As Longitude is the Berlin based duo Eva Geist and Ondula, which started to make its place on the new electronic scene after brillant release last year on Knekelhuis and apparence on Ein Welt...
On this EP we fall in their psychedelic madness, mixing hypnotic sounds, voices and Saxo, in a very punkish way, to come back to our bestial primitive instincts, when we were still close from animals.
"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!' (Kawabata Makoto 2018)
Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.
In recent years, they've experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...
'Reverse Of Rebirth In Universe' sees the band return to their old label Riot Season for the first time since 2012's 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.
Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.
If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.
"In 1978, Nova performed for Obama. Well, kind of: Nova was the band for the Punahou School prom in Honolulu, Hawaii, and a young student named Barack (known then as 'Barry') was in attendance.
Backtrack to 1976, and Nova was the opening band for Donald Byrd at the nearby Blaisdell Arena. The day was Sunday, June 27. The following day, Isaac Hayes would perform on island for the admission price of $1.
Nova, led by singer Checo Tohomaso, was one of several go-to party bands during the golden era of Hawaii funk and soul music in the mid-1970s through early 1980s.
The band's infectious gospel-funk-disco can be heard on their sole release, a self-titled 1980 LP that feels like one big party recorded live in the studio. (Check out the Marvin Gaye-inspired 'I Feel Like Getting Down' on the 2016 'Aloha Got Soul' compilation on Strut Records).
The story is all too familiar, however: funk band releases LP, the music goes dormant in years to follow, and today original copies sell for hundreds online.
Not long after the album's 1980 release, Checo met Marvin Gaye, who was living on Maui (where George Benson also resided). Shortly after, Marvin invited Checo and his counterparts to join his multi-city tour across Europe. Videos of Checo rocking keyboards, percussion and singing background vocals for Marvin Gaye's last European tour can be found online.
Checo, born in Florida yet raised in lush Manoa Valley as well as Okinawa, Japan, now resides in Vancouver, Canada, where he leads the VOC Sweet Soul Gospel Choir and continues to deliver his signature sound: high energy, positive, 'sweet soul' music.
AGS-7010 features two non-stop groovers with a 7' edit by Roger Bong on the A-side. LP reissue in the works!"
'Sounds from the Great House! Outernational Sounds proudly presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. Mastered at 45rpm on double vinyl for enhanced sound, this release features all tracks at full length for the first time on wax.
One of the most sought after and highly regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, the Creative Art Ensemble's One Step Out is a timeless work of spiritualised jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group.
A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous 'Great House' at 2412 South Western Ave., LA - a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. 'When I walked in there,' recalled Kaeef, 'it was like this whole rush came over me, just from going in the front door...It was like a very, very warm feeling of love. I went and I came out with 'Flashback of Time', and that was my first arrangement.'
Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook - his piece 'New Horizon' would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But 'Flashback of Time' would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. 'I would like to form a group that would be an extension of the Pan Afrikan Peoples Arkestra,' he told Tapscott. The group was to be known as the Creative Arts Ensemble, and One Step Out, released in 1981 by Nimbus West, was their debut.
Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody 'Sonship' Theus and altoist Gary Bias, with veterans Henry 'The Skipper' Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energised independent jazz music. Community uplift and sacred vision straight from the Great House, back on vinyl for the first time since 1981!
Horace Andy first recorded 'Life In the Ghetto' back in the 1990's with Victor Cross and William the Conqueror as an anti racist broadcast. Here the Mad Professor and Horace vamp up the monster Lovers Rock meets
Roots track and with a flash here it is so slap this sucker on ya turntable and listen to a righteous tune! Produced by The Mad Professor and featuring Black Steel on keyboards, guitar
and bass, Victor Cross on piano and William the Conqueror the vibe is back with a bang.
Keysound Recordings are proud to announce the unearthing and release of a collection of lost deep tech dubs from Hugo Massien. After releases on labels such as XL Recordings, E-Beamz, Tectonic and Audio Rehab comes a 12' of tracks that date from 2014 -2016. Dark, percussive yet catchy, the productions originate from the peak years of London's underground deep tech scene, at a time where the movement bubbled with an abundance of energy and creative possibilities. Massien was one
Strut announce the signing of one of the best of the UK's new generation of soulful genre-fluid artists, Nubiyan Twist, with a superb new single, 'Tell It To Me Slowly', released on 16th November. Voiced by the band's saxophonist Nick Richards, the song is an instant soul-jazz winner, with lyrics speaking about inner turmoil and a search for the truth. On the flip, 'Sugar Cane' features the unmistakeable vocals of Nubiya Brandon singing of harsh life lessons over an increasingly chaotic groove. The tracks are taken from the band's forthcoming album, 'Jungle Run' which effortlessly weaves together elements of jazz, soul, hip hop, African styles, Latin, dub, hip hop and electronics in a flow of thought-provoking and life-affirming music. The single and album mark another important chapter for a band that has been consistently developing and evolving their sound since their formation in 2015 at Leeds College Of Music. Nubiyan Twist's 'Tell It To Me Slowly' b/w 'Sugar Cane' is released on 7' single, digital and streaming on 16th November. The band also head out for a series of European dates from next month:
LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
James Clarke's Mystery Movie was released in 1974 as modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema flm where music is used to create the mood and carry the action'.
So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to fnish.Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme Car Patrol', the fuzz rifng and ARP soloing of The Heavies' and the slow-mo strut of Mystery Moll'. Study In Fear' and Empty Streets' are horror soundtrack fodder of the fnest sort.
However, it's the understated, plaintive pieces that we fnd the most rewarding.
Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies.
Music that evokes the 'downlifting' Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise Waiting Game' from being sampled by melodic downbeat masters Express Rising.
Check Relaxed Theme', Quiet Girl', Routine Procedure' and Quietness Sustained' for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Piano Viberations' 'small group jazz featuring piano and vibes with rhythm' makes for a gorgeous Francis Coppieters showcase, surely one of Belgium's best-kept musical secrets. Released in 1975, and arguably the most low-key of the KPM and Themes records we're re-issuing, this is easily our current favourite.
'The Open Highway' is the appropriately-named opener, and immediately demonstrates Coppieters' dexterous interplay between piano and vibes in assured, joyous fashion. The shufing bossa of 'Sales Notes' is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break
that is 'Funky Chimes' brilliantly demonstrates Coppieters' quiet majestic side with its slow-motion funk rhythm with beautifully refective notes throughout.
The upbeat and joyful 'Cross Talk' closes out side A. Vibes and piano are defnitely at the heart of the arrangement here. The quick cut movement of 'Piano In Transit' is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, 'To Shearing With Love' is a warm, slow, romantic piece in the style of George Shearing. It's
plaintive and sublime.
Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was frst released. Piano and vibes with rhythm indeed.
As with all ten re-issues, the audio for Piano Viberations comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
Cómeme delivers to you one of the freshest rhythms of 2018, recorded in Johannesburg, the new residency for the renegades of the beat. This is 'Rain' - starring Matias Aguayo and the actress, dj and singer Ayanda Seoka aka Mujaji The Rain. She's resident at the legendary Bar Kitchener's all femme 'Pussy Party', a space for feminist / queer action and dancefloor joy, right in the centre of Joburg.
Cómeme has been since some time in a serious and passionate relationship with that city. Radio Cómeme transmitted shows from there with electronica legend Felix Laband, Mpumelelo Mkatha from BLK JKS, the queer performance duo Faka, Gqom pioneers RudeBoyz and also Kwaito's legacy keeper Spleef McZaul. Matias Aguayo ventured into a beautiful collaboration with DJ Spoko, released two years ago on this label.
'Rain' is a deeply rhythmical track, inspired by the grooves that converged when Cómeme swing crossed the paths with the syncopations people in Joburg were dancing to. It has become quite clear in the recent years that elegantly shuffled triplets are marking a way to the future in dance music, especially in the southern hemisphere, no matter if you're in Durban, Rio or Santiago.
On top of this modern groove we can hear Mujaji the Rain enjoying how she gets wet under a dark and tropical sky. Laughter, joy and ecstasy is what she emanates while hypnotically involving you into this atmosphere of dense drumming and trance. (side note: Cómeme has been consequently evading the description hypnotical in press releases but this time it was unavoidable).
For further jacking fun we generously included a 'Club Mix', including more drum frenzy towards the second half of the track, and a 'Just Drums Mix' for the skilful DJ.
Side B features the jam 'Serious', which comes along with another killer beat, reminiscent of Michael Jackson or Cheri. A late-night track in which Mujaji The Rain turns into a sensual but slightly annoying creature that doesn't want to leave the dancefloor. and for sure doesn't want to go home.
We added an instrumental version to this complexly arranged tracks, which feature pianos, strings, and heavy synth bass stabs.
All tracks on this 12' are written in a 6/8 signature, which some normative DJs might shy away from, but be safe: both tracks are in 120 bpm and carry the seal of official Cómeme dancefloor approval by the label's highly respected DJs.
Although the band never released
an album during the years of their
activity, Wilde Flowers is certainly
to be counted among the foundation
stones of the Canterbury scene
of the mid-to-late Sixties. After
their departure from the band, the
members formed other two seminal
groups of the Canterbury Sound: Soft
Machine (Robert Wyatt, Kevin Ayers,
and Hugh Hopper) and Caravan
(David Sinclair, Richard Sinclair, Pye
Hastings, and Richard Coughlan).
The name is of course an homage
to Oscar Wilde, and this album is a
selection of some of their rarest gems
that originally came out in 1994.
The next Alien Jams release is "NEW" brought to us by Australian artist YAWS. Recorded earlier this year in his hometown, this 12" marks a new headspace for this London based producer, coinciding with a long and painful visa renewal process that kept him out of the UK for most of this year. YAWS brings forth an EP of six all killer no filler jam outs. Constructed during a period of transience and reflection, YAWS stripped back his usual setup to skeletal form, while placing an emphasis on process, experimentation and put simply, fun. While keeping a familiar thread of tongue in cheek throughout his work, "NEW" remains both raw and honest.
Many know Luther Davis from his more familiar and previously reissued disco floater 'You Can Be A Star', not so many people outside the collector's world know the disco-funk 45 'Keep on Dancin' as its about 4x as rare and slightly more out there musically (which is a good thing). The horn and guitar led disco funk hook float's almost precisely between Modern Soul and Deepfunk (The scene that played it first) and for a change i love the guitar solo, used almost like a synth effect. On the flip is an admittedly formulaic deep soul joint that just works due to the dope backing vocals and crispy drumming.
A new chapter for CREDO begins with Stefan Weise`s eight track album "The Tales We Tell Our Children" on its new sublabel CREDO.WHITE. Following the classic longplayer tradition of vinyl records these eight tracks on pure white vinyl deliver a facette of the CREDO sound being indicated by some single EP or album contributions already in the past, but now coming into full effect by this outstanding work of italy-born, germany-raised and meanwhile U.S. based Stefan Weise who made his name in the Dubtechno cosmos with his definition of deep, chordish and atmospheric technomusic. the rough playtime of around 20 minutes per side guarantees club-compatibility going hand in hand with extended listening pleasure for the living-room based turntable- and vinyl lovers.
When I found myself on the main dance floor of ://about blank during Berlin's most beloved party, Buttons, I was immersed by the sounds of Shingo Suwa. He has honed his skills as a resident DJ and producer for many years. In this record, you will hear how his experiences have heavily influenced his productions. We are excited to release Shingo's debut album and the first album released by Acid Camp Records. The album includes a bonus remix from Mixmaster Eric Cloutier.
LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976's The Voice of Soul.
The sensational uptempo dancer 'That's What Friends Are For' is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end.
Its once generic-sounding title is now deservedly defnitive.
And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn flm. Indeed, parts of it did. 'Love Is All' and 'You've Got What It Takes' both featured on the infamously banned Pretty Peaches from the same year.
As is usual with library records, The Voice of Soul was hard to get even when it was frst released. It's next to impossible now. So here's your opportunity to own what is in our opinion one of the fnest rare soul LPs of the late 70s, and a superb example of Madeline Bell's superlative vocal talents.
But that's not the whole story. As well as pitching the record as 'a varied selection of modern female vocal features which are equally suitable for background or radio programme usage', the original release notes go on to explain that 'the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.'
So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn't re-issue one without re-issuing the other.
As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Released in 1976, Distinctive Themes / Race To Achievement is legendary arranger Nick Ingman exploring the two distinct ideas of 'impressive themes varying in style from 'Basie to Elgar'' and 'a study in the pressure and rewards of achievement'.Distinctive Themes is a veritable indulgence of variously-tempoed, full orchestra, big band workouts, from relaxed swing to more propulsive themes. The progressively building 'Expanding Markets' is a true highlight, with its rolling pianos, contemplative electric guitar solos and moody horns over skipping beats.
The dramatic 'Against The Odds' is another stand-out.
Race To Achievement is all rugged funk with stabbing chords and strutting horns and it's probably our favourite side. Of course we have to acknowledge the fantastic 'Tense Preparation', sampled by Prince Paul and Dan The Automator for Handsome Boy Modeling School's seminal 'Magnetizing' with Del Tha Funky
Homosapien. But the whole side's range from tense underscores to fast and punchy chase themes makes this is a gem of the KPM catalogue.
As with all ten re-issues, the audio for Distinctive Themes / Race To Achievement comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current
custodian of KPM's brand identity.
LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
The two sides of 1973's Big Business / Wind of Change are mainly the work of thegreat Keith Mansfeld but there's a killer cameo each from Alan Hawkshaw and David Snell to help deliver a thematic suite, diverse in mood, applicable to dramatic and environmental situations'. A Be With favourite and truly one for the heads.
