up yours to capitalism, news and politics, all permeated by industrial rhytmic-noises and words with no meaning.
The B2 'Alibi' instead was inspired by an autobiography of Hi-Red Centre(Japanese avant-grade art group in the 60-70's) written by one of the members, Genpei Akasegawa. Tommi found the word "Alibi" in the book and she just started singing about the group. As she never wrote lyrics for that, during their live performances they are always improvised, so changing and mutating every time.

MW present two classic Minimal Wave tracks which have been on heavy rotation for years now, Computer Bank' and Like I Am, Comme Je Suis' remixed by The Floor (Veronica Vasicka & Karl O'Connor).

Five Times Of Dust was formed in Bristol, U.K. in 1981 by Mark Phillips and Rob Lawrence. Mark had answered an advert that Rob had placed in a local record shop and later that year they went on to record and release their first tape, The Dadacomputer. A standout track from that tape, Computer Bank' is a seminal, proto-techno banger'. The Floor remixed it a while ago to DJ it out and since then have been receiving many requests about where it could be purchased.

The flip side features Unovidual & Tara Cross' Like I Am Comme Je Suis'. It appeared on our first compilation entitled V/A The Lost Tapes LP, in 2006. Unovidual was a Belgian producer involved with the Micrart Group (Autumn, Linear Movement, Twilight Ritual) and Tara Cross, a long lost girl from Brooklyn' who used to play in small NYC downlown clubs alongside Madonna during the early 1980s when she was still an unknown. Unovidual and Tara collaborated on several tracks through the mail during this time as well as in the studio. Like I Am Comme Je Suis' was recorded in a studio in Ghent, Belgium in 1985.

We find both of these tracks prime examples of innovative and pioneering synth wave tracks that work on and off the dance floor. And through these mixes, The Floor aim to stay true to the artists' original intentions whilst making the songs more dance floor oriented.

Featured alongside these remixes, are two unreleased tracks. Rob Lawrence's Armoured Car' which at one point was released on a compilation CD as Robert (not to be confused with Rob Doran from Hard Corps) and Unovidual's Imponative', a beautiful minimal synth track which has remained unreleased to this day.

The Five Times of Dust / Unovidual & Tara Cross EP is pressed on standard weight royal blue clear vinyl and housed in a hand stamped disco sleeve. Limited to 600 numbered copies.

Everybody who knows Connaisseur, will probably be aware of the fact that we simply love the concept of remixes. To fnd the right person for a specifc track in order to turn an already amazing original into a new direction, is always an exciting challenge. Of course, there is always some wishful thinking on our side about what it will turn out to be like. Usually, we are completely wrong, which however doesn't mean that we are not happy with the result. Usually, we love the result even more than our own brainchild. In April, we released Of Norway's sophomore album
"The Loneliest Man In Space", a diverse masterpiece.
Since then, we have been searching for remixers whom we personally really like and of whom we are sure they can turn the track into a direction we can't even imagine. It was a bit of a journey, but now after the product ist completed, we are more than happy that we were able to bring such a group of remixers
together on one product.
As every remixer has delivered such a great interpretation, we decided to give each of themenough space to be discovered, which is why we will be releasing one remix per week over the course of two months. A selection of these remixes can be found
on a 12" extract. One extra remix is exclusively for radio and streaming.
For the vinyl extract we picked the interpretations by Lauer, Panthera Krause, Legowelt, Davis & Zopelar and Roy Of The Ravers.

Legendary James Brown's protégée Martha High teams up with mighty Japanese Osaka Monaural to pay homage to "JB's Funky Divas" in her new album "Tribute to My Soul Sisters".

Original Funky Diva Martha High has been an integral part of James Brown's life and career for more than 30 years. She was his backing vocalist, hair stylist, payroll master and his always loyal and reliable confidant.

The idea for this project was hatched back in 2014, when Martha was visiting producer DJ Pari, head honcho of the Soulpower organization and manager of soul legends like The Impressions, Lyn Collins and Marva Whitney. While reminiscing about tours with her fellow James Brown veterans, Martha felt that a tribute to the great soul sisters of the JB Revue, better known as "James Brown's Original Funky Divas," was very much needed.

