Cerca:dr m

Hot on the heels of last year's Dear Diary EP on Lobster Theremin, explosive performances on HOR and an intimate interview with celebrated German publication Groove Magazine, frequent Berlin & Leipzig DJ Narciss comes through with four deep and groovy cuts of bass-driven techno.

'Feather Boa Constrictor' features one of Copenhagen's most exciting emerging producers in recent years - Vixen - fresh off her own acclaimed release, Hard Magik For Soft Souls, on Lobster Theremin in December. Now the pair link up on the DJ Mag Breakthrough Label of the Year imprint that blends all the best elements of the Berlin and Copenhagen scenes in a highspeed trip through psy-trance, synth-wave and techno.

Narciss is on his ones as we enter the A2; 'Lovechild' (Outrun Mix) is aptly named with its reference to the 1986 arcade game Outrun, which featured some of the best video-game music to ever be created. Deep basslines, swirling synth-stabs and a soothing deepness and contemplativeness that can only come with driving a virtual car down a never-ending highway. 'Tokyo' makes use of polyrhythms and textures blended with what sounds like an old Sampha record. It's a wonderful combination of dark, deep and forward-thinking sound, before Copenhagen producer Repro comes through with a typically EBM-focused remix combining elements of every track.

Repress in full artwork sleeve

Zum 10. Jubiläum erscheint am 21. Oktober das Album „good kid, m.A.A.d city“ von Kendrick Lamar erneut.

Das Album enthält Gastauftritte von Drake, Dr. Dre, Jay Rock, Anna Wise und MC Eiht und erzählt die Geschichte von Lamars Erfahrungen als Teenager in den drogenverseuchten Straßen und dem Bandenleben seiner Heimatstadt Compton. Das Album wurde 2014 für vier Grammys nominiert, darunter für das Album des Jahres. Zudem enthält „good kid, m.A.A.d city“ die erfolgreichen Singles ”The Recipe”, ”Swimming Pools (Drank)”, ”Backseat Freestyle”, ”Poetic Justice” und ”Bitch, Don’t Kill My Vibe”.

Das Album ist als 1CD und 2LP auf 180g gepresst erhältlich.

Some records just stop you in your tracks. They resonate with you and feel instantly familiar like an old friend, even on the first listen. SOYUZ's third album ‘Force of the Wind’ is one of those records. It holds all the trademarks, beauty, and eccentricities of classic Brazilian recordings, from the 60s and 70s, that we have come to love. Think artists such as Milton Nascimento, Lô Borges, Burnier e Cartier, Arthur Verocai et al. But this record wasn’t made in Brazil and is in fact a brand-new release.

SOYUZ (which translates as 'union') is a creative collective from Minsk, Belarus, led by composer, arranger, and singer, Alex Chumak, multi-instrumentalist, Mikita Arlou, and drummer, Anton Nemahai. SOYUZ's previous albums explored and reimagined the legacy of jazz-oriented, non-English-language pop music of the 20th century. For their third album, there is a stronger focus, and it is influenced by 70s Música popular Brasileira and building bridges from it to present-day Belarus. Alex notes that from the moment he first encountered Brazilian music, he found in it a kind of concentrated emotion that felt as if it were familiar to him from his childhood. This non-verbal emotion and connection between the listener and musician echoes in the music, regardless of understanding of the language the album is recorded in.

‘Force of the Wind’ includes songs sung in Russian and Portuguese as well as instrumental compositions. Its musical palette is both acoustic and electroacoustic: rich warm Rhodes piano, soaring string arrangements, and a controlled drum swagger sounding both relaxed yet super tight. Alongside Alex's sublime vocals, that grace the majority of the tracks, the album features guest performances by multi-talented musician and vocalist Kate NV and rising Brazilian star, Sessa. Alex also recently arranged a number of tracks on Sessa's highly praised 2022 album 'Estrela Acesa'.

On the album, the trio is joined by a cast of friends; NY-based musician of Turkish origin percussionist, Cem Mısırlıoğlu, classically trained composer, Simon Hanes, who aided with string arrangements and conducting the string players, Netherlands-based Brazilian multi-instrumentalist, Gabriel Milliet, on flutes. With the collaboration of these friends SOYUZ have created nine songs/suites that are subtle and plenitude and like the best albums, leave you aching for more.

‘Force of the Wind’ is an enigma, Brazilian yet not Brazilian, vintage yet still contemporary, out of sync with modern culture yet completely relevant and necessary.

A floaty, smouldering underground bubbler, 'Quero Ver Você Sambar' is, to our knowledge, the only record by Homero França. Released on a 7" compacto on Chantecler Records in 1976; the song was co-written by Aloisio Silva, who was the composer behind the tripped-out, instrumental monster track 'Tema, R'. Hidden on the B-side of an obscure lost 7", 'Quero Ver Você Sambar' is soulful samba at its finest, with a beautiful call-and-response chorus, it brings the heat to the dancefloor.

Vocalist Silvinha Araújo graced us with a number of wonderful recordings in the 60s and 70s, including collaborations with her husband Eduardo Araujo. 'Mas Nao Deixe De Ir' is taken from Silvinha's 1969 album 'Caminho Sobre Nuvens' on Odeon Recordings. The backing track loosely resembles Archie Bell & The Drells classic 'Tighten Up', and here Silvinha's take gives the track a new twist, blessing it with her uniquely powerful, gravelly vocals that effortlessly ride the breakbeat. At just over two minutes long, it's short but powerful.

An elusive producer comes back with a new mantle: Ruff Cherry, last seen on the label in 2017, returns with an EP of shredded halftime drum & bass with jungle accents that etches out a dominating stance in the producer’s first foray outside the thresholds of techno. Hugely distant from a meager first stab at the genre, the Cork-based producer’s ‘Phantom Fortress’ EP proficiently demarcates a sparse battleground for conflicting and rhythmically harmonic drum flairs, enveloping bass, and taut sound design that is as compelling as it is exhilarating.

Drawing from a strong history of electronic influence, Tomashevsky has created his own underworld of foreboding techno. We enter this EP with Incoherent, which exudes ominous sounds - reminiscent of murky radar blips that may be heard deep underwater in the metallic bowels of a submarine. Bubbling electronic delays remain adjoined to these metronomic blips and oer lateral, spontaneous movement around an otherwise sturdy song structure. Jittery melodies scatter nervously under lead elements, remaining disjointed and resulting in increased energy and a darkened excitement.

As we move through the EP, we face ups and downs, both in tempo and mood. Leading on from the first, Rollback is destabilizing, energetic and mean in all the right ways. Wobbling low ends open into a mood of uncertainty, held in place only by the stability of the drums. Rollback suits a peak-time club atmosphere thanks to the gritty synth leads and fast-paced feel.

Ending with the two tracks on the B-side, Tomashevsky still seeks to surprise. Rejected seems to be a distant relative of the Incoherent, following the synthetic blip structure but allowing snares and other percussions to build more prominently. Finally, we arrive at the closing track which marks itself as more obscure. Leaning on kick drum patterns initially reminiscent of electro/breaks, the use of half-time tempo gives a change of pace and a platform for a slightly different song structure and mixing potential.

Mesmeric and entrancing, these songs give any DJ or listener to chance to turn mind chatter o and lock into a hypnotic groove. Drawing on classically techno foundations, Tomashevsky has tipped his hat to the founders of the genre whilst adding his own flavour and subtle techniques that make this EP shine.

Home is a powerful concept with an abstract definition. This solo album takes those subjective ideas and unifies them under one roof. Evolving from Jerve’s #dailypiano posts in 2019, ‘The Soundtrack of My Home’ relays thoughts and improvisations that trace his journey from childhood home to adult and now, father. Nurturing a mood or feeling, each song begets a sonorous story of someone close to him, expressed through the language of piano playing.

Jerve makes use of his hands as a human step sequencer, often programming two or more motifs of varying lengths in a polymetric fashion. These melodic patterns and arpeggios evolve at varying rates but grow around clear progressions with standard 8-bar forms.

The first track - ‘Kjetil’ enters with an earnest, gentle and endearing character - like a young river near its source. As with such a river, it will grow to varied sizes throughout the album but must begin as a humble expression from the source. The following titles sketch his interpretations of the people that have made up his home.

There is a theme across the album that unites the songs, so much so that differentiating tracks can at times be difficult. Though, Jerve punctuates this overarching mood with a few distinct structures, as found in tracks ‘Karoline’ (wife), ‘Espen’ (brother) and ‘Sven’ (father). ‘Turid’ (daughter) and ‘Jon Eirik’ (brother) seem less directive and welcome more intrigue, reminiscent of a curious child wandering through the dappled light of a forest.

‘Iben’ (daughter) and ‘Eivor’ (daughter) have a hypnotic, three-pointed melodic structure that leaves the listener suspended; transfixed - while ‘Sussi’ (cat) carries unique momentum and suitably feline autonomy. ‘Mette’ (mother) has a mood of ascending, like that of a child's upward gaze at their maternal carer. Utterly nuanced in structure, Jerve leaves ample space for subjective interpretation and allows the listener to weave their own life into the tones.

As expected from the founder of Dugnad rec - this album signifies a deeply personal sentiment. Sometimes we are forced to confront the music and other times, we are left to wonder. Here, we find a balance and unity that allows little thoughts and worries to drift away, bringing us warmly to rest in the present. The LP edition's bonus track features producer/performer extraordinaire Stian Balducci, drawing a line to the next chapter of piano-based music from Dugnad rec: TOKYO TAPES: PIANO RECYCLE.

Taken from the forthcoming album ‘Prom Nite’. The opening single of ‘Prom Nite’ is a sermon perfect for log cabin lock-ins and losing yourself across the Balearics: 'Feel Like Home' is spirited, euphoric and thoroughly satisfying, not to mention an advertising executive’s dream. London’s House Gospel Choir, endorsed by Annie Mac and The Blessed Madonna, provide the salvation that everyone is looking for right now, their heavenly harmonies aligned to Yoda’s gentle grooves and keys leading you to the light, encouraging the linkage of arms and for its soulful soothing properties to wash over you. Cover Art by ENDLESS..

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world. The Sounds Of Transonic compiles six tracks recorded in Tokyo between 1991 and 1995 and released by the pioneering Transonic label, founded in 1994 by Kazunao Nagata and active until 2004.

Transonic’s catalogue is a glittering roll call of the scene’s major players, whose inventive and genre-blending work established forward-thinking house and techno in Japan in a way that would shape the country’s electronic sound for years to come. Transonic was instrumental in giving exposure to the work of these artists with its emblematic series of CD compilations, released over a short couple of years in the mid 90s. Beginning with 970-1450km/h, Feedback and Range, the series also included The Roots Of Transonic, featuring music from parent label Trigger. Alongside these compilations came much sought-after solo albums each packaged with striking cover art that makes the discs a visual treat for collectors to this day.

The Sounds Of Transonic brings together six tracks from the catalogue into one breath-taking package. The influence of hi-tech jazz and machine funk from Detroit is undeniable in ‘Dream Trance’ (Mind Design) and ‘Blasting Soul’ (Interferon), while ‘Under The Ground’ (Palomatic) and ‘Chelsea’ (Suzukiski) are permeated by the artificial intelligence and trip hop emanating from the UK at the time. The compilation is bookended by two tracks by Nagata himself (as Organization): ‘Space Ball’, a Model 500-worthy chase through the cosmos, and ‘Call’, an eerie echo of Kraftwerk’s telephone, transmitting expectantly out into the void and, finally, receiving its celestial answer.

With The Sounds Of Transonic these formative pieces of music will now be available internationally and, for the first time, on vinyl.

SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.

Red Hot Chili Peppers announce their brand new studio album, Return of the Dream Canteen which will be released October 14th on Warner Records. The surprise announcement was dropped at Denver’s Empower Field to rapturous response as the North American leg of their critically and commercially acclaimed global stadium tour kicked off.

The news of Return of the Dream Canteen's imminent release marks the band’s second album of 2022, hot on the heels of the platinum-selling chart topper Unlimited Love which was released in April debuting at #1 in the UK. It will also be the band's second Rick Rubin produced album of 2022, and reinforces their reputation as a band at their absolute peak, riding the crest of an undeniable creative wave.

Continuing to win over audiences across the generations, the band performed a run of sold-out UK/EU dates earlier this year, including two nights at London Stadium. "A scorching European touch-down from the California legends" – CLASH

We went in search of ourselves as the band that we have somehow always been. Just for the fun of it we jammed and learned some old songs. Before long we started the mysterious process of building new songs. A beautiful bit of chemistry meddling that had befriended us hundreds of times along the way. Once we found that slip stream of sound and vision, we just kept mining. With time turned into an elastic waist band of oversized underwear, we had no reason to stop writing and rocking. It felt like a dream. When all was said and done, our moody love for each other and the magic of music had gifted us with more songs than we knew what to do with. Well we figured it out. 2 double albums released back to back. The second of which is easily as meaningful as the first or should that be reversed. 'Return of the Dream Canteen' is everything we are and ever dreamed of being. It’s packed. Made with the blood of our hearts, yours truly, the Red Hot Chili Peppers.

Kenny Summit revisits Lectroluv’s ‘Dream Drums’ for a brand-new remix package, welcoming fresh interpretations from Joeski, Roberto Rodriguez, Eric Kupper, Lenny RX and Summit himself.

Originally released by Lectroluv, aka Frederick Jorgio, in 1993 and championed by Junior Vasquez before becoming a worldwide anthem across dancefloors across the globe, ‘Dream Drums’ holds a place for many as one of the truly iconic house records from the early 90s. Now almost 30 years on, Good For You boss Kenny Summit presents a carefully curated remix package as he revisits and pays homage to the seminal record. Welcoming fresh interpretations from Freerange regular Roberto Rodriguez, NYC house legend Joeski, Plastik People Recordings boss Marc Cotterell, and his own take alongside longstanding Brooklyn rave staple Lenny RX and Grammy-nominated and multi-platinum-selling recording artist Eric Kupper, the expansive package arrives via his sub-label Afternoon Delight.

Opening the package, Roberto Rodriguez’s take builds on the original’s iconic vocals and slick drums through sweeping melodies and airy pads to offer a hazy, paired-back interpretation of the production. Next up, Joeski’s remix lays the focus on percussion as he introduces Latin and Afro influences for a euphoric peak-time production set to get crowds moving, while Marc Cotterell delivers a signature blend of garage-led organ chords and two-step arrangements for a vibrant, sun-soaked cut. To close, the trio of Eric Kupper, Lenny RX and Kenny Summit join forces for a special ‘NYC Never Sleeps’ remix, introducing a killer lead line and warping synths to shape things up in style.


Early DJ Support:

Solomun, Claptone and Black Coffee

Chloé Robinson & DJ ADHD still aren’t short on fuel. In fact, they seem to only be boosted further by their own supply. With such a weighty momentum driving forward their newly established identities, only one big question sits adjacent in the saddle: what’s next? It seems that Chloé and Alex already have the answer for today’s daily summon, and for the next Pretty Weird release, it’s a 4-track techno record reiterating the trusted adage of less being more. With an emphasis on space and silence placed intuitively, the first single from the ‘Steamin’ EP finally gets its much anticipated drop - including a killer remix from close friend Four Tet stamped on in classic, inimitable style.

‘Steamin’ is all serrated kicks, 909 drums and tenacious vocals that yell without inhibition, invoking the looseness of a party spiralling unphased into its collective apex.. ‘Redbull’ scales up on the pyrotechnics and rowdy behaviour, taking the sensation of several shots of caffeine and packaging it into a mean, raucous pick-me-up.

For ‘Pax’, Chloé and Alex continue on the stripped back disorder with white-hot conviction through rhythm and textures that find their power through no-frills, unpretentious simplicity. Kieran Hebden steps up for the remix, nodding back in appreciation to the past through the nestling of a sharply redefined ‘Pulse X’ sample alongside his addictive, punchy production all too suited to those can’t-go-home-just-yet stints.

Early support from artists including Four Tet, Peggy Gou, Jamie XX, Floating Points, Ben UFO, Caribou, Skrillex, Mary Anne Hobbs, Bradley Zero, Bonobo, Saoirse, Zenker Brothers, TSHA, HAAi, I. Jordan, Logic1000 and Pearson Sound.