Search:d product

Tape

After tapes on Steep Gloss and Cruel Nature, we are happy that Stuttgart-based collective Zebularin join the OM family with their new release “Hermetic Topography“.

The album, a product of weekly recording sessions between March and July 2020, just when the pandemic slowed a bit down, might be the closest approach to what communal experiences sounded throughout 2020. It‘s a bold design of how collective improvisation can work in the post-covid era.

The first minute of „Budenzauber“ sets the tone for the whole record. Synth waveforms get joined by a drumset, both settling into a vivid conversation between digital noise and analog free jazz, finding a shared rhythm for this journey.

Daniel Vujanic, known to some from his recordings with Höhlenmusk Ensemble, Ixtar or E Jugend and the driving force behind Zebularin, had this urge to layer electro-acoustic solo material, synths, prerecorded audio meditations, without bending the sounds into detailed harmonic structures, but to build up dense, morphing atmospheres. In came Daniel Kartmann, a combatant in many of Vujanic‘s musical endeavours, his percussions, wind instruments and some deep musical talk - from obscure black metal to brazilian psychedelica, from Scott Walker to Gustav Mahler. The duo laid down basic tracks, kept arrangements vague, creating a perfect environment for a range of other players and instruments to walk in: piano, woodwinds, electronics, ebowed guitars and a vibraphone. The resulting record is a tender, affectionate take on jazz and electroacoustic composition. One can hear the routine of the involved cast as well as the fun, deep listening and correspondence that took place; even though this album was not recorded live in big-band-style, musical ideas interlock on an intuitive level and complement each other.

Take „Peljuga“ as a perfect example, a loosened jazz improv reminding of The Notwist‘s more psychic enhanced moments, which blends into a conversation between a contact mic and heavily manipulated synths and turns into a minimalist piano composition, which melds into a climactic peak and is interrupted only to rise again. And as complex as this description sounds, as uplifting is the actual song. Or the album‘s last track, „Holmen“, which starts out as an underwater ambient piece and evolves pretty organically into cosmic power electronics.

Despite its name and the Heideggerian flair of some song titles, „Hermetic Topography“ is all but hermetic. It‘s rich in musical colours without melting into a quagmire of maximalist noise. It‘s sophisticated but never top-heavy. It might be one of your favourite tapes of 2021.

Rydim Driven is the fifth studio album by Jamaican singer Jimmy Riley, produced by legendary production duo Sly Dunbar and Robbie Shakespeare and released in 1981 through their label Taxi/Mango. Way too often overlooked, this record features Riley’s signature mix of reggae, ska and rocksteady. It contains the hits “My Woman’s Love” and “Everybody Needs Somebody To Love”.

This 40th anniversary edition of the album is part of Music On Vinyl’s reggae series, containing the SELECTED REGGAE CLASSICS sticker on the seal.

In the late ‘80s, a wave of British musicians raised on ‘70s UK pop, Caribbean sound system culture, reggae, lovers rock and Motown/Philly soul music fell in love with synthesisers, drum machines and 8-track recorders. The street soul generation had arrived.

Originally released as a white label 12” in 1989, ‘You’ve Gone’ is the sole release from Bassline, the studio project of Southeast London-raised musician Tony Henry, not to be confused with Tony Henry from Manchester jazz-funk/R&B band 52nd Street. Featuring the singer Lorraine Chambers, it’s one of the true jewels of the UK Street Soul scene. As Lorraine’s heartsick soul vocal glides over sunrise synths, dusty drums, elegant electric piano figures and a reggae indebted bassline, ‘You’ve Gone’ captures the optimism and strength of the era perfectly.

‘You’ve Gone’ was championed by Choice FM UK (now Capital XTRA), Kiss FM, and DJ Trevor Nelson. Tony went from selling white labels out the trunk to booking in Live PAs for Lorraine with London sound systems like Rampage and up north in the street soul loving cities of Manchester and Birmingham. “When Lorraine did PAs up there, she went out on stage like she was Beyoncé.”

The son of a Jamaican father and an English mother, Tony grew up around the London sound system scene. He taught himself bass guitar, keyboards, and production, before playing in the reggae band Chakwanza (Swahili for “the first”). In Chakwanza, Tony rubbed shoulders with Aswad, Barry Boom, Steel Pulse, Maxi Priest, Gregory Issacs, Dennis Brown, Ghettotone and Saxon Sound, before focusing on a career in banking over music. “Music was my first love, but it couldn’t have afforded me the sort of level of - let’s be blunt and pragmatic about it - financial success that would have allowed me to support my family.”

Outside of office hours, Tony continued to work on music at home, sometimes serving as a session bassist with local bands. In the late 80s, a work colleague mentioned her sister Lorraine Chambers was a singer. Tony and Lorraine recorded “You’ve Gone” over two sessions. “Lorraine went into the booth, put her headphones on and got into the song. My daughter turned to me and said, ‘Daddy, she can really sing!’”

Despite the success of ‘You’ve Gone’, they never recorded together again. “The world changed, and for me, it changed as well. My younger kids were born, and work started getting more intense. I got a bit more successful and was living a mad, kind of crazy life.”

Thirty-two years on, ‘You’ve Gone’ finally receives an official reissue comprising the lauded original mix, an alternate version and Tony’s Back to Bass-ics remix. Fittingly, in recent months, Tony and Lorraine have re-connected in the studio writing new material.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Swedish producer and electronic enthusiast Rivet (Mika Hallbäck Vuorenpää, Malmö) joins the Editions Mego fold with a dynamic and diverse album that pivots between the punctuated pop of Ivan Pavlov's COH project, the chromatic slink of Chris and Cosey whilst also bearing a degree of fruit birthed from Hallbäck's home country Sweden in skewered pop such as The Knife.

This is electronic music born from the worship of machines and the spirit of punk, mood music brooding with sophistication and subversive twists all underscored with a deep industrial pulse. Are these songs? Are these lyrics? Words melt as beat perpetually takes us deeper into flight.

Interpretation is flung open as the audience are invited to gauge what on earth is going on here. Are Sooty Wing Flecks a minuscule species of half keyboard half vocoder chatter? Is Gleitende Liebe to be trusted or simply laying out a guide for disorientation? Pearling Woes is a queasy ballad sung by a robot on a very special comedown. Keloid knows exactly where the party can be now whereas Sodden Healer is an uber ride sans mask to destinations dark and unknown. Throughout this trip sharp snares punctuate ghost melodies as vocals rise and vaporise. Shadows hover the walls leaving holographic traces of the duality between fun and fear, the unexpected drifts diagonally across the audio plane teasing and taunting the listener in a unique blend of industrial, techno, pop and experimental forms.

On Feather and Wire album is a deep absorbing trip through multiple moods, genres and guises, as mysterious as it is engaging and one to ingest in a single sitting, lying back, sitting up, standing up and yes, even dancing. Let the angels and angles, the voices and distorted faces take shape before your mind. Who is Ordine Kadmia? What are they saying to me, here we go, on and on...

With it's haunted vocals, coded linguistics and dark sensual propulsive atmosphere On Feather and Wire is a sublime contemporary techno pop trip both psychedelic and subversive.

Written and produced by Mika Hallbäck Vuorenpää

Post-production by Mika Hallbäck Vuorenpää and Benny Liberg at Inkonst Studio Malmö
Mixed by Oscar Mulero at Dead Souls Studio Gijón
Mastered by Stephan Mathieu
Images by Dimitrios Bizios
Artwork by Nik Void

Snips is the founder of Barbershop Records and co founder of Livin Proof, with over 15 years experience as one of Londons most prolific DJs and over 10 years worth of production credits across Hip Hops underground. 2018 has seen Snips emerge as a budding solo artist, fusing the production styles of Hip Hop, House, Soul and Funk in the same fashion as he is known to do behind the turntables.

With his debut album "The Barbershop" making waves on both sides of the Atlantic and his Single "The Product" On Classic Records garnering support from a cross genre selection of heavyweights such as Karizma, Benji B, Eli Escobar, House Shoes, J Rocc, DJ Spinna and Henry Wu, Snips returns on his own label Barbershop Records and delves into Edit territory once again with a second limited 45'. This release delves into some modern soul and jazz, flipping some new age cult classics to club friendly future anthem

Record Kicks presents "The Black Stone Affair" the lost Italian Cinematic Masterpiece by Whatitdo Archive Group on limited edition 45.

For the first time ever, Record Kicks is pleased to announce the release of the long lost soundtrack by Whatitdo Archive Group to the Italian Cinematic Masterpiece "The Black Stone Affair''. The Soundtrack will be released on April 09 on Gatefold LP, CD and Digital Download. The first extract from the movie soundtrack is a limited edition 45 vinyl featuring "The Return of Beaumont Jenkins" on side A and the non-album bonus track "La Pietra" on side B. The 45 will be released in limited edition to 500 copies worldwide next March 05.

Long thought to be lost alongside the movie itself by the production studio, the soundtrack's master reels were recently recovered and its audio meticulously restored and remastered by J.J. Golden in Ventura, CA. The movie itself was understood to be unusual for its time: a globetrotting adventure/western-noir written and directed by aspiring visionary, Stefano Paradisi. Unfortunately for Paradisi, the tragic loss of his masterpiece also meant the end of his short lived career in movies. People who worked on the film have been cited as saying this film was going to be a turning point in Italian cinema and henceforth put Paradisi on the map alongside the likes of Fellini and Antonioni.

While the movie never saw the light of day, the soundtrack by obscure band Whatitdo Archive Group has thankfully been recovered. The music itself is staggering to hear and this limited edition ultra groovy 45 is just a little appetizer of what you'll be hearing on the LP. Rare groove and soundtrack fans don't sleep on it.

Xqui travels back one hundred years, navigating a twisted channel to the roaring Twenties. As this record crackles into life, sounds begin to melt and warp in a visceral transgression of time. Uncompromisingly immersive; startling; melancholic; confusing; beautiful - Twenties is the rebirth of a fading spirit song of ages. "Often when I have an idea for a new track with a new approach or sound, it snowballs into something bigger. Whether that be a longer track, an EP or even an album, each time I try to have a theme that carries through the project. Lleisiau was based around voices, Microchasm was my industrial ambient album and Ambients found me in a more reflective and serene state of mind. With Twenties it was simply the thought of using archive recordings and footage to expand into something more tangible. I found dozens of recordings from the 1920s which I thought worked well with some of my more trademark sounds. I was looking at images for the search term ‘1920s’ when I came across an image of a man from one hundred years ago who was wearing a facemask which was presumably from the time of the Spanish Flu pandemic. It was not until I saw it that I realised, with irony, that the same thing was happening here and now. The finding of the photo added another angle to the album, a little bit of horror, interference and mechanical sounds. I recorded and collated more field recordings and manipulated them to give the noise on the album. I feel it is probably my most complete work to date and I’m incredibly proud of it. I present to you, the Twenties." Xqui. Xqui first appeared in April 2018 with his Britannia EP which was swiftly followed by the Dragon album in May. Using field recordings which he manipulated via mobile phone and laptop, he created incredible soundscapes and was quickly compared to Eno, Basinski and Mansell. Since then, he has been in rich productive form with Twenties being his seventh full length album. Appearing in several Albums of the Year lists over the last three years, he has also remixed for the likes of Lark, Elizabeth Joan Kelly and Assassin of Sound as well as collaborated with Transmission 13, Radio Europa and Geiger von Muller to name but a few. His work with boycalledcrow under the moniker of Wonderful Beasts received massive critical acclaim resulting in the approach from a filmmaker to provide soundtrack material as well as a sold-out debut compact disc.

Jossy Mitsu (Rinse FM / 6 Figure Gang) makes her production debut on Astral Black. A resident DJ for the labels monthly club residency and host for their monthly radio shows, the club night-cum-label is the perfect home for Jossy's debut solo release. The Birmingham-raised, London based DJ has become known for her ability to shell down any club, whether that’s rinsing out a twisted concoction of sweaty House, Techno and left field club heaters, firing heavy-weight Rave and Jungle sets, or serenading you with her 2-step vinyl collection. Now holding down a Rinse FM residency and part of the much loved ‘6 Figure Gang’, the past 18 months has seen Jossy DJ across Europe and the UK, alongside artists such as Joy Orbison, Dance System, Maya Jane Coles & Dusky and perform at events such as The Warehouse Project, Glastonbury & Outlook Festival among many others.

Throughout the 4-tracks here on 'Planet J', Jossy invites the listener to take a step inside her sonic world. The meandering pads and scattering drum patterns of EP opener 'Odyssey' are seasoned with warped chords 8-bit arpeggiators and ticking cow bells reminiscent of producers such as Skee Mask or INVT. '1997' brings together pounding 4x4 kicks, bouncing basslines and pitched vocal samples, giving the track the makings of a house anthem and leaving the listener yearning for a return to sweaty basement clubs. The high octane energy of 'Turismo' takes the records BPM up a notch for a marathon of skittering snares drums, raucous percussion and menacing sub bass. Whilst the heavily reverbed chords and melodic basslines of subdued EP closer 'Ø' demonstrate Jossy's ability to create thoughtful electronic music whilst still retaining a
hard, dance-floor focussed edge.

The EP comes in a full colour sleeve with Planet J’s capital city visualised in a high-res CGI rendering courtesy of London-based designer Kerrie.IRL

Alto saxophonist, composer and producer Logan Richardson’s career has been marked by his deep engagement with the Black American improvised music tradition as much as by his fearlessly open-minded embrace of the contemporary sounds of the global diaspora and his keen gaze towards the future.
‘AfroFuturism’ (his fifth solo album) synthesises all those elements together into a stunningly audacious statement that is epic in its scope while providing a deep, intimately personal view into its creator’s inner life.
The core of the album is a series of towering alt-rock/trap/wonky beat soundscapes created Logan’s extensive range of keyboards, synthesizers and programming along with the latest iteration of his Blues People band - Igor Osypov
on guitar and Peter Schlamb on vibes and keys, with Dominique Sanders on bass and sharing production duties, and the thunderously virtuosic drumming of Ryan J. Lee and Corey Fonville rounding out the rhythm team.
Logan intersperses these with an array of diverse sonic interludes, scraps of found audio, unexpected, limpid pools of introspective strings performed by Ezgi Karakus and quiet glades of hushed balladry from long-time collaborator, vocalist Laura Taglialatela. Over all, his unmistakable keening voice on alto sax provides the constant narrative thread. “I was trying to get back deeper to the core of my artistic voice: using fresh production processes to mix in my interconnected influences and all the sounds I hear, while trying to find a sense of roots.”
As one of today’s most singular voices in contemporary music, with AfroFuturism Richardson delivers not only a hugely impressive statement, but one with a direct and urgent message for the future that is rooted in his own and the larger contemporary Black American state of affairs, while reminding us of his musical unpredictability. One can only imagine what he’ll do next.

Soul Slabs Vol. 2 is a collection of A-sides from the 7-inch catalog of Loveland Ohio's Colemine Records. Specializing in heavy soul, funk, and R&B, Colemine prides itself on authenticity and an old school production style, while still making songs that seem fresh and are moving the genre of soul forward. This 3LP collection of 27 tracks puts their diverse catalog on full display, many of these songs being presented for the first time on an LP. Featuring artists such as Durand Jones & The Indications, KellyFinnigan, Ben Pirani, Jr. Thomas & The Volcanos, Delvon Lamarr Organ Trio, Monophonics, Ikebe Shakedown, The Dip, The Sure Fire Soul Ensemble, Soul Scratch, and more!

"‘PACIFIC’ (EP) is Roo Panes’ latest release, following his critically acclaimed albums ‘Little Giant’ (2014), ‘Paperweights’ (2016) and ‘Quiet Man’ (2018).
While the track ‘Pacific’ offers that folk-tinged, guitar led and string embellished sound that Roo Panes fans know and love, ‘Colour In Your Heart’ offers an atmospheric production, minimal electronic beats and lack of guitar, suggesting a potential new musical direction for this new decade.
Elsewhere ‘Listen To The One Who Loves You’ gently swells from a delicate introduction into to an ear-filling delight filled with subtle horns, sweeping strings and gentle drum rhythms, and ‘The Sun Will Rise Over The Year’ builds from quiet beginnings to an explosive crescendo where galloping drums drive the track onwards and upwards. "

Malik Alston and Javonntte Garrett have been at the beating heart of the Detroit scene for decades now, with releases on Kai Alcé's NDATL, Patrice Scott's Sistrum, and Jerome Derradji's Still Music just to name a few. It's no surprise that Bristolian-cum-honorary-Detroiter Andy Compton and the two aforementioned would link up on Detroit's northwest side for a master-class in 21st century soulful house music. This EP, the product of July's 2017 collaboration, features 4 mixes— a percussive heavy 'Linwood Mix' from Malik Alston featuring his sensual vocals and a talkbox solo from Javonntte. 'Malik & Javonntte's Side By Side Dub' feature the two stripping it back to the bouncing bassline and syncopated percussion. For the flip we travel to Bristol, where Andy Compton's mix takes on a bit more of a neo-soul vibe that accentuates his guitar playing and Malik's vocal and Rhodes performance. The EP closes with 'Andy Compton's Dub', which puts Javonntte's harmonica prowess at the forefront.

Having previously released on RNT as part of duo Balako, Diogo Strausz now makes his solo debut on the label with an absolutely stunning offering of electronic Brazilian jazz. A São Paulista now living in Paris, Strausz made international waves earlier this year with his piece ‘Pausa,’ a grand and sprawling orchestral work written and recorded by musicians around the world in isolation.

The two songs on Strausz’ new Emancipação EP showcase his gift for instrumental composition that feels at once both fresh and timeless, informed heavily by the classic Bossa Nova and Samba repertoires of his native Brazil, yet translated through a modern production lens, and executed with exceptional musicianship. The end result is an undeniably unique sound that will fit equally well in the collections of jazz and MPB aficionados, as in the crates of modern DJs and listeners alike.

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs. ABOUT DJ MUGGS: One of the original architects of dark hip hop in the early '90s, DJ Muggs helped craft a singular sound that blended darker sensibilities of psychedelic rock and hip hop in a unique way that influenced many in its wake. As the primary producer of legendary rap group Cypress Hill, Muggs' productions and sonic sensibilities are unmistakable and deeply revered by the truest of hejkvgads. Muggs' own MC round-robin imprint, Soul Assassins has been home to countless productions, laying sonic drop cloths for everyone from Dr. Dre, Ice Cube, Chuck D, GZA, Mobb Deep to MF Doom, Freddie Gibbs, Roc Marciano and Mach-Hommy.

LTD. RED VINYL

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs. ABOUT DJ MUGGS: One of the original architects of dark hip hop in the early '90s, DJ Muggs helped craft a singular sound that blended darker sensibilities of psychedelic rock and hip hop in a unique way that influenced many in its wake. As the primary producer of legendary rap group Cypress Hill, Muggs' productions and sonic sensibilities are unmistakable and deeply revered by the truest of hejkvgads. Muggs' own MC round-robin imprint, Soul Assassins has been home to countless productions, laying sonic drop cloths for everyone from Dr. Dre, Ice Cube, Chuck D, GZA, Mobb Deep to MF Doom, Freddie Gibbs, Roc Marciano and Mach-Hommy.

Guedra Guedra presents Vexillology, an elevation of tribal consciousness and futurism from underground musical universes. The album offers listeners an immersive experience made from hypnotic and rhythmic arrangements, rooted in ancient culture. Referring as much to Sub-Saharan as to North African cultures, Guedra Guedra presents a synthesis of his pan-African appreciation and a full immersion into the traditional rhythms of these lands, especially within the Berber culture which is found in countries such as his home of Morocco, and across Tunisia, Algeria, Libya, Northern Mali, Northern Niger and beyond. The body of work is a complete celebration of cultural roots and future bass, bubbling in hotbeds of the global underground. Guedra Guedra is synonymously known for his ability to explore tribal rhythms and instruments of the past, as well as dancefloor innovations from contemporary underground scenes. For Vexillology and in true Guedra Guedra style, a myriad of immersive recording techniques were applied. The album is built upon a multitude of field recordings capturing live and 'in the moment' cultural happenings, encountered in everyday life, at tribal festivities and also on his travels. By also using video in his field recordings, Guedra Guedra enables himself to encapsulate the heat and entirety of the moment, applying this 'moment' and evolving it into his productions.

Electronic four-piece Big Yawn invites five revered artists to reconstruct their debut album No!, originally released in March 2020 through Research Records.

The remixes convey a unique combination of darker textures and brooding sounds, clearly indebted to their source material.

The release features interpretations from Sleep D, Jay Glass Dubs, Maria Moles, Bullant and Raymond Scottwalker.

Rhythm merchants Sleep D (Butter Sessions) up the tempo and weave their signature expansive production in their fearless take on 'Reflex'.

Prolific producer Jay Glass Dubs (Bokeh Versions) flavours the 'Body Double' refix with looping clattering drums and glitchy murk, creating a compelling arrangement.

Like a drift into a warm gorge, percussionist Maria Moles (Nice Music) inserts gentle sustained synth work into 'Doodle Damage'.

Bullant (Flightless Records) pulls the listener out abruptly with a rework of 'Skinrat', a house-streaked churner.

Raymond Scottwalker (Fallopian Tunes) wraps up the record with another rework of 'Reflex', creating a mind-bending, aggressive industrial rejig.

Big Yawn's remix EP is a dynamic pairing to No!, entrusting an exceptional group of musicians to adhere to the spirit of the record, yet take it in a totally re-imagined direction

Baroque Sunburst co-founder and Honest Jon’s team member, Big Hands displays his potent production prowess on the next Oscilla Sound release with three tracks touching on organic soundscapes, illbience and muddy bass oddities. In the old city of Lakamha ancient tombs stand tall and ruined, woven with moss. Birds as old as time beat their wings over tropical forests; their cries bouncing off wet rock lassoed with carvings of Mayan symbols. ‘1346’ begins with stirring synths and dub-echoing, low frequencies encompassing both spatiality and aberration before the heads-down atmospheric roller ‘Calix’s Head’ lays down sharp, acid flutters and ghostly ripples. ‘Louis H theme’ is an ode to the radical minimalist composer Moondog (Louis Thomas Hardin), whose experiments with polyrhythms continue to influence numerous generations of musicians. The track features swampy bass that balances weightlessly with the hypnotic sonics and breezy rhythms.

Jesse James rides again! Rejoining the Soul Junction label to bring you his previously unreleased original version of the song “(The Girl In) Clinton Park”

The song is more widely known through the version recorded by the group Masterplan in 1974 as part of their trilogy of 45 releases on the West Coast Fos-Glo label, with this particular release being later picked up and released on The East Coast Delite label.

The story behind Jess’s solo version began 3 years earlier when following his first spell with the 20th Century label Jesse found himself without a label feeling a little disillusioned with major labels but undeterred in his own ability he decided to finance and record his own masters. Hence on 29th of April 1971, Jesse entered the Searra Sound Studio in Berkley C.A under the direction of producer and friend Willie Hoskins (Wilhos Productions, and the man who gave the world the Natural Four on Boola, Boola and ABC, prior to them joining Curtis Mayfield at Curtom). Jesse recorded a five song session, with one particular song being the Stanley Lippett composition “(The Girl In) Clinton Park”. Lippett who prior to becoming part of the Wilhos Productions team sang with the early 60’s group The Five Brooks before recording two very sought after Northern Soul 45’s “The Stran” and “Outta Sight Loving” for Dick Vance’s Out Of Site Label. Stanley later joined Marvin Holmes & The Uptights Band. It had been Marvin Holmes (he of Brown Door Records fame) who introduced Stanley to Willie Hoskins with Stanley subsequently joining Boola Boola Records and Wilhos Productions. Stanley repaid Marvin for this introduction by composing a song based on Marvin’s 3 year daughter, she being the actual girl from Clinton Park!

Returning to Jesse James, two other songs from this session, a cover version of Etta James “At Last” and “I Know I’ll Never Find Another” did gain a release at the time on the Zay label.

We’ve known about Jesse’s version of this song for many years now but the tape was nowhere to be found and even without hearing it, just knowing the song and that Jesse was a great singer I always promised him that one day I’d put it out. But if there is some good to come out of this pandemic then it was during Jesse’s lock down in Richmond and while browsing through his possessions he luckily found the missing tape, bingo we’re in business!

For this release we have coupled “(The Girl In) Clinton Park” with Jesse’s oh so soulful cover version of the Terry Callier/Larry Wade composition “ Just As Long As We’re In Love” (also recorded by Callier himself and The Mighty Dells), previously issued by Soul Junction on Jesse’s 2012 album “Let Me Show You” (SJLP 5005), enjoy.

Argentinian producer Thissperso has been living in Barcelona for a good season while producing music that reflects what he experiences in his day to day life. His productions are harsh and violent, but they have a quality and energy that makes them contagious and addictive. This work, edited by NNY Records, compiles some old songs that have been revisited and remastered, which coexist with new compositions that continue to explore the most visceral and dark side of electronics. This is the work of a producer who is not tied to any style and who enjoys setting the dancefloor on fire when one of his songs is played. Producers like Parris Smith have already been able to verify it in the first person with a couple of songs from this new EP in which we find Electro mixed with Industrial, EBM, Acid and a punk and nonconformist attitude.

Nino Lepore hails from South Italy, and is best known for his self-titled LP from 1986, as well as for his uncredited work on Dancer Record. The 'Chok Musik' 12" from Best Record Italy focuses on two productions from his sole LP, and in the titular track, sexualized funk basslines join a disco drum strut, as guitar riffs shimmer and brass and string orchestrations swirl deliriously between filmic romance and symphonic madness. And after a breakdown into percussive chaos, smooth piano solos alternate with passages of sizzling sax. As for "Bad Time," an introduction of decaying gongs leads to a broken beat groove, with strings evoking atmospheres of exotic noir and horns soloing softly over subdued funk bass motions and distant flashes of guitar. There are jazz rock breakdowns into liquid riffing and flamboyant brass, and during handclap climaxes, horns swell towards the sky.

* repress on sandstone colour vinyl

For 'Music For Dreams’ collector’s series, we aim to bring you something a little different, something a little out there. After eclectic contributions from Jan Schulte, Moonboots and most recently Basso, we’ve lent the slot to Belgian sonic globetrotter DJ soFa. As always, he’s been granted supreme curatorial sovereignty, and trust us, he held us to our word on that one. For elsewhere Jr I, soFa takes us on a trip to the alluring and magical reality of childhood - and a trip, it is.

This double LP features both new and old compositions from a wide range of countries, all centered around the youngest citizens of planet earth. The compilation has been 2.5 years in the making, with soFa collecting obscure pieces from all over the world and inspiring young collaborators to produce new tracks mostly by means of analogue synthesizers and vintage drum machines. The result is a thematically and sonically homogenous collage of cosmic children’s music.

'soFa' starts us off with Milo Kolarov’s exercise in sonic imagery ‘Analogue Beam’, a story about animal characters, presented to us as distinct motifs of bleeps and blitzes. Next up is the surreal jigsaw puzzle dub ‘Totti und Pippo’ by Jah Limonardi and 'Die Kleine Gräfin Dubski'.

Here, we come bouncing on giant, iridescent mushrooms, lulled deeper and deeper down the rabbit hole by incantations of a child’s voice. Throughout, the record is full of these synaesthetic properties, immersing the listener in creative ways, nudging you down hidden experiential pathways.
All of the tracks, more precisely ... they were pleasantly engaging, often blooming with charming grooves and provided with a whimsical melody.

First released by Cazzo Film in 2001, ebo hill’s Bonking Berlin Bastards has long achieved the status of an underground punk porn classic. Like the Cazzo productions of director Bruce LaBruce, hill’s vision was both ahead of its time and a playful distillation of 90s and early-2000s Berlin Zeitgeist: queer, industrial, hypersexual, exhibitionist and fueled by electronic music. The story is told in large part by the soundtrack, to be released for the first time on Ostgut Ton sublabel A-TON. The music follows a group of squatters, punks and drag queens as they fuck, party and stumble their way through an empty city at the turn of the millennium. Approaching these themes more through location than plot, the film’s narrative freedom is also a narrative of freedom; between chance encounters and sex in public, atop the maze of roofs in the city’s former East, bent over bridges and moaning in ecstasy at oncoming traffic, pants down in telephone booths, packed into sex clubs, in the shadows of abandoned factories and techno clubs lost in time. Composed by improvisational techno trio AeoX and noise / industrial producer Rouage aka CNM (respectively), the music spans a broad range of appropriately pounding industrial, weird techno, noise, ultra-stoned ambient, improvised dub and electro. It’s a sonic spectrum that connects Berlin’s queer hardcore techno and squatter party scenes from which AeoX and Rouage emerged, drawing a direct line between the likes of Berghain-forerunner OstGut (a primary meeting point for the film’s cast & crew) to the more industrial, breakcore and noise- oriented independent party collectives and locations who provided multiple settings for the film, including Grüne Hölle and Stellwerk.

*Artists:* CNM / Rouage (Kathinka): Born in 1975 and raised in East Berlin. Co-organization of subcultural events since 1998 in Berlin, Potsdam, Leipzig and Barcelona. Experimental music, collaborations, exhibitions and audiovisual shows since 2000.

AeoX: Active between 2001 and 2007. Originally a quartet, then a trio, the group eventually shrank to two permanent members: Alex.E and Hanno Hinkelbein. The latter founded Null Records, where AeoX released two album and numerous EPs. They also released on Mental.Ind.Records founded by former OstGut resident Cora S. Musically, the group experimented with combining improvisational hardware techno, breaks, traditional instruments (guitar, clarinet, piano) industrial and metal.

Ursprünglich 2001 von Cazzo Film veröffentlicht, hat Bonking Berlin Bastards von ebo hill längst den Status eines Underground-Punk-Pornoklassikers erreicht. Wie die Cazzo- Produktionen von Regisseur Bruce LaBruce, war auch hills Vision seiner Zeit voraus und ein spielerisches Destillat des 90er- und Anfang-2000er Berlin-Zeitgeists: queer, industriell, hypersexuell, exhibitionistisch, angetrieben von elektronischer Musik. Die Geschichte wird größtenteils über den Soundtrack erzählt, der auf Ostgut Tons Sublabel A-TON zum ersten Mal veröffentlicht wird. Die Musik folgt einer Gruppe von Hausbesetzern, Punks und Drags, die ficken, feiern und durch die leere Stadt um die Jahrtausendwende streifen. Bonking Berlin Bastards erzählt diese Themen mehr über die Drehorte als über die Handlung. Die erzählerische Freiheit des filmischen Narrativs ist gleichzeitig eine Erzählung von Freiheit: Von zufälligen Begegnungen bis hin zu Sex in der Öffentlichkeit, auf Dächern im früheren Osten Berlins, sich über die Brüstungen von Straßenbrücken beugen, trotz und wegen des Verkehrs stöhnen, mit heruntergelassenen Hosen in Telefonzellen, in überfüllten Sexclubs, im Schatten aufgegebener Fabriken, zeitverloren in Technoclubs. Der Soundtrack wurde sowohl vom Improvisationstechnotrio AeoX als auch von Noise-/Industrial-Producer Rouage aka CNM komponiert und spannt einen weiten Bogen von explizit pumpendem Industrial, schräg klingendem Techno, Noise, ultra-stoned Ambient, improvisiertem Dub und Electro. Das musikalische Spektrum verbindet Berlins queere Hardcore-, Techno- und Hausbesetzer-Party-Szenen, aus denen AeoX und Rouage selbst hervorgingen und zieht dabei eine direkte Linie zwischen dem Berghain- Vorgängerclub OstGut (ein wichtiger Treffpunkt für die Darsteller und Crew des Films) und den eher Industrial-, Breakcore- und Noise-orientierten Independent-Partykollektiven und -Locations wie Grüne Hölle und Stellwerk, welche mehrfach als Drehort und Kulisse des Films auftauchen.

CNM / Rouage (Kathinka): 1975 geboren nd aufgewachsen in Ost- Berlin. Co-Organisation subkultureller Events seit 1998 in Berlin, Potsdam, Leipzig und Barcelona. Experimentelle Musik, Kollaborationen, Ausstellungen und audiovisuelle Shows seit 2000.

AeoX: Aktiv zwischen 2001 und 2007. Ursprünglich ein Quartett, dann ein Trio, dann verkleinerte sich die Gruppe auf zwei permanente Mitglieder: Alex.E und Hanno Hinkelbein. Letzterer gründete Null Records, auf dem AeoX zwei Alben und zahlreiche EPs veröffentlichte. Ebenfalls Veröffentlichungen auf Mental.Ind.Records, welches von der ehemaligen OstGut resident Cora S. gegründet wurde. Musikalisch kombiniert die Gruppe improvisierten Hardware- Techno mit Breaks, traditionellen Instrumenten (Gitarre, Klarinette, Klavier), Industrial und Metal.

Early support by Alienata, Cyan85, Laurent Garnier, Marcel Dettmann, Swarm Intelligence, SLAM, OM Unit and many more!

As VOITAX enters its eighth year as a label, co-founder Christoph Siegert aka Masha Motive steps up to the plate with his first solo material - "The Imponderable Bloom". Having played a highly in uential role in whittling the label's established signature sound, the German producer chose to take his time to hone in on his craft, before dropping any production of his own. The result - a studiously crafted expedition filled with dominant breaks, dense bass and swelling ambience, flirting between the realms of jungle, dubstep and down tempo.

Tape Works Vol. 2 is the second album from the UK's leading musique concrète ensemble, Langham Research Centre, on Nonclassical. This album presents recent substantial pieces that contrast with the shorter pieces found on Tape Works Vol. 1 (2017) which showcased some of the group's earliest tape experiments. This album features 'Dinotique', commissioned for Café Oto's Stereo Spasms festival in 2019, a celebration of the work of the late French composer Luc Ferrari to mark his 90th birthday.

Langham Research Centre - Felix Carey, Iain Chambers, Philip Tagney and Robert Worby - make experimental music using resources and ideas that, until recently, were considered obsolete, redundant or outdated. Their music is made using tape recorders, cassette machines, shortwave radios and specialist devices found in recording studios. Their inspiration and enthusiasm is driven by the soundworlds produced by maverick composers working in the middle of the 20th century. The four members met at the BBC, where they all work in production. Their music has received significant radio airplay on BBC Radio 3 and more.

The album will be featured along with an interview with the group in the February 2021 issue of Electronic Sound Magazine.

Tape Works Vol. 2 is the second album from the UK's leading musique concrète ensemble, Langham Research Centre, on Nonclassical. This album presents recent substantial pieces that contrast with the shorter pieces found on Tape Works Vol. 1 (2017) which showcased some of the group's earliest tape experiments. This album features 'Dinotique', commissioned for Café Oto's Stereo Spasms festival in 2019, a celebration of the work of the late French composer Luc Ferrari to mark his 90th birthday.

Langham Research Centre - Felix Carey, Iain Chambers, Philip Tagney and Robert Worby - make experimental music using resources and ideas that, until recently, were considered obsolete, redundant or outdated. Their music is made using tape recorders, cassette machines, shortwave radios and specialist devices found in recording studios. Their inspiration and enthusiasm is driven by the soundworlds produced by maverick composers working in the middle of the 20th century. The four members met at the BBC, where they all work in production. Their music has received significant radio airplay on BBC Radio 3 and more.

The album will be featured along with an interview with the group in the February 2021 issue of Electronic Sound Magazine.

I’ve known Alex Bleeker my entire life. Well, okay, maybe not since I was born, but there’s no doubt that I’ve shared a fair bit of memories with him over the years. We’ve acted in high school productions of Shakespeare together, gone on late-night diner runs, argued about which Weezer album is the band’s best, and swapped mutual appreciation for the music of Yo La Tengo on car rides careening around the snaky suburbia of our hometown. Just like his Real Estate bandmates Martin Courtney and Julian Lynch, we attended high school in the New Jersey enclave of Ridgewood, a place where sticky summer days yielded cool nights with a glow so nocturnal that you can practically hear the fireflies buzzing off of this sentence alone.

Indie rock—a type of music that can easily be made or listened to in someone’s garage—often dominates teenage suburban preoccupations, and both Alex and I were no exception. You can hear this legacy of listening on his new album Heaven on the Faultline, which departs from his last full-band outing as Alex Bleeker and the Freaks, 2015’s Country Agenda. Whereas that album had a more full-bodied explicitly folk-y feel, Heaven on the Faultline finds Bleeker getting back to his homespun roots over the course of its 13 songs, from the jangly guitar pop of New Jersey heroes the Feelies and YLT’s hushed, acoustic reveries to the open-hearted folk rock that marks so much of the Grateful Dead’s early catalog.

Written and recorded over the last several years, Heaven on the Faultline’s songs were initially recorded straight to GarageBand in Bleeker’s bedroom before receiving further studio refinement in co-producer Phil Hartunian’s Tropico Beauty space in Los Angeles. With contributions from Confusing Mix of Nations’ Josh Da Costa, Cameron Stallones of Sun Araw, singer-songwriter Kacey Johansing, and Parting Lines’ Tim Ramsey, Heaven on the Faultline achieves a warm and intimate feel that defines Bleeker’s mission for the album: “I wanted to capture the moment in which I fell in love with making music to begin with. This is music for myself—me getting back to music for music’s sake.”

The unsteady times we live in certainly creep into view on Heaven on the Faultline. The deceptively easygoing “D Plus” was written on the day of President Donald Trump’s inauguration with the cursed event in mind, while the anxiety of climate change hovers just above the lovely guitar loops of “Felty Feel.” “The album is very much about dealing with the anxiety of a sense of impending doom,” Bleeker states while discussing the album’s portentous vibes. “When is the hammer going to fall? How do we go forward in the face of such anxiety and experience the complexity of life?”

Tough questions with few answers, but try not to stress too much. It’s possible to experience such existential doubt while also enjoying the simple pleasures that life has to offer, and that ethos is square at the heart of Heaven on the Faultline. It defines who Alex Bleeker is, too, and is one of many reasons why I’m proud to have known this special person and artist for so long.

Larry Fitzmaurice

“A weird trip of a band…the second this was playing I was
immediately hooked. I initially dove in because their name
was attached to Mikey Young for mastering (I have a rule
with Mikey…if he had his hands on it, it’s probably worth
a listen). This band exceeds in all my trials.
“Esoteric nature, but oddly poppy and ready to prick up
any ears out there. Deconstructed, but full of hooks. If I
were a lazy man, and I am, I would say its for fans of PiL,
but they transcend that pigeon-hole.
“Wonderful production lends its self to this unique LP.
It seems as if the room expands and contracts throughout
songs. Pulling away, then blocking your field of vision entirely.
Wasteland funk. Dub from the depths. Punk from
the pit.
“Even the instrumentation is worth mentioning:
saxophone, drums (and cut-up drums), guitar, synthesizer,
vocals (poetry) and general fuckery all combine to make
this a very interesting and worthwhile escape from the
average. And thank the Gods for that right now. Inspired
and desired by the active mind. A job well done by EXEK,
and there’s new stuff brewing too...
“For fans of BEAK>, Phantom Band, PIL and general
Jah Wobbleness, Magazine, short-wave radio, ESG and
underground Kraut”. —John Dwyer

After numerous successes across nearly every notable MC/DJ battle of the late 90's and early 00's, followed by their poignant debut, First Born (2001), and the innovative follow-up, E&A (2004), Eyedea & Abilities expanded upon their reputation for multi-dimensional lyricism and production, establishing the duo as a progressive and integral part of the underground hip-hop sound. In 2009, they re-emerged with rap-punk vocals, gutted guitar riffs, and synthesized drum beats on By The Throat, their final studio release before Eyedea's untimely passing in 2010. Together, the experimental and philosophical rapper Eyedea, synchronizing with the precision and ingenuity of producer/turntablist Abilities, curated a raw form of escapism that still resonates ten years later. While a song like "Spin


Cycle" delicately unravels the barriers of human intimacy, “Smile” immerses us into the horrors of poverty and hardships, and our society's obliviousness to them. In each track, Abilities compliments Eyedea’s fluctuating patterns by maintaining ranges from each

side of the spectrum, ensuring their advanced creation still stands as a testament of their dedication to the craft. Now, the long out-of-print vinyl is being reissued for the 10 year anniversary on a custom formulated watercolor swirl vinyl, wrapped art paper jacket of original watercolor artwork by Michael Gaughan with film lamination finish, full color printed record sleeve, insert with full album lyrics and free download card.

Second album released on Insanity Records from London based/Bedford born pop/soul singer. This is the follow up to 2018's gold certified 'Lighting Matches'. A 14 track album whose production credits include Dan Grech, Eg White and Lostboy among others. Single LP on black vinyl and standard CD. Plenty of radio support across all the singles released so far: 'Little Bit Of Love', 'Amen', 'Something Better', 'Oh Please' and 'This Is The Place'. Digital campaign. Video plays across MTV/Vevo/Tik Tok. Online/social media activity. Ads, features, interviews ad reviews across all press. TV promo includes Graham Norton Show interview and performance plus more to follow. TV ad campaign. Pending UK tour dates. Poster campaign and database mailout.

The Roman on the cover soldiers on in silence. This album is the product of excavations in materials recorded at home, EMS in Stockholm, Worm in Rotterdoom, and Willem Twee Studios in 's-Hertogenbosch, much of which has been collaged, recollaged, broken apart, bleeped backwards and put back together with the kind of casual elegance that takes years of practice to perfect. Hiele is a very busy man: aside from his music (solo, commissions, and in collaboration with far too many people to mention here) he co-runs Table Dance - a bar-restaurant-venue in Antwerp's red light district - and Universal Exports, a shady organisation that occasionally releases records. Limited edition of 300 copies. Includes a poster/insert, download code and a UE sticker.

Corvair is what happens when you trap two Scorpio songwriters in a house together. Comprised of a Portland-based husband / wife duo of two seasoned musicians (Brian Naubert and Heather Larimer), Corvair’s debut album charts a starcrossed love story over three decades, five cities, and six continents. Spanning from atmospheric pop to jangly confessional, 70s AM to 90s FM, this work is laden with stunning turns of phrase and prodigious melodies, two voices leaping to meet in the ether. Corvair’s debut album was largely created during the COVID pandemic shut-down of Spring 2020. It includes work with drummer Eric Eagle (Jesse Sykes, Wayne Horvitz) and Engineer Martin Feveyear (Brandi Carlile, Mark Lanegan, Mudhoney), who also mixed the record. Larimer explains, “Being stuck in a house together with very little outside influence made us more emotionally raw, definitely weirder, and also more patient and intricate in developing the songs. And because we were in a bubble, cooking dinners from paranoidly-disinfected groceries and listening to old records, really disparate references from some of our favorite music ended up colliding in odd ways--an emotional Judas Priest bridge, an anthemic Pixies outro, a spacey keyboard sound from Steve Miller, Jeff Lynne's acoustic guitar tone, a Carpenters-style lush harmony. I think it's a wonderfully weird record, but also very in-your-face pop because what else are you going to do when the world feels like it's ending?" Separately, Naubert and Larimer have created or appeared on more than 20 records. Heather’s musical mainstay was the garage pop band Eux Autres, broadly hailed as a “veritable cult classic” band, radio-debuted by the legendary John Peel, and featured in many shows, movies and commercials. Brian is a longtime fixture of the Northwest rock community, having played in vital bands such as Tube Top, Pop Sickle, and the critically-lauded Ruston Mire, since 1993. More recently, Brian released his first solo record, Hoffabus and a record with the NW Supergroup, The Service Providers. Naubert and Larimer’s decades of separate music making have finally combined, culminating in this tour de force from two formidable songwriters. Corvair sounds like nothing you’ve ever heard and everything you’ve always loved.
Press quotes: “Smart, infectious, jangly pop.” Everett True // “An irresistible set of bouncy indie-pop tinged with surf music and ‘60s girl groups, contrasted with the band’s often-biting lyrics.” KEXP.org // “One of the more exciting independent releases of the year...a veritable cult classic.” Under The Radar // “Three chord garage pop that hangs on a raunchy guitar line and crisp production from Janet Weiss (Sleater-Kinney, Quasi).” MAGNET Magazine // Brian Naubert - vocals, guitars, bass, keyboards, percussion. Heather Larimer - vocals, keyboards, percussion.

Ridiculously rare & sought after private pressed 45 from Atlanta, Georgia, that hardly ever turns up for sale in its original issue. It features the seemingly widely unknown pounding modern soul dancer "I Wanna Take A Chance With You", an absolutely killer tune with stellar production and vocals from the talented Early. A side's "Who Are You " is an intimate and deep piece of soul music with superb songwriting techniques.


Featured on the playlists of very few crate digging DJ's out there, this 45 gets an overdue and legitimate repress in its original form. Essential! Born and raised on a small farm in the heart of Georgia, lead singer and guitarist Early Clover started his own band Early Clover and The Bosa Novas' at the age of 14. In1967,
he changed the band's name to the Middle Georgia Soul Drifters'. They became very popular locally and began being the backup band for such acts as Rufus Thomas, Joe Simon, William Bell, Jay Hines, Nancy Butts, and opening for such acts as Tyrone Davis, Marvin Sease, Clarence Carter, Betty Wright and Full Force. After the breakup of the group, Early Clover put together some musicians and went to Haywood Recording Studios in Atlanta, Georgia, and recorded Who Are You' and I Wanna Take A Chance With You' in 1977 to be a part of an album, but went on the road and didn't complete the album but performed the
song live a year and a half before releasing it as a 45 rpm single.

‘No Limits’ is a record that has been causing waves since 2019 when it was originally released on Gladys Pizarro’s Launch Entertainment imprint.

Born out of an inspired studio session in 2018 between Danism, Train and DJ Rae, the song immediately felt special, evoking memories of the heyday of the soulful NYC sound. The production and, in particular, the sublime vocal delivery from DJ Rae made it stand out and the NYC-based Launch Entertainment seemed the perfect home for it. The record was a hit on the soulful house scene with heavy support from Louie Vega, Todd Terry, Francois K, Terry Hunter, CJ Mackintosh, Mr V, Sandy Rivera, DJ Spen, Brutha Basil, Sy Sez, Richard Earnshaw and loads more.

Fast forward to 2021 – and in partnership with SoSure Music - ‘No Limits’ is set for release on vinyl with the unquestionable expertise of Danny Krivit laying down a signature re-edit of this soulful house gem. Looping up DJ Rae’s vocals to expert effect at the beginning of his edit, Krivit amps up the anticipation for that sensuous, soulful house drop as twinkling keys reverberate from ear to ear. This is emotive house at it’s very best. The full length and original Vocal Mix graces the B-side.

With this release Danism, Train and DJ Rae also launch their DTR project alias. With the continued success of ‘No Limits’ plus brand new material set to follow throughout the year on Launch Entertainment it makes sense to cement their initial collaboration into something more solid. Danism, Train, DJ Rae combine as the DTR Project with Danny Krivit on remixes duties. A delightful combination to kickstart 2021.

Martin Georgi is not a newcomer. He is more like one of those who like to stay under the radar. The sample-based music producer made his debut in the deephouse sector on his own more than 10 years ago, completely without a label or distribution. In 2016, the Berlin record label OYE Records became aware of the hitherto unknown artist and finally re-released the tracks from his debut. Since then, his early tracks have been compared around the world with the early works of Moodyman or Theo Parrish.
After more than 10 years and the maxi “9 to 5 is killing me” (2018), a second album is finally released on the underground label quietelegance records. Stylistically it ties in with the first work. “Money from the trunk” is the title of the new album and it includes socially critical issues such as class differences that are created by capital. Georgi plays with a large portion of irony and of course plenty of samples, which the passionate record digger skillfully processed into eight new songs.
Georgi not only stands out from the conforming deep-house crowd with his raw, unconventional production style, but also ensures that old-school sampling continues to have its place in current club music. In doing so, he reacts to global music trends, which he incorporates into his tracks through the finest sample operations. So it is not surprising that his new album “Money from the trunk” has a rap song as title song, for which the renown artistic-activist rap duo Fokn Bois from Ghana is jointly responsible. Also on the list of prominent guests are Felipe Gordon from Colombia and Delfonic from Berlin as well as Cornelia Lund from fluctuating images. Roskow Kretschmann appears as co-producer, whose name is associated with many other well established musicians.

Although this amazing U.S. popsike gem seems to have remained under the radar since it was first released in 1969, copies of an original pressing of this LP fetch several hundreds of dollars among the small circle of collectors that have managed to discover the amazing works of Don Beckmann and David Rea.

Their only LP was originally released on their hometown Denver’s Stylist Records label back in 1969. The production is amazing: to the strength of the duo’s compositions and their guitar and vocal talents, a complete band is added, plus impressive orchestrated arrangements with scores provided by Dan Goodman and Mark Schuster and conducted by Ben Kaufman, the result being a deliciously beautiful album that could be a missing link between the works of Simon & Garfunkel and those of soft pop maestros like The Free Design or Harper's Bizarre or baroque pop legends The Left Banke.

180 gram reissue of Rita Lee's (Os Mutantes) debut solo album, originally issued in Brazil in 1970. Orchestral arrangements by Rogerio Duprat and production by Arnaldo Baptista, with a cover of The Beatles' "And I Love Her."

The term 'tourbillon' has two meanings - it is the French word for "whirlwind" and also a device used in watchmaking to improve the accuracy of a timepiece. Both definitions feel apt when listening to Tourbillon, the latest release on Central Processing Unit from Australian producer Tim Koch. Following on from Koch's CPU debut Spinifex back in 2018 - an album that initially emerged via minidisc - Tourbillon is a four-track EP which dazzles with its perpetual-motion post-IDM productions.

These tracks draw you into their webs by forming dense interlocking sonic patterns over the course of several minutes. While the rhythmic programming and lattice of alien percussion tones can appear discombobulating at first, Koch also bewitches the listener with the slyly melodic synth work that he laces throughout Tourbillon.

Opening track 'Estranger' is a fine example of this combination. The first section here is a blend of blown-out drum sounds which comes off like an industrial electro tune run through a meat grinder. However, the track soon blossoms with the introduction of some amazingly atmospheric synth pads, and the two contrasting elements come together for a strange and rather beautiful whole.

'Estranger' finds a mirror-image in Tourbillon's final cut 'Hankert', a track in which more of those gurgling percussive tones play off the rich chord progressions that chirrup away in the background. Between 'Estranger' and 'Hankert' we get two propulsive grooves in the form of 'Disfugue' and 'Dreitark'.

How, then, to contextualize such unique material? Calum Gunn's recent outing for CPU is a good point of comparison, and the electronics here bang and whirr in a manner which nods to the post-IDM innovations of artists like μ-Ziq. One can also see Tourbillon as descended from acts like Cabaret Voltaire, the industrial electronics innovators from CPU's home city of Sheffield. However, Tourbillon is ultimately an EP which exists in its own lane, an open-minded and open-hearted set which runs with the futurist spirit of CPU and Koch's previous home of Merck Records.

Australian producer Tim Koch returns to Sheffield's Central Processing Unit with Tourbillon, an EP of otherworldly post-IDM productions.

RIYL: μ-Ziq, Calum Gunn, Proswell, Modeselektor

DRP (Dom & Roland Productions) was started in 2006 for Dom to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Mando is one of Doms closest friends. He has been writing music for over 25 years. A gardener by day, he shuns the limelight and has always maintained writing music is his secret hobby! He had a studio in the room next to No-U-Turn in the 90s which was eventually taken over by Optical and Edrush.
Until fairly recently he never released anything! He has an amazing ability to create sick grooves, his style is raw and refreshing and not over produced like a lot of modern music. If i had to pigeonhole his style I would say 90s neurofunk.

Both these tracks play to his strengths. This is his first release on vinyl, so will become collectable!

DJ PLAY: What? In their bedrooms? These people regularly play DRP tracks… Rene Lavice, Laurent Garnier, Giles Peterson, Jerome Hill, Digital, DJ Bailey, DJ Lee, Bryan G, Fabio, Grooverider, Loxi, Andy C, Break, Kasra, Doc Scott, Dbridge, Goldie, Ant TC1, Gridlok, Ulterior Motive, Noisia + More.