Buscar:city 2 city

I Will Find You” takes listeners on a journey through Mathame’s greatest inspiration, Franchino, who’s love for electronic music inspired not only the brothers, but the entire nation. As this track reveals itself, the duo’s devotion to creating meaningful music that is deeply rooted in their own influences reverberates throughout as they translate its gripping sonic identity through their own, distinct lens.

Throughout their career, Mathame (brothers Matteo and Amedeo Giovanelli), have been elevating fans to new heights through their sophisticated compositions that infuse cinematic soundscapes with ethereal energies and raw, real emotions that command movement. While Franchino’s version of this track was originally introduced in 1993 and influenced some legends of the italian progressive techno pioneer scene such as Ricky Le Roi and Mauro Picotto, the Mathame record is actually a rework of Clannad’s theme song from the soundtrack of the 1992 film “The Last of Mohicans”, which the duo first incorporated into performances during their 2019 Cercle set in Mexico City.

“I Will Find You” has since become an anthemic and defining element of Mathame's performances, inclusive of the duo’s 2023/2024 world tour, and has already garnered critical acclaim. The release of “I Will Find You” carries a special endorsement from its original composers, Clannad. The Grammy and BAFTA award-winning band has expressed their delight in seeing their music embraced and reinterpreted by not only new generations, but new genres, as the duo breathe new life into the track's legacy.

From the solitude of volcanic Mount Etna to stages around the world, Italian DJ and producer duo Mathame connect audiences around the globe through transportive music that transcends genres, generations and dimensions. More than another DJ duo, Mathame are sonic alchemists whose productions unfold as poignant odysseys that blur the lines between reverie and reality. Defying convention through their sound, the brothers masterfully immerse listeners into the futuristic realms they conjure, pulsating with sensorial magic and ethereal energies that linger in the air akin to candles in a great cathedral. Their first LP, “MEMO” was a technically driven masterpiece, paving the way for colossal collaborations with global talents like Tiësto and John Summit and amassing over 6 Million streams on Spotify and support from the likes of industry authorities such as Forbes’ 15 Best Albums List of 2023.

The arrival of their solo record “I Will Find You” signals a return to their shared artistic vision and will be released in tandem with the announcement of the duo’s Ibiza Residency concept - NEO - at the beloved electronic temple, Amnesia. Born from an inspirational journey in Tokyo, Japan this past year, Mathame will introduce their most groundbreaking concept to date that masterfully blends the worlds of technology, artificial intelligence and their profound performances with a sense of mysticism that dances between what is seen and what is heard. The cinematic experience - complete with a setup, development and climax - will take place at Amnesia under the HORIZON framework from June 7 to July 5, and from September 13 to 27, with each chapter boasting an eclectic lineup of performances from the likes of The Blaze (DJ Set), Mind Against, NTO and more.

Bienvenue Recordings is back on wax with two originals and a deep driving remix from the home base. We are delighted to present Gratts ‘The Lifestyle EP’ via the label, a high quality addition to his plentiful repertoire of dance delights.

Gene Tellem met Gratts in the South Australian city of Adelaide in 2022 while visiting family and touring the country for some gigs. Gratts, originally from Belgium, also finds himself in the sun for similar reasons. Being from two different French speaking parts of the world, able to communicate in a familiar way but in a whole new place really laid down the vibe for this release. Songs as much for the radio as the club, for a cold wintry night or on the shores of an Australian sunset.

'Sunsets (FBI Mix)' is Gratts & Biancolato's tribute to Sydney veteran DJ Simon Caldwell's long running 'Sunsets' radio show on FBI Radio. Gratts and Caldwell DJ'ed together in Sydney on various occasions, whereas Biancolato is a veteran Melbourne DJ and producer. The track was inspired by the dubby West-Coast deep house sound from the turn of the millennium. Adelaide's Lesley Williams provides the vocal mantra.

'Sundays With U (Neapolitan Mix)' is a jazzy and percussive venture, loosely inspired by the West London bruk sound and Charles Webster. Andreas Poppelbaum, Gratts' studio neighbour in Berlin can be heard on soprano sax. The lyrics are performed by Italian friend Ambra, who delivers them in the Neapolitan dialect.

'Sundays With U (GT Remix)’ is Gene Tellem pulling at all the elements that make the original a scorcher, stretching it out, turning the stomp up, and offering a version for a deep dance floor moment. The voice, sax, atmosphere with the snap on the one. One moment it starts, and soon you won’t know how long it’s been that your eyes are closed, body moving through the room.

