Suche:collins

L’Illustration Musicale, Sonimage, Técipress-In Editions (Timing), Musax, Freesound,
Montparnasse 2000 in France but also De Wolfe and Chappell in England, every of these
sound illustration labels have in common to bring out as a legendary spectre the name of Jacky
Giordano and his aliases. Widespread practice in the library music world, Joachim Sherylee,
chosen for the In Motion album, is one of his plentiful aliases (with José Pharos, Jacky
Nodaro, Gruppo Sounds, Rubba...) used by the french composer, that we regain as well for
Black Devil with Bernard Fèvre or even for the Shifters with Yan Tregger.
For his enthronement on the mythical English label De Wolfe, it's under the obscure name of
the Rubba collective that Jacky Giordano aka Joachim Sherylee sneaked in the londonian De
Wolfe studios with the companionship of British colleagues such as John Hyde (aka John
Saunders, James Harrington, Astral sounds or even Wozo) and his wife Monice Hyde (aka
Monica Beale), Alan Howe (aka John Collins), Robert Poole and Tim Broughton.
Published in 1980, the In Motion: Modern Progressive Group Sounds Played By Rubba LP
and its minimalistic and utilitarian red record cover which contains 13 tracks, mainly composed
by Joachim "Giordano" Sherylee and was never reissued since then. This record became cult
over time; it will have taken that the Hip-Hop world seizes it in order to dig out from the
disregarded and underestimated musical gems graveyard. First of all with beatmaker Madlib
and Freddie Gibbs in 2011 with the track “Thuggin'”, in which he sampled the track “Way Star”,
also used more recently by Mil and the rapper Westside Gunn on his track “Brains Flew” by
(1964 Version).
Nearly 40 years after, the Farfalla Records label, after publishing Timing Archives, presents
another aspect more progressive and psychedelic of the multi-faceted composer Jacky
Giordano by fully reissuing at last this coveted, mysterious and mesmerizing "Rubba". Very
desired by crate-diggers, In Motion appears in the want-list of plenty enthusiasts in this
enigmatic world of the library music. (Erwann Pacaud)

Following on from the Bewildered 2018 Remix/Re-master E.P., respected 90’s D&B imprint Odysee Recordings presents its 2nd release in this series; a digital re-master and remix of No Tomorrow. Originally released in 1995 (ODY05), this track featured on the second E.P. under the ‘Mirage’ moniker; a collaboration between Jim Baker (Source Direct) and Odysee’s founder Tilla Kemal (T-Mirage).

The original is a timeless and well-loved classic from the golden era of the mid 90’s ‘Intelligent D&B movement’. It displays Jim’s celebrated skills as both a producer and an arranger to their full; building an emotive and haunting piece around two contrasting motifs. The trademark Source Direct breakbeat work is in play on this track as it switches between Clive Stubberfield and Lyn Collins; the curling drums providing the perfect framework for Tilla’s abstract sample selection to really breath and flow.

Andy Odysee’s modern remix retains all the original samples and references both the original break selection and the shape of the original arrangement. This modern D&B version then injects a turbo-charged energy into the piece with a huge undulating sub, aggressive techno-styled chord stabs and pounding kick & snare that thrust this track into the 21st century. The haunting sweetness of the piece is by no means lost, but the melodies are now presented over a framework designed with modern D&B dance floors firmly in mind.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco

33 years after it's first release Rick Clarke's street soul simmerdown on Local Records, 'Love With A Stranger', gets a much welcomed official reissue, lovingly remastered from the original tapes.

Just peep that OG artwork to get a taste of how this one's about to go down. Written and produced by John Collins, known for producing The Specials - 'Ghost Town', 'Love With A Stranger' perfectly encapsulates that '80s street soul sound. Distinctly soulful, synthy slow jams, heavy on the bass with a touch of the low-slung, lovers rock vibrations about them. Rick Clarke's sultry sweet nothings weave their way irresistibly through this five minute gem, but for those that want to provide their own rendition over the top, the dub has been affectionately cut to the flip.

Top tier tackle - reissued to serenade red dressed souls the world over once more.

You may know of 'Rude Movements', an early dance music classic produced by SunPalace (Mike Collins and Keith O'Connell) back in 1983 that brought together protohouse, balearic beats and funky vibes. In 1984, the tune quickly became an anthem that could regularly be heard at David Mancuso's 'The Loft' or at Larry Levan's 'Paradise Garage' for example.
Thanks to Mike Collins, the studio veteran still in the business after more than 35 years and currently busy perpetuating the legacy of SunPalace, more material from the archives
has been 'surfacing' over the past few years on UK-based record labels. After a very productive meeting earlier this year, Parisian label Chuwanaga is really proud to present four unreleased songs produced between 1982 and 1984! Co-written by Mike Collins from SunPalace and Breeze McKrieth, a founder member of Britfunk bands Light Of The World and Beggar & Co, these Lost Songs are the almost forgotten result of this seminal collaboration, an exclusive musical rendez-vous between experienced studio music makers and funksters at the top of their game, including some of the finest Britfunk musicians. Bringing together eighties influences and futuristic sounds, the result covers a wide range of genres, from jazz-funk to new wave: it captured a unique
moment in British musical history, a smooth transition to a more electronic sound. Definitely not one to be missed!

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others.

The music contained in this album invokes the vibes and spirit that were so crucial to much of the music recorded during the 1960's & 70's in Jamaica. If you talk to the musicians and singers of this era, they will tell you that the driving force behind the songs they created was the sheer love of music. This is one of the reasons these recordings are so powerful and move listeners to this day. Music like this can only be made by those who were schooled in the studios and yards around Kingston and is not something that can be easily reproduced outside Jamaica. The Kingston All Stars represent some of the most legendary musicians to ever grace the little island & it is thanks to their passion and dedication that we have a lifetime of music to enjoy.

The members of KAS have been working & recording with each other in some of Jamaica's most legendary studios for over 50 years. The vibes and music that are created when they get together is nothing short of magic. This is the 3rd KAS LP showcasing the talents of Jamaica's top session musicians from the golden era of Jamaican music. These are the artists who laid the foundation for Rocksteady, Reggae, Roots and beyond in countless recording sessions around Jamaica & without them the music we love would not exist.

The album's intro piece 'Boo Rock', is a tribute to the legendary drummer Mikey 'Boo' Richards. Mikey has recorded with many of the Kingston All Stars in some of Jamaica's most fabled studios. It is obvious that Mikey is revered by all of the Kingston All Stars and it is fitting that this is the 1st track on the album.

Singer Allen Jahsana who is known for his work with Mikey Chung in the early 70's brings two amazing songs to the project. The first 'Jungle Justice' is a commentary on the lack of justice in the tough streets of Kingston, one which Alan knows firsthand as a longtime Kingstonian. The second vocal 'Rising from the Ghetto' is a call to the youth to rise up out of sufferation with some seriously heavy basslines courtesy Jackie Jackson.

New to the KAS family Carol Brown's 'Only Jah Knows' on a sweet dubbed out Rocksteady riddim shines that much brighter with the help of her daughter, Krystal Mittoo. Carl was married to Jackie Mittoo before his untimely passing.

Greenwich Farm rasta and legendary roots vocalist Prince Alla adds a real classic vibe to a new he wrote titled 'My Vision". The deep and powerful style Alla is known for was voiced on a riddim built by keyboard legend Ansel "Stagalag" Collins.

'Guns & Pulpit', the companion vocal for 'Clappers Dub' which saw release on the KAS Dub LP, finally sees the light of day. A proper roots anthem from singer RZee Jackson with conscious lyrics and RZee's unique vocal style.

The Kingston All Stars include Sly Dunbar, Hux Brown, Mikey 'Mao' Chung, Ansel Collins, Jackie Jackson, Robbie Lyn, Everton & Everald Gayle with the guidance of musician, writer & engineer Moss ' Mossman ' Raxlen. Members of the Kingston All Stars have been part of / or recorded with The Revolutionaries, Lynn Taitt & The Jets, Studio One's Sound Dimension and Soul Vendors Band, Lee 'Scratch' Perry's Upsetters, Peter Tosh's Word Sound and Power Band, Toots and the Maytals, Now Generation, In Crowd, Wailers Band and countless others

In those times of newfound experimental conformity, it is sometimes needed to go back to simplicity. This may be where DJ OIL is leading us to. You think you know what you can expect but common ground is not always in your head, it is sometimes under your feet.

This is the second 12' of the BREF AVENIR collection (to be released digitally later this month), our Southern activist using well-known tropes and samples to provide necessary confusion.

TELEPHUNK is nothing else than a monster breakbeat funk (away from the new Lynn Collins dictatorship), unfashionably cool if you see what we mean. If PARESSE is its twin dark sister, locking electro in its black music roots whilst remaining strangely 'European', then FALL is its downer baggy brother.

Malina Moye, die vom Guitar World Magazine als eine Musikpionierin und eine der besten Gitarristinnen gefeiert wurde, hat für sich eine eigene Nische in der heutigen Musikszene geschaffen - als eine von nur wenigen Künstlerinnen in der Geschichte, gelingt es ihr, den Graben zwischen Rock und Soul zu überbrücken. Darüber hinaus ist sie eine der führenden Gitarristinnen ihrer Generation. Moye hat "das Talent, das Aussehen, die Energie, einfach alles", attestierte die Huffington Post. Das Seventeen Magazine konstatierte: "Auf der Bühne liefert Malina eine berauschende Mischung von Funk, Rock und Soul ab." The Examiner erklärte Moye zu "einer der besten 10 U.S. Independent-Künstlerinnen" und das Billboard Magazine nannte ihre Zusammenarbeit mit Bootsy Collins "explosiv". Hier kommt nun ihr neues Album "BAD AS I WANNA BE". Eine bärenstarke Sache!

- Vinyl (schwarz/180g/Direct Metal Mastering)

As one-third of Yellow Magic Orchestra and an Academy Award-winning composer for his work on the soundtrack for The Last Emperor, synth pop innovator Ryuichi Sakamoto is among the most groundbreaking artists to have emerged since the late 70s. A musician's musician, Ryuichi Sakamoto has created intriguing musical unions with artists such as David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jaques Morelenbaum and many others.

Following the massively successful release of the electronic masterpiece async in 2017, Ryuichi Sakamoto's first studio album in eight years, Milan is proud to announce the remix compilation async remodels: a dozen remixes of async's tracks by a who's-who of experimental giants - everyone from Icelandic composer Jóhann Jóhannsson (Arrival, Sicario) to Oneohtrix Point Never (composer of Good Time) to Arca (producer of Björk's numerous releases) have gotten their hands dirty remixing Sakamoto's work. Even reworks by the Canadian synthpop duo Electric Youth and Austin-based synthwave legends S U R V I V E are included. With such a well of talent reinterpreting such a personal album, this is one release Sakamoto fans can't afford to miss.

Nach zwei ausverkauften 7inch Singles, Festivalauftritten auf so ziemlich jedem namhaften deutschen Musikfestival und Opener-Slots für Bands wie Balthazar, Future Islands oder Battles veröffentlicht das Kölner Quartet Xul Zolar mit - Fear Talk am 19.01.2018 seine Debut LP

auf dem von der Band mit-gegründeten Label Asmara Records. Um diese Vision in die Realität umzusetzen hat sich die Band sowohl mit dem Kölner Produzenten Marvin Horsch (Woman, Keshavara) zusammengetan, als auch die Besetzung mit Dennis Enyan zum Quartett erweitert.

Vielleicht ist es kein Zufall, dass die Musik auf Fear Talk, dem Debütalbum der Kölner Band Xul Zolar eine gewisse malerische Qualität aufweist. Immerhin hat sich die Band nach einem Maler aus dem 20. Jahrhundert benannt, dem Argentinier Xul Solar (mit bürgerlichem Namen Oscar Agustín Alexander Schulz Solari).
Genau wie die Bilder der Impressionisten vermittelt ihre Musik ein Gefühl der Nostalgie und Unmittelbarkeit und versprüht eine Aura, die man romantisch nennen könnte. Trotz der deutlich hörbaren Einflüsse von Künstlern wie The Smiths, Talking Heads oder sogar Phil Collins, ist Fear Talk - das vom visionären Kölner Produzenten Marvin Horsch aufgenommen wurde - ein Album auf der Höhe der Zeit, wie der Einsatz stark prozessierter Vocals, an frühen Dubstep erinnernde Sub-Kick Samples und von Electronica beeinflussten Clicks-and-Cuts belegt. Das Alte wird verbogen, verformt und in etwas völlig Neues verwandelt.
Textlich kreist das Album um persönliche Themen wie Liebe und Verlust, wenngleich auf höchst abstrakte und metaphorische Weise. Doch das Persönliche ist immer schon politisch und findet niemals in Isolation des Individuums von seiner Umgebung statt. Dies spiegelt sich auch im Titel des Albums, Fear Talk, wieder, der sowohl als Anspielung auf die wachsende Unsicherheit einer Generation verstanden werden kann, als auch als Kommentar zu der weltweit um sich greifenden Panikmache durch Populisten und Demagogen, die der Zeit, in der Fear Talk entstanden ist, ihren düsteren Stempel aufgedrückt hat.
Fear Talk wurde im Sommer und Herbst 2016 von Marvin Horsch (Woman, Keshavara) im Gottesweg, Köln aufgenommen und produziert. Gemischt wurde das Album von Marius Bubat (Coma) und Jan-Philipp Janzen (Von Spar, Cologne Tape), gemastered von Robin Schmidt. Die Album PR übernimmt Nordic By Nature, Berlin. Das erste Video wird premiert von Intro.de.

"Happy Freedom Tour 2017
präsentiert von INTRO, DIFFUS Magazin & Musikbox
24.11.17 Köln, Arthefter
01.12.17 Essen, Hotel Shanghai
05.12.17 Hamburg, Über & gefährlich
06.12.17 Berlin, Kantine am Berghain
07.12.17 Leipzig, Kulturzentrum So&So
08.12.17 Stuttgart, Kellerclub
09.12.17 Frankfurt am Main, Lotte Lindenberg
Tour 2018 TBA

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

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

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

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

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

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

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

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

hain & the Gang : Ian Svenonius

Chain & the Gang ... the world's only 'DOWN WITH LIBERTY' group ... the best and most radical rock n roll group ever ... have a BRAND NEW long playing record out on RADICAL ELITE records and its a 'head scratcher' for sure ...

Chain & the Gang - known as the dynamic and irresistible live combo that pens provocative, unforgettable odes to obedi- ence and total destruction (e.g. 'Devitalize', 'Certain Kinds of Trash', 'Detroit Music' ) got sick of the simple fare so prevalent at the rock festivals these days. After nodding off to the washed-out zzzounds of the latest five-star folly critic's catastrophe, 'Chain & the Gang' decided to respond with their patented perversity ; they reached to the farther corner of the lab and came up with an immortal classic in the hard-to-hear genre of 'EXPERIMENTAL MUSIC' (!!!!!!!!)

In fact, this record is so confounding, so new and uncharted, they decided to call it 'EXPERIMENTAL MUSIC.' Not only is it a pounding super-classic, but it's the final word in the experimental music genre, answering the questions initially proposed by John Cage, Yoko Ono, LaMonte Young etc., shutting down the need for further experiments forever. The Lab is Closed!

Besides CHAIN & the GANG's 'Chain' — aka Ian Svenonius -- the 'EXPERIMENTAL MUSIC' LP features an all-star cast of avant-garde geniuses such as DANNY KROHA (the Gories, Demolition Dollrods, Danny and the Darleans), FRED THOMAS (Saturday Looks Good to Me, Lovesick, Tyvek, His Name is Alive), SHELLEY SALANT (Shells, Tyvek, SLGTM, Swimsuit), AMBER FELLOWS (Swimsuit), MADELINE MCCORMICK (Chain & the Gang) and BEN COLLINS (Mini- Horse) and was recorded live to four-tracks at WORLD CLASS TAPES in ANN ARBOR, Michigan.

The title track sets forth the premise and the rest of the tunes expound upon it. Its a foot-tapping, head scratching, torso tornado that will crinkle the connossieur's temple in a tantrum of cerebral delight.
Writers in one hundred years will still be piecing together the puzzle of perversity that's named EXPERIMENTAL MUSIC by CHAIN & the GANG on RADICAL ELITE Records.

After a two year hiatus, Kiani returns to his Far Out Systems alias for this EP, his first offering for a label outside of his own Tanzbar Records.

Thomas Neyens first left his mark on the dance scene under his alias Kiani & His Legion, with two releases on Red D's We Play House Recordings in 2013 and more recently on Something Happening Somewhere, quickly demonstrating his accomplished production flair. This led the Belgian establishing his own imprint, Tanzbar Records, where he dropped two EPs under his Far Out Radio Systems moniker - bringing a more 'dancefloor focused' sound. Now after a two year hiatus, Neyens returns to his Far Out Systems alias for this EP, his first offering for a label outside of Tanzbar Records.

'Spheres' kicks off the release, with its soft bassline perfectly complimenting the hazy synths, syncopated drums and the mesmerising nuances from the hang drum that feature later in the track. The slow burning style continues on 'Jane Goodall', with the track's atmospheric textures gradually overpowered by a steady selection of drums, percussion and off-kilter effects. 'Vaquita' sees Far Out Radio Systems up the tempo whilst still sonically retaining the melancholy, hypnotic sound of the EP, as the snare-led rhythm gradually gains in momentum over its seven minute duration. Closing this excellent four track EP is 'On A Quest', a pulsating number that combines soaring, ethereal synths with a club ready groove that is perfect for the shadowy dancefloors the Belgian DJ/producer performs to.



DJ FEEDBACK

Early support from

Joris Voorn: Great atmospheric EP!
Blawan: really nice stuff here ! really like Vaquita
DJ Deep: nice release
Aera (Innervisions): Vaquita is a real beauty!
Baikal: whole release is dope. big fan of kiani. big up.
Norman Nodge (Berghain): "On A Quest" sounds promising!
Richie Hawtin: downloaded for r hawtin
Ripperton: Great EP every track get something! Thanks!
Âme (Kristian): thanks
Red D (We Play House): Needless to say I have preordered this one on vinyl ;-) 'On A Quest' is gonna be the one for me. It's got that Kiani-going-emotional vibe I dig so much.
Anthony Collins: Jane goodall track is tight !
Nuno Dos Santos: ah sweeet thanx man!
Brothers' Vibe: Solid pieces, def support!

The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.

Newborn Munich based label Slam City Jams comes around the corner with its first release from young gun Gonima straight outta Montreal, Canada. His Grids EP An exciting mixture of swinging distorted drums, catchy melodies and hazy atmospheres. You can definitely spot Gonima's passion for DX7 adventures, analog drums and tape hiss right here. Opener "Grids" starts off with lush synth blips, 707 drums and a bassline Bootsy Collins would give high-fives for. "Subdivided" is one of these tracks that shows you that it doesn't need more than a few elements to get you going: A rough kick drum, cowbells and a smooth pad that gets slapped by just one bass note. The last original on B2 is the ambient-like "Organ Tutorials", which shifts your mind directly to outer space. And as if all this wasn't enough, someone really special did a great remix job - Khotin from 1080p fame, who gave the A2 cut a treat with his unique trademark sound. Four house and ambient tracks both for the floor and the couch. Or as Gonima puts it: "An EP that has the sound of visiting home in the winter and rediscovering environments frequented in the past, birthing previously obscured memories. The sounds within are a ritual dance to stay warm through the procession of the seasons"

Unreleased demos by Craig Peyton & Jolyon Skinner circa 1983-1985. The duo penned Howard Johnson's "Let This Dream Be Real", Melba Moore's "Love of a Lifetime" & Will Collins' "Where Ya Gonna Be Tonight", before they went their separate ways.

The eight tracks on 'Versus' exemplify a remarkable cross-pollination of genres, a true testament to the intense, 'it takes a village' spirit of collaboration among the artists in the Wolf & Lamb aquarium.

The LP kicks off with "Real Love," an electronic duet with San Francisco's PillowTalk. A sparse, airy kick and lackadaisical, scale-climbing bass line complement a vocoder-drenched croon, evoking nothing less than an R&B version of Aphex Twin's Selected Ambient Works. In the album's next track, "Fo Porter," butter soft vocals from Voices of Black ("I want it/I need it/I just can't get enough/I hold it/I squeeze it/I just won't give it up") complement lush orchestral arrangements, doing for hip-hop inflected dance music what Metro Area does for disco.

"In The Morning," an after the after party, hands to the air entry into the house of god, will instantly conjure up for those lucky enough to have visited the Marcy the familiar image of Gadi's hands feeling up the wall in ecstasy while Zev soldiers through the groove. "Weekend Affair," perhaps the real standout of an all-round exemplary album, punctuates stuttering, oscillating synths with a ferocious cowbell and moaned vocals, continuing a long-standing New York tradition of sexualized Downtown funk.

The gorgeous "Serpentine," with it's kettle-drum compression worthy of Phil Collins's "In the Air Tonight" and atmospheric vocals from French chanteuse Rap Lisa, is rounded out by the it's a perfect ending to the album, a moment of calm before the sharks, always on the move, start circling again.

Among guitar aficionados, they don't come much heavier than acid-drenched enigma Eddie Hazel. A founding father of Funkadelic and responsible for the blazing "Maggot Brain" solo, he released just one album. A concentrated dose of guitar-driven psychedelic soul and loping funk-rock, Game, Dames And Guitar Thangs(1977) was co-produced by George Clinton and features the full Mothership crew. Despite impeccable credentials, the album sank and dropped out of print for years, becoming a sought-after collector's item for funkateers ever since. Mercifully addressing the dubious legitimacy and quality of previous reissues, Be With Records present a worthy and welcome 180 gram edition, limited to 500 copies.

Possessing a rare ability to be showy whilst maintaining subtlety, Hazel took Jimi Hendrix's style to his own new level. Here, his fuzz-tinged wah-fuelled guitar licks shimmer across seven brain-bending tracks, showcasing highly inventive virtuoso playing and searing riffs. The LP famously opens with the most soaring, soulful version of "California Dreamin'" you've ever heard. Eschewing the structure of The Mamas & The Papas' hit, Hazel slows the pace, adding a pronounced longing to create a truly emotive reworking. Virtually unrecognizable, Hazel's exquisite arrangement recalled Hendrix's rendering of Dylan's "All Along The Watchtower" and his delicately distorted guitar work propels the track into the stratosphere.

The much-sampled "Frantic Moment" - sumptuous head-nod G-Funk a full 15 years early - is essentially a Parliament song whilst "So Goes The Story" showcases Bootsy Collins' rubber-band basslines. The incredible, grooved out version of The Beatles' masterpiece "I Want You (She's So Heavy)" even manages to evoke early Sabbath. Using the original as a template to jam off, he turns the classic sideways into a monster guitar freakout, tossing off lick after lick with enviable nonchalance. The wild "Physical Love" follows, allowing Hazel and the sizzling Bernie Worrell to strut their stuff before funky instrumental "What About It" ignites pure dance floor fire.

Eddie Hazel was a pioneering guitar genius, but his troubled lifestyle led to a dearth of recorded material that demonstrated his strengths. It's a wonderful thing, then, that this lost classic is available on vinyl again. Possibly the finest slice of P-Funk you've never heard, it's a record that will make your brain dance and one every funk fan needs.

There have been many different ways in describing the personal stories behind the protagonists of the electronical music scene in the 90ies. It´s in the nature of things that especially producers, whose place of work is the studio, remained rather in the background.
One of them is Ralf Hildenbeutel. He was the producer of Sven Väth´s most important releases such as "L'Esperanza" or "Fusion" and an essential creative part of the Eye Q label in the 90ies. His "Earth Nation" project was the first live act from that genre who was taking a drummer on the live stage, playing on international festivals and stages including the "Montreux Jazz Festival". The vita continues. While many other musicians kept on working on techno, Hildenbeutel composed for artists such as Laith Al-Deen or Phil´s son Simon Collins and wrote filmmusic for movies such as "Hommage á Noir" which won the Goldmedal for music on the New York Filmfestivals. The film adaption of Martion Suter's "Der Koch", "Ausgerechnet Sibirien", TV thriller such as "Kommissarin Lucas" or even the series of "Verbotene Liebe" have been scored by Ralf Hildenbeutel. His filmmusic for the international multi-awarded shortmovie "Momentum" was nominated at the Newport International Filmfestival. On "Moods" Hildenbeutel finds more back to electronical music. Fans of artists such as Ólafur Arnalds, Nils Frahm or Jon Hopkins will enjoy this longplayer. Hildenbeutel mixes complex string-arrangements and piano pieces with clicks & cuts and invents his own coherent language which allows both directions to live in harmony. Elegiac compositions and vivacious, percussive breakouts as in "Spark" (for which an video by award-winning filmmaker Boris Seewald will be made) meet on this album.
An album which grows and gains depth with each hearing.

Hot Casa Records reissues Disco Hi-Life, a real treasure album composed and interpreted by Afro-Soul maestro, Orlando Julius. Comes as delux 180 gramms vinyl with tip on jacket & inserts with interviews & photos. Check!
Following up to the 12inch release (HC07 / 2009), here comes the remastered version of a real mindblower piece from 1976 including four unreleased tracks, all recorded with the best Nigerian musicians, between Ginger Baker' Studio in Lagos and the American Star Studio in West Virginia, USA.
Orlando Julius Aremu Olusanya Ekemode was born in 1943 in Ikole-Ekiti, Nigeria and can be considered as a main figure of the Afro-Soul music history. One of the first African musician to get signed on a 'Major' label (Polydor), he delivered many hit single as a composer and effortlessly performed live as a tenor sax and singer. He worked and met with some of the 'greatest', such as Louis Armstrong, James Brown (for his Nigerian tour with Bootsy Collins), The Crusaders, Gil Scott Heron, or Hugh Masekela.
In the middle of 1975, just after they finished the recording of The Boys Doing It' album with Hugh Masekela, they all flew to Ghana and Lagos. It was holyday and Orlando had also plenty of time to focus on his own songs. He wrote 'Disco Hi-Life' in Yoruba and 'Children of the World' in English. And he immediately planned a recording session including 12 finest musicians, such as the great singer Dora Ifudu Avery, Adelaja Gboyega on keys, Kenneth Okulolo on Bass guitar, Butley Moore on drums, Fela's collaborator Tunde William on Trumpet, and also Ade, who helped sang 'Love Peace & Happiness'.
Originally released by Nigerian label Jofabro in partnership with the UNICEF association for the 'International year of the Child', it was only available in few promotional quantity... here comes the very first official reissue of this dancefloor masterpiece!

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

Support by:
Anthony Collins, Daniel Sanchez, Richie Hawtin, Danny Tenaglia, Jonas Kopp, Matt Star, Meat, Laurent Garnier, Jonas Kopp,
Laurent N (Radio France), Tim Green, Super Flu, Dan Curtin, Resident Advisor...

Nico Purman, our Argentinean (soon to be Berlin based) drumline captain and all around groove slinger is back for his third instalment on the marching band in the sky that we call our Vakant home. played by andre galluzi, anthony collins, mathias kaden, ellen allien, d'julz, dario zenker, ivan smagghe, karotte, livio, mark henning and many more...

already support by loco dice, steve bug, deetron, gregor tresher, anthony collins, dan curtin, robag wruhme, dj koze, ...