Le Chant du Monde präsentiert den zweiten Teil seiner Serie „Secret Nuggets of Wise“ (SNOW), die zu einer Referenzsammlung für jede Diskothek ausgebaut wird. Der Reggae trat Dank Bob Marley,
Peter Tosh u. v. a. seinen Siegeszug von Jamaika um die Welt an. SNOW2 dringt jedoch viel tiefer in die Geschichte ein und präsentiert Künstler, wie The In Crowd, Lloyd Jones, Azul und Horace Denton. Alle Titel wurden sorgfältig remastert
SNOW3, der dritte Teil in der Kollektion unverzichtbarer Referenzen der Serie „Secret Nuggets of Wise“ präsentiert: Soundtracks. Wie schon die beiden Vorgänger-Alben aus dem Hause Le Chant du
Monde, „Northern Soul“ und „Reggae“, taucht die neue Folge tief in die Geschichte des Themas ein und präsentiert neben Titeln von Michel Legrand auch solche von Michel Magne, Bernard Gérard,
Michel Colombier und Serge Gainsbourg sowie von Riz Ortolani.
Caution Alert ! The Brilliant Italian producer made in peruggia Simoncino is back on Skylax records again with a remix featuring the great Larry Heard aka Mr Fingers. You already know his ability to create sounds that are deeply imbued with the Chicago sound, you sometimes might think you 're hearing some lost gems from the great Armando. In short, no need to add more, this item is essential for any normally constitued dj. Pure Gold.
You are about to embark on a new intergalactic journey into black space, fuelled by funk, powered by computers. Soul Jazz Records" new second collection of twisted hyperspace electro/funk "Space Funk 2: Afro Futurist Electro Funk in Space 1976-84", continues its intergalactic journey.
Featuring rare and off-the-wall space funk and electro rarities and obscurities, all released on small independent USA record labels in the late 1970s and 1980s. Artists on this release include Alien Starr, Bobby Demo, Maggatron, Mid-City Crew, Tribe, Junie, Rich Cason and the Galactic Orchestra and many more intergalactic space warriors! This is space age bionic funk, programmed to make you dance!!!
Bell Curve's new EP Obelisk for Berlin's SSPB provides a daring evolution of her soundworld, channeling the bristling intensity of her previous work into a more expansive headspace. Alongside six mesmerising new tracks from Bell Curve, the EP features a remix from Hessle Audio rising star Toumba. Obelisk compiles Bell Curve's most compelling and enthralling work to date. Reveling in dazzling repetition and delicate sonic nuance, it is a cathartic and defiant statement in an industry that increasingly demands hollow immediacy and caters to short attention spans - an homage to struggles and affirmation of strength and self-belief, while equally offering euphoric escape for those willing to spend time inside its mystic whorl. Club sonics are here plucked from their original contexts and expanded outwards - icy rave stabs on "Staircase" ascending into the heavens or the astral breaks and springy bass of "Hope It Gets Better".
Subtle shifts in tone and texture guide the listener through the trip, reverb tails slowly extending into lysergic drift or rippling grain and feedback rising from pulsing bass tones. Jordanian producer Toumba amps up the tempo on his remix of "Staircase" while maintaining the original's emotional core, bolstering the track's dextrous rhythms with distinctive Levantine timbres. Obelisk captures a constant push and pull between emotional states - from anxiety and melancholy to joy and euphoria, working through turmoil to find transcendence.
Tracks like "Dance Skeleton Dance" particularly invoke this duality, drawing catharsis from darker sonics, reconfiguring bass pressure and anxious percussion into a humid dancehall stepper. "Without U" contains emotional struggle as part of the very circumstances of its making - written while working through heartbreak, its delicate repetitions and searching tone reflecting the process of reconnecting with oneself. Title track "Obelisk" forms the emotional core of the EP, coalescing from weightless vapors into dramatic synthesizer motifs, evoking euphoric memories of complete immersion on the dancefloor and our ability to find ecstatic experience even in the contemporary hellscape.
We are back with the second part of our series „Quantum Spits“ to highlight the unique qualities of sub-genres and showcase the incredible talent within the house music universe.
Nandu joined forces with the Danish pop-vocalist Ida Corr to present a blend of deep, soulful, and rhythmic house music. Drawing inspiration from rhythms and distinctive sounds that defined the era of the 90s and early 2000s — think the vibes of producers like Kerri Chandler and Denis Ferrer — Nandu and Ida skillfully infused their own signature touch, creating a stellar Release.
"Tell Me" and "Around" are without doubt the lead tracks and the centerpieces of the release. Two perfect blends of what we love about house music, hunting instrumentals highlighted by standout vocal performances from Ida Corr. Both tunes take center stage in Dixon's sets in 2023. Aligned by Dixon’s Re-structure Edit of “Around” and the track “Wasted”, the EP is one of our highlights of the year.
“Tell me if it’s real”
Die zweite LP des Duos und Internetphänomens THE FRENCH MADEMOISELLES aka Mademoiselle KT (Katia) und Mademoiselle L (Lexie) wurde mit Chansons von Annie Philippe, Jacqueline Taïeb, Katty Line und Liz Brady vervollständigt. Eine musikalische Momentaufnahme des Swingin' Paris für Liebhaber von süßem Pop und wilden Idioten. Lilafarbiges Vinyl.
Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of "Meta".
By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic particle accelerator) – to be used as a home studio performance music that would change the course of independently produced and distributed electronic music.
Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic sound “techno” in reference to Alvin Toffler’s concept of unlikely “techno rebels” against technocracy. Techno is music that sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting an audio virus into the cultural matrix.
Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized mid-stride, dissolving physical and virtual reality into sonic fiction.
Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500 formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision out of sync with our current rave new world.
Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded directly into the alleys of your mind.
- The Rhythmanalyst
Cititrax present two new releases by Cosmetics, a Vancouver-based synth wave duo formed by Nic Emm and Aja Emma in 2008. Cosmetics reappeared in 2022 after having been relatively quiet since its very memorable releases on Captured Tracks in 2010. In 2023, the band returns with a phenomenal full-length LP entitled ‘Baby’ and a 7” single entitled Pillow Talk / Tell Me (Alternate Versions). Their music is sultry, minimalist, and atmospheric, backed by lush analog synths and sparse drum machines. Aja’s seductive vocals cut through the perfectly crafted dark synthpop forming a filmlike narrative that draws us in. The ‘Baby’ LP will have you listening on repeat and the single featuring alternate versions of two songs from the album will bring you from your bedroom listening to the dance floor. Cosmetics continue the lineage of Minimal Wave into the present day.
The ‘Baby’ LP will be pressed on 160-gram ultra clear vinyl and presented in a spot-gloss LP sleeve accompanied by a photobooth strip of the band.
Marco Bailey teases his upcoming full-length studio album via a limited-edition vinyl sampler out on Materia this fall.
Icon. Living legend. Both definitions apply to Marco Bailey, a self-taught DJ and producer whose career started to develop in the late 80s after attending a local club in his native Belgium and being completely seduced by the rhythmic power of dance music. That was when all changed. A first approach that triggered the decision to be behind decks instead of the dancefloor. And since then, he has committed his life to music.
Music has always been at the forefront for the Belgian-based producer as he unveils his latest studio album entitled "NOCTURNO" in form of an exclusive vinyl-only album sampler. The sampler features 4 signature techno grooves from Bailey that will appease vinyl enthusiasts and techno fans alike.
The sampler's A side features "Royal Wolf", a track that channels peak hour banger and a more dark, moody groove "Infinite Bunker". "Smooth Drive" and "Point Of Life" take over the album's B-side with relentless energy and balances out the sampler to give listeners a diverse taste of what the full album has in store.
Inspired by Muddy Waters and other blues greats, the South London blues-rock band Killing Floor was formed in 1968 with lead singer and harmonica player Bill Thorndycraft, guitarist Mike Clarke, bassist Stuart McDonald, pianist Lou Martin and percussionist Bas Smith. This self-titled debut set, issued by the independent Spark label (and licensed to Sire for US pressings), was produced with care by former DJ John Edward, based on Chicago blues material, as heard on the cover of Willie Dixon’s ‘You Need Love.’ This is the band at their rawest beginnings, a grittier traditional blues set that contrasts with later work for Larry Page.
Omg, Plata is hosting a colouring contest! Diligently cut out the template, colour it to your best ability and deliver it to the rainbow club in Maastricht (just follow the goddamn rainbow, ok?!). By doing so, you will make a chance at winning a copy of the new slab-o-electro by Perill on Plata Morgana. Stay artsy, stay fab, colour fast and party hard. You know the drill.
I feel a deep sense of loss listening to this music, but at the same time the possibility of going beyond it through sound. It doesn't want to illustrate anything, but I would like it to be transformative, even of a feeling that sounds like death. It is an elegy." — Furtherset
The Infinite Hour is a shattered elegy synthesized in electronics. Furtherset's music does not explain, settle or justify, it rather simply manifests the grip of anguish. As a whole, the album's six compositions resemble the labored breathing of one who mourns a disappearance and fears oblivion. A feeling like having one's chest weighed down by a stone, while still being attentive to one's breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.
The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, Auras. The compositions found their final form during the mixing process carried out together with composer & sound artist Bienoise (Mille Plateaux). They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, manifests itself to the listener as a possible variant of a path that is never definitive. Their live performance, an increasingly distinctive moment within Furtherset's work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.
The Infinite Hour is one possible manifestation of an ever-changing musical landscape, a universe with unmistakable sounds but always on the verge of disintegrating, collapsing, and opening up spaces, times, infinities.
Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions' distinctive traits are stratifications and recursive shifting modulations, synthetic clusters and sampling, alongside rhythmic and embracing harmonies. The project is envisaged as formal research that follows a path towards saturation and layering, but is always capable of generating voids in which the listener can take their place and fill them according to their own focus.
Since forming in 1999, Suishou No Fune (A Ship Of Crystal), the vehicle for long-term musical collaborators Pirako Kurenai (guitar, voice) and Kageo (guitar), have been one of the most compelling groups in the Japanese underground. Their long, languorous songs are devastating in their simplicity, as though the gently sung ballads of the Velvet Underground’s third album were re-scored by the legendary Japanese free-rock gang, Les Rallizes Denudes. Their new album, 風は春、空は虹、愛は波間に隠れている (The wind is spring -. There is a rainbow in the sky - Love is hiding in the waves.), documents a live performance from May 2021, at Silver Elephant, where the duo are joined by Matsuedo Hideo on bass, and Mark Anderson (Greymouth, Mysteries Of Love) on drums.
The duo of Pirako Kurenai and Kageo have come a long way since their early performances and self-released CD-Rs – in the intervening decades, they’ve released albums on P.S.F., Holy Mountain, Important, Archive, 8mm and Essence, amongst others, each album another manifestation of the duo’s ever-changing same. You can hear them patiently toiling over these beauteous songs, with their choral melodies and lush waves of tonology, Kageo’s guitar radiating bejewelled chimes and dense passages of texture, pulling the songs into a black hole of quietude and sadness. And as Kurenai once told journalist Phil Kaberry, “Suishou No Fune’s songs, sounds and words are often born from heartrending feelings like sadness and pain”.
The wind is spring. There is a rainbow in the sky. Love is hiding in the waves begins with the deep blues of “Cherry”, a drawn-out drift-song that pivots on a most elegant two-chord mantra, as Kurenai sings, siren-like, amidst the sheets of noise Kageo peels from six strings. There’s something painterly about the duo’s playing here, and indeed, Kageo was a painter and Kurenai was a doll maker and watercolour painter when they met in the late ‘90s. On the flip side, a spare, spaced-out improvisation, “A Rainbow Is Floating”, acts as a prelude to “Endless Descent”, one of Suishou No Fune’s most remarkable songs, where a mesmeric guitar line endlessly coils and twines around the flicker and toll of Kurenai’s hypnotic one-chord strum. It’s a bruised, quietly desperate ending to an album that has an achroamatic air, as though the songs were transmitting to a cabal of lost spirits.
Black vinyl, in 3 colour variations of silkscreened jacket with obi in black or kraft, with inserts and a postcard Liner notes by Jon Dale Printed by Alan Sherry
Originally released in September 1997 on Eternal Records and includes writing and production work from Ian Masterson and David Green, Xenomania (Matt Gray, Brian Higgins, Stuart McLennan, Tim Powell), Metro (Paul Barry, Graham Stack, Mark Taylor, Steve Torch) and DNA (Nick Batt, Neal Slateford).
This Special Edition 2LP pressed on clear vinyl, boasting the original cover design (originally by Gerard Saint), with photography by Steve Shaw. The original ten track album is presented over side A/B, while the three contemporaneous non-album cuts 'Someone New', 'Keep Up With The Good Times' and 'Coconut' are featured on the bonus 12" single sides C/D.
Packaged in a lavish gatefold sleeve with deluxe finish printing, each record is housed in a beautiful inner bag, featuring rare photographs and full album lyrics.
The eponymous debut disc from German-Swedish supergroup 4
Wheel Drive went straight to the top spot as Best-Selling Jazz Album
In Germany For 2019. And the media didn’t hold back with their
praise either: “Four first-league jazz musicians with pure joy of playing
and a love of good pop music,” said ZDF’s ‘heute-journal’ about this
spirited and enjoyable group that combines trombonist / singer Nils
Landgren, pianist Michael Wollny, bassist / cellist Lars Danielsson
and drummer Wolfgang Haffner.
For ‘4 Wheel Drive II’, it is evident that things have shifted up a gear
right from the start, with the rocky, pulsating opening track, ‘Chapter
II’, straight from Wollny’s compositional workbench. Landgren likes to
let his trombone roar like a sports car engine. In similarly dynamic
vein are pieces like Danielsson’s final track of the album, ‘The
Wheelers’, which, thanks to Haffner’s nimble brushwork, makes you
think you’re on a high speed train.
Compared to the first album, there has been another change, an
increase in the proportion of original compositions written by all of the
participants, as Lars Danielsson, who has contributed a sensitive,
poppy ballad to the new album, ‘Just Another Hour’, remarks.
“Interpretations of worldwide hit songs were a factor behind the huge
success of the debut album, but the ratio to original compositions
here is getting closer to 50:50. That said, the fuel powering 4 Wheel
Drive has remained the same: this band is all about creating music
from deep within, and with like-minded people whom you can
absolutely and implicitly trust to be in the driving seat.”
“It just flows,” enthuses drummer Haffner, “we’re a group of close
friends with nothing we need to prove, we can just go for it. I've had
so many magic moments with this band, it really is incredible!”
On the new album, listeners are treated to several new moments of
pure magic, continuing 4 Wheel drive’s illustrious story. For example,
their new instrumental version of the Simon & Garfunkel classic,
‘Sound of Silence’, has something mysteriously Nordic about it. Or
their newly-cast version of the surprisingly infrequently covered
Genesis ballad, ‘Hold On My Heart’, putting it into a jazz context. The
courage to approach pop tunes that have become so ingrained in
many people’s minds from a completely different perspective pays off
in full. Within 4 Wheel Drive are four originals at work, each of whom
can be recognised from the very first note they play or sing.
Hjalte Ross neues Album "Less" erscheint im Oktober 2023 und zeigt sein bisher direktestes, verletzlichstes und ausdrucksstärkstes Songwriting. Selbst-produziert, minimalistisch, schön und tödlich - das ist das neue Album von Hjalte Ross. Bereits mit den beiden Alben, dem Debüt "Embody" (2018) und dem Nachfolger "Waves of Haste" (2020), etablierte der preisgekrönte junge Künstler seinen Namen sowohl in Dänemark als auch in der internationalen Songwriter-Szene. Auf die Platten folgten von der Kritik gefeierte Konzerte und große Aufmerksamkeit. KEXP, MOJO, Uncut, Clash Magazine, sind nur einige derer, die ihre Liebe zu dem dänischen Songwriter gezeigt haben. Wild und sanft ist der neue Hjalte Ross, der beschreibt, dass Less" eine Sammlung von Liedern für deine heilige Stunde ist, die sich mit deinen Gefühlen verbindet. Hjalte Ross stellt sein Album vor: "'Less' umfasst Songs, die in schwierigen und herausfordernden Zeiten entstanden sind, aber trotzdem geschrieben wurden. Less' enthält nicht nur ein bestimmtes Gefühl, sondern vielmehr eine Sammlung von Gefühlen, die alle unter das Thema der Unzulänglichkeit fallen." Ross legt seine innersten Gedanken offen und schafft so eine Atmosphäre gemeinsamer Intimität. Ross' künstlerische Reise wurde nicht allein unternommen. Die Zusammenarbeit mit seinen Musikerkollegen Mads Lang, Astrid Matthesen und Jonas Kardyb sowie das geschickte Händchen des Toningenieurs D. James Goodwin haben "Less" einen Reichtum verliehen, der in jeder Note nachhallt. Der Titel ist keine bloße Beschreibung, sondern ein Tor zum thematischen Kern des Albums. Ross erforscht die Komplexität von Emotionen und stellt die Vorstellung in Frage, dass diese Gefühle nur seine eigenen sind. "Less" ist eine Einladung zu einer gemeinsamen Erfahrung - Trauer, Hoffnung und Wachstum - die über das Individuum hinausgehen und uns als Menschen verbinden. In einer Welt, die oft das Spektakel schätzt, ist "Less" ein unaufdringlicher Triumph - ein Spiegelbild von Ross' Entschlossenheit, sich seiner eigenen Verletzlichkeit zu stellen und die Schönheit darin zu beleuchten. Dies ist "Less". Klappcover, rauer Karton, 140 gr klassisch schwarzes Vinyl mit 28seitigem 12"-Booklet!
Atrocity Machine is the latest full-length album from the Vermont-based doom metal band, Body Void. The album, which was released on October 13, 2023, features six tracks of heavy, crushing, and atmospheric soundscapes that delve into themes of environmental collapse, societal decay, and the darker aspects of the human psyche. Atrocity Machine marks a further evolution of Body Void's sound, incorporating more complex song structures and a greater emphasis on dynamics. The album's lyrics are also particularly poignant, tackling issues such as climate change, social inequality, and the devastating consequences of industrialization.
Roger Eno’s second solo album for Deutsche Grammophon invites listeners to reflect on the nature of sound and silence. The Skies, They Shift Like Chords… contains a dozen tracks that express nostalgia for something lost while projecting a sense of something timeless, like the renewal of the seasons or the rise and fall of the breath. The composer-pianist builds here on the soundworld of The Turning Year, his debut solo album for DG, adding layers of instrumental and electronic colours and including a song for his eldest daughter, the artist, vocalist and image maker Cecily Eno. The Skies, They Shift Like Chords… connects with universal feelings for place and home. It also reflects the particular roots of Roger Eno’s music in rural eastern England, a landscape shaped by centuries of agriculture and marked in recent decades by dwindling biodiversity and troubling ecological change.