The fourth part of the “Best of” Earquake Vinyl series by Wolfgang Voigt is a manifesto of the straight bass drum through the ages. Yesterday, today, the day after tomorrow. Time is running. Live is Life. The bass drum remains straight.

Der vierte Teil der „ Best of” Earquake Vinyl Serie ist ein Manifest der geraden Bassdrum im Wandel der Zeit. Gestern, Heute, Übermorgen. Time is running. Live is Life. Die Bassdrum bleibt gerade.

Das beeindruckende Modern Past-Album von Maximilian Schindler, besser bekannt als Flawless Issues, erblickte bisher nur digital und in je kleinsten, persönlichen Auflagen auf Kassette oder auf CD das Licht der Welt. Nun hat das Stuttgarter Label Treibender Teppich Records sich mit Max zusammengetan, um dieses famose Synth-Post-Pop/New Wave-Werk endlich auch auf Vinyl erhältlich zu machen. Begonnen hat Flawless Issue zusammen mit Edwin Rosen und einer Split-12" in 2020, da spielten sie oft gemeinsam oder hintereinander auch live. Mittlerweile hat FI selbst über 130.000 monatliche Spotify-Hörer*innen, einen Track ("Deine Angst") mit über 5 Millionen Streams und mehr als 200.000 "Good Vibrations" auf YouTube. Und für Fans von Edwin Rosen, Leuchtstoff, Steintor Herrenchor, Nils Keppel, Levin Goes Lightly oder Betterrov ist der 80er-Jahre Synth-Pop und Surfgoth-Sound von "Modern Past" ein Muss, die Key-Album-Tracks sind "froid", "Self-Reflection" & "Sleepless City". Die limitierte Erstauflage in transparenten Gelb war binnen 24 (vierungzwanzig) Stunden (!) bei Treibender Teppich ausverkauft. Dies ist die Zweitpressung auf marmoriertem blaugrünem Vinyl, jede LP kommt mit Insert & Poster (statt vorher Polaroid), ebenfalls limitiert. Der Künstler selbst sagt: "I recorded this album 2022 in june in berlin neukölln at okerstrasse 5. the album represents one week in berlin. what else can i say ? listen to it in one piece. because that's what i designed it for.

14 songs deep and proudly devoid of gimmicks or distractions, Slaughter On First Avenue is a riveting and raw account of Uncle Acid in full flight. From early classics like I'll Cut You Down and Death's Door (both from Blood Lust), to more recent works of lysergic aggro like Shockwave City (from Wasteland) and sinister epic Slow Death (from The Night Creeper), this amalgamation of two fiery and unforgettable live shows has a mesmerising momentum all of its own. A throwback to the days when live albums were magical things, rather than cynical stopgaps, Slaughter On First Avenue is a jolting dose of dark electricity and psychedelic terror. Swollen with the greatest of riffs and performed with grit, power and haughty disdain, it loudly confirms that Uncle Acid & The Deadbeats have the raw, fuzzed-out power to drag everybody into their bewildering, bewitched vortex of doom. A dazzling, devilish squall to mark the beginning of a new chapter, Slaughter On First Avenue also clears the decks for this band's next malevolent move. Don't say we didn't warn you. "Yes, There will be another record which will hopefully appear at some point without warning or explanation," Kevin Starrs avows. "It will be completely different to anything else we've done. You can think of it as a late-night detour. Its appeal will be extremely limited but that's OK... 'When you're slapped, you'll take it and like it!'".

Description:

Best-selling, 21-track hits set that’s now on vinyl for the first time. Features classic after classic, from early gems including “Fingertips – Pt. 2” to “Signed, Sealed, Delivered I’m Yours,” as well as the timeless No. 1 songs “Superstition,” “Higher Ground,” “You Are the Sunshine of My Life,” “I Wish,” “Overjoyed,” and many more. With rare photos, Braille embossing, full track credits and a celebratory essay.

While autumn is slowly getting its grip on the city of Vienna, the Luv Shack bakery hasn’t been sitting still, and now there’s a delicious new batch of Disco Biscuits!
This time with lots of surprising new flavors by Rising Seed (“Back For More” - Indian spice, extra Disco sprinkles!), B.Visible (“Suffering of KP” - bold and crispy with a bittersweet aftertaste!), Peletronic (“Drifting” - robust and very deep, good for late hours!) and Jon Gravy (“When You Leave”) - LOTS of sugar, 90s bubblegum!
Get yourself a biscuit, will ya?

Fang Island's debut record, long out of print and back in stock as daisy pink splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Fang Island shared bills with uber-buzzy bands like Yeasayer and Chairlift at Cake Shop and Santos Party House, crucibles for Brooklyn hype at the turn of the aughts; but their most impactful co-sign came from Andrew WK. At least until Fang Island earned an unexpected Best New Music review at Pitchfork; in the style of the time, the group - now including drummer Marc St. Sauver and guitarist Nick Sadler - were thrust from playing "literally empty shows" at hot dog stands in Ohio to becoming the toast of SXSW and starting their North American tour with psych-rock idols the Flaming Lips in an Atlantic City casino. They would later play sprawling amphitheaters with Stone Temple Pilots, and in perhaps the best demonstration of their ability to wield pop smarts to guitar pyrotechnics, both Matt & Kim and Coheed & Cambria.

The mood is dark to melancholic, but also majestic and epic. Hailing from Rome, THE FORESHADOWING are something like the musical equivalent of the city they come from. Founded in 2005, the group can look back on a successful and eventful history. Listeners of gothic, doom and dark metal are very familiar with the quartet's work. THE FORESHADOWING gained popularity in the international scene with four acclaimed albums released between 2007 and 2016: "Days of Nothing" (2007), "Oionos" (2010), "Second World" (2012) and "Seven Heads, Ten Horns" (2016). In 2023, THE FORESHADOWING ended a forced break of several years with the EP "Forsaken Songs" and a European tour with Saturnus and In The Woods. Now, "New Wave Order" is the group's fifth full length album and their debut on LIFEFORCE RECORDS. The formation from Rome emphasizes its strengths on the album and offers cinematic tracks of dark music that is nevertheless immensely catchy and mood-enhancing. While listening to "New Wave Order", you are whisked away into a world full of secrets and allusions. The path is THE FORESHADOWING's goal, which manifests itself in all-encompassing, organically developed musicality. The Italians are outstanding songwriters who create captivating arcs of suspense and also keep an eye on the overarching strands. Nothing else can be expected from this eternal band.

"This record explores the relationships between mid century architecture, consumerism and community. The gradual or sometimes brutal removal and change of places in the name of progress. These changes leave traces that people have to deal with on a psychological level but probably never really acknowledge. This record explores loss of community and loss or unsympathetic altering of shopping spaces. When something is unceremoniously knocked down or altered and something else replaces it then the thing before it becomes ghost like and is at risk of being forgotten. Not dissimilar to when the Christian faith built their buildings upon Pagan sites. It has a similar purpose (to pray or to shop in this case) but the older thing becomes dreamlike and is confined to folklore. The community is always fed the propaganda of progress but looking back, I certainly cannot deny the beauty of what has now gone. Maybe there is a sense of dissolution and denial about such matters. The record is also interested in the sense of community of these past spaces and how shopping centres have generally declined mainly due to the rise of neo liberalism and tech giants. When you see old footage of these spaces in their prime, you get a sense of a space age future, everything looks new but paradoxically the people look to be from an older time. Today I can see real poverty and complete disenfranchisement from being in these new spaces. It's not all doom and gloom though as spaces, especially the ones in Plymouth are not that much altered and could be brought back to the architects original dreams."

David A.

A killer fusion of bass, poetry and social consciousness from the King Midas Sound vocalist.

Roger Robinson is one of the most versatile voices in the dub poetry scene today, seamlessly blending the power of the written word with the raw energy of the soundsystem.

Teaming up once again with Dub wizard Disrupt to conclude an album trilogy that began with “Dis Side Ah Town” and “Dog Heart City“, Robinson pulls a wide range of riddims straight from the Jahtari vaults to create “Heavy Vibes“, a killer fusion of bass, poetry, and social consciousness.

With a voice oscillating between soulful falsetto and deep poetry thunder Robinson’s verses hit as hard as the bass, challenging the listener to confront uncomfortable truths, while Disrupt’s richly textured, dub-heavy production ensures the music moves both body and mind. You’ll find yourself dancing, but more importantly, you’ll find yourself thinking.

Coming with stunning cover art by Kiki Hitomi and featuring deadly riddims by Tapes, Naram, Jura Soundsystem, Maffi and Bo Marley, “Heavy Vibes” balances the weight of oppression with a glimmer of hope – the belief that change is possible, that the beat goes on, and that through solidarity and art, new futures can be forged.

From Rotterdam's fertile grounds springs another thorny rose. Composer, DJ, and producer Muzmin kicks off the maiden release of 'Fusion of Thought' with 'Yucca EP', featuring four tracks of old-school harbour city slamming techno with a heady, contemporary twist. An elegant balancing act between thought-provoking sound-design and undulating, peak-time efficacy that the San Francisco Bay Area-based artist is such an expert at. A promising start for this young label.

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo "exploration of visionary California."

Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band's lushest and most elevated creations to date: Time Enough For Love. Inspired by the "groove and mood" of Harry Nilsson demos, as well as its wider 70's wavelength - Rhodes, Wurlitzer, wood paneling - Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo's smoothest and most multi-sensory voyages. "Sail Across The Moon" delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. "Messengers" echoes the cosmic lounge of Air's Moon Safari, shuffling, weightless, and ethereal, while "Falling Deep" reaches for the stars, pure cascading bliss, the ecstatic moment writ large.

The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. "Like A Grain Of Sand" opens with a spoken sample by the celebrated late American poet Rachel Sherwood ("The children watch, breathless / with the birds / They feel an emanation / from this shuddering place"), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the "life enhancing" nature of the band's time in Los Angeles - sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city's mystic sprawl glittering beneath purple dusk.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

Mit ihren unberechenbaren Live-Auftritten und Songs wie "Zurück zum Beton" und "Industriemädchen" sorgten S.Y.P.H. Ende der 70er für Furore - als eine der Bands, die rund um Düsseldorfs Ratinger Hof begannen, deutschsprachig zu texten. Die Band brach von Beginn an mit genre-konformistischen Erwartungshaltungen und machte Musik, die sich bei Rock, Punk und Kraut genauso bediente wie bei der Zügellosigkeit des Dadaismus und der Realität des Tagesgeschehens. S.Y.P.H. entstand 1977 in Solingen und begann im nahen Düsseldorf Konzerte zu spielen. Anfangs deutlich am Punk angelehnt, entwickelte sich der Sound der Band schnell weiter und wurde zusehends schwerer einzuordnen. In intensiven Jahren entstanden Produktionen, bei denen immer wieder Gäste aus der Düsseldorfer Szene um den Ratinger Hof mitwirkten, aber auch Holger Czukay von der international bekannten experimentellen Rock-Band CAN, mit dem sie zwei Alben aufnahmen. Zunächst wird die erste Schaffensphase der Jahre 1977 bis 1982 aufbereitet. Die "Pure Freude Singles" inkl bisher unveröffentlichter Songs und das selbstbetitelte Album "SY.P.H". Drei weitere Wiederveröffentlichungen, zwei davon produziert von CANs Holger Czukay, folgen in 2025. Pure Freude Singles Eine Sammlung der frühen Singles: Vier Titel - darunter auch "Industriemädchen" und "Europa" - erschienen ursprünglich 1979 auf der EP "Viel Feind, viel Ehr". Dreizehn weitere Tracks - u.a. "Falsche Freunde" und "Knudelblues II" - wurden in 1982 veröffentlicht als "Der Bauer im Parkdeck". Drei weitere Songs sind bisher unveröffentlicht.

Das von der Kritik hochgelobte Debüt-Studioalbum der amerikanischen Rockband The Strokes. Aufbauend auf ihrer 2001 erschienenen EP "The Modern Age" formten die Bandmitglieder ihre Kompositionen hauptsächlich durch Live-Takes während der Aufnahmesessions, während Songwriter und Leadsänger Julian Casablancas weiterhin das Leben und die Beziehungen der urbanen Jugend detailliert beschrieb. Aus dem Album wurden drei Singles veröffentlicht: "Hard to Explain"/"New York City Cops", "Last Nite" und "Someday". Jetzt auf rotem Vinyl erhältlich.

Our much in-demand series of classic Brazilian 45’s are back! Featuring a vibrant new design, we’ve curated yet more wants-list regulars and unearthed fresh finds from Brazil that are destined to become collector’s items in their own right.

Number 80 in our Brazil.45 series, aptly sees a double-sider focusing on the awesome 80’s recordings by one of the giants of Brazilian music, Jorge Ben.

First up is the addictive, building groove of ‘Curumin Chama Cunh t Que Eu Vou Contar (Todo Dia Era Dia De ndio)’. Taken from the ‘D diva’ album from 1981, and originally released on Som Livre Records. A homage to the indigenous people and tribes of Brazil. The flip features one of Jorge’s most beloved Brazilian-Boogie joints, ‘Rio Babil nia’, which celebrates life in Rio, partying, the beach, and the city’s iconic monuments.

The song was originally released on a compacto and taken from the ‘D diva’ album from 1983, it features arrangements by the late-great, Lincoln Olivetti.