Buscar:anthem

Music Mania is proud to present the next instalment in their Reprise series. Following the highly sought after classic 'Elle et Moi' (MMR001), comes the blissful Belgian synth pop anthem 'Crocodile Tears' (MMR002). The track was one of the first singles of Kuruki, the minimal wave project spearheaded by Ghent-based musician Gerry D'Haeyer and Alain Bureau (Sally Joy). In an age of electronic sequenced experimentation, the band managed to find a distinctive sound that easily puts them between the likes of Telex. The original ep 'Such A Liar' was released in 1981 and clearly echoes the new wave of its time. The scenes described by vocalist Sally Joy as well as the melancholic keys of the main track 'Crocodile Tears' breathe tristesse. Nevertheless, it has a playful sound full of catchy synths. A dualism between such beauty and melancholy: this track was undeniably made in Belgium in the eighties, but should also appeal to lovers of Italo Disco.

Be aware: for their second reprise Music Mania managed to include an exclusive instrumental version of this Belgitude. Even more synths for your listening pleasure.

I-f, Adult. And Electronome with their versions of this Detroit electro anthem by the Detroit In Effect boys. Remastered for the
Westcoast!

Auke Riemersma (aka Aux Tha Masterfader). Erio Simonini and Gilberto Caleffi (aka Disco Doubles). Together this partnership from The Netherlands and Italy form Light Cycles, a trio raised on sci-fi sound tracks and smouldering synth anthems. These influences are omnipresent in the group's debut 12': Flowing. Addictively catchy hooks and clean beats are central to the Light Cycles' sound with their dazzling melodies glimmering across the 12'. Elements of disco are folded into these spirited compositions as this forward-looking triumvirate marry past inspirations with a hope-filled future. Seamless radiance. Simply put, Flowing.

Shlomi Aber presents his third album 'Linear Equations'. The ten-tracker LP closes the ten years celebration of the label and follows his 2010 album 'Chicago Days, Detroit Nights' on Ovum Recordings. Through carefully crafted EPs on NonPlus, Figure, Be As One and more recently Odd Even and Drumcode Ltd, Shlomi's sound has continued to evolve and refine with his Linear Equation album. The LP opens up with 'Interior', setting the tone for an introspective journey that will take you from the dub infused techno of 'Echo Mission' and 'Fractions' to the acidic trip of 'Midnight Spooks' and 'Mod3333'. Hypnotic techno on 'Eimeon' and 'Fall Into Wonder' flirts with broken beats on 'Installer' and climax with the floating percussions and anthemic pads of 'State Of Sorrow'.

Dapayk Solo, Berlin based producer and veteran of the minimal techno scene, announces the release of his 10th studio album 'The Calling'. This latest project will be the producer's first solo album since
2015. The 8-track double 12inch LP will be available via Dapayk Solo's label Mo's Ferry Productions and comes with a free download voucher for the extended 12-track digital album.

The first track on this LP 'The Calling' shares its name with the album and starts off with a pang of energetic, chopped beats before exploding into a brassy melody, continuously gaining momentum.
'Blackout' immediately announces itself as a next generation Detroit House anthem. The rolling synths, hi hats, and vocals make this one of the most outstanding tracks on the album. 'Aurora' stays true to its name with a buildup composed of throbbing ethereal synths that give the track an otherworldly vibe. 'Flood' transports listeners to the dancefloor with its pulsating bassline combined with Komplement's quaint vocals.

The second part of the album begins with 'After All', one of the most enticing tracks on the album. It combines the groovy rhythm of four to the floor percussion with tantalizing vocals by VARS before New Release Information 'Low Tinnitus' reverts to Dapayk's signature minimalist sound. The transition into 'Wanderer' continues the momentum built up by the previous tracks. The closing 'Walk With Me' is a deep-house jam that features a rhythmic shaker layered under Mental Bend's powerful vocals.
Dapayk Solo, alias Niklas Worgt, isn't afraid to try new things. With 5 aliases under his belt, he continuously strives to experiment with different styles and production techniques to create innovative sounds. Throughout the span of two decades he went from producing drum'n'bass to house to ultimately crafting the groovy, edgy techno sound that he's now known for.

With more than ten LP releases and over 70 single releases on his record, he is one of the main protagonists in the world of underground electronic music. In 2017, he released an LP titled 'Harbour' with his wife Eva Padberg under one of his many projects, Dapayk & Padberg. While that album aimed to steer away from traditional club beats, 'The Calling' sees Dapayk reassume his deep, dark, and infectious sound. While Dapayk is often categorized as a minimal producer, the LP proves that he is capable of extending beyond the scope of a single genre. 'The Calling' is just another example of why Dapayk has managed to stay in the scene for so long: he loves electronic music and he's great at
making it, too.

Gabber Eleganza was born as a curated blog archive in 2011, an open research about rave subcultures mainly focused on the gabber and post-rave aestethic. The central ambition of the web archive was to become a source of research material on different topics: contemporary folklore, suburban euphoria and post-rave phenomena, revaluing a denigrated subculture through a new cultural lens.Over the years, the magnitude of the project has reached individuals far beyond the hardcore scene. Alberto Guerrini, the Italy and Berlin based founder, has since taken his project offline by producing zines, radio podcasts and garments. He currently tours as a DJ act or with a live performance dubbed The Hakke Show - an old-skool rave/hardcore DJ set with gabber dancers performing onstage: fast, air cutting moves, powerful thanks to their primitive intensity.In the past year Guerrini has brought the Hakke show to festivals: Club to Club (Turin), Resonate (Belgrade), performed as a DJ alongside Lorenzo Senni (Warp Records) and toured cities including Oval Space in London, Niebo in Warsaw, Janus/Berghain in Berlin, Ex Dogana in Rome, Empty Gallery in Hong Kong, etc. Guerrini has hosted radio shows on three London stations: RinseFM, NTS and Radar Radio.

Three clean-cut anthems for the studio debut of Gabber Eleganza, the anticipated new form for the archival and performative project created by Alberto Guerrini in 2011. Now updating the contemporary folklore with his analog grit. Try not to get your attention diverted once again. And keep calm under pressure.First volume of the Never Sleep series. Limited edition vinyl. Includes DL card.

A - 45 rpm - cozy - Get Used to Me'
An emphatic anthem from the mouth of a young woman with something to prove, this track is a bold first statement, both in production and lyrical content. With this track on wax, Im gonna be around for a while, so you better Get Used to Me!

B1 - 33 rpm - cozy - Useful'
A piece created by someone tired of being underestimated, Useful might come from a place of frustration, but overall its a reclamation of power and agency. You havent been utilizing my ability to its greatest potential'

B2 - 33 rpm - cozy - Hip Hopity'
A funky closing piece to this EP, Hip Hopity just wants you to shake your thang around! Encouraging those of all dance ability to move their body and have a good time with their friends.

cozy is a songwriter, rapper, producer, and musician who currently operates out of Vancouver, British Columbia. Originally hailing from the small village of Cumberland, cozy has small town roots that have heavily influenced her art. With her music, cozy hopes to bring people into her world of experiences and give them as clear a picture of her perspective as she can. Throughout her songs, cozy weaves strong lyrical themes of femininity, sexuality, and reclamation of personal identity within a vulnerable context of self examination.

Tadd Mullinix first made a name for himself as Dabrye in the early 2000s with a pair of instrumental albums combining the rhythmic finesse of Detroit hip-hop with the ingenuity of electronic music. But instrumental beats were only a temporary goal, a way for Mullinix to catch the ears of MCs. On Two/Three, his second Dabrye album for Ghostly International, Mullinix brought together a formidable crew of local and national talent to make the statement he'd always intended. Released in 2006, Two/Three o-ered a fevered vision of rap's future that remains just as intoxicating a decade on. Ahead of the long-await-ed conclusion of Dabrye's hip-hop trilogy in 2018, Ghostly is reissuing Two/Three.

Dabrye's move towards rap began in 2004 with the album's first single, 'Game Over' featuring Jay Dee and Phat Kat. An early inspiration of Dabrye's, Jay Dee invited Mullinix to his crib in 2002 for a listening session during which he picked the 'Game Over' beat to rap on. Crucially everyone involved was in accord that despite perceptions of their respective work this would be a hardcore rap song. Together with Kat, Jay delivered a one-two lyrical punch on 'Game Over' that no one saw coming. Detroit made the world go round and everyone's head spun. 'Game Over' set the tone for the album and, over the next few years, became a Detroit anthem — shortly after Jay's passing in 2006 the audience at Movement Festival sung his verse.

Moody, propulsive, and above all ambitious, Two/Three emerges from a sonic stew of Detroit and UK dance music, Jamaican sound clashes, and hip-hop sampledelia. The guests, a who's who of the mid-'00s underground rap scene, engage in a raucous rhyming session that pays as much attention to the realities of the streets as it does world events. MF Doom, Wildchild, Vast Aire, Beans, and AG represent for the various coasts while local talents — Waajeed, Ta-Raach, Invincible, Finale, Kadence, Guilty Simpson, Big Tone, Phat Kat, and Jay Dee — bring Two/Three alive with an infectious energy. In between bursts of raw rap and hard beats, Dabrye showcases detailed instrumentals that evoke bleak industrial futures, underwater meditations, and smoky late night sessions. With Two/Three Dabrye placed himself at the forefront of hip-hop's new wave, throwing a Molotov cocktail into the rap world as uncompromising as the head-twisting cover art from WK Interact. The independent press praised Mullinix's audacity. Over the following years the impact of Two/Threewas felt in slow increments as Dabrye's music became central to the sonic makeup of a new generation of producers. As this beat scene grew and moved away from rap, it showed Mullinix the influence of his work and the value of his vision for Dabrye as his own brand of Detroit hip-hop.

Mr Bongo brings another Brazilian rarity to the masses with this sublime reissue of Tim Maia's Disco Club. Recorded in 1978, it's a latter-period gem from the larger than life legend, combining the glitz and glamour of disco's heyday with Maia's raw funk and soul roots.
When Maia first heard Little Richard as a teenager, he knew what kind of singer and artist he wanted to be. Five formative years spent in the US, where he ran wild in NYC and joined a
doo-wop group called the Ideals, did little to dampen his enthusiasm for black music.
Stirred by the civil rights movement in the US and driven by a punk spirit, Maia went on to blaze his own trail through the early 70s over the course of four successful albums for Polydor. Moving away from the straight MPB, Tropicalia and international rock dominating the airwaves, his sound represented a new black Brazilian consciousness. When he sang, he could be raspy and defiant one moment ... and then romantic and reflective the next. But always on a groove and with a hook. It was an irresistible combination.
Yet by 1977 he was bankrupt and in limbo having first joined a religious cult called Superior National and then alienated listeners with his first album sung entirely in English. To complicate matters further, Brazil was feeling the Saturday Night Fever. Gloria Gaynor, Chic and Kool & the Gang were dominating the charts and filling hotspots such as New York City Discotheque in Ipanema and Frenetic Dancing Days in the Gávea Mall.
Maia left his usual band and went into the legendary Estudios Level with a mighty ensemble of Rio's finest including Paulinha Braga on drums, Jamil Joanes on bass, Robson Jorge on clarinet, Hyldon De Souza on guitar, Sidinho on percussion, trombonists Edmundo Maciel and Darcy Seixas, and Juarez Assis on tenor sax.
Arranger and keyboardist Lincoln Olivetti was a crucial presence during these sessions. He added that all-important string flourish and brassy joy to the uptempo tracks while giving the
star enough room to express himself. The album kicks off with a trio of floor fillers: the exuberant party starter 'A Fim De Voltar', a sing-a-long anthem in 'Acenda O Farol' and the undeniably funky hit 'Sossego' (file that one next to Fatback).
But then Maia drops it down and gets existential on 'All I Want', questioning the meaning of happiness. He also shows his tender side on slow burners such as 'Murmúrio' (written by the great Cassiano) and 'Pais E Filhos', the latter featuring a supersoft bed of harmonies you can't help but lay down on. But the party ain't over and mid-tempo groover 'Juras' gets the feet moving again before 'Jhony' sends us swaying off into the night.
Maia's appetite for excess would eventually get the better of him. But Disco Club is the sound of an unpredictable genius on top form. Get ready for the time of your life.

Off the back of Rudeboyz follow up EP entitled Gqomwave, Goon Club Allstars are back with an EP from UK Funky producer KG. In 2007 Karen Nyame, otherwise known as KG, was at the Nottingham Trent University producing beats on Fruity Loops. Slightly isolated in Nottingham - away from the UK Funky scene's London epicentre - KG posted her tunes on popular UK Funky message boards and Facebook pages, but never had an opportunity to properly stake her claim as one of the scene's heavy hitters. 808 and Midnight (Flute Riddim) are two lost anthems from that era, although receiving support from the likes of Marcus Nasty and others, they were largely forgotten amongst the numerous stand out tracks of the era, appearing rarely in mixes of those lucky enough to have digital copies. 808 is the party anthem, it's joyous, quivering melodies ascend above the thumping kick drum, while relentless crashing snares and carnival whistles rain down - guaranteed to heat up the coldest of dancefloors. Midnight (Flute Riddim) on the flip side is the softer, slinkier bubbler. Built for smouldering club action and hot sunny days. BSNYEA is a new addition to Goon Club Allstars' burgeoning family of artists. Hailing from the Bronx he is a veteran of the Borough's Litefeet genre that soundtracks the performances of subway dancers cross New York City's transit system. On his remix of 808 he focusses on the whistles and gutter synth lines adding in booming bass drums and lock inducing chants. Hitmakerchinx comes fresh from his anthemic Night Slugs compilation. Bringing his signature FDM energy he drops the tempo and builds on the light, airiness, letting the flutes play out softly underneath the thumping drums.

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.

This record is special release for the label. It's a tune I have been chasing for years and just had to get released so that everybody can own a copy. Originally written in 2006, Snow Forest was a Slew Dem anthem and when I got to know Spooky in 2009 it was one of the first tunes I asked him for. Rarely given out to anyone, it was one of my favourite dubs but I always dreamt of putting it out on my label. After finding the original CD that Spooky gave me back in 2010 the time was right to finally get it pressed up on vinyl and in the shops. Backed with Funky Dub, a tune from 2009 that still gets a massive reaction.
This release shows that good music is timeless, simultaneously cartoonish and menacing with a blend of rudest bass and daftest melody in a proper UK style.

10" aqua green coloured translucent vinyl in pvc sleeve with sticker

Repress

So, in the spring of 2017, Fritz dusted off his old drum machines and his Jupiter 8 and immersed himself in the sounds, that first brought him to electronic music twenty years ago and which were to form the basis for his present album 'Drown'. At the beginning of his career it was about establishing himself through a new approach for Fritz. Now it is about celebrating those sounds and their liberating effect on our consciousness. The focus is electronic music as Fritz Kalkbrenner first got to know it in the German capital's now legendary Techno and House clubs as an impressionable young man. The cut, that leaving out the now so familiar baritone voice represents, opens the door to a whole world of electronic music, which is suitable for home listening as well as for the club.

There are no confining conventions on these 12 tracks and at times one could also say: no restraint. Fritz Kalkbrenner indulges in his fascination for Dub Techno, in clear and dominant House arrangements and also in the anthemic melodies that shine through the tracks several times on the new album.
Fritz underlines this new beginning, which is at the same time a reflection on his own beginnings and his own origins, by choosing not to appear on the album's artwork himself this time. Instead of a picture of him, there is a great, atmospheric landscape painting. The brush strokes form the bank of a river or a lake. They are abstract, which makes them all the more expressive. It is the work of Fritz' grandfather, the famous East German painter Fritz Eisel and its title is 'Winterabend (winter evening) in M.'. It was created in 1990, when Fritz was nine years old.

* THE No.1 Wigan Casino and Northern Soul anthem
* THE most valuable record in the world
* THE first ever legal reissue, outside of Motown
* THE last record ever played at Wigan Casino

EXACTLY 40 years ago the original copy of Do I Love You' arrived on these shores and, for the first time the true identity of its author and performer was revealed.
The story of the world's most valuable record has been told many times and perhaps most authoritatively by Tim Brown in his book 'Wigan Casino Years'. In brief, here are the salient facts...
The tale begins in 1976 when Northern Soul pioneer Simon Soussan gained access to the Motown archive in Los Angeles where he discovered, and purloined, the original, promotional 45. At the time Soussan was the main source for rare Northern Soul that debuted at the famed Wigan Casino, and in due course he sent an acetate of the track to the club covered up as by Eddie Foster. It was an instant hit with the Casino dancers and soon attained exalted status.
By 1978 Soussan had turned his back on Northern Soul and sent his entire collection to the UK to be sold piecemeal. The original label of the disc was now revealed as the Motown subsidiary 'Soul' and the artist was the Motown writer Frank Wilson. The 45 was sold to record collector Jonathon Woodliffe for the handsome sum of £250. After the near collapse of Northern Soul in 1981 Woodliffe's attentions turned to Jazz/Funk and he traded the disc to former Wigan DJ Kev Roberts for £500's worth of disco twelves!
For 9 long years the legendary record languished in a frame on the wall of Roberts' Staffordshire home until a pending divorce prompted the sale to collector Tim Brown for, at the time, the unheard of sum of £5,000. It remains the property of Tim Brown to this day, the pinnacle of a lifetime of record collecting.
In 1997 Detroit producer, Frank Murphy, sold his entire record collection to Anglo-American, a company owned by Martin Koppel and the aforementioned Tim Brown. Lo and behold, a second copy of Do I Love You' was found and subsequently sold to Scottish DJ Kenny Burrell for an inflated sum of £15,000. In 2008, Burrell's copy was auctioned for a staggering figure in excess of £25,000 making history and further cementing the iconic status of the world's most collectable 45.
Today Do I Love You' has transceneded the strange world of Northen Soul and has become enshrined in the wider public's concsiousness due to mainstream radio play, TV advertising (most recently the 'Happy Egg Co.') and in 2017 an appearance on the country's most popular TV show Strictly Come Dancing.
Now you too can own a copy of Do I Love You'...

East Londonder Sukh Knight has remained one of the most consistent dubstep artists over the past decade, through a long list of releases on Hench, True Tiger and New World Audio among other record labels.

The Scorpion EP remains on level, boasting a variety of heavy bass music styles - from the gritty dubstep sounds of the title track, the digital bonus Foot Soldiers and First Contact, to the anthemic 93BPM roller Creation and finally DJ Madd's percussive, deep 160BPM remix of Scorpion. A well-rounded bass music record for the heads - don't miss.

Nottingham's Origin One returns with another bass heavy anthem. Traversing roots reggae, hip hop, dub and steppers this is a perfect example of Origin One's style of production, eclectic in influence and heavy on the bottom end. As the title may suggest the track is a tribute to the herb, delivered by Ghanaian born MC/rapper Kweku (K.O.G) who absolutely destroys the track. Already getting spins on some of the UK's biggest soundsystems, this should see some heavy rotation!

Following his return with 12s on Vakant and Boddika's Nonplus throughout 2017, Avatism lands on Parachute with 4 '90s-inspired emo-trance breakbeat summertime anthems for people who despise summer. Vinyl comes with a digital download featuring a track we couldn't fit on the record because we are not good with maths.

Art pop meets Mongolian throat singing, Blade Runner meets Walter Carlos (Clockwork Orange), Tom Dissevelt and Kid Baltan (Bowie's favourite band) meet Tame Impala.

The fifth album from Marsmobil has been hailed by many as their best yet. With closer ties to Minx' (2006) than the last two albums, Fairytales Of The Supersurvivor' returns to Marsmobil's signature strength of wondrously brilliant songs ( And The Fishes In The Ocean', Shadows Of The Inner Light') that blend off-the-wall cinemascope sounds with dazzling beats and punchy, powerful hooks to create uniquely distinctive art pop anthems.
As always with Marsmobil, Roberto Di Gioia writes, plays, sings and programs everything himself. Here, as on Minx', he's brought in support from a fabulous singer - the very wonderful Amber Lin, who contributes vocals on four songs. All the cover illustrations are also by Di Gioia.

Multi-instrumentalist Roberto Di Gioia needs little introduction. The curious can explore his biography, discography and extensive lists of projects and collaborations as musician and songwriter (see below) for an impression of the hugely diverse achievements of this multi-talent and brilliant musician.
As a topical heads-up, Roberto Di Gioia is also the founder of the German jazz supergroup Web Web and released the album Oracle' in September 2017. The second Web Web album will follow in early 2018, hard on the heels of the fifth Marsmobil release. Di Gioia also wrote and produced Teufelswerk' for DJ Hell and contributed virtually all the songs on Hell's latest album, Zukunftsmusik'.

That we live in a world changed is beyond question. Since 2015's Zenith, Berlin-based songwriter Molly Nilsson has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining a better world. For an artist who has so successfully created her own environment and gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings, engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into the internal language of the solo auteur. Imaginations is not escapism, it's a kaleidoscope and an alternative view, an agent of change.Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson's best songs a collision between the political and personal. Though potentially a love song, there's a glowing anger in the lines I want your ruin, I want destruction, I won't be through until we mend this...' this is rapturous transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel and this is no different... Who else could write a song about privilege (Let's Talk About Privileges) and make a heart-rending chorus of It's never being afraid of the police, it's expecting every thank you, every please.' The artist's vision on this album is perhaps more forceful than the emotionally fragile moments of previous album Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there's overt anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there's also seams of optimism sewn into the album's genetic code. Any revolutionary will tell you that anger alone achieves nothing - Nilsson's mission on Imaginations is to offer some alternatives we can hold close. Not Today Satan is a song about accepting love as the agent of change, Don't be sad, but do get mad at all the small men who act so tall, in the end they always fall, there ain't no sin in giving in to love, that's just how we're winning the fight.' Love can be visceral, a weapon with which to fight the power.On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism about the future when we need it the most. New boys, new girls.. give me your smile and I'll give you mine' Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we're never alone in the process.

Formed in 1997, and inaugurated that year with a split 12' from new-comers and label founders, Solvent and Lowfish, this year Suction Records celebrates it's 20th anniversary with the re-introduction of their famed Snow Robots series of compilations. While originally started as a North American answer to UK electronix labels like Rephlex, Skam and Warp Records, a sound that is still a staple of the current Suction Records catalog, Suction's sound has also swerved into new territories, reflecting our love of dark '80s electronic music - synthpop, EBM, and beyond.... Snow Robots Volume 4 features an international array of artists, from Suction Records mainstays like Digital Poodle, June, Celldöd, and Ceramic Hello (with their much sought-after 1982 vocoder anthem), to label-favourites appearing on Suction Records for the first time: Beau Wanzer, Morah, and one of Skanfrom/Sleeparchive's lesser known aliases, Civil Defence Programme.