The Big Business of side A is all the work of Keith Mansfeld. It's heavy on the suspense and features the vital Hot Property', an insistent groove so good that Madlib sampled it to lace the ace Long Awaited' by Lootpack with Dilated Peoples.
Sleeping Giant 1' is a more feshed out version of the equally-dazzling Fatal Error', evoking the orchestral magic of David Axelrod. Indeed, it conjures images of Diamond D falling over himself in the early-to-mid 90s to loop its intoxicatingly
eerie soundscape. Complete with guitar flls that recall Paris, Texas-era Ry Cooder, you need this record for this piece alone.
The horn-and-fute-led "Tycoon" is a head-nodder and "Power Complex" has some fantastic percussion. Other highlights include the breezy glide of Whistle Stop Tour' and its sister groove Clean Air.'
Over on Side B is the more expansive Wind Of Change, which includes the David Snell and the Alan Hawkshaw contributions. But these ain't no fller. Snell's shufing International Flight' sounds like a smooth Dorothy Ashby track tossed from the heavens. Hawkshaw's Road And Rail' is about as luxurious and strung-
out as the great man gets and it might just be the highlight of this whole set.
Not to be outdone, if Mansfeld's Balance Of Power' doesn't make you feel like king of the world then you must be playing it wrong. Oh, and did we mention World In Action'!
As with all ten re-issues, the audio for Big Business / Wind of Change comes from the original analogue tapes and has been remastered for vinyl by Be With regularSimon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's
brand identity.
LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
The 'vivid contemporary sounds for a fresh visual image' make up the now canonised Synthesis from Alan Hawkshaw and Brian Bennett. These two greats go deeper than usual on this collection, and the end result is a synth concept record of sorts. Released in 1974, it's an essential companion piece to
their Synthesizer and Percussion LP, released on Themes International Music in the same year.
Like most of our favourite library records, Synthesis has that gloriously funky, 'weird electronic music' vibe without ever being inaccessible. With the awesome ARP Odyssey at the fore, Hawkshaw and Bennett have created a blissed-out soundscape that, whilst laid back in all the right places, somehow remains heavy on the funk. It's a sort of throbbing, proto-G Funk sound and you can fnd it on many of these low-lit basement workouts.
Take the ice-cool 'Alto Glide'. It's a sunset-funk highlight with an electro-fute refrain that conjures those dreamier Dre / DJ Quick instrumentals from '91 to '92.
Stereolab, Koushik (again) and all those Ghost Box artists were clearly listening very closely in the years since. The equally relaxed 'Mermaid' glides efortlessly with soft, shimmering piano, understated percussion and kaleidoscopic synths.
It's a really beautiful piece.With these two soft-focus closing tracks allowing the LP to foat away over the horizon, the preceding ten tracks have a more insistent, neck-snapping rhythm
section to back the synth overload. Highlights include the head-nod funk of 'Getting It Together' and the synth break in 'The Executive', which informed classic video game soundtracks.
For once Be With really is stuck for words to describe just how good this record is.
Best just to listen. As with all ten re-issues, the audio for Synthesis comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Released in the same year as Synthesis over on KPM, 1974's Synthesizer and Percussion is its essential companion piece. 'This record features the many distinctive sounds of the ARP Synthesizer plus percussion in various moods and tempos' is the even more underwhelming than usual library record sales pitch for
Alan Hawkshaw and Brian Bennett's second collection of what is basically minimal G-funk, with overtones of primitive acid house. This is ridiculously good.
This is one of Hawkshaw and Bennett's wilder joints and aeons ahead of its time.
Bennett's tough drums provide the underpinnings for the prominent bass, keys and bubbling synths high up in the mix, alongside Hawkshaw's deranged clavinet-funk-rock. There are heavenly break loops galore.
Opener "Mon Amour" is ultra-smooth funk, all inter-weaving melodic lines whilst the seminal "Oddball" is an incredible hard electro strut with a knocking break.
"Mile High Swinger" is a tranquil Spaghetti Western whistling theme over double tempo rhythmic movement and the pulsating "Auto Pilot" has a percussive groove elevated by electric piano and synthesizer. Check "Driving Force', 'Home Run' and "Pacesetter" for electroid prog-funk dripped in acid squelch.
All fve fnal tracks are beatless synth workouts, because they can.
As with all ten re-issues, the audio for Synthesizer and Percussion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
Earlier in the year, Red Light Radio co-founder Hugo van Hejiningen and Identified Patient joined forces to debut their new musical project, Stallion's Stud. Artificial Dance is ready to release the first fruits of the duo's studio collaboration.
The four-track EP digs deep into their shared love of electronics, post-punk era experimentation, DIY music culture and dubbed-out drum machine rhythms. The results are undeniably dark and intoxicating, with former punk singer Hugo fronting proceedings via mind-altering vocals and twisted lyrical flows.
Opener 'Promising Promises' sets the tone for what follows, with Hugo's spoken vocals wrapping themselves around ricocheting industrial dub rhythms and raw, delay-laden electronics. The delay trails to oblivion remain a force to be reckoned with on the creepy, fuzz-fuelled cold-wave doom of 'Instrumental Aria', while the throbbing and clanking 'Unpredictable' and 'Voice of No' ratchet up the intensity by several notches via end-of-days guitars, heavyweight bass and face-melting percussion.
Die Erste Single Aus Dem Album "lovers Rock" Im Handlichen 7-inch Format Mit Der Exklusiven Acoustic Version Auf Der B-seite! - Bereits Im Frühsommer 2017 Traf Die Bekannte Sängerin Der R'n'b/rap/soul-szene Auf Den Bekannten Sänger Tarrus Riley. Herauskam Dabei Ein Wunderbarer One-drop Reggae Tune, Der Seit Seiner Erstveröffentlichung In Der Reggae Gold Serie Zu Einem Der Weltweiten Beliebtesten Songs Der Reggaeszene Wurde. "love Like Ours" Wurde Von Supa Dubs Produziert, Der U.a. Bereits Für Die Us-stars Bruno Mars Und Drake Aktiv War.
Goners ist das fünfte Studioalbum der Songwriterin und Multiinstrumentalistin Laura Gibson. Ihre Sprache hat sich nie lebendiger angefühlt, ihre Geschichtenerzählung ist schärfer, ihre Vorstellungskraft lockerer. Für das neue Album engagierte Gibson eine Vielzahl befreundeter Musiker, darunter Death Cab For Cutie Gitarrist Dave Depper, Schlagzeuger und Perkussionist Dan Hunt (Neko Case) und Stand-up-Bassist Nate Query (The Decemberists); dazu bauten sie Horn- und Holzbläser-Arrangements mit Kelly Pratt (St. Vincent und David Byrne, Pater John Misty) und fantasievolle Streicherparts mit Kyleen King (Stephen Malkmus, Case/Lang/Veirs). Das Album wurde gemeinsam mit Engineer und Freund John Askew in seinem Studio in Portland, OR, produziert, Askew und Gibson haben bereits auf ihrem 2016er Album Empire Builder zusammengearbeitet. Für etwa die Hälfte der Songs legte sie ihre Gitarre zur Seite und spielte stattdessen Klavier und Wurlitzer. Produktausstattung der UIN Version: dunkelgrünes Vinyl, Poster, DL-Code
This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.
SVET(Light in Russian) was established to release dubby-influenced music from a vast pool of artists, with whom MAYAK has connected during past four years. Our first release is a various artist compilation from unique musicians across the globe.
While the A-side(from veterans) is quite moody and not that straightforward, B-side (from newcomers) is ready to rock dancefloors without any concerns.
A collection of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Jimmy Cliff, Derrick Harriott, Alton Ellis and more, and they provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably proflific and unparalleled for an island of it's size.
We are pleased to present you the second EP of the infernal duo INTERNACIONAL ELECTRICAL RHYTHMS formed of Trikk and Mathias Schober. Let's dive right in and start with "Azaka" and it's live recorded percussions. This track just builds and builds until it falls back into that irresistible and sexy main groove. It reminds a bit of old DJ Gregory tracks - just 10 BPM less. Some would even say it is epic, we wouldn't argue though. Anyways, it serves the dance floor well and proved it many times in the past.
The second track "Kosanba" keeps the EP in balance. "Kosanba" sounds more like a Sci-Fi movie soundtrack at first listen. A basic rhythm built around a modular sequence, upright piano, washed out guitars and an eerie spacey melody with tons of reverb form a track that still works in a club context, yet it's definitely one of those tracks for the right moments as it sets a different tone for sure. Bruno and Mathias sure continue what they've started so well last year with their INTERNACIONAL ELECTRICAL RHYTHMS disguise.
With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).
Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.
We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.
Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.
Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!
Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.
The new album from Danish electronic trio System is a special kind of collaborative effort with piano magician Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically intriguing as they are touching. Ranging from the mellow bliss of the title track to echoes of 90's and 2000's electronica and ambient sequences frequented by mesmerizing movements and sounds. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.
Thomas Knak met Nils Frahm at one of his concerts in Copenhagen. They stayed in touch, exchanging thoughts and ideas. Two years later, Anders Remmer was also introduced to Nils. From then serious ideas for a collaboration formed. As Nils was a fan of System's self-titled debut album (released in 2002 via Pole's Scape label) their talks centred around Dub and minimalism, elements that constitute most of System's music as well as their side and solo projects. This in mind, System began producing sketches and brought them to Nils´ Durton Studio in Berlin in December 2015, where they recorded ten hours of him playing keys and effects to their drafts. Back in Copenhagen, they decided to change direction. - As Nils had told us about his fascination with our debut album, we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction.'
So they started building new pieces from the Durton recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) always relied on steady beats or rhythmic material, so the productions of 'Plus' with their focus on acoustic and melodic elements, ambient layers and cinematic moods, sees them pushing forward into new areas.
This way, the trio avoided copying what they had already done years ago, when they built a reputation as Denmark's prime originators within electronic music in the 90's and 2000's. 'Plus' is a triumphant example of collaborative experimentation and may be the dawn of a new era for System: - For us it was really satisfying to focus more on actual sound rather than rhythmic aspects. There is a lot of potential in this field, so it would only be natural for us to pursue this, maybe as a series of collaborations with other people who's music we admire.'
Bear Bones, Lay Low links up with Pizza Noise Mafia's Carrageenan and comes with a monster of a miniLP. BIG TIP!
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Matthieu Levet (Carrageenan / Pizza Noise Mafia) and Ernesto González (Bear Bones, Lay Low / Tav Exotic / Maitres Fous ...) are two musicians based in Brussels who have cut their teeth in the city's freeform underground for well over a decade. Having spent time at numerous shows and parties together, they solidified a friendship after a two week tour around Europe with fellow electronic explorer , Accou, in April 2017.
It was shortly after this moment that the label Random Numbers approached the two with the initial intention of releasing a split cassette with music from their respective solo projects. Several exchanges later, the plan quickly changed into realizing a full-fledged collaboration between both musicians who, while having deep respect and interest for each other's music since they first met, had never found the opportunity to create something together.
The result is the CARCASS IDENTITY EP: a combination of Levet's raw and dub-infused electronics with González's kosmische psychedelic touch. This is music meant for strange parties: the kind where dancing and laying down are equally accepted and ncouraged, where there might be more silence than talking between participants, where small gestures and events reveal their transcendental meaning...
The title track NEPTUN is filled with creaky, deep dub elements while the Exercise One remix of LEISEWEISE surprises with crispy sounds and an odd but beautiful ending. Both tracks showcase the artist talents: straight-forward technoid beats and lovely melodic structures.
As a part of Berlins after-hours club and art space SISYPHOS, the label SISYPHON is a platformfor musicians / producers and combines the hedonistic wild-life of the club and the impulsive sets of its resident and guest Djs. SISYPHOS reflects the DIY principles and alternative lifestyles of the owners, team members and artists who created and continue to re-invent the club.
A brand new tune in a collaboration style between two of the UK's most formidable dub / reggae labels.
* Featuring Ojah from Alchemy Dubs and Liam from Partial Records, with the former on production and mixing duties and the latter laying down some tasteful guitar licks.
* `Forward' is an instrumental that has one toe in the 90's UK dub style but has its footprint firmly in the present time.
* Backed with a compulsory dub mix.
Die Dritte Veröffentlichung Unter Der Neuen Identität Von 2diy4 Ist Ein Tiefer Einblick In Die Seele Des Künstlers Daniel Alexander. Eine Subjektive Perspektive, Die So Nachvollziehbar Ist Für Jeden, Der Es Wagt Zu Hinterfragen. Was Siehst Du, Wenn Du In Den Spiegel Schaust Denn Um Deine Therapie Zu Beginnen, Musst Du Dein Trauma Zunächst Als Solches Erkennen. Traumatology Ist Zeugnis Des Täglichen Kampfes Gegen Verzweiflung, Es Stellt Die Frage, Ob Erlösung Überhaupt Existiert, Auf Eine Weise, Die Aufrichtiger Nicht Sein Kann.
Ukrainian label Muscut celebrates its anniversary - Muscut X (10) Test Pressign II - is the tenth record in a row. The first release was published in 2012 on 7 inches and was called simply Test Pressing. Like six years ago, the current vinyl is a compilation of Muscut's 'residents', as well as new friends of the label. Test Pressing II is 12 inches on which there are exactly ten tracks. Both sides are significantly different in color of mood. Party A starts with dub-drone sketches of key figures of the Odessa underground - Wildstyle Crew and Bryozone. Then we hear the mantra-like M2 - the work of the creative union of Nicola Ratti, Mads Emil Nielsen together with Nikolaenko. The Canadian sound-artist Mark Templeton continues the line of rhythmic textures crowned with unhurried percussion - it is in all senses of Soft Education at number four. The first part is completed by an exquisite curtsy from the Andrew Pekler label frequenter called Underwater Nocturne as a soundtrack for the perfect tea ceremony.
The second side confidently sets a completely different compilation rhythm from the very start - the tribal tribal dance from the Berlin project Native Instrument instantly introduces into a trance. It is followed by a warm, enveloping minimal synth track from the Ukrainian trio Nisantashi Primary School. The middle of the second side is decorated with the pensive house-ballad of St. Petersburg producer Fadeev known as AEM Rhythm Cascade. Another Russian settled next to him - Muscovite Oleg Buyanov, aka OL, with a massive broken dub Nutmeg. The final composition consists of burning afrosint motifs from luminary Odessan Vakula.
* New 7' from ultra-cool Helsinki-based roots, dub and reggae label / sound system Intergalaktik Sound.
* Featuring the vocals of the legendary Sandeeno who sadly passed away in September of this year.
* Produced by IGS Riddim Force, mixed, voiced and dubbed up by Dougie Conscious.
Die Zeiten, In Denen Herausfordernde Musik Die Charts Stören Könnte, Sind Längst Vorbei, Aber Es Wird Immer Leute Geben, Die In Musik Mehr Als Nur Hintergrundgeräusche Sehen. Es Wird Auch Immer Leute Geben, Die Musik Spielen, Die Man Hören Sollte.
Blackberries Nehmen Diese Herausforderung Seit Geraumer Zeit An, Und Während Sie In Der Deutschen Psycho- Und Kraut-szene Eine Art Geheimtipp Bleibt, Wird Die Welt Langsam Aufmerksam.
Ihre Energetischen Und Intensiven Live-shows Brachten Ihnen Einen Schnell Wachsenden Ruf Als Einen Der Interessantesten Acts Derzeit Ein. Große Festivals In Amerika, Kanada Und Sogar China Erhielten Die Nachricht Und Luden Die Band Ein, Ihre Eigene Farbe In Den Mix Einzufügen.
Während Ihr Letztes Album "greenwhich Mean Time" In Magazinen Wie Rolling Stone Gelobt Wurde Und Eine Ihrer Amerikanischen Shows In Shindig! Eine Begeisterte Kritik Bekam, Haben Blackberries Keine Zeit Verschwendet, Um Ihr Drittes Album "disturbia" Aufzunehmen, Das Im November 2018 Auf Unique Records Erscheinen Wird.
Ihr Letztes Album War Ein Neuanfang, "disturbia" Ist Eine Natürliche Entwicklung. Die Erfahrung Von Hunderten Von Live-shows Ist All Diesen Neun Brillanten Neuen Songs Zu
Verdanken, Die Immer Noch Auf Ihren Kraut- Und Psych-wurzeln Basieren, Aber Auch Eine Frische Und Moderne Dringlichkeit Haben. Während Die Melodische Stärke Immer Noch Als Eines Der Schlüsselelemente Hell Leuchtet, Sind Die Themen Dieser Neuen Stücke Deutlich Dunkler Geworden.
Die Band Ist Sich Der Gefährlichen Veränderung Des Politischen Klimas Bewusst. Die Aufzeichnung Reflektiert Diese Beobachtungen In Düsteren Songs Über Gewalt, Ignoranz Und
Einsamkeit, Ohne Die Uralte, Aber Immer Noch Relevante Botschaft Zu Vergessen, Sich Gegenseitig Zu Verstehen Und Das "wir" In All Dem "ich Mir Mich" Zu Finden.
Alle, Die Musik Mögen, Die Einen Aufrütteln Und Mitnehmen Kann, Sollten Definitiv Diese Vier Jungen Männer Im Auge Behalten, Die Sich Blackberries Nennen.
Dramas - Im Jahr 2016 Gegründet, Präsentierte Das Artpop-duo Dramas Mit Ihrer Im Frühsommer 2018 Erschienenen "libra"-ep Ein Großes, Emotionales Debüt Und Sorgte Auch International Für Aufsehen. Unter Anderem Wurde Die Erste Single "mess" Mehrmals Zur Nummer Eins Der Hörercharts Auf Einem Großen Berliner Radiosender Gewählt.
Nun Legen Dramas Nach Und Werden Bereits Als Eines Der Nächsten Großen Bands Aus Österreich Gehandelt. Die Neueste Single "midnight Sun" Ist Zugleich Auch Der Vorbote Auf Das Im Oktober Erscheinende Debütalbum "nothing Is Permanent". Getrieben Von Der Faszination An Unbewussten Gegensätzen Und Widersprüchen Verpacken Viktoria Winter Und Mario Wienerroither Darauf Inhaltlich Schweres Und Bedrückendes In Reduzierte Und Tief Bewegende Musik.
The infamously velvet tones of Jon Lucien get a much welcomed official remastered, reissue - with the original 'Rashida' 7' e.p., that contained four of Lucien's tracks, now split into two 7's for a louder, more refined pressing of each song.
First up, 'Lady Love', with it's bossa nova inspired style, drawing every last drop of emotion from Lucien's infamously voluptuous voice. Once dubbed by Herbie Hancock as 'the man with the golden throat', it's easy to see why - Lucien's rich baritone evoking dreams of summer sunsets, glistening blue seas whilst wrapping you up in a blanket of warmth and tenderness that few can rival.
On the B side - 'Love Everlasting', another of Jon Lucien's bossa nova leaning tracks, swells with jazz flutes, plucked acoustic guitars and a soul drenched string section to compliment Lucien's beautifully calming tones.
With the original Rashida 7' exchanging hands for over £150 on Discogs, here's a chance to get Jon Lucien's golden-throated voice in the collection without raiding the savings.
The seventh volume of Drumcode's annual A-Sides compilation hits with no less than 10 debuts for the label, with Charlotte de Witte, ANNA, B.Traits and Scuba's SCB project, among the collection of topline artists to release their maiden productions on the imprint.
Over two decades into its lifespan, Drumcode keeps evolving and excelling, pushing techno forward while remaining wholly respectful of its roots. This reputation for progression was further fuelled this summer with its inaugural festival at the NDSM Docklands in Amsterdam, featuring a long list of heavyweights including Nicole Moudaber, Joseph Capriati, Amelie Lens and Ida Engberg, among others.
As ever, the A-Sides compilation provides a timely opportunity to showcase the full range of its sonic repertoire, with Adam Beyer scrupulously selecting unreleased tracks that have taken prime position in his sets over recent months.
Formidable duo Dense & Pika kick off part 5 with their powerful composition 'Lemur' renowned for their standout studio output they consistently conjure up a unique take on their distinct sound. Tastemaker's favourite Jel Ford makes a welcome return to the fold as he ushers in techno rhythms with bustling breaks with his track 'Nightshade'.
On the B side resident DJ of the infamous GZG parties in Holland, Man With No Shadow supplies his rave infused twisted cut 'Manilla', where his warped bass combines with shattering breaks & heavy weight drums.
Lastly, Locomatica & Blaukoma present 'Unfold' a brooding techno workout with crisp drum programming that features a euphoric vocal bursting with emotion. Set to cement these two producers as acts to keep your eye on in the near future.
Skyence Ist Nach Seinem Seinem Debütalbum "untrodden Soil" Zurück Auf Modularfield. "companion" Bildet Die Logische Weiterentwicklung In Einer Symbiose Aus Cineastischen Soundwelten, Dichten Atmosphären Und Gebrochenen Beats. 5 Tracks In Form Einer Schwarzen 12" Vinyl. Eine Reise Durch Raum Und Zeit Auf Der Suche Nach Künstlicher Und Natürlicher Schönheit.
Oberman Knocks makes a welcome return to aperture records since his last release Dilankex in 2014, which featured an outstanding 17 minute remix from autechre.
Working on other projects during this time seems to have charged his creativity and Knocks now propels himself back into the fold for his third album Trilate Shift with cleaner, more polished production and a change of direction which should certainly see his appeal rise across a wider audience.
Last year Knocks produced the soundtrack to The Red Tree, an award winning documentary film from Still films (New York/Dublin) and in 2016 he was commissioned by The Lowry in Salford to produce a sound installation, 30 Days of The Smiths, forming part of their Week 53 festival, a version of which was also performed live.
Trilate Shift sees Knocks serve up fourteen lustrous tracks of proficiency and divergent ingenuity encompassing interjections of disembodied vocals, setting the scene for a distinctive musical trajectory.
Nach Seinem Ausverkauften Konzert Im Berghain Veröffentlicht Ross Tones Aka Throwing Snow, Eine Hälfte Des Electro-goth-duos Snow Ghosts, Mit "loma" Seine Bis Dato Facettenreichste Und Kompetenteste Arbeit. Die 8 Tracks Einer Vierteiligen Digitalen Serie Erscheinen Erstmals Auf Vinyl, Erweitert Um Den Neuen 11-minütigen Extended Remix Der Brooklyner Transgender-künstlerin Octa Octa (100% Silk, Running Back, Honey Soundsystem). Cd Und 2lp Auf Gelbem Und Grünem 180g Vinyl.
Planet Battagon are innovators in Droid Jazz. Electronics, jazz and outer-national sounds ain't no new thing. But following in the extra terrestrial sounds and cosmic mythology of Sun Ra, Planet Battagon are not reaching for the cosmos but simply made of it. Droid consciousness is the starting point but what's consciousness got to do with it. The droid's need culture, music and art and of the highest and most experimental of that lies Droid Jazz.
Originating on Lord Battagon's home planet the group are documenting the folklore and jazz stylings of the Trans-neptunia neighbourhood out on the edgelands of the solar system. This debut release follows on from a Lord Battagon outing on the Atlantic Jaxx label. 'Who's out on Quaoar' is taken from the Ltd Ed 12' 'Battagon Symphony', part one of 'The Rough Guide to Trans-Neptunia'. The release also features 'Salacians of Neptunia', a homage to the early droid cultural pioneers and the chant like 'Moon of Dysnomia' that is played ceremonially to temper the erratic saline tides of the aforementioned moon especially during its retrograde period. Droids and saline do not mix well and OntheCorner are releasing these 'Rough Guides to Trans-Neptunia' after intercepting distressed transmissions prior to a
devastating saline tide.
The Noise Droids of Planet Battagon are:
Jack Baker - Acoustic Drums
Martin Slattery - Bass Clarinet,Alto Sax & FX
Oli Savill - Percussion
Mickey Ball - Trumpet
Nathan Curran (Tugg) - Synth Bass, Syn Drums, FX & Conductor
Music Producer, Dj, Label Owner Of Volt Music And Creative Director Of Analog Room.
From Tehran To Dubai And Berlin To London Siamak Amidi A.k.a Skin Has Played It All With One Thing In Heart: Commitment To The Underground Scene And Music. It Was Exacttly This Very Commitment That Led Him To Creating Volt Music: A Vinyl Only Limited Record Label.
His Love Of All Things Underground Teamed Him Up With Like-minded People In Dubai Setting Up A Weekly Party Called Analog Room, A Night Like No Other In Dubai. As Creative Director And Booker For Analog Room Siamak Makes Sure The Party Is All About The Music And Allowing People To Let Their Hair Down And Have A Truly Underground Experience.
Siamak Has An Open Mind When It Comes To Music And Looks Out For New And Upcoming Talent All Over While Staying On Top Of The Game By Playing Venues All Over The World
The latest release on Arma comes from Dutch legend and devoutly deviant underground operator Ruud Lekx, aka Rude 66. With a legacy that reaches back to the early 90s and the rough and ready Dutch electro sound of Bunker Records and The Hague, he's maintained a distinctly non-conformist approach that touches on acid, Italo, techno and more besides, all finished with the punky attitude that sets him and peers like Unit Moebius and I-F apart.
The tracks gathered together on The Witch Trials EP come from throughout Lekx's career. As the artist himself says, 'tracks from wildly different eras and sessions suddenly can combine to form one coherent EP. It's almost like the A-side tracks were waiting for 20 years to be combined with the B-side tracks.'
The overriding theme that binds together these timeless machine excursions is that of medieval witch trials - a global phenomenon that peaked in the 15-1600's. Considering the suspicion, propaganda and mass moral panic involved in this strange curio of distant history, Lekx points to the parallels with the current age, 'of political polarization and fake news accusations flying all over.' The EP title is also a tribute to two records close to his heart: The Fall's Live At The Witch Trials, and the one-off Witch Trials project by members of the Dead Kennedys, Adrian Borland and Christian Lunch.
'Werewolves & Poisoners' and 'The Crusade Against Idolatry' are both archive tracks from the 1994-5 period when Lekx made his first albums for Bunker Records. The first track's charging arps, rugged kicks, nagging acid lines and discordant paranoia all speak to that trailblazing period, while 'The Crusade...' revels in canny programming of interwoven synth lines feeding into an unhinged, psychedelic rampage that reflects the righteous fervour and spiritual confusion of the EP concept.
'The Absence Of Diabolism' opens up the B-side with a different tone, having been produced in 2016 and demonstrating the deeper acid undulations Lekx has become known for in more recent years. Still delivered via the same trusted tools he was using in the 90s, the sound feels like an extension of the Rude 66 vision rather than a separate entity. 'Envious Are All The People, Witches Watch At Every Gate,' a cut from the late 90s, closes the EP out in a spacious, snarling exploration of broken acid electro laden with cinematic sweeps of synthesizer and a constant sense of unresolved tension.
Across these four tracks, Lekx displays the scope of his craft as Rude 66 while also proving that timeless music can make sense in any context, and that the threads of inspiration in an artist's journey can be followed, explored and even resolved 20 years later, when you least expect it
I Conceived 'darkly' In 2015 As A Piano Album. I Was Fascinated By This Instrument And Couldn't Think About Electronic Music At All. I Spent A Lot Of Time In Front Of The Instrument Before My Fingers Could Play What Was Needed. And At Some Point, I Got A Few Solo Piano Tracks, But They Sounded Very Raw And Unfinished. Almost At The Same Time, I Was Getting Back Into Experiments With Electronic Music And Focussed More On Recording Piano In An Electronic Context. Paying More Attention To Different Textures And Multilayeredness. I Was Working On Soundtracks For Films By Noir Films And This Helped Me Finish Two Compositions, Which Later Determined One Of The Directions Of The Album And Served As A Bridge Between The Solo Piano Compositions I Recorded At The Beginning, And The New Electronic Tracks. At The Beginning Of 2018, I Got Back To The First Solo Piano Tracks To Give Them A Finished Form, Adding The Missing Elements That I Could Not Hear Three Years Earlier. I Wanted To Make A Piano Album, But I Got The Album Which Was Formed By Itself And Became A Result Of My Experiences, Worries, And Events Of My Life That Occurred During These Few Years. I Dedicate This Work To A Human, Which Shares This Life With Me, Supports Me And Believes In Me Like Nobody Else! I Dedicate It To My Wife.
"darkly" Comes Out On Limited, Double, Grey Vinyl (including Download Code)
Composer, Synthesist And Producer Matt Robertson Is Set To Release His New Album 'entology' Via Tape Club Records On 16th November 2018. It Follows His Warmly Received 2016 Album 'in Echelon', Described By Mojo As "nils Frahm's Modern Classical Meets Jon Hopkins' Grainy Techno", "an Album Of Symphonic Electronica And Leftfield Techno Thats Cinematic In Scale" In Mixmag And "magnificent Wild Sound" By The Line Of Best Fit.
As Musical Director For Björk, Cinematic Orchestra And Anohni As Well As Working With Lamb, Emiliana Torrini And Bat For Lashes, Matt Has A Wealth Of Experience Collaborating With Some Of The Most Exciting Artists In The World. Working With A Collection Of Vintage, Modern And Diy Synths, And Combining Electronic Music Production With Classical Composition And Cinematic Soundscapes - Artists, Producers And Film Composers Alike Seek His Enveloping And Distinct Sound.
"i Love The Idea That Not So Very Long Ago, The Idea That A Species Could Become Extinct At All Was Laughed At. In The 17th Century, Fossils Were Believed To Be From Mythical Creatures Like Dragons. In 1796, George Cuvier Presented The Idea That A Species Could Have Existed And Now No Longer Existed, And He Was Laughed At By Scientists. Darwin Then Suggested That Evolution Did Not Need Catastrophic Events To Explain Extinction - More That It Was Due To Perpetual Competition In An Overcrowded World.
I'm Adopting The Word "entology" To Be An Awareness Of Our Current Period Of Geological Time Being An Extinction Period, Where An Extinction Period Is Defined As A Time When A Significant Proportion Of Species Die In A Geologically Insignificant Amount Of Time. I Was Trying To Imagine The Obvious Desolate Spaces Of A Post Apocalyptic World, But Also The Slightly More Opaque Vision Of The Fact That So Many Things Are Becoming Extinct Around Us Without Us Noticing, Or Even Being Aware Of Their Existence In The First Place.
The Idea Is Of Desolation But, Because Of The Awareness, Also Of Hope."
- Matt Robertson
Franck Roger is back on his imprint Home Ivasion label for a new season with some dope upcoming House stuff and a brand new record design aswell
Do what you gotta do:
Franck and Mandel team back together for this Chicagoan Dub track wich provides vocal hooks and stabs wich also reminds us some old Prescription Records or Derrick Carter stuff..
The Deep:
The Deep bring us back to the good old days of the French Deep House scene wich was run back in the days by The Deep aka Dj Deep and Julien Jabre and a little Playing 4 the City vibe aswell in a modern way of editing and sounds.. The Deep got this hypnotic groove driving thru vocals hooks, piano stab and a massive bassline...Free ur mind, free ur soul.
Manana presents a new remix EP bringing together some essential re-works of Sound Species and Ache Meyi's collaboration recordings.
Originally recorded in 2016 in Santiago de Cuba during the lead-up to the Manana Festival in the city, the original sessions were an inspired fusion of Ache Meyi's deep folkloric Afro-Cuban styles with Sound Species' subtle electronic touches. The new re-works have attracted some familiar names from clubland: broken beat don IG Culture keeps the roots of 'Ogún Meyi Meyi' intact with a bass-heavy, percussive attack; brilliant UK drummer and producer Tom Skinner strips back 'Egrem Bata Jam' on a pulsing new version; Chicago legend Ron Trent creates a more melodic dancefloor re-work of 'Alina's Calypso' while Sound Species themselves beef up the original Afro-Haitian rhythms of the same track for a dubbier treatment.
Formed by German prominent electro producer Boysnoize and French film director/electro producer Mr. Oizo (aka Quentin Dupieux), Handbraekes comes back with a brand EP, the third one since the mysterious episodic collaboration started in 2012. Blending Boyznoize electro maestria with Mr. Oizo's peculiar touch, '#3' will undoubtedly both startle minds and make bodies dance, creating disco riots in clubs and festivals around the world.
After two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to RCA for Cosmic Vortex (Justice Divine), exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates.
This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk. Jason Ankeny/AMG
Foul & Sunk is proud to present 'Morello', a cathartic EP from upcoming producer star D.Y.A. As an university educated jazz drummer the concept of improvisation and aspiration for that one special musical moment is surely no secret to D.Y.A. So both tracks 'Morello' and 'Cosy' are melodic groovers with the extra portion of soul. Beside this there are Johannes Albert and Shan on remixing duties. Albert is taking it to a deeper level, while Shan delivers a 9 min. monster remix with his emotional melodies and deep grooves.
About D.Y.A
City: Berlin (DE)
Labels: SOLIDE / Foul & Sunk
Growing up in a family where D.Y.A was surrounded by all kinds of different music led
to the mindset of appreciating each genre as equally important and eventually got him
to draw inspiration from all kinds of music. As an university educated jazz drummer the
concept of improvisation and aspiration for that one special musical moment is surely no
secret to D.Y.A.
While being Berlin based and a founding member of - SOLIDE', a label and collective he
runs along with fellow producers Kalyma and MYNY, translating these rather complex
concepts from jazz into house music, wether we are talking about production or DJ Sets,
has been one of D.Y.A´s main goals. Looking back to a relatively young discography, this
summers forthcoming EP´s on Solide and Foul & Sunk, with remix guests like Johannes
Albert, Panthera Krause or Shan, will fall in nicely to showcase D.Y.A's influences and his
quest for a special musical moment.
The 8th record from Muzik & Friendz sees Pat Lezizmo joined by a few especially picked artists.
People who have their own take on Electronic Music and typify the sound the label is pushing.
The Obdurate Session EP brings in Al Bradley, Replika, Dsitb and Harry Light for four different trips on this.
Al Bradley takes us on an atmospheric and 80's tinged dreamstate workout with his Move A Little Closer, a refined production as we have come to expect. Pat & Dsitb keep things strictly deep with their Sea Cake cut. A sampler workout with a close groove that keeps things bubbling. Harry Lights Basement Dub brings a bit more heft to this heavy collection of tracks, pure driving House music whilst finishing the EP Replika's sample based slice of classic House On the Spot warms things up a tad, pitting washed out melody against a funked up groove.
The Limiñanas are a couple and a band. They have produced records in their own garage in Cabestany located in the south of France for about ten years. They played in Australia, the US and toured Europe regularly. United Kingdom included. The first opus of the now series 'I have trouble in mind' was released on the initiative of Bill and Lisa Roe (iconic label 'trouble in mind") in the US in 2014. It combines all the 45t , unreleased songs recorded by the couple for 'Mojo magazine", tribute to Beach Boys, fanzines, micro labels. All the titles which were difficult to find and that fans were looking for. And now, here it is: I ve got trouble in mind vol 2. The Limiñanas now work mainly with the European label 'Because music". Thanks to their common forces, 3 albums were released. «Traité de guitarre Triolectique» with Pascal Comelade, 'Malamore", which was a tribute to Dino Risi and in 2018 'Shadow People' in the company of the American psychedelic pope Anton Newcombe. Marie and Lio work a lot, they record all the time and love 45t, maxi's and still collaborate with small labels from around the world for specific projects like the traditional song of Christmas 'Convenanza 'from Andrew Weatherall. In this second opus some covers of their favorite titles will be available. The lords of the new church 'Russia"n roulette", 'two sisters' from the Kinks which is the first song recorded with Anton and remixed by the American producer of the first White Stripes album Jim Diamond. 'Live will Tell' from Polnareff, a tribute to 'Suicide' recorded in Australia from the live version of the band and many others. The artwork was designed by Elric Duffau, as for the first volume. Small bonus: the two album covers placed side by side complement each other for a single piece.
Kingdoms welcomes Finnish composer, producer, visual artist and filmmaker Hannu Karjalainen. His recording career now spans over a decade, beginning under the pseudonym Hannu and later under his full name for 'A Handful Of Dust Is A Desert' on Karaoke Kalk. Now, this seven track mini album on Francis Harris' Kingdoms sees Karjalainen continue his explorations in new directions - touching on field recordings, soundscapes and esoteric instrumentation to build a truly meditative and moving record. 'Drift' begins with 'Sermon to the Birds', featuring beautiful plucked strings and ambient atmospheres, before 'Carnivorous Flower' casts us into enormous otherworldly dronescapes. 'Untitled #34' brings about a beat of sorts, but deeply deconstructed to a crawl, allowing acres of space between the hits and sub bass pulses. 'Sunless' is, conversely, a ray of light - bright, weightless pads provide the feeling of being completely cut adrift. Segueing into 'Nightfall', the tones become a little duskier and more intense, building throughout the track. 'That Obscure Object' is another trip into the space, as white noise and fragments of melody intersect. The album ends with 'The Nile' - a treated piano plays a haunting melodic sequence, seemingly suspended in air. It's a beautiful, emotional conclusion to an album that encourages the listener to take the time to experience its many pleasures.
Friendship. Gratitude. Music Passion. Turbo Recordings is proud to present the feel-good story of the year with the debut release from Tiga & The Martinez Brothers.
"This is a true labour of love,' says Tiga. 'Two of the most refreshingly positive figures in dance music teaming with me, the heartless cynic with a heart of gold. Positivity and actual quality: the best of both worlds."
Tiga was originally meant to produce tracks for the DJ duo, but the sessions soon evolved into a full-fledged collaboration. The three men manned the studio in psychic unison, laying real-time drum programming and minimal storytelling over a techno foundation to create a truly dynamic dynamic. The result is some of the best work of their careers.
'Chris and Steve brought a deep knowledge of house music and DJ energy-flow, while I left my deep hatred of live studio jam sessions at the door," adds Tiga. 'These tracks are tougher, funkier and weirder than 99.3% of contemporary dance music, and it's all because we were brave enough to get sincere and real."
The material was written and recorded over the course of two sessions at Montreal's Lost Star Studios, a haven for vintage gear and laid-back vibes right out of your most casual dreams. It was easily the most fun anyone's had in a studio since 2014.
"You can keep your VIP laminates and hot flavors of the moment,' concludes Tiga. 'I'm here to tell you that there's nothing cooler than the magic of friendship.'
Part II of the collaboration is set for release on The Martinez Brothers' Cuttin' Headz label under the name The Martinez Brothers & Tiga, an inspiring nod to the importance of fairness in project credits
International Black's 6th release comes from critically acclaimed electro supergroup London Modular Alliance. Operating from a refreshingly simple credo of: 3 men, 0 computers, many patch cables - LMA create their music on the fly using soley modular synthesis. Consisting of Koova (brokn toys), Pip Williams (Central Processing Unit) and Yes Effect, these three experienced producers have blown minds with their ecstatic live performances across the globe. Coming in hot after releases for Kirk Degiorgio's A.R.T. Records and Hypercolour, their release for International Black takes no prisoners. Opening the A side is 'Same Repeated Cycles', an ice cold electro inspired groove featuring LMA's signature modular synthesis. Engineered to perfection and mastered by Matt Colton, this cut delivers a new level of toughness to the International Black catalogue. On the B Side, 'Acid Lab' takes a more gentle approach: slo-mo electro drenched in acid. The lead tb303 riff floats in an abyss of dubbed-out dystopian psychedelia. Closing the record is 'Volatile State' , an otherworldly piece of alien sound design which simmers ominously for over 2 minutes before exploding with an extra-terrestrial electro force which simply can't be ignored. Each listen reveals a new detail of this impossibly intricate yet incredibly effective record. Designed for the club, engineered for the mind.
We can write all about it but just play them tunes. Frenk Dublin. 140 dubwise stepper. Jamming on the mic is Clinton Sly. Dropping full good vibes.
Materia Obscura, launches with witchcraft themed three-part techno series entitled "Trilogia Del Aquelarre", inaugurating with Abstract Division, Cadans, NX1 and Lucindo. Based on Francisco de Goya's black paintings "El Aquelarre", which is exhibited at the Museo del Prado in Madrid.
"Parte 1" is a high-octane and thunderous techno package that includes contributions from Dynamic Reflection duo Abstract Division, Neighbourhood and Clone's Cadans, Nexe Records bosses NX1 and 3TH Records co- founder Lucindo. Kicking things off, Dutch duo Abstract Division's "Blue Void" delivers winding transcendental polyphonics balanced over synthetic techno drums. Cadanss "Don't Tell Me" employs tough heads down percussion and pulsating, metallic drone-like sonics. Then Spanish pair NX1's "MO1" offers heavy duty, machine-like crunches layered over resilient twisted modulations before Berlin's Lucindo concludes matters, supplying thunderous kick drums in "Atto 170" as unearthly type bleeps join vigorous swells.
Tren Rezno Is The First Release By Blusher, A Music Project By Artist, Writer, And Game Designer Aidan Wall. Produced Between Dublin And Amsterdam Over The Course Of A Couple Of Years, Tren Rezno Is A Spectral Mixture Of Ambient Compositions, Strummed Songs, Field Recordings, And Club-focussed Tracks That Are Just As Likely To Make The Listener Weep As They Are To Make Them Dance. Drawing From Influences As Varied As New York No Wave, Playstation Game Soundtracks, And Traditional Irish Music, Tren Rezno Is A Strange Collage Of Thoughts And Impressions That Hints Towards Contemporary Experiences Of Precarity And Anxiety, Just As It Hints Towards The Timeless Experiences Of Splinted Affection, Singing Into A Pint With A Friend, Or Falling In Love On The Dance Floor.
Tren Rezno Is Available Digitally As A 13 Track, 50 Minute Long Album, And Physically As A 5 Track Record, 30 Minute 12' Record.
NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers.
From the West End vaults we are pleased to present Ednah Holt's 'Serious, Sirius Space Party', a thundering, slo-mo, bass-heavy slab of NYC electronic funk that will sound familiar to those who paid close attention to what the maestro Larry Levan was doing in his sacred booth at the Garage in 1981, or to those who tuned in to peep what the master Afrika Islam was doing on his now semi-religious, hip-hop blueprint 'Zulu Beat Show' on WHBI. That's right, you can guarantee if those 2 guys were playing your record in the city at the same time then you had an underground 'hit' on your hands. The fact that it crossed over from the discotheques to the streets and back again speaks of the appeal of this super heavyweight jam, the legendary team up of Kenton 'Kenix' Nix, Larry himself on the mix, and former Ritchie Family vocalist Ednah Holt makes for some heady listening. One for the after hours dancers, B-Boys and B-Girls and lovers of the downtempo workout. A true and essential NYC classic.
All tracks featured re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG.
Skin Town's unexpected return with their new album 'Country' finds the duo upping the already high bar set on their striking dark pop gem debut 'The Room' with a dauntless artistic statement that trades clever posturing for vulnerability. Yielding their prowess with more restraint, Skin Town's 'Country' hits harder and cuts deeper - doubling down on their narcotic cocktail of strong R&B hooks, spacious bewitching productions, and marked sense of melody that puts vocalist Grace Hall and multi-instrumentalist Nick Turco in a class of their own.
Many saw that potential on their debut with support from Dazed, Interview, The FADER, KCRW, as well as artists like Tinashe shouting out Skin Town. Lamenting on the duo's unmistakable chemistry, Pitchfork says, "Turco's synthscapes are huge and scene-stealing, while Hall's husky voice strikes a glorious medium between Abel Tesfaye and Sade." Their latest is even more potent, a particular strain of sad dance music that feels timeless and raw.
'Country' refines Skin Town's minimal framework of tethering hip-hop/R&B rhythms to Hall's smoky, precise phrasing exploring richer atmospheres and darker concerns. Written and recorded over 3 years, the album touches upon depression, loss, hedonism, poverty, rebellion, sex work, empowerment, and love's contradictions. The album's completion was sidetracked many times with Hall suffering a string of life-threatening mysterious immune system ailments, as a result there is a lot of pain and joy in this record, made with literal blood and tears.
The opener "Bad" signals at this departure from their upbeat predecessor stripping away the beats, relying on the interplay between Turco's ringing chords, the enveloping synthwork and Hall's melancholic, rhythmic intonations. "Mute" brings back the drums, couched in a slinking hip-hop beat and a creeping synth lead. Throughout the record, Turco's productions glean from an eclectic, disparate mix: melodic Amiga tracker music, Metro Boomin', New Age, The-Dream while Hall seems ever more comfortable exploring syncopation and half-rap/half-sung excursions. This is inventive, uncanny pop music where Enya, Offset, Zola Jesus, and Future inhabit the same space.
Skin Town's unerwartete Rückkehr mit ihrem neuen Album "Country' hebt die sowieso schon recht hohe Messlatte ihres markanten Dark-Pop-Juwelen-Debüts "The Room' noch ein wenig höher. Skin Town's - Country" schlägt härter zu und schneidet tiefer - und verdoppelt ihren narkotischen Cocktail aus starken R&B-Hooks, einer großzügigen, betörenden Produktion und einem ausgeprägten Sinn für Melodie. Das ist erfinderische, unheimliche Popmusik, bei der Enya, Offset, Zola Jesus und Future im selben Raum leben.
Viele sahen dieses Potenzial bei ihrem Debüt und so gab es reichlich support von Dazed, Interview, The FADER, KCRW sowie Künstlern wie Tinashe. Pitchfork hob die unverwechselbare Chemie des Duos vor und sagte: "Turcos Synth-Landschaften sind riesig und szenenraubend, während Halls heisere Stimme eine Klasse für sich ist, angesiedelt zwischen Abel Tesfaye und Sade.'
Country' verfeinert den minimalen Rahmen von Skin Town, Hip-Hop/R&B-Rhythmen mit Hall's rauchigen, präzisen Vocals, die weitere Atmosphären und dunklere Anliegen erforschen. Das Album behandelt verschiedenste Felder von Depressionen, Verlust, Hedonismus, Armut, Rebellion, Sexarbeit, Empowerment bis zu den Widersprüchen der Liebe. Die Fertigstellung des Albums wurde mehrmals aufgeschoben, wobei Hall eine Reihe von lebensbedrohlichen, mysteriösen Immunsystem-Krankheiten erlitt, was dazu führte, dass viel Schmerz und Freude auf dieser Platte zu finden sind, die sprichwörtlich mit Blut und Tränen gemacht wurde.
You know that warm feeling of anticipation, standing on a platform waiting for the train to bring a loved one home to you That's what a new Tilliander record is like for Kontra-Musik. After releasing the monumental Chill Out album under Andreas' Mokira moniker, we took a rather different approach this time, opting for the White Label. Even though the title 'Endor' has nothing to do with the Ewok-inhabited Forest Moon in the Star Wars saga, it's still a decisively green and verdant track, filled with all the sounds of a dense forest. 'Trico' is the quiet lake deep within this forest; a serene spot inhabited with dragonflies, great white pelicans and slinky salamanders that curiously look a bit like Richie Hawtin during his Moby era. We simply love this place and hope that you will too.
Sonnenstadt - We've Been Hiding To Long - Album »in The Depth
Of A Undiscovered Tonal Cosmos, Hidden Beyond The Obstacle
Of Lunar Dust: We've Been Hiding To Long.« Leipzigs Downbeat
Gem »sonnenstadt« Sprinkles Nine Tracks Of Its ¡rst Full Length
Album On A Lovely Tape. Good To Have In A Cozy Mood. First
Release On Newly Founded Label »unforced«.
North East duo Forriner are back with their third and final instalment in the samurai trilogy on their eponymous 'Forriner Music' imprint. Following a couple of impressive showings with previous EP's 'Condor' and 'In the B' they return for their hattrick with '17:17 Neon'. A four tracker of experimental club music for powerful dance floor experiences that offers two originals as well as a banger from Bird Of Paradise and a mouthful of mathematics from Legget and Suade for the remixes.
First up, 'The Jungle Is Deep' which immediately sets off at a rate of knots! Its sharp pace is tempered by the sound of the drums: dull kick, wooly clap, rattling hi-hats while its bassline bleeds in slowly as a dark repeating tone and subtle chord swell and a haunting, cautious vocal reminds you that 'The jungle is dark and deep'. The second half of the track balances its steamrolling kick with an intricate, hypnotic lead as a growling synth line shuffles and recombines over its rumpled techno groove. It's feeling is transportive, the kind of music that makes you close your eyes on the dance floor.
Fellow Northeast alumni take up the remix for 'The Jungle Is Deep'. Steve 'Four Hands' Legget and Suade Adapted hammer a hefty slice of future dub techno from the skeletal remains of the original! Its chunking, discordant drums and manic echo chamber combine with a lilting bassline making sure you know that this is tough music but that it also has a tender heart. Clipped vocals squelch and flutter throughout but these are more textural than melodic, adding extra depth to the track. This trip is all about striking, psychoactive grooves, pushing the swing settings to extremes. Equal parts sinister as it is are playful. Fitting the typical tradition of winsome, weird dance music.
Over on the flip is the title track '17:17 Neon' featuring vocalist Louis Adams and violinist Late Girl (Laura Stutter Garcia) Breathy melancholic vocals and pitched down, endorphin flooded electronica. This is techno in a state of dewey eyed delirium. The neon of the title is very much instructive here, with the vocal being the scattered, shining light that the track playfully hangs itself from.
Jo Howard aka Bird of Paradise takes the reins for the final remix delivering a charging peak-time club tool with relentless batteries of percussion setting the stage for a trippy soundscape. Other than their Northern roots, what these producers have in common is a distinctive approach to rhythm. The restlessness of the sharp stabs of static perfectly guiding the darkly pulsing mood.
With a string of resonating releases and progressively improvised live-shows, ANNANAN have been expanding and refining their stylistic range across gritty Acid psychedelia, explosive, dark-waving Electro and a raw blend of Techno and House that is as fierce as it is fragile. The duo's first album on their own imprint MACHINE JAZZ does take all of this into account - and yet it's crucially different to everything else they've put out so far. - You' is a captivating electronic pop adventure, an experimental amalgam aligning Anne Ghost's polymorphic lead vocals with Tom Aaron's vast and versatile analogue productions in unexpected ways. Dominated by reduced rhythms and a carefully crafted melodic shape, the result of this dialogic fusion are irresistible, forceful songs that draw from diverse contemporary and traditional sources: you'll even hear Trap fragments, an R&B trained voice, reminiscences of the Knife as well as cinematic synth excursions. While exhibiting a broad set of moods, claims and longings, the LP attains emotive poignancy from beginning to end through its bold openness. Annanan's first album is stripped down, immediate and full of surprises - but don't you worry, there's no lack in bang either!
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ABOUT THE 'LIBRARY TOOL KIT' SERIES
The new sub-label from WNCL Recordings features 12 short 'tools' per release, for use on discotheque sound systems and home stereos alike. Released on 10' vinyl with digital to follow at a later date
ABOUT THIS RECORD
EKOPLEKZ contributes to the Library Tool Kit series with 12 unique transmissions, live and direct from his radiochronic workshop.
Dokutoku four is here courtesy of Guillaume & the Coutu Dumonts. The Yuzo Kosho Do EP is a three tracker featuring a sound that's always intriguing but equally difficult to define. All three tracks are intricately rhythmic and very much indicative of the Montreal-based producer at his most emphatic.
Welcome to the seductive groove of Nonetheless, a new duo formed of Florian Bocksrucker and Felix Bergleiter, and the first LP on Neubau. Across four sides of vinyl Nonetheless deliver an intriguing mixture of tough dystopian midnight-drive soundtracks and transporting early electronic/musique-concrète-hybrid interludes. Nonetheless is the sound of cogs turning, churning melancholy and pulsing snake-charmer drum machine palpitation. The end result is catharsis through sinister journeying. From the near-acidic punch of 'Machine of Love and Hate', to the grandiose slow-motion of 'Epik' and the ravey 'Exclusion Zone', Nonetheless' debut record is something special to savour, and is proudly presented as the tenth release on Neubau.
Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.
This 2 track single provides just a hint of what delights the full Raregroove Spectrum album contains - Lance explains that much of the inspiration for the re-works comes from his experience as a DJ; "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".
First up is a reinterpretation of a super obscure deep funk acetate 45 released by Keb Darge, Egg Roll - the follow on track is Lance's take on The Soul Vibrations The Dump.
The forthcoming album reaches further - and includes James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.
Available as either a 3CD/1 Blu-ray set or a 6LP/1 Blu-ray set, both packages include:
· The original album, now newly remastered by Bernie Grundman from the original analog tapes. For the LP set, Grundman prepared an all analog direct to disc vinyl transfer of the album, preserving the authenticity.
· Electric Ladyland: The Early Takes, which presents 20 never before heard demos and studio outtakes. Included are incredibly intimate demos for song ideas Hendrix recorded himself on a reel-to-reel tape at the Drake Hotel, as well as early recording session studio takes featuring guest appearances from Buddy Miles, Stephen Stills and Al Kooper. Full tracklist included below.
· Jimi Hendrix Experience: Live At the Hollywood Bowl 9/14/68: Part of Experience Hendrix's Dagger Records official bootleg series, this live album documents their triumphant Los Angeles concert held a few weeks before Electric Ladyland was released. The recently discovered two-track soundboard recording captures the energy that had the audience in such a frenzy that many concert goers jumped into the reflecting pool that separated the bandstand from the seats. Full tracklist below. Experience Hendrix's Dagger Records releases are physical only so this will ONLY be available as part of the physical release with no digital.
· Blu-Ray: includes the acclaimed full-length documentary At Last... The Beginning: The Making of Electric Ladyland, the first ever 5.1 surround sound mix of the original album overseen by Hendrix's original engineer Eddie Kramer plus the original stereo mixes in uncompressed 24 bit/96 kz high resolution audio. NOTE: unfortunately due to unforeseen circumstances the documentary will not have translated subtitles.
· Electric Ladyland 50th Anniversary Deluxe Edition includes a full color, 48-page book containing Jimi's handwritten lyrics, poem and instructions to his record label, as well as never before published photos from the recording sessions that were shot by Eddie Kramer himself. Also included are essays by celebrated journalist David Fricke and Hendrix authority John McDermott
· All contained in a numbered luxe casemade book for CD+Blu-Ray release and casemade lifttop box for the LP+Blu-Ray release with new cover art which is true to Hendrix's original vision of the album's cover: a Linda (McCartney) Eastman photograph of the band and children at the statue of Alice In Wonderland in New York's Central Park.
Debut physical release from Scottish newcomer Andrew Greens AKA Ash Is. Hailing from Edinburgh and at the heart of club culture in his city, he is running parties and sharing stages with the likes of Baltra, Bwana, and other forward thinking international artists. This release comes packed with 3 affecting club tracks, each serving a different purpose. Ash Is fuses elements of rave, house, techno, and electronica to serve up moments of euphoria & tenderness. Fluttering arpeggios, dusty breaks, warm pads & feeling laden melodies often feature, capturing a sense of post-club emotion. These are three heavy hitting cuts that truly carve out a lane of his own.
We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).
Aurous, Irreligious, Meandrous
Tresque continues to strive towards his unique hedonistic feel for progression and tribalism on the Aindanão EP. His minimalist techno sound is defined by unlikely shifting patterns that aim directly into your muscle memory.
After his Lensomni EP and Geissle EP on -OUS and an EP on "Care of Editions", Tresque shifts his pace and delivers two hypnotic dancefloor tools on the Aindanão EP. Coming from an extended artistic career as improvisation and experimental musician, Geneva's D'Incise returns to his roots under his moniker Tresque. Inspired by restless dances and the sensation of seemingly endless potential, he explored the interconnections between advanced Techno, Dub and Minimalism with a polyrhythmic approach. Tresque adopts an attitude of purism to formulate an own take on the nature of traditions and rituals.
For Fans Of Hot Chip, J-pop, Dada. Perlita Is Responsible For 'sex Instruments', The First Ever Song Made Entirely Out Of Sounds Produced By Sex Toys, Including Guitars Played With Vibrators, Bass Notes From Anal Beads And Strokers For Rhythm. The Track Was Made Especially For A Pornhub Toys Ad Campaign.
Caballo Rojo ("red Horse") Is The Second Album By Perlita, A Band From Cádiz, Spain, Once Described By A British Critic As "a Hot Chip Fronted By Freddy Mercury". For The Follow-up To Their 2016 Debut Cangrejo Yeti ("yeti Crab"), The Threesome Have Come Up With A Titanic Piece That, Mood-wise, Jumps Around And Gallops Between Pop, Flashes Of Andalusian Folkloric Music, Drum Machines, Japanese Voices, Synths And Verses By Spanish Poet And Nobel Prize Laureate Juan Ramón Jiménez, Among Many Other Things.
Perlita Are Based Part-time Between Puerto De Santa María, Cádiz, And The Madrid Borough Of Lavapiés. That In Itself Could Constitute A Music Genre, But It's Not On Wikipedia Yet. Their Music Speaks Many Languages, Some Of Them Invented. There's Something In It That Echoes The South - The South Of The Andalusian Psychedelic Rock Bands Of Yore, But Also Of The Typical Cádiz Brand Of Humour, Of The Famous Carnival, And Of The Northwest-african Radio Waves Reaching The Beaches Of The City From Across The Gulf Of Cádiz.
Having Cut Their Teeth In Many Spanish Indie Bands, With Perlita, The Three Band Members Decided To Explore Other Worlds - Worlds Where Synths And Drum Machines Rule, Yet With Plenty Room For Wild Percussion And Marvellously Poppy Melodies. The New Direction Became Clear On Their First Effort Cangrejo Yeti, And Is Continued On Caballo Rojo: Electronic Pop Made With An Open Mind, With A Special Fondness Of The Poetry In Details, And With A Production That Is Morphing Throughout The Record - From A Sophisticated Accompaniment Gently Rocking Some Precious Verses To A Raw And Forceful Sound Slinging Almost Dada-like Shouts, Like A Poet At A Rave Hollering About The Dunes.
Following the recent 'Aset Forever EP' by label bosses Dusky, 17 Steps announces its next release in the form of the 'Off Peak EP' by innovative Russian duo Formally Unknown.
The three broken beat originals will be familiar to anyone who has seen label owners' Dusky DJ recently.
Lead track 'Off Peak' offsets a breakdown of deep, Detroit-nodding chords with thunderous bass, modular bleeps and broken percussion that will test the outer limits of any sound system.
On the remix, Warehouse Music's Mella Dee flips the original with 4x4 kicks, spacey pads and layered percussion that glides in and out seamlessly, providing the EP with a hazy, dubbed out techno gem.
Industrial broken beat jam 'Burnin' again blends atmospheric chords with chopped samples to create a carefully crafted leftfield trip that feels like the perfect soundtrack to an industrial How It's Made video.
Closing things off 'Arp Three' brings things to a darker, stripped back close in a panic alarm buzz of broken bass and twisted FX - with distant rave divas crackling through the mix.
Invigorating, skewered electronica and bristling, off-kilter techno drive the first release in 15 years by Dublin electronic duo Ambulance (Sunken Foal & Dave Nuremburg), delivering the first EP on the Open Ear label, the latest adventure in sound from the eponymously-titled Irish music festival.
Previously of Planet Mu and Front End Synthetics, the Ambulance project had been put on hold in any capacity this decade until 2017 when they were invited to close out the 2nd edition of the Open Ear festival, Ireland's leading experimental & alternative electronic music festival. Inspired by this performance, the pair returned to the studio and the first fruits of this labour make up the Combover EP. This also marks the first release by Open Ear on it's label which, like the festival, will serve as a platform for experimental dance floor & avant-garde music from the Irish underground.
Kickstarting with the sprawling, ever-evolving, glitched funk of "Caitríona Chéile", the tense, paranoid techno of "Douche Noir" then takes over with the following "Luxury Crackers" keeping the unsettling atmosphere pitched up before it opens up to reveal aslightlygentler side. The EP closes with the *Greasy* title track, a collage of shimmering synthesisers, jittery, free-wheeling drums and oddball sampling, all reaching for air at the same time.
Sme used to think that here's a guy who's just too cute to be underground, but SEBASTIEN BOUCHET proved them all wrong - with releases like the trippy "Fallen Angel" EP (KOMPAKT 210) or his gutsy contribution to Kompakt's Speicher series (KOMPAKT EXTRA 77). He also had a spectacular appearance on YOU AND YOUR HIPPIE FRIENDS' inaugurating release "A Very Nice Combinado Volume Uno" (YAYHF 01) with the tune "Captain Drag" - which went on to be played around the world, from clubs and festivals to Chanel fashion runways. Now, Sebastien returns with COYOTE CRY, his first full-blown EP for the Hippie Dance sister label: eclectic and unique, this five tracker reflects different sides and moods in his work, but always takes the momentum center stage - from the guitar-infused vocal shaker JAMBE DE BOIS to the heavy-duty bass of JATAGARAZI or the melancholic drive of the glistening title cut.
Following a first vinyl appearance on You And Your Hippie Friends' 'A Very Nice Combinado Volume Dos' (YAYHF 03) earlier this year, Mexican producer PAULOR aka Paulo Rodriguez gets ready for his first solo outing with Hippie Dance's sister label.
Curated by Rebolledo, the imprint has established an impressive talent pool within only three releases, including both veteran and upcoming talent such as Sebastien Bouchet, El Güero, Zombies In Miami, Beyou, Roman Flügel and more. It's a testament to the label's chiselled vision that an idiosyncratic and diverse group such as this is able to sustain individual approaches to electronic music while weaving a coherent sonic tapestry from all its ingredients, the whole quite organically being more than the sum of its parts.
Now, it's up to PAULOR to flesh out his own sound cosmos on You And Your Hippie Dance's latest 12' drop, presenting a concoction of salt-caked beats, riffing guitars and flexing bass that evokes a sense for space and untouched, psychedelic landscapes not unlike Rebolledo's very own desert funk vignettes. After 'La Race' (his contribution to 'A Very Nice Combinado Volume Dos') and the 'Discótico Desértico' remix for Rebolledo's 'Mondo Re-Alterado' (HIPPIE DANCE 10 LP) started making the rounds in tastemaker DJ sets, PAULOR caught a major moment of inspiration while performing at Monterrey's TOPAZDeluxe - which lead to the husky, hypnotic cut PAULOR'S BLUES, pièce de résistance and headstone in one, as it set the scene and also birthed enough follow-up tracks to naturally grow into a cohesive, full-blown EP.
From echo-drenched, beatless opener NEBLINA to the percussion-infused intrigue of DELIRIO EN CARRETERA, the athletic pop minimalism of AMIGOS or the slow burn of brooding mystery shuffle LUCES CALLING, PAULOR creates a unique, atmospheric sound panorama that excites minds and bodies alike. Adorned with a starry night sky, the record's cover artwork couldn't be more fitting - it's a dominant musical vista in PAULOR's work, whose vantage point is not necessarily a specific place (although all tracks were recorded in Xalapa), but a feeling of exquisite duality: the feeling of being lost between the stars, lonely and connected at the same time, a speck of dust and the center of the universe.
The artwork recreates the cover of the band's 1977 debut album with modern fashion icons Duckie Thot and Jazzelle Zanaughtti
'I've had the great privilege of producing some of the greatest artists in the world so when it came time to collaborating for my own record the barometer was shall we say pretty high' explains Nile. 'Nao, Mura Masa and Cosha were important to me and to be able to debut the songs we wrote live with them on Later . . . With Jools before we've even put out recorded versions makes it even more special.'
Nao shares: 'We all grew up on CHIC! No matter who you are or where you're from, they're one of those bands that have sound tracked at least one part of your life. So to now be part of that story and playing in the band - albeit temporarily - is just wild. We've had such great fun making records and playing together, it's been a joy. I'm so glad they're back, the world - especially right now - needs more CHIC!'
'BOOGIE ALL NIGHT' ft Nao is lifted from the long anticipated 10th studio album 'It's About Time'.
Coming this September though Virgin EMI, it's the group's first album in 25 years!!
Inspired by talent, multiple Grammy-winning composer, producer, arranger and guitarist Nile Rodgers is always collaborating, working with musical superstars and breaking artists alike. He amplifies his legacy by constantly traversing new musical terrain and successfully expanding the boundaries of popular music. The new record sees the UK's Nao, Mura Masa, Stefflon Don, Cosha and Craig David share in the journey alongside the likes of California's Anderson .Paak and Chicagoan Vic Mensa, with many more exciting collaborations to be announced.
The album's cover revisits a strong sense of conceptual aesthetics that have run through the bands career since the very start. The artwork of their debut self-titled album (inspired partly by Roxy Music album covers such as 'Stranded' and 'Country Life') featured Valentine Monnier and Alva Chinn, and personified the band's unique style and intent. The 'It's About Time' cover features models Duckie Thot and Jazzelle Zanaughtti. Shot by Britt Lloyd and directed by Greg Foley, co-founder of V Magazine, Duckie and Jazzelle are not only modern fashion icons, but also activists making huge strides for women of colour in fashion.
'When I first came up with the concept for the first CHIC album cover more than 40 years ago it was a deliberate statement that we could all be abundant, we could all be with the beautiful people, we could all be included, we could all have good times. Looking at the world today for the release of 'It's About Time' I felt that it was important to make those statements again for a new generation' Nile explains.
As the co-founder of CHIC, Rodgers pioneered a new musical language with chart-topping hits like 'Le Freak,' (the biggest selling single in the history of Atlantic Records!) and 'Everybody Dance', even sparking the advent of hip-hop with 'Good Times'.
His work in CHIC and his production work for artists like David Bowie, Diana Ross, and Madonna have sold over 500 million albums and 75 million singles worldwide while his innovative, trendsetting collaborations with Daft Punk, Avicii, Sigala, Disclosure, and Sam Smith have kept him in the vanguard of contemporary music.
Nile Rodgers & CHIC have already confirmed several festival performances across the UK this summer, including Isle of Wight and Wilderness, full list of dates below.
Rodgers transcends all styles of music with a catalogue of work that's garnered him plaudits from the Rock & Roll Hall of Fame (2017) and the Songwriters Hall of Fame (2016). More recently, he was appointed as the first ever Chief Creative Advisor for Abbey Road Studios to cap off a year that included 'festival best' performances at both Glastonbury and Coachella and a BBC Music Awards nomination as 'Best Live Performance Of 2017'.
Raw formed during the summer of 1990 in Athens, Greece when keyboardist Giannis Papaioannou and percussionist Makis Faros started composing music for imaginary waiting rooms. They combined the traditional cut-up technique of tape-loops, the industrial timbres of musique concrète with the harmonics of world music, all filtered through digital sampling and computer programming. Their first recordings generated an 8 track demo, which was freely distributed among friends and the local underground press. After 6 months of work and several sessions with guest musicians on acoustic and electric instruments, Raw self-released their first album 'Land' in December 1991 on Elfish Records. In 1992 they recruited the band's sound engineer, Coti K., as a third member, both on stage and studio sessions. 'City' was their second album fully inspired by the mechanisms of their home town. Presenting a different electronic face of Raw, manipulating rhythms with analogue synthesizers and harsh sampling to evoke the atmosphere of Athens. 'City' was released on CD only by Elfish Records in 1994. 'Fragments' is a collection of 4 songs from 'City' presented on vinyl for the first time plus bonus track recorded during the 'City' sessions previously released on a compilation in 1992. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Each copy includes a double sided postcard with photos and notes.
November 5th, 2018 would have been Charles Bradley's 70th birthday. In celebration of his extraordinary life, Daptone imprint Dunham Records is proud to announce the release of his fourth and final album, Black Velvet. Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.
It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.
Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world's pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.
Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.
Reclaiming her original moniker of Kittin, electroclash pioneer - formerly known as Miss Kittin - presents Cosmos, a continuous twelve-track LP of organic, leftfield electronica due 2 November on Dark Entries. Throughout her illustrious career, Kittin has carved a considerable niche for herself, assimilating references from New Wave and 90s techno to form an inimitable sound that resonates with electronic music fans the world over. Despite being most recognizable with 'Miss' before it, Kittin was in fact her original artist name - the prefix often added without her consent at promoter's will and eventually becoming the norm.
Cosmos is her most spiritual release yet, influenced by her time in the French countryside after a bout of touring exhaustion. She gives up any formulas from her past; verses/chorus, pop or club beats, to come to the essence of chords and textures, peeling away the non-essential to find joy in music yet again. In retrieving her chosen name from more than 20 years ago, Kittin also returns to the essence of her musical journey. By liberating herself from the constraints of formal structure she opens the door to a new set of aesthetics, exploring her influences without restraint. Sonically, the voice acts a central instrument, whilst the album drives continuously forward with no breaks, paying homage to her love for ambient and electronica whilst wandering calmly into the unknown. 'With Cosmos everything is energy. We go back to the core with curiosity and freedom.' - Kittin
Dubstep veteran Sukh Knight kicks off his brand new DAKU imprint in style with an EP featuring much sought after tracks by himself and a remix by Dubstep O.G Kromestar. All 3 tracks have gained much support over the past year by many dj's including Mala, Coki, N-Type, Hatcha, Kromestar, Chefal, Sleeper and many more.
The EP starts with the sci-fi sample laced dubby roller 'Moonrunner' which takes you on a journey through the galaxies, before going to the flipside for Sukh's trademark Bollywood influenced dancefloor smasher 'Paid Off' and ending with Kromestar's hypnotising 'Dark Of The Moon' remix of 'Moonrunner'. DAKU001 is essential in your record collection with all 3 tracks guaranteed to cause destruction on soundsystems and dancefloors. Prepare yourself for many more exciting releases from this brand new label.
Cyberfunk proudly presents:
CFNK005:Simple Technique - Superfuture EP
Since the inception of Cyberfunk one artist in particular has really taken on the core values and ethos of the label and has been working extensively with us.
After his debut release on Cyberfunk "Cold Steppin" gained heavy rotation on the dnb circuit from some of the scenes heavyweights. We gave Bournemouth based duo Ulterior Motive a chance to remix "Cold Steppin" and released it as part of our first ever Remix EP - Remixed Vol1. This dominated the charts for several weeks in a row.
Other than the aforementioned, the West London based producer has kept mostly quite bar one release - "Gorilla" which was part of the first in a series of various artist LP's from us: VA:LP-001
This EP has been in the works for quite some time, with some parts taking in excess of 3 years! (Yes we know but he's worth the wait we promise) this is a project we have been working on closely with Freddie and although he has kept us waiting we are happy to be releasing such a diverse and unique EP from an equally diverse and unique beard, sorry... - artist! Excuse me. (You'll see what I mean...)
We feel this is the truest and purest representation of Simple Technique as an artist. With a strong mix of tempos and styles all of which have been filtered through his unique outlook on music and rave culture. From bass house to Drum and bass to hiphop and trap influences with beautiful soundscapes in-between. This EP has flavours from all over and the raw signature sound that our fans have come to expect from a Simple Technique set.
We hope you enjoy the music. <3
If you are feeling it, please let us know
If you hate the music please still let us know so we can further promo the EP.
No one had been through those doors in years. Unchanged, seemingly untouched, just a Guard watching over it, one wondered whether the place would ever see the light of day again. Built in the 70s by Scotch, there were only twenty such places in the entire world. Twenty studios, all identical. Most had undergone a digital makeover in the 80s, but not this one; situated in Lomé, this studio had stayed true to its original form. Silent and uninhabited but waiting for one thing, and one thing only: for the sacred fire to be lit once again. That of the Togolese Recording Office, is studio OTODI for those in the know. Through thick layers of dust, the console was vibrating still, impatient to be turned on and spurt out the sound so unique to analog. That sound is what Peter Solo and his band Vaudou Game came to seek out.
The original vibrations of Lomé's sound, resonating within the studio space, an undercurrent pulsing within the walls, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never really gone cold, despite the deep sleep that they had been forced into. In taking over the studio's 3000 square feet, enough to house a full orchestra, Vaudou Game had the space necessary to conjure the spirits of voodoo, those very spirits who watch over men and nature, and with whom Peter converses every day.
For the most authentic of frequencies to fully imbibe this third album, Peter Solo entrusted the rhythmic section to a Togolese bass and drum duo, putting the groove in the expert hands of those versed in feeling and a type of musicianship that you can't learn in any school. This was also a way to put OTODI on the path of a more heavily hued funk sound, the backbone of which maintains flexibility and agility when moving over to highlife, straightens out when enhanced with frequent guest Roger Damawuzan's James Brown type screams, and softens when making the way for strings. Snaking and undulating when a chorus of Togolese women takes over, guiding it towards a slow, hypnotic trance. Up until now, Vaudou Game had maintained their connection to Togo from their base in France. This time, recording the entire album in Lomé at OTODI with local musicians, Peter Solo drew the voodoo fluid directly from the source, once again using only Togolese scales to make his guitar sing, his strings acting as channels between listeners and deities...
Footshooter is the moniker of London based producer, DJ and musician Barney Whittaker. His style blends skippy, broken beat production with live instrumentation to create an organic, rich sound and he frequently collaborates with emcees, poets and vocalists exploring different tones and moods.
His last record, Strange Days EP (released on Famous Friends), gained regular plays on NTS, Balamii, WorldWide FM and, most recently, by Bonobo in a DJ set at his NYC Boiler Room.
'Technicolour Nights', due out on YAM Records later this year, is a meditation on long evenings & nights out and how they vary in atmosphere, mood and colour. Opening with the aptly named and ethereal 'Intro', the EP quickly jumps into sunshine territory with 'Juan's Stairwell' before 'On Telegraph Hill' brings the heads down for a meditative two-step groover to close up the A-side.
On the flip, Footshooter flexes his 160bpm muscles on 'Mars' with the help of London based vocalist and MC And Is Phi, before dropping the tempo just a touch on 'Rotations', a steppy, Rhodes-laden journey through London nightlife. 'Our Love' lowers the tempo even further to bring the EP to a close on a bittersweet note.
Andy Rantzen, Sydney, Australia.
This one is a special for us as we love dub and lo-fi music and also love the experiments of Andy Rantzen like "Rain in the Morning, Sun in the Afternoon / Dark Sea".
The more interesting part of the story is, that both tunes are written and recorded nearly 20 years ago by Andy - 1999-2000. But definitely still hot and vibing our sweet and sour DIY motto. We like!!!
A must in your collection!
aDepth audio's 8th release is a collaboration between Detroit's Sean Deason and Dutchman Rob Belleville. Needing little introduction, Sean is the owner of respected Detroit label Matrix Records, and the mastermind behind much acclaimed electronic music. Rob's reputation for relaxing and understated techno is growing with each of his releases.
The track 'Halogen' is a stomper reminiscent of Sean's classic Matrix releases. Rob's remix has a more electronic feel with wonderful breaks. 'Where You Belong' is hypnotic music that evolves and lingers. Sean's interpretation of this track is a mover with all the Detroit goodness you'd expect. A future classic.
Return of the UK producer Allen Saei aka Aubrey on the mighty Barba label is another bold statement in the discography of this well-versed artist. Building on the relationship with the Burek/Barba/Pomalo family established through remixes of Information Ghetto's "Inspiration" track (Burek 2013), DJ Stingray's "Communication System" (Barba 2015) and his solo "Clock Funk EP" (Barba 2017), for this record Aubrey presents us with a continuation of his previous Barba release, simplistically titled "Clock Funk 2" EP. As is to be expected from a guy who's been spending time in the studio for better part of the last three decades, this 12" is pure techno, in the best sense of the word. As mature and consistent as the previous record of the series, we have Aubrey building on that ground and expanding the range into more abrasive and rough on one side, and even more subtle and humane on the other. A1, titled "Clock Funk 2" is among the subtle ones. Beautiful cascading keys, glitchy synth bleeps and lead lines intertwine into a gorgeous composition grounded by a driving bassline and counterpinted with distorted ride cymbals. Uniquely sounding track which draws influences from many corners of the planet. A2, titled "Sel Moulo" sets a point for the other side of the spectrum. The heaviest and roughest, it locks the frame in which this EP works. Direct, abstract and firmly aimed towards the dancefloor, this cut is for the peak moment of the night when its combination of jacking beats and trippy leads will just push the craziness off the edge. B1, the most humane and gentle track on the EP, "Triads" is a perfect match for the A1 cut, although slower and calmer. Again, the similar approach is used, where the perfectly tuned combination of small synth and keys elements form a complex image which will stay ingrained into anyone's mind once you play it in the right moment. Again, it's hard not to reach for the word "beautiful" when describing this one. B2, Ghost Mist, is on the other hand a match for the heavy A2, but also not as intense. A repetitive affair, with abstract synth lines and disharmonic pads serving as an emotion injection just when they're needed. Common thread moving through all four cuts is an infectious groove intertwined with synth lines that would not be misplaced amongst the best examples of space-influenced techno music firmly grounded on the floor. All that, pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by local artist EmaEmaEma.
In 1990, raising their voices over the sound of Neuropolitique's 'Mind you don't trip' Sebastian S. and Mike DMA (Direct Memory Access) met, breaking the ice by swapping opinions on LFO and 808 State. They later went on to create the first live configuration of BWP Experiments (Bad Woofer Posse Experiments, for more info see basicmoves), and produced dozens of tracks together which, for the most part, were live takes and remain unreleased. Only
a few made it out into the world, and to this day have stayed well under the (discogs) radar:
Our Techno Theory' was put out on an 8-tracker cassette by Research and Development,
while only two productions 'Escape' and 'Pay your taxes' were pressed on vinyl for the same
imprint. Now Sebastian S. (aka Caustic 14) returns to the label with two previously unreleased tracks
found in his personal archive. 'Excalibur' was produced in tandem with Mike during the last
session the pair ever did in Sebastian's studio (Z'ha'dum) in 1996. It's a vibrant hommage to
their common passion outside of music: Sci-fi. This track refers specifically to the series Babylon
5 , which was a revolution in the genre, and the first tv series to outdo Star Trek (the intergalactic
reference since the early 1960's). The idea of being 'united against darkness' was key to the
series, and the motto remained essential for Sebastian, Mike and Deg's music productions,
collaborations, live shows and dj sets. The influence of what had been a passion since
childhood can be felt in their sound: unconsciously they had dreamt up the soundtrack to their
own space journey. The second track 'Cliffhanger', a solo production by Sebastian S., is a dig from several years
earlier (1994). The Detroit influence is strong here, yet the signature Caustic 14 "space opera"
melodies hold their ground and shine out.
We are very proud to propel this Belgian electronic music heritage out into the world.
In memory of Matt Cogger.
walrus & islas , September 2018.
Please meet the young production duo of Davin Coady and Geoff Foley known as 'Between Ourselves' from Water-ford/Ireland, one of the Irish key cities for the more deeper flavours of underground House-music. They have previously released on labels such as Republik and Galaktika. Their offering is comprised of 2 tracks. The first track 'Red Mist' is a melodic driven tune with an epic monster-break that hur-tles the listener to an uplifting climax. The 2nd Track 'Guidance' hits the spot with a catchy bassline in the break, the 'hook' of the tune. None other than Berlin based Ruede Hagelstein created a remix for 'Red Mist'. Indeed he is a man for those special tunes that will always stay on your mind. He stripped down the original to its bare essence keeping the epic feel - a dirty dark masterpiece. Andre Lodemanns edit of 'Red Mist' pushes the floor potential to the max with his customized drum sounds.
Tracks from Aural Imbalance's Propagation Of Light album versioned and rendered for wax.
Just Breathe gets spotlighted on the A-side with two remixes. First up, Maps Of Hyperspace grafts his brand of dubby ambience to Simon's instrumentation for trippy chill house goodness. Off Land strips back the beats and ups the ambient bandwidth on his version to close out the side.
The B-side kicks off with Soul Solution, one of Mr. Huxtable's trademark lusicous atmospheric house tracks. Adriano Mirabile brings his techy production stylest o the desk on Fall Of Stars to wrap things.
Georgia Anne Muldrow returns with a modern soul classic in the
making - 'Overload', via Flying Lotus's Brainfeeder record label.
An incredibly talented vocalist, songwriter and producer,
Georgia Anne Muldrow effortlessly spans jazz, soul and hip hop
and, during her 12 year career, has collaborated with Madlib,
Erykah Badu, Dev Hynes aka Blood Orange, Bilal and Robert
Glasper.
'Overload' was executively produced by Flying Lotus, Aloe Blacc
and Dudley Perkins.
For fans of NxWorries, Erykah Badu, The Internet, Madlib.
Notable collaborations on 'Overload' include Dudley Perkins,
Shana Jenson, Moods, Lustbass and Mike & Keys (50 Cent,
Nipsey Hussle, Snoop Dogg, G-Eazy), who contribute
production to four tracks including the sleek, anthemic title
track alongside Khalil (Dr Dre).
CD digipack. LP pressed on 180g heavyweight black vinyl in an
artworked innersleeve housed in a 3mm spined outer sleeve
with digital download card included.
Artwork by Martin Norwood (Nice Dreams Studio). Layout by
Adam Stover.
'No one sings a heavy love song like Georgia Anne Muldrow' -
Pitchfork Best New Track
'Beautifully poised between classic 90s R&B and something
strange, disorientating and psychedelic.' - The Guardian
Dusty archives, the backrooms of record stores, private reel to reel stashes, master tapes - these are the environs of the Dynamic Range experience.
Dynamic Range is a new label focused on unearthing deep Soul, Funk and Disco jams that continue to resonate with todays dancers and DJ's. Time spent scouring the bowels of the majors and independents has unsurprisingly resulted in numerous gems being added to the DR wants list. High quality, fully licensed reissues are the order of the day, always taken from the correct master source and re-presented to hungry record heads the world over. To repeat, this is a fully legit operation - Avoid the sharks at all costs!
Hot on the heels of DR's maiden release we are pleased to present the evergreen Blue Magic and their anthemic 'Welcome To The Club', apparently a firm fave with Ron Hardy would routinely begin his DJ sets with this wondrous Philly beauty. The record has always been a big influence on the house scene with it finding new fans over and over, and it's easy to see why - brilliant arrangements, musicianship and of course - those voices! Disco bliss. On the flip side is the mighty Tom Moulton's mix of the Blue's 1979 smasher 'Look Me Up', another premium slice of incredible disco soul for the dancers and the lovers. These are the full length versions, pressed across one side each, as it's meant to be, nicely remastered and presented in their entirety.
Before Jimi Hendrix became an international phenomenon, he struggled to earn a living as an itinerant sideman for many rhythm & blues acts. Hendrix can be heard on recordings by Little Richard, the Isley Brothers, Don Covay and many others. This single presents one of his most unusual sessions as an unheralded sideman while the other was only recently discovered and never before released.
Hendrix recorded both tracks in 1966 during separate sessions as a session musician for Ed Chalpin & PPX Enterprises, Inc. 'Suey' was originally the flip side of 'As The Clouds Drift By,' a single by the voluptuous B-movie actress Jayne Mansfield. Licensed to several European labels just weeks after Mansfield died in an automobile accident on June 29, 1967, Mansfield US recording rights were held by a different label so this recording has never before been issued in the US. Ricky Mason was a young vocalist championed by Chalpin, and 'I Need You Every Day' is a pleasant surprise. This previously unreleased, uptempo shouter also features Hendrix on guitar.
The debut release from new Scottish producer North Sea Dialect, Local Guide is a dense musical world made of uneasy ambience, shimmering distortion, subdued rhythm and propulsive melody.
Buried in its soundscapes are the echoes and surrealness of alienated life - expectant youth, distant voices and broken folklore. It's industrialised music tied together with found sound, adrenaline fuelled synthesis and the depths of late night solitude. Conceived during a move from Glasgow across Scotland and composed in isolation, a blistering sense of reality creeps through the recordings.
Local Guide is accompanied by three videos for the tracks Mossy Cyphol, Subarctic Baltasound and Gloup. The short films are haunted and illuminated by the serenity of rural freedom, the power of the sea, and the collapse of industry.
Following on from the three highly-acclaimed CoOp Presents 'Selectors Assemble' compilation EPs from the past year, it's now time to focus on some of the individual talents from the ever-evolving movement. As the international foundation grows, we invite aboard the extremely talented Neue Grafik into the fold.
French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a and Wolf Music. His sound is a hybrid of jazz, house, broken beat and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London thrown into the mix.
So to the music - two brand new tracks, 'I Miss Something' and 'Bed Stuy's Mood', complete with remixes from EVM128, Danvers, Xtra Bruk and NameBrandSound (aka label bosses IG Culture & Alex Phountzi) respectively, making this one essential package for the bruk soldiers and beyond.
In Neue Grafik's words...
"I remember the first time I was at a CoOp party and met IG - I just said something like "unbelievable party, well done! Thank you, man". I didn't expect to be a part of this brilliant family a few months after that; it's totally insane to think about it now.
I began to hang properly with the CoOp fam during a DJ session at The Flex in East London. I was so happy to live in this moment; surrounded by these talented performers, artists and producers, excitedly talking about unreleased music on everyone's USB sticks.
This EP is a personal vision of the broken beat scene and my love for that. A meeting with artists who build my own taste, with friends keeping the same vibrancy and desire for this music. 'I Miss Something' and 'Bed Stuy's Mood' are two tracks dedicated to Porte Des Lilas (Paris), and Bedford-Stuyvesant (New York). One was made in my house, the other on holiday. These two tracks, as well as the remixes from the Selectors Assemble crew, represent a real and deep friendship."
More essential music from the CoOp Presents camp, available on limited vinyl and all digital services. Don't sleep.
Written by Mårten Attling, Jeff Virgo, Robert Folkesson
Produced by Mårten Attling
D3 Allstars premieres on underground Swedish label Machine Soul Records with a vinyl release that really stands out. Dub techno and electronica with an organic twist of live bass, djembe and jews harp. Music for your mind, your body and your soul - in Dub we trust!
In the expansive sleeve notes accompanying this superb triple-album, Analog Africa founder Samy Ben Redjeb accounts, in great detail, the epic tale of Dur-Dur Band, a Mogadishu-based deep funk outfit that took Somalian radio by storm during the early 1980s. It's a remarkable story, all told, but nowhere near as remarkable as the music contained on this essential retrospective. Redjeb has managed to license both of their previously cassette-only albums, stretching them across three slabs of wax. Brilliantly played and performed, the songs mix killer American and African style funk grooves with hooky Somalian vocals, spacey synths and occasional nods towards other styles (most notably reggae on later period cut "Diinleeya" and Juju on "Salkuu Dhigey"). Simply essential.
Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.
Symphonical Records has the peasure to announce it's 5th release & first time working with a contemporary group to promote the new 'Modern Soul' movement. E Da Boss (Myron & E/Pendletons) & Ishtar team up as 'Lucid Paradise' for their second release, produced by non other than Russia's finest, 'The Soul Surfers'. 'Tonight' us the accunzkatuib of two Bay Area sizk aficianados coming together to create a smooth & crisp, timeless yet modern cut. Written alongside UK's pioneering soul singer Gizelle Smith, 'tonight' epitomises the talent of contemporary soul acts worldwide. Following on from their fist release in 2015, a 4-track boogie EP with London producer 'The Whole Truth', 'Lucid Paradise' return to formly set their standing as a duo to watch out for.
It's not the fall that hurts, it's when you hit the ground - that's what - Failing Upwards' is all about. On Lehult's fourteenth release Lucky Charms breaks away from 4-to-the-floor territory to deliver a fun trip through skippy drum workouts and jazzy warmth. Spread out across the full A-Side is 'Einbahnstraßen-Sound". Heard first on the Lehult Worldwide FM Special last year, this highly requested tune finally sees the light of day in all its trippy, warm, analogue glory. 'Oase' takes things a notch deeper by layering lush synths, swarming melodies and ski field recordings over a laid back electro-groove. 'Rex Dubius' translates the vibe of the first two tracks into a more straightforward, dubby groove - not without the skipping beats and the warm counterparts, though.
180g vinyl, limited pressing
In just a year of existence, Chloé's Lumière Noire has brought emerging artists and promising newcomers together - and this first compilation of 13 brand new tracks expands the roster, exposing the label's eclectic vision in full daylight. When Chloé talks about her label, she puts forward the fundamental values that informed her own musical journey, her trust in her own musical taste - and, of course, the predominance of human relationships: 'I followed
my bliss and only commissioned tracks from artists that I respect and whose music I love. That to me is Lumière Noire's musical palette.' With this 13- track, unmixed compilation, Chloé makes a case for a label aesthetic that is based in open-mindedness. Familiar, elemental Lumière Noire artists are represented, as are new faces, producing a kind of group photo presaging what's next for the fledgling label. Lyon's Markus Gibb leads the track listing with Kuru with a deep chiaroscuro matching the label's ethos, followed by other mainstays Il Est Vilaine's Farenheit 451, which evokes Ray Bradbury's retro-dystopic angst with the
band's usual electro-pop elegance. Sutja Gutierrez, who released in debut EP, The Legend of Time on Lumière Noire in April, pursues his electro Shamanism with the ceremonial Allodoxaphobia, while Iñigo Vontier (whose EP Aluxes came out on the label in late 2017) brings his C O N T R A project
online with track Taurus, a further development in voodoo house. Elsewhere, Suuns lead singer Ben Shemie, who lent his fascinating art-rock croon to Recall, a single from Chloé's Endless Revisions LP, contributes A Million Kinds, a synthy, psych-pop debut that is as brilliant as it is surprising. On to the freshman class: Dutch producer Drvg Cvltvre (who gets personal kudos
from Chloé with each new 12') brings the uncompromising dark electro of his hypnotic and claustrophobic Last Rites. Jonathan Fitoussi's airy, minimalistic Cercles Polaires brings the respite of his recent Versatile Espaces Timbrés LP (a collaboration with Clemens Hourrières): 'I met him at Xavier Veilhan's
Studio Venezia at the Venice Biennale. He's a great guy, and his universe is unique,' says Chloé. Benedikt Frey's deep techno track Iaon, is on par with his smash 2017 album, Artificial, out on ESP Institute. First-timers are also part of the recruits: Bajram Bili with the ten cerebral minutes of Restart, Théo Muller with the ultra-deep Douce Transe, and Lumi, a Basque band that fuses
electronic sounds with acoustic instruments, brings the ompilation to a close with a track commissioned by Chloé. These audacious choices are anchored down with the likes of Permanent Vacation pioneer Lauer's hooky, 80s-infused Pythor ('Just like him, I was a resident of the Robert Johnson, and he was a guest of mine at one of my Lumière Noire nights at the Rex. He is one of these people whose music I highly appreciate'); Aergeworc & Franck Agrario, half of English duo Swayzak David Brown's project, weaves an ethno* mood into Grace's techno. Bringing together different generations, genres, and styles That may not necessarily be Chloé's MO. She invokes a more arbitrary, personal logic: 'I like to mix of-the-moment tracks and more timeless one, but the rule is above all 'do I love this or not'. That was my ethos when I started Lumière Noire.' In that way, the label is definitely in keeping with its time
Pleasure In Mind Records Presents It's First Vinyl Only Release. This Various Artists Includes Four Tracks By Different Producers And Aims To Showcase The Variety And Scope The Label Has Built Up Sonically. From A Housier Track By Argentinian Prodot, Going Through A More Tech And Minimalistic Groove By U Z Z V, Passing By An Experimental And Ambiental Cut By Duky To An Organic Breakbeat From Max Tolmachev & Dnlk, Pimrv001 Brings Together A Combination Of Sounds Ideal For Any Situation Or Setting.
Emotional Rescue returns to the music of Elaine Kibaro with a special 7" single to accompany the Pour L'Amour album collection (ERC066). Here then are two bonus versions of songs from the LP with a unique Arabic recording of her "hit" Aurore and also, the previously unreleased on vinyl instrumental version of her balearic / boogie jam, Ne Doute Pas.
Having moved from Tunisia to France at the age of 13, Kibaro's duel sensibility has long been apparent in her music and performance. The early success of her debut 7" De L'autre Cote Du Miroir in 1977, was soon followed by her most 'successful' song in Aurore, first released as a 7" in 1978, before appearing again as 9 minute extended version on the 1979 Miroirs LP.
In the same year she recorded a special 7" single on the little known World Music label. Singing the lyrics in Arabic - renamed here to its true translation - much else remained the same. The music of the original, the spoken intro soon gives way to what is essentially a leftfield disco groove, with building strings, funky bass and some late archetypal 70s Euro drumming. Atop this the vocals are delivered in Kibaro's ubiquitous chanson delivery, her heartfelt singing, the congos breakdown and then chorus, as the songs builds, all lead to head-nodding smiles all round.
With this is Ne Doute Pas. A stand out from Pour L'Amour, the vocal version appeared in 1989 as a single and on the now sought after, Kiroel album. This instrumental simply let's the music shine. A Linn rise and fall bassline, soft, layered keys and mode horns are run and rerun in a catchy, incessant flow like a PWL demo. The 10 years between the 2 tracks is apparent in the instrumentation but the link between the two - Kibaro herself - is clear and worth enjoying for that.
On Board Music Comes Back With An Original Ep From Finnish Artist Mesak. Articulated Over Ambient Sounds, Idm Ballads, Futuristic Techno Textures And Unrefined Electro Beats This New Release Unrolls A Pure Masterclass Of Electronic Music. Also Known For His 90's Electro Classics Within Duo Mr. Velcro Fastener, The Veteran Producer Teams Up Here With Fellow Finnish Artists Mono Junk, Claws Costeau And Horns Specialist Antti Hevosmaa To Display His Impeccable Expertise In Crafting Rhythm And Sound. The Release Also Comes With A Splendid Full Cover Artwork From Berlin Based Painter Natacha Mankowski.
A soundtrack board that can enjoy the music of Joe Hisaishi who can feel warmth as a warm heartedness to your heart's content. 'Sanpo' 'My Neighbor Totoro' is also included.
Lerosa's 25th solo EP will be released on German label eudemonia. Known for his deep-house sound, the Dublin based Italian producer showcases a different palette for this release. The four tracks gravitate somewhere between Electro, Italo, Synthwave and imaginary film themes. "Glider", a fast electro track, opens the EP combining acid drops and dystopian sci-fi elements. "The Minister' is much slower and serves as an emotional homage to those gone too soon. "Plateau Rosa" connects Italo and Detroit delivering a rolling bassline and glassy synth clouds for the delight of the afterhour-dancefloor. And if Lerosa had scored the soundtrack of a Michael Mann film in the 80's, "Theme of Perception" would have been right at home, a fitting end for this EP. The cover is a painting by the Irish artist Sibyl Montague. It was originally exhibited in London at an exhibition called - Totem'.
In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.
As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.
Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.
'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'
Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.
Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.
Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.
Amaro Freitas - Piano
Hugo Medeiros - Drums & Percussion
Jean Elton - Double Bass
Henrique Albino - Baritone Sax, Flutes & Clarinet
All compositions by Amaro Freitas
Produced by Amaro Freitas
Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil
Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil
Executive producer and management: Laercio Costa
Steve Bicknell returns to his 6dimensions label, adopting his The Evader guise once again with a re- