The Nomads EP is a new chapter for the Austrian duo. Not only is it the biggest project for RoyGreen & Protone to date it also includes hand drawn Artwork & Stickers by a Florine Imo and is rich of different musical flavours. It's a thing from the heart... you can see, hear & feel it.
Second instalment of Mecanica Records compilation focused to obscure techno/EBM/electro. A selection of new and unreleased tracks by six projects from different latitudes. The opening track is a collaboration between Dmitry Distant (Latvia) and Gestalt (Russia) with a dark electro tune that works perfect as warm-up. Deep Pill (USA) offers a versatile technoid tune and Blac Kolor (Germany) closes the A side with a hard and hypnotic piece. Viktor Kalima (Finland) opens the B side with a body music attack, followed by Santiago (USA) with four minutes of pure psychosis and dementia, and Rendered, the duo formed by Daniel Myer (Germany) and Clément Perez (France), closes this sonic trip with a strong and massive cut that will leave you attached to a never ending loop in your head.
AE Productions in association with In Effect Recordings are proud to present the next installment from Philadelphia legend Phill Most Chill, this time with beats provided by Nova Scotia based DJ/Producer Jorun Bombay, under the guise of Jorun PMC - with a tip of the hat to Hip Hop legends Run DMC. If you've heard either of Jorun's incredible Rock The Discotek mixes you may have heard one or two tracks from this 12' in their early form as parts of those mixes. Here at AE Productions we thought it was a shame that they weren't available as songs in their own right on vinyl so here they are with an extra track for good measure and with more of Phill Most Chill's trademark artwork making the sleeve look incredible!
The EP opens with Can't Stop Won't Stop and gets straight down to business. Phill Most Chill starts on the first beat of the first bar almost as if he can't wait to rock the spot. This is pure party Hip Hop fueled by uptempo Disco Breaks, but don't be fooled by that statement - this is no crossover rap music, we mean the type of party that could be found in parks in New York in the early days of Hip Hop. Listen for a whirlwind of extended turntable action from Jorun who slices like a food processor throughout.
Magic Disco Machine stays with the classic Disco Break sound with various nods to Block Party Classics which create a great club friendly track. Again with some serious turntable skills from Jorun to complement Phill's hype rhymes, this is the brand new exclusive track for this release and has all the credentials of a summer party classic.
The final track here The Champ stays with the classic block party theme but this time utilising a raw Funk groove that will be a surefire hit with B-Boys and B-Girls worldwide and shouldn't fail to get any Hip Hop party moving. This could be considered the most underground sounding of the three tracks assembled here.
Patricia Kokett's sound is shrouded in a veil of mysticism. The brainchild of Lithuanian Gediminas Jakubka, Diabel's metallic heartbeat underlies a magical superstructure that evokes some kind of DMT infused trip. Or possibly even some kind of ancient ritual, where one is intoxicated by serpents blood. Guided by repetitive drum patterns, it creates a slow joint dance that opens the path towards transcendence.
Standard Edition[27,69 €]
Dark Matters label head Amirali returns with the expertly crafted Odyssey EP, employing his vital understanding of
space and texture to construct a highly emotive release featuring a remix from Fort Romeau. The three track
package is out digitally on May 14th followed by the vinyl release a few weeks later.
Leading on from his critically acclaimed discography and curatorial work with the inimitable Dark Matters imprint,
Amirali enters 2018 with grand plans for the future. He is currently conceptualising a live stage show whilst
continuing to provide a platform for all manner of weird and wonderful music.
'Odyssey' is a striking example of Amirali's penchant for songwriting, as well as a testament to his sonic identity,
merging memorable harmonies with heartfelt vocals and complex soundscapes. 'Hidden Past' veers more towards
the dancefloor, brandishing vast sonic explorations and levitating pads amongst detailed drum patterns. For the
'Hidden Past' remix, Fort Romeau mutates the delicacy of the original into a spaced out dose of peak time house,
gradually building rich harmonies around a fierce rhythmic motif.
On the creation of this forthcoming EP, Amirali states:
"Nothing is more important than my craft which is the main reason I'm here. There's no better satisfaction than to
create an amazing piece of music, that's my happiest point in life. I don't want my work to just be good or ok and that
takes a lot of effort and sacrifice in life. I got to a point where I said to myself I have to go and disappear for a while,
go be normal and do normal things. Instead of being on the road all the time, stay home, create an environment I
like to write music. There have been many experimentations involved in my upcoming material. I wanted to try and
push myself to the limit and I believe I've succeeded. For me, it's all about evolving and exploring areas I haven't
touched. That's why sometimes it takes a bit longer than expected, I don't just want to meet people's expectations,
sometimes I want to blow them away. There is so much music coming out week in and week out, the music is
evidently becoming more disposable and I would like to stay out of that chaos. When you stay true to your heart and
try to do something different you put yourself in an uncomfortable situation, that's when you grow as an artist and
also as a person, but the satisfaction you get when you finish a work cannot be put into words.
Joanne Forman's Cave Vaults of the Moon created in 1987 for an exhibit of sculptures in Taos, New Mexico is a mesmerizing score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects. The playful extra-terrestrial recording wafted through the exhibit every day for its duration and then lay dormant for nearly 30 years. Unearthed now, Cave Vaults of the Moon sounds prescient and timeless, as if Pep Llopis and Iasos scored a Wicker Man remake set on Mars. Restored, remastered and cut using DMM.
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We humans, the nascent beings that we are, still haven't quite figured out the full potential of music. Dancing, meditating, emoting, protesting, these are all pretty basic. But what if we communicated more complex ideas with music What if we codified all of our activities with music This idea came to composer Joanne Forman
when commissioned in 1987 to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in Taos, New Mexico. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose
Joanne Forman imagined that Earth's moon was a vacation spot for advanced beings from another galaxy. In her mind, the sculptures in the exhibit were the remnants of a deserted playground. Cave Vaults of the Moon became a collection of sonic texts describing the recreational activities that went on there, earth-viewing, collecting information, building and playing.
Eight years after releasing his renowned Narrominded Split LP with Legowelt, Garçon Taupe returned with the acid drenched EP 'The White Spider' that came out on Enfant Terrible sublabel Gooiland Elektro in 2017. It sold out at the head quarters within three months and is now followed up with 'Kiklop EP' through his home base Narrominded. Stylistically, Kiklop EP follows the tracks of the Split LP with it's typical mix of electro beats, eighties synths and acid. The B side offers some serious dance floor material with Dok, followed by the slower and dirtier title track. The record will appeal to fans of DMX Krew, Ceephax Acid Crew and the Westcoast Sound of Holland. Mastered by Ma Spaventi.
2018 repress of the debut full length LP from Spencer Doran and Ryan Carlile's Visible Cloaks project. Initially recorded in 2013 and issued on cassette by Sun Ark in 2014 (as Cloaks), this first offering uses conceptual processes to weave many of the same threads as their later work; synthetic FM tones, tuned mallet percussion, and electronically modulated voice, all arranged in a gossamer web, spun with neon electronics. On this release the duo set off on the sonic journey they are still on today, refracting their influences through East West feedback loops, augmenting traditions with technology. Remastered 45rpm DMM version with additional surprises!
"Theoretics, the theoretical part of a science or an art. Hugely inspired by early house & garage, Berlin based Nat Wendell serves up 3 raw-emotive, straight to the point house joints to launch his new imprint; Depth of My Soul - which is his art in physical form. With swinging snares and it's subby bass; "The Way (Part 2)" is an energetic, club ready track with a driving kick & consistent lead that's progresses as the track builds. Theoretics kicks off the B-side and delves deeper whilst still maintaining its dancefloor-ready appeal. The subtle euphoric vocal samples & prominent chords give you something to hold onto, whilst the rhythm keeps you moving. Providing you with a more soulful offering, "Release Your Soul" is reminiscent of a classic 96' style house track, with all the right elements to match. Snappy snares, smooth chords and a warm baseline.
A Compilation Of Astonishing And Rare Pieces Taken From The Celluloid Records Archive And Recorded By Ma-terial, The Ensemble Founded In 1979 In Nyc By The Legendary Producers And Musicians Bill Laswell (afrika Bambaataa, Run Dmc) And Michael Beinhorn (red Hot Chili Peppers, Soundgarden, Marilyn Manson). A Glimpse Into The Creative Spirit Of New York In The Early 80s. A Collection Of Remarkable Tracks Spanning Funk, Jazz, Soul And Electronic.
Returning to Giallo after the as-played-by-Helena-Hauff et al split 'Black Gloves II', Bogdan Dražic is back with 'Four Trax On Black Wax'. Three new blisteringly blown out grained to fuck voodoo bangers plus a remix from the mighty Dmitry Distant. Haunted organs, lost jungle tribes, hot cannibal nights... all documented under piles of dirt and ancient spells. Not to be missed!
Few authentic Electro producers from the UK can wear the badge 'legend' with the same level of justification as Phil Klein aka Bass Junkie. Active since the late 80s, Phil has been peddling his own take on Electro almost constantly, either as a solo artist or as part of numerous collabs with the likes of Dynamix II, Keith Tenniswood (Radioactiveman) and Si Brown (Dexorcist). DJ, remixer, live act, and the man behind the killer Battle Trax label, there is nothing this Junkie hasn't done.
With essential releases on labels such DMX Krew's Breakin Records, Andrea Parker's Touchin' Bass, and Billy Nasty's Elektrix; the Bass Junkie sound spans the old school beats and vibes of the Electro genre's origins, to the borderline industrial. From funky to ferocious, Bass Junkie's discography is a must have for anyone claiming passion for the genre - influential, individual, and infectious with every beat.
His 'Low Frequency Fugitive' EP is a welcome return for his Bass Junkie project, after several years working primarily on collabs. The EP brings four new tracks that maintain the Bass Junkie sound that brought him such success and notoriety in the first place, with a healthy dose of evolution too.
This is one Fugitive everyone should try and track down...
As music continuously evolves, times change and new ideas and movements come & go. All of this functions in tandem with scientific, technological, social and political advancements in our society. The biggest component to that evolution is the people. There are creators and consumers. One cannot exist without the other. Throughout art, the audience defines quality, but artist has the power to introduce change and shift perception. Execution is key. The masses are always hungry for something fresh. Sometimes we're at the forefront of new trends and sometimes we find comfort innovating the past. No matter what, musicians have a responsibility to bridge the gap. Raw Poetic and Damu the Fudgemunk meet all of the above. Produced entirely by the artists, the new album "The Reflecting Sea" revisits sonic textures of yesteryear and combined with their own distinct ears for music, have created something uniquely foreign for the music world in our time. Speaking of the times, Raw Poetic's lyrical subject matter is nothing short of relevancy. Speaking from an observatory perspective in addition to his own personal experiences, the album's content is infinitely relatable. Although known primarily as hip hop acts, both Damu and Raw P stretched out to expand what the genre is known for. The combination of elements from the mix of live instrumentation, improvisation and sampling to the range of styles including jazz, fusion, rock, electronic and soul make The Reflecting Sea unlike anything else. Captured and recorded in it's rawest form, the album is honest expression. Masterminding the festival sounds is Damu the Fudgemunk. His voice is absent from the recordings, but his presence is immediately noticed throughout the 40 minute exhibition. Packed with tons of beats, tons of scratching, original compositions, upbeat and signature atmosphere, there's no question who's behind the boards. With the average tempo of over 100bpm, this is one of the most energetic releases in Redefinition's catalog. Raw P and the Fudgemunk aim to revitalize listeners of all types with their original sound. They call it "The Reflecting Sea: Welcome to a New Philosophy." Raw Poetic (MC), hails from the DMV area by way of Philadelphia. In addition to several collaborations with Damu the Fudgemunk, he's recorded 6 albums as a member of Panacea, 1 album with K-def, 1 album with Kev Brown and recent features with Brous One in which all have been met with critical acclaim. Damu the Fudgemunk (producer/DJ) is a DC native who co-owns and operates Redefinition Records. With several successful releases as a solo artist, his music has garnered a reputation in the last decade for it's consistent quality and conceptual structure.
Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.
Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.
Reviews
OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.
Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.
Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.
Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.
Monstrous repress action from Chicago's Dance Mania - The source of the ghetto house movement, the rawness!
Club Style is the pseudonym used by 2 all-time Chicago legends, a truly all-star line up on this record, that's right, the pairing of Paul Johnson and Robert Armani. Say no more really. 'Crazy Wild' is a 4 tracker of infectious, grooved out, jacking and tough house jams, both producers fingerprints are all over this one. Narcotic, driving drum machines, phased out loops, armour piercing claps and basement trembling basslines are all over this EP, originally released in 1994. This one's a bit of a cult release from DM, collectors and freaks rating it highly. As usual it's a tough one to try and track down, changing hands for some hard earned cash too. This is the first time "Crazy Wild" has ever been reissued in full, just as it was originally released in 1994, complete with original Dance Mania label artwork. 100% legit, reissued in conjunction with Dance Mania records, Chicago IL and Parris Mitchell. Don't sleep.