"I looked up to these ladies of soul," says Martha, "Given the opportunity and the pleasure to perform their songs, is my way of saying: thank you, you're not forgotten. To record the music of the Funky Divas, would mean a lot to Mr. Brown. He always wanted the world to know he had powerful women on stage that could hold his crowd while he was off the stage. They were just as powerful and funky as he was."

Without further ado, following DJ Pari's advice, Martha partnered up in Tokyo with one of the hottest names of the new funk renaissance: Japan's Osaka Monaurail. Deeply influenced by the work of James Brown, Bobby Byrd, Curtis Mayfield and with nine albums under their belt, Osaka Monaurail have been leading the international funk scene for more than two decades, appearing at festivals such as Montreal Jazz Festival, North Sea Jazz Festival and Womad's, as well as recording and touring with funk legends like Marva Whitney and Fred Wesley.

This unique collaboration gives new life to 13 soulful pearls, masterfully interpreted as only an Original Funky Diva can do. To name a few: "Think (About It)", made famous by the female preacher Lyn Collins, "Mama's Got a Bag of Her Own", Anna King's answer to Brown's "Papa's Got a Brand New Bag," "This Is My Story", of which Martha recorded the original version with The Jewels, and the soul classic "Answer to Mother Popcorn" by Vicki Anderson.

Born in Victoria, Virginia, and discovered by rock 'n roll pioneer Bo Diddley, Martha started her career with the soulful, legendary doo-wop group The Four Jewels, with whom she scored the national hit "Opportunity" in 1964. Soon, The Jewels caught the attention of James Brown and joined the James Brown Revue in 1966. The Godfather of Soul recorded and released several songs featuring The Jewels until the group disbanded. Nevertheless, Martha stayed with James Brown and continued to work with him as his personal vocalist for 32 years. She was with him at the Boston Garden during the iconic 1968 gig after Martin Luther King's assassination. She was by his side when he performed at renowned "Rumble in The Jungle" event in Zaire. Mr. Brown produced several of Martha's singles on his own People label such as "Georgy Girl", "Try Me" and "Summertime." Meanwhile Martha launched her solo career in 1979 with the self-titled debut LP for Salsoul Records. Since, she has released five albums under her name and, being one of the "hardest working women in show business", she became one of the leading singers of saxophonist Maceo Parker's legendary funky music machine, working with him for 16 years.

Throughout her career Martha has shared stages worldwide with iconic artists like Little Richard, Jerry Lee Lewis, The Temptations, Aretha Franklin, B.B. King, Stevie Wonder, Prince, Michael Jackson and George Clinton. Martha has been carrying the torch of soul music for her whole life, like a true soul sister. Now, with this new effort, she is keeping the music of the Funky Divas going, and we are sure that the Godfather of Soul and her faithful audience would appreciate it.

After more than a year of silence, the French duo VTCN RADIO releases its debut album "'Mydriase"

Mysterious and audacious odyssey, 'Mydriase' presents itself as a sensory and confidential journey. Fruit of a nocturnal composition guided by a need of musical introspection and a decisive encounter with an owl, the writing of this album will cut off its creators in an alternative reality for three years. Behind VTCN RADIO are the French producers Nathan Bokobza - a pianist fascinated by the romantic repertoire and the harmonic research of the impressionists - and Louis Martinez, a guitarist passionate about digital technologies and their uses in the process of sound creation. The group revealed its existence at the end of 2015 with the esoteric Riddle Song and continues to surprise the spirits with the release of the compositions Late Night Shuttle and Venus Flytrap in 2016, before creating in 2017 their own label "Five to Six Records". VTCN RADIO presents with Mydriase an experience based mainly on the dialogue between two entities - a dark, deep and a purer and luminescent - to constitute an elegant music, and ambivalent by its capacity to propose different interpretations. This self-produced album marks the first release of their label Five to Six Records, and presents us for the first time in a broader way the hallucinatory and singular universe of VTCN RADIO.

Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs - Fetus, Pollution and Sulle Corde Di Aries - that formed a confluence of avant-folk sensibilities and analog electronics.

Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it "genius."

While Battiato's core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone.

Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll.

Superior Viaduct is honored to present the first-time domestic release of Pollution on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

Professor Rhythm is the production moniker of South African music man Thami Mdluli. Throughout the 1980's, Mdluli was member of chart-topping groups Taboo and CJB, playing bubblegum pop to stadiums. Mdluli became an in-demand producer for influential artists (like Sox and Sensations, among many others) and in-house producer for important record companies like Eric Frisch and Tusk. During the early '80s, Mdluli projects usually featured an instrumental dance track. These hot instrumentals became rather popular. Fans demanded to hear more of these backing tracks without vocals, he says, so Mdluli began to make solo instrumental albums in 1985 as Professor Rhythm. He got the name before the recordings began, from fans, and positive momentum from audiences and other musicians drove him to invest himself in a full-on solo project. It was the era just before the end of apartheid and house music hadn't taken over yet. There wasn't instrumental electronic music yet in South Afric a. As the '80s came to a close, that was about to change. Professor Rhythm productions mirror the evolution of dance music in South Africa. They grew out of the bubblegum mold - which itself stems from band's channeling influences like Kool & the Gang and the Commodores - into something based on music for the club. His early instrumental recordings First Time Around and Professor 3 mostly distilled R&B, mbaqanga and bubblegum grooves into vocal-less pieces for the dance floor. Musically, these were a success and commercially the albums all went gold. There were countless bubblegum albums flooding the marketplace, with nearly disposable vocalists backed by mostly similar-sounding rhythm tracks. Most of the lyrical content was light and apolitical. But the keyboards used formed the musical basis for what would come next. By the time Professor 4 and this recording Bafana Bafana - the name references South Africa's national soccer team - were released in the mid-1990s, k waito had fully emerged. Access to instruments and freedom of expression helped its rise in influence among youth. According to Mdluli, "Once Mandela was released from prison and people felt more free to express themselves and move around town, kwaito was becoming the thing." Lyrically, kwaito championed the local township lingo while adapting "international music," house music, into the local context. "International Music," as house music and early kwaito were interchangeably known, in many ways reflects the sounds coming from America. But South Africans made it their own. Today, the largest part of the music industry is occupied by house music and its relatives.

The annual Deep Love compilation has become one of our most important releases to showcase what Dirt Crew Recordings is all about. It gives us the chance to highlight and welcome new faces alongside the residents who keep the Deep music we stand for alive. This year more than ever we have artists from all over the World, from Japan to Canada and Lithuania to Austria represented. The man the myth...Mr. Nightcrawler himself is back with another masterpiece. True to his usual unique blend of many styles, Nachtbraker has delivered typically off-kilter 'Cobi Cabani' with crashes and sound design that punctuate a freaky bass and rippling lead. Dropping in for his debut outing on our label, Viennese resident of Sass club and founder of the 'Secret Crunch' imprint, Roman Rauch brings the filtered Disco House. Ripe with fruity percussion and deeply ingrained groove, 'Sweet Ears' breathes and builds keeping up energy to work bodies throughout the cut. Close friend of the Dirt Crew family and member of Detroit Swindle's Live super group, Lorenz Rhode is an extraordinary artist who's not only active in the House Music scene but also created his own Big Band, the Rundfunk-Tanzorchester Ehrenfeld. He gets right to it in 'On Top' a legit live key and bass jam with all the funk from a seasoned jazz musician. From across the Atlantic we have Toronto's Jesse Futerman teaming up with Dan Only, Jesse remixed Harry Wolfman's last EP on DC and is known for his laid back house grooves.

As BPMF started making techno again, he surveyed his techno friends asking them what it was about his music they found the most annoying. The answers TR-606 hi-hats and portamento.
He proceeded to focus on these aspects of his music and today the results are here: "Abide the Glide Volume 4" wherein BPMF is pushing all the right buttons to get the DJ thinking about the sounds their pumpin. Jamie Morris provides an excellent DJ freindly remix of "Even Straighter", taking BPMF's idea and going even straighter.Old Man Raver Pants" proves that a 50 year old man can still party, so long as he's wearing his raver pants and while there's been alot of talk about alternative facts, "Alt-Slacks" is a dub inspired jam that seems like it's narrative might fall apart at anytime.Schmer label head BPMF has been making electronic music since 1984. As Free World released cassettes, was entered by WFCS into CMJ's Best Unsigned Bands competition and in 1985 earned the duo a spot on an Epic Records compilation. In 1986 they released "Amagi", an eclectic collection of experimental electronica inspired by underground new wave and industrial music of the 80s.BPMF and Taylor Deupree formed Decameron and released two cassettes on Havoc Music. Some tracks would appear on early techno CD compilations under pseudonyms. Havoc Music's own compilation "Techno Criminal Sub Cultures" is where BPMF first appeared in 1991.
With Dietrich Schoenemann and Taylor Deupree, BPMF assembled classic early 80s analog gear and as Prototype 909 they released "Acid Technology" on Instinct records; performed their first live show, met Abe Duque who invited all of his techno friends to the legendary Limelight Club in NYC. BPMF brought records and gear jammed live with them. The Rancho Relaxo All-Stars would release three albums and tour Europe together even destroying the original Ultraschall in Munich, quite literally tearing the place down. With John Selway, BPMF channeled early electro and new wave sounds forming Synapse and creating Serotonin Records to bring the funk back and help give birth to the electro revival scene.Prototype 909 recorded four albums and played 70+ shows. Synapse was the first American electro group to play live in Moscow. BPMF released tracks on Serotonin, Schmer, Instinct, Analog/EMF, Tension/Rancho Relaxo Records. His approach to electronic music is hands on and experimental, so more than having a "sound" his music reflects his values: spontaneity and a sense of urgency.

180 g 12"

NAISSANCE MUSIK proudly presents ELEPHANTOMS, the second EP, produced by HEAR and SAN PROPER.
Elephants represent past and present, but also part of our future.
They are among the largest and oldest animals on earth - powerful and yet fragile, eternal and yet almost extinct. When you think about music, similar ideas come to mind - of course the power of sound and dance, the energy of the party because of that group-feeling of the herd, but also the fragile aspect of harmony, the quality of family that is so difficult to reach in a formation of individuals, plus that moment when the music adapts to the people, and the people adapt to the music.
Elephants are phantoms in music, they haunt dancers and listeners. But they haunt us in a positive way, to remind us with the idea that we are part of a refreshing and renewing cycle, the circle of life. This is why this elephantism' brings awareness, love and care to your sound-system, think about it and remember.
(the first track Up the Hill' starts the journey and will make you climb the first mountain, then The Groin allows you to copulate and get sexy with your crew through the tune. Macha Moves brings laughter and tears after sex, makes sweat in the late hours but whips up breakfast and morning-glory at the same time, while the last track is a medley of memories, for an Elephantom remembers everything...).
ELEPHANTOMS is the collaboration between HEAR & SAN PROPER, two dedicated musicians who have created this EP in Canada, Lebanon, Holland and Germany in honour of a dying breed which is close to extinction.
This is for the spirit of the elephant.
While you purchase this piece of music, please also look into the right organisation to donate and help these dinosaurs before they will haunt you like phantoms. (Manuel Benguigui)

The second release of Dilated Pupils on their own platform DPBEATS.! Techy yet classy vibes.! All beats are ready for the club.!

About DP:
Dilated Pupils is a collective group of likeminded friends home-based in the Netherlands. When forces are joined in one of their many studios each individual brings his own influences and styles to the table. Together they share a distinct flavor in productions and raw one-take jam sessions created with the use of analogue machines and often recorded on tape. Each of them have their own solo productions as well as other collaborations, but when united as Dilated Pupils they prefer to be known jointly as one entity with their own unique and distinguished sound. Since 2014 the group has developed an interesting and widespread discography with releases on labels such as Fear of Flying, Sol Asylum, Mode of Expression, Tabla, Music is Art, Dorcas, Make Sense and Mayak

A FISTFUL OF WAX is an extension for some very special projects of our beloved deep house SKYLAX RECORDS' sub - label WAX CLASSIC. A Fistful of Wax is back with its fourth volume! This offshoot originally began as an avenue for showing off some of the overflowing great talent we have floating about the Wax Classic sub-label, but with the growing reception of our previous three releases, it has developed itself into its own uniquely successful imprint. In a time when a lot of the hot records of the moment are made by highly distinguished producers with years of success under their belts, it is easy to forget how much good house music can come out of the underground by relatively fresh names. With AFX4, we are only scratching the surface once again, yet we have 5 special tracks from a group of producers who, if not already, will stay on your radar for the foreseeable future.The A side features tracks from Erman & Abtomat (of Série Limitée Records fame) and Kid Mark (Head honcho of Killax Recordings). We start off deep with the aptly named 'How Deep Can You Go', easily the most soothing of the bunch. 'Fantasy '95' takes it up a notch for those who wish to, with classic 90s chords and accompanying bass and horns. Over on the flip side, we hear 'Won't Get To Heaven' by Californian newcomer, An Expresso. Being a self confessed New Jersey style house addict, this hits in all the right places for those familiar with the sounds of NJ legend George Lockett Jr, aka Jerzzey Boy. Shin continues things with 'Phara', a percussive stormer with one of the hardest hitting leads you will hear for a good while. This one is a sure fire hit! Last, but by no means least is Rosenhaft's 'Voyager'. Fans of early UK Garage, perk up your ears because this could have easily been a tune you would have heard on your favourite pirate radio station back in '97.If you are still on the fence about the record at this point, you are in the wrong place. This record has it all for lovers of the 90s house sound! Whether you are of the deeper persuasion or the more garagey persuasion, the US or the UK side of things, there is something here for almost everyone on A Fistful of Wax 4.

Profusion (noun): an abundance of something rich.

The sonic partnership of K15 and Emeson originated in the days of MySpace. A future of combining their skills was inevitable, and now in 2017, it's time to unleash their debut studio album into the ether.

The solo-projects of Tottenham-raised Kieron Ifill (aka K15) date back a decade, but were truly kick-started on labels such as Kyle Hall's Wild Oats and WotNot Music, with a number of genre-crossing releases dropping ever since, including the WU15 project (along with Yussef Kamaal's Henry Wu, on Eglo Records). Additionally to his production work, he has established himself internationally as a DJ, from the Jazz Cafe to the CoOp parties.

Partner in Profusion, Emeson, has many skills to his bow - singing, songwriting, producing, promoting, DJing (under the alias Ed Nice) and acting. As a musician, his varied skill-set has seen him work with Chico Hamilton, Carla Duke, Karmasound, Uzo Madu and Chris Jerome. A frontman for soul-jazz groups LifeSize, The One and Saturn's Children, he has featured on releases for BBE and Tokyo Dawn, and appeared live on stage at the likes of Ronnie Scott's.

The debut single was supported by tastemaker blogs Wonderland, XLR8R and Stamp The Wax, has been bumped by selectors such as Lefto and Jazzie B, and played on NTS, Worldwide FM, Mi-Soul, LeMellotron, Balamii Radio, Itch FM, Invader FM, Soho Radio and various stations across Europe and the US.

This album is full to the brim with summery sun-soaked synths, drifting across the warmest of basslines and heavyweight beats. Emeson's rich vocals gracefully ride atop of K15's delectably bruk twist on neo-soul sonics and electronics, this is some seriously classy contemporary London soul music, that manages to incorporate flashes of various dance music techniques, sound-system etiquette and jazz-tinged rhythms. As future-thinking as it is subtly retrospective, it doesn't lend itself to one genre, it intentionally embodies the best of many. An array of everything that is great about British black music in 2017. The message the album conveys itself couldn't have come at a more poignant time. Where do we begin

Profusion - an abundance of something rich indeed.