Suche:b man

Parisian label Cracki Records has teamed up once again with Hong Kong label Fauve Records, headed by producer and DJ Romain FX, for a new compilation entitled “Make Italo Disco Great Again Vol. IV”!

Following in the footsteps of COEO, Arash & Quasar, Tre Turner, Maltitz and Mangabey, this new album continues to give the floor to artists from all over the world (Ireland, Korea, Mexico, Germany...) to share their vision of the unique genre of Italo disco.

With contributions from Mystery Affair, Shubostar, Sara Miller, COLE, Maltitz and Romain FX.

It's a UK thing, they say. However, halftime and Jungle are dubbed internationally since ages. Positive vibes are killing borders all over the globe.

Members of Champion Sound met while playing in Reggae bands in Moscow. Neekeetone was drumming, Koondoongoo is still playing bass. A bit later they ran into Distant Roots while DJing at Dub Raw Camp, a bass family festival in the north of Caucasus.

When the 45Seven label and its sounds started to flourish, it gave instant inspiration to them Champions, resulting in nothing less than the two bombs you will hear on this very plate.

Gun Fevah is cultivating splashy halftime snares spiced with jungley layers, embedded between classic horns and skanks.

Wise Man steps up Sesame's Treat wise with vibes hailing from far away over a lush bassline that could roll on forever.

This seven looks back to the imaginary roots of these 45s as well as making way for a bright future of Dubby Jungle!

"New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 198 Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, but it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling at the Speed of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)”. Don't miss out on the opportunity to catch them live as they are touring the globe again. Critical Beatdown (Expanded Edition) is available as a limited edition of 2000 individually numbered copies on green coloured vinyl. It also contains a 4-page booklet with interviews, rare photos and liner notes. "

Critical Beatdown by Ultramagnetic Mc's, released 23 February 2024, includes the following tracks: "Ego Trippin (Original 12” Version)", "Kool Keith Housing Things", "Feelin’ It", "Ain’t it Good to You" and more.

This version of Critical Beatdown comes as a 2xLP. This release comes with (a) Booklet & Insert(s).

The vinyl is pressed as a green disc. Another vinyl is pressed as a

2024 Repress

All in that stark contrast between ethereal spaciousness and steely, martial rhythms out the industrial spectrum, 'Far Field' takes us on a voyage across the board, from breaks-heavy machine stunts to washed-out tapestries, via EBM-laced detours and junglistic maneuvers. Investigating the nexus zone between dance functionality and limitless escapology, it extrapolates both artists' blends to further immersive, hypnotic effect. Taking over the A side, .VRIL gets the ball rolling with 'Lost Together', which sets the tone on a low-slung, nostalgia-drenched note; combining the syncopated swagger of downtempo techno with ambient-oid stasis and static-filled opacity. Like watching an all-metal sun sinking past the blazing skyline. Revving up the engines, 'Fnord' feat. RAeYN conjures up a way more muscular arsenal of big-room-ready wares, from aggro snare salvos to anthemic synth kinetics, through that replicant-hunting kinda vibe. One to have the Saturn rings go hula hoop, with all woofers and brains in the vicinity melting in XTC. Shutting the A side off, 'We Believe' returns to a lighter, more vaporous mindset but sure implements that signature heavy swing of .VRIL, flush with textured kicks and FX-soaked arps. True monster prog swell. Flip it over and there's HVL dishing out a textbook example of his vortical electronic furls with the title-track, 'Far Field' - an oneiric drift that slowly rises from its heavy-lidded slumber, ascending towards bleepin' n bloopin' experimental effervescence as bars fly by. A number bound to hack your body and mind into two distinct facets, and while one dances its way frantically across the ever buzzing space/time continuum, the other shall reach a state of healing calm and transcending ubiquity. Smoothly shuttling us off to the upper layers of the ionosphere, 'Lancet Mxi' clenches it on a trippy note, taxiing us midway zero-G UK bass territories and eerie ambient abstraction. HVL's total, widescreen vision at its most unhindered, all set at expanding your mind to yet uncharted horizons of sound and closing the gap between two distant, estranged galaxies. A fractured headspace to both dance and dream to. *Dressed in a fine piece of artwork courtesy of Daniel M. Diaz, 'RYCL021' comes pressed on 180g audiophile black vinyl for optimal playing and listening experience.

Here we go with another exclusive release of Passionate Music Label
Part 15 in the Hardcore Classics series

Making his debut on Gated, Bristol-based Wiles brings the breaks across four tough but emotive tracks.
Wiles is a professional sound engineer who came up in the Norfolk electro and free party scene in the 2000s. During the lockdowns in 2020 he crystalised a live hardware setup that eventually became an EP for Batrachian.
But with Yellow Light he takes his sound even further, with washes of spaced out melodicism underpinned by punches of sub-bass and classic rave breaks, intricately programmed and devastating on a dancefloor at the right moment.
It’s atmospheric stuff for sure, with one eye on the future but rooted in the timeless dancefloor expressions of the past.

The poet, producer and visual artist Ramuntcho Matta is coming back to music with 96. 96 – as 96 hours were needed to record this new album. Ramuntcho points out that behind this dazzling recording, years of experience enabled him to achieve the mix of spontaneity and intimacy of the album.

He was the man behind the success of Eli Medeiros’ Toi mon toit. As a matter of fact, Ramuntcho Matta likes to put artists in the spotlight, as he has done with Brion Gysin, Don Cherry and many others. However this time he decided to put himself in the spotlight, with this record which sounds very 90s – with a wink to Bill Laswell for the bass – but still very contemporary. The album unveils a dark atmosphere, as if Bashung had lost himself in a Lynch film.

Alongside the album release, Ramuntcho Matta and Akuphone have decided to make the entire discography of the artist available on Bandcamp. Each Friday since the beginning of this year, an album has been put online and made available for listening and downloading.

Record sleeve designed by Ramuntcho Matta. Unpublished notes and drawings from the artist’s logbook « Desseins du jour ». Downloading code

The title alone sums up perfectly the 8th album of French artist My Jazzy Child. Inspired by Noam Chosmky's "universal grammar", it refers to man's innate ability to develop language. It is that English, Occitan, French patois, Hindi, Pygmy or French cohabit on this record, juxtaposing on rhythms and beats that appear as a fantasized primordial tradition.

If My Jazzy Child aka Damien Mingus, questions languages about Innéisme, he also questions musical languages, mixing Asian rites and free jazz, electronic wanderings and traditional percussions. A virtuoso and experimental collage that nevertheless knows how to remain melodic and, in the end, strangely pop.

On Maza Gusu, Mikado Koko transforms into Mother Goose, hissing Perrault's fairy tales from her native tongue in your ears. Her unsettling, regressive voice is backed up by a subtle and chilling electronic soundscape sprinkled with traditional Japanese instruments, creating a realm of sound that feels both weirdly familiar and deeply unknown. Mother Koko hurls you deep down the rabbit hole, back to your darkest childhood anguishes, before gently leading you by the hand to a joyful catharsis. As you slowly get used to its disturbing familiarity, Koko’s music feels like waking up in the pale morning light, shaky but relieved after a feverish dream.

In summer 2017 Mikado Koko started her solo career as a club music producer with the elements of Japanese traditional music. After many releases, remixes and compilations such as Seitō: In the Beginning, Woman Was the Sun (AKU1016), she now focuses on avant-garde poetry reading related to feminism and gender equality.

Slow paced drums with offbeats softly phased with the guitar, misty takeoffs from the synthesizer: a hazy idyll is starting off on the road to the rocket festival (bun bang fai). Answering each other on the responsive mode of the lam soeng, Sothipong engages in a flirt but Oulay Vanh is not ready to trifle with just anybody.

As a stylistic variation of a popular Lao musical genre, the lam soeng was the source of several themes among which the “bang fai” - which is part of the Lao conciliatory festivities preceding the rainy season - remains one of the most renowned.

However, the producer and composer of these songs, Sothy, created an unusual arrangement: the instrumental introduction separates from the sang canon, the synthetic mix is stripped down of the traditional organology - everything here becomes unsettling for a listener familiar with the genre.

Everything comes with a reason: the record was edited in 1981 under the title Sothy Productions yet produced in France by the Parisian label Oxygène (famously known for its unforgettable first French punk compilation 125 grammes de 33 1/3 tours). Chansons Laotiennes still remains hard to classify.

And then who’s Sothy? Along with the unverifiable identity of the seemingly Laotian singers, skepticism gains ground concerning the man behind the pseudonym. Is he an escaped musician from one of the first Cambodian rock bands of the 1960s? A surviving producer from the 1980s Paris? Or a composer in transit in one of the many places of the Laotian diaspora? Sothy eludes any researches and disappears behind his numerous homonyms.

The second track is just as enigmatic: a beat box, a lightly reverberated voice as well as a guitar solo and a small synthesizer break, “Tuei” or “Tawai” offering (as the writing on the record suggests) makes way to dancing step and a truly joyful melody. Twisted and lively steps on a romantic background tune turn this second track into a genuine paslop - a program recommended by therapists to relieve muscular pains due to seated positions: you will unlock your pelvis with some synchronized Laotian choreographies.

For their first edits, Akuphone called on a young Parisian producer. Shelter, aka Alan Briand, mingles his own mixes and electro productions with a large variety of influences and styles: krautrock, disco, traditional music, psychedelic, synth pop, ambient, bossa nova, Japanese funk. He produces both original compositions and remix.

« A Fantastic mixture of Brakka, Reggae & Afrobeat Recorded between 1980 and 1984 from the underground Afropean boxer Mushapata »

“Saba-Saba Fighting” or fighting for peace, is the message that Mushapata, a legend of the African reggae underground scene in Paris with an extraordinary destiny, has fought for all his life.

Born in Bukavu, a city nowadays located in the Democratic Republic of Congo at the border with Burundi, Mushapata arrived in France at the end of the 1970s to pursue his career as a boxer. A few years later, revolted by the professional sports industry, he became a personal protection agent on the advice of his manager. He escorted many celebrities among whom Bob Marley during his legendary French tour of 1980. This encounter awakened the musician hidden behind the boxing champion. Mushapata had stepped out of the ring but he kept fighting with music, lyrics and his band Saba-Saba Fighting.

Ignored by the record labels of the time, his first self-produced recordings reveal a rough mix of lo-fi reggae, afrobeat rhythms accompanied by a brass section close to Free jazz. The nonchalant sounding voices of Mushapata and Tshayi complete this explosive cocktail and carry, in Swahili language, the Pan-African ideas of Lumumba and other great figures of African-American struggles.

This maxi single, conceived as a mini-compilation tribute, includes 4 titles from the first two albums recorded between 1980 and 1984. Limited edition!

lp wiBola’s music melds sheer force of spirit with a sound not often heard by ears outside the remote Upper East Region of Ghana. This man who grew up herding livestock in the savannah, far away from the tropical coast and cosmopolitan cities of Accra and Kumasi, has aligned himself with national and international means of expression to transform his hometown sound into something downright avant-garde. His bold fury stems from the kologo—a two-stringed lute with a calabash gourd resonator—and Frafra language vocals, emitted in raspy bursts.

Traditionally, kologo performances occur at pito (local beer made from fermented millet or sorghum) bars, weddings, funerals, festivals or spontaneous jams on the street, which are the environments where Bola honed his craft as a solo musician. In recent years, he came into contact with people like his mentor Guy One who helped him get into the studio to document what is some of the most dynamic music to come out of Ghana since the emergence of hiplife in the mid-'90s.

Volume 7, which came out in 2009, is just one entry in a brilliant series of recordings Bola has released on CD and cassette. Although he employs a traditional instrument and the age-old mode of griot story-telling, Bola embraces elements of up-to-the-minute mainstream Ghanaian music—drum machines, synths, bone-shaking bass. Inspired by pioneering kologo greats like King Ayisoba, Bola has taken a dynamic instrument used by traditional healers and herbalists to sing to god in search of advice and taken it to futuristic heights.

"The first album to take UB40 to the top of the UK charts, 1983’s Labour of Love followed a stunning run
that had seen the group’s previous three albums go Top 5 alongside eight UK Top 40 singles. With their
cover of Neil Diamond’s ‘Red Red Wine’ making the No.1 spot ahead of the album’s release, the group
had perfectly set the stage for their first-ever collection of cover versions.
Spawning a further three UK hits in the shape of ‘Please Don’t Make Me Cry’ (UK No.10), ‘Many Rivers to
Cross’ (UK No.16) and ‘Cherry Oh Baby’ (UK No.12), Labour of Love also inspired four sequels: 1989’s
Labour of Love II (UK No.3), 1998’s Labour of Love III (UK No.8), 2010’s Labour of Love IV (UK No.24) and
2018’s A Real Labour of Love (UK No.2), the latter of which was credited to UB40 Featuring Ali, Astro &
Mickey. A crucial part of British reggae history, the original Labour of Love saw all the hard work pay off
for this much-loved outfit, and it now returns to vinyl in an exclusive blue pressing.

"

"A mere two years on from their formation in London towards the end of 2007, Mumford & Sons released their
debut album, Sigh No More. Introducing the group’s signature blend of folk and rock music with heartfelt lyrics and
soulful melodies, the album was instrumental in propelling the folk-rock resurgence into the mainstream at the
end of the 2000s.
Peaking at No.2 in both the UK and the US, and winning British Album of the Year at the 2011 BRIT Awards, Sigh No
More paved the way for a career that has seen the group release three further acclaimed albums, scooping up a
second BRIT Award, plus two Grammys and an Ivor Novello, along the way. The group’s lasting impact on the music
industry can be traced back to this record – now reissued on ultra-clear vinyl for National Album Day – and its
game-changing singles, among them ‘Little Lion Man’ and ‘The Cave’, which have, respectively, reached nearly 45
million and more than 20 million streams this year alone.
"

The debut album from the London-based band, it is home to their biggest hit ‘She’s So Lovely (191m+ streams) and well as some of their other most popular tracks Elvis Ain’t Dead (55m+ streams) and Heartbeat (45m + streams). This has not been available of vinyl for many years and this release will be the first time it has been available on (Orange & Black Marble) Colour LP Vinyl.

"The acclaimed 2007 album reissued on 1LP clear vinyl. Taken from the original 2007 masters when Pete Doherty was at the pinnacle of his creative powers, ‘Shotter’s Nation’ followed in the footsteps 'Down In Albion’, the band’s debut album, and Doherty’s first album outside of his first band - the era-defining Libertines. Both were met with commercial and critical acclaim, breaking into the top 10 of the album charts.

‘Shotter’s Nation’ is unmistakably Doherty. Melodic, stark, catchy, raw, brilliantly unique - his music has always created an unflappable loyalty from his many fans, remaining timeless, yet still sending a nostalgic excitement through its listeners. The album also features four songs co-written by Doherty’s then-girlfriend Kate Moss who also regularly performed live with them.

The approach to the recording and release of the album was an escape from Doherty’s previous methods. Stephen Street (The Smiths, Blur, Morrissey, The Cranberries) took over producer duties from The Clash's Mick Jones, and it was and his first album released by a major label, Parlophone."

Soifass veröffentlichen zum 25jährigen Jubiläum ihr neues Album und nie klangen die Berliner besser aufgestellt zwischen wohldosierter Härte und prägnanten Refrains. Ein absolutes Brett! 1999 in Ost Berlin als Oi-Punk Band gegründet, fand man schnell seinen eigenen unverkennbaren Stil irgendwo zwischen Punk, HC, Oi! und hin und wieder sogar mit Ska Einflüssen (auf Speed). Schnelle und treibende Beats treffen auf ballernde Gitarren, lebendige Melodien und Straßenköter Gesang ohne textlich aber genretypische Klischees zu bedienen. Man teilt aus, man steckt ein, verzichtet auf den gehobenen Zeigefinger genauso wie auf kommerzielle Ambitionen. Während viele Bands ihren Sound an den "Deutschrock"-Trend der letzten Jahre anpassten ist die Band um Shouter Viktor in ihrem Revier geblieben. Und es gibt viel in den 12 neuen Songs zu erzählen und in Soifass-typischer Manier die Dinge beim Namen zu nennen: "Hipster-Stomp" ist die quasi Fortsetzung ihres Anti-Gentifizierungshits "Großstatdtwahnsinn", die Berlin und andere Großstädte für ihre neue Spielwiese infiltrieren. In "Berliner Walzer" gibt's ein schonungsloses Tänzchen über die immer größere werdende Kluft in der Ellbogengesellschaft. Soifass packten die unter den Fingenagel brennenden Themen lyrisch schon immer anders und subtiler an. Statt Parolen und plakativ aus dem Setzkasten, entfalten Songs wie "Verschwörer" eine ganz andere Wirkung, wenn im intimsten Umkreis der eigene Partner die ganze Schwurbelscheisse glaubt, oder in "Exzessiv" mit beißendem Zynismus einem den Spiegel von der angeblich heilen Welt vorhält. Und wenn man schon 25 Jahre lang dieses Berliner Aushängeschild zu einer der besten deutschsprachigen Streetpunkbands gemacht hat, darf man mit "Anglizismen" auch selber zurückblicken. Soifass tun auch dies ohne die übliche Selbstbeweihräucherung. Diese Band ist eine Klasse für sich...Authentisch, Dreckig-Soifass!

Soifass veröffentlichen zum 25jährigen Jubiläum ihr neues Album und nie klangen die Berliner besser aufgestellt zwischen wohldosierter Härte und prägnanten Refrains. Ein absolutes Brett! 1999 in Ost Berlin als Oi-Punk Band gegründet, fand man schnell seinen eigenen unverkennbaren Stil irgendwo zwischen Punk, HC, Oi! und hin und wieder sogar mit Ska Einflüssen (auf Speed). Schnelle und treibende Beats treffen auf ballernde Gitarren, lebendige Melodien und Straßenköter Gesang ohne textlich aber genretypische Klischees zu bedienen. Man teilt aus, man steckt ein, verzichtet auf den gehobenen Zeigefinger genauso wie auf kommerzielle Ambitionen. Während viele Bands ihren Sound an den "Deutschrock"-Trend der letzten Jahre anpassten ist die Band um Shouter Viktor in ihrem Revier geblieben. Und es gibt viel in den 12 neuen Songs zu erzählen und in Soifass-typischer Manier die Dinge beim Namen zu nennen: "Hipster-Stomp" ist die quasi Fortsetzung ihres Anti-Gentifizierungshits "Großstatdtwahnsinn", die Berlin und andere Großstädte für ihre neue Spielwiese infiltrieren. In "Berliner Walzer" gibt's ein schonungsloses Tänzchen über die immer größere werdende Kluft in der Ellbogengesellschaft. Soifass packten die unter den Fingenagel brennenden Themen lyrisch schon immer anders und subtiler an. Statt Parolen und plakativ aus dem Setzkasten, entfalten Songs wie "Verschwörer" eine ganz andere Wirkung, wenn im intimsten Umkreis der eigene Partner die ganze Schwurbelscheisse glaubt, oder in "Exzessiv" mit beißendem Zynismus einem den Spiegel von der angeblich heilen Welt vorhält. Und wenn man schon 25 Jahre lang dieses Berliner Aushängeschild zu einer der besten deutschsprachigen Streetpunkbands gemacht hat, darf man mit "Anglizismen" auch selber zurückblicken. Soifass tun auch dies ohne die übliche Selbstbeweihräucherung. Diese Band ist eine Klasse für sich...Authentisch, Dreckig-Soifass!

Aus den Tiefen von Post Punk, Cold Wave und Dancefloor meldet sich Levin Goes Lightly mit neuem Album zurück: Numb ist der Titel des mittlerweile fünften Longplayerst. In den für ihn so charakteristischen schrägen Bildern erzählt Levin Goes Lightly von toxischen Beziehungen, dunklen Lebensabschnitten und der großen Liebe. Der melodische Gesang wechselt zwischen Deutsch und Englisch, das musikalische Grundgerüst sind treibende, elektronische Beats, kühle Synthesizer, und gleichzeitig warme Orgeltöne und wavige Gitarrenparts. Im Song "Headbanging" fragt er "Is it beautiful when it"s sad? / Ist es so schön, weil es so traurig ist?" - und liefert doch selbst den Beweis, dass bittersüße Traurigkeit schön und trotzdem sehr tanzbar sein kann. Die Songs handeln von tief im Meer lebenden Liebenden (oder Seeungeheuern?), die gemeinsam nur zum Licht streben oder die so lange in die Sonne blicken, bis sich ihnen ein gemeinsamer Fleck ins Auge einbrennt - "damit man sich an diesem Fleck für immer erkennt". Darüber, dass man einsehen muss, dass man selbst das Chaos ist, auch wenn man noch so sehr dagegen ankämpft und über Hände, die nur dann nicht taub sind, wenn sie den andern berühren. Engel, die doch nur schrecklich sind und sich auflösen im Rausch. Levin Goes Lightlys Musik ist sophisticated und treibend, seine Auftritte immer schweißtriefend und glamourös. Bei einigen Songs denkt man an die frühen New Order, Boy Harsher oder Grauzone und an die Wärme von Beach House. Das Songwriting ist wie bei den vorherigen Alben geprägt von musikalischer Vielseitigkeit und tiefgründigen, aber auch merkwürdigen Texten. Mit seinen melancholischen Melodien, oft begleitet von kraftvollen Beats, gelingt es ihm tiefe Emotionen einzuweben. Über fünf Alben hat er seinen Sound weiterentwickelt: Vom Lo-Fi zu Postpunk, von Englisch zu Deutsch und wieder zurück. "Numb" ergänzt seinen musikalischen Kosmos um Stücke, die sich nun wieder eher beim düsteren Dance- und Electronic-Sound eines John Maus ansiedeln. Die von ihm entworfenen Klangwelten sind dabei immer treibend und hypnotisch - eine Art Cold Wave, bei dem einem warm ums Herz wird.

Der Thrash-Anteil wurde bis fast auf null reduziert, dafür
zeigte man schonungslos, dass man in den vergangenen
Monaten erneut Fähigkeiten dazugewonnen hatte. Die damals
immer noch junge Band spielte auf einem Niveau, welches
im europäischen Heavy Metal beispiellos war. Nur in Amerika
lieferten Watchtower oder Dream Theater ähnlich kompliziert
arrangiertes Material. In guter Rush Tradition findet man auf
„Steps“ einen langen Song auf der A-Seite (25 Minuten!),
während die B-Seite fünf Tracks und ein Outtro aufweist. Das
Stück „Corridors“ ist ein weiteres Beispiel für die unfassbaren
Fähigkeiten der jungen Musiker. „Steps“ ist insgesamt
eigenständiger als „Life Cycle“, welches noch stark an
Watchtower erinnerte. Durch den Gesang von Franz Herde, der
beim Nachfolger nicht mehr zu hören war, schließt sich hier
das erste Kapitel von Sieges Even.
Aufgenommen wurde „Steps“ 1990 in den Lakeside Studios
von Charlie Bauerfeind, der als Produzent heute bekannt ist.
Trotz des anspruchsvollen Materials war das Album ein Erfolg.
Heute findet man „Steps“ in vielen Listen, wenn es um die
wichtigsten Prog-Metal- oder Progrock-Alben geht. Es war seit
den Originalpressungen auf Steamhammer/SPV nicht mehr
erhältlich! CD und LP wurden separat gemastert, damit jedes
Medium den bestmöglichen Klang entfalten kann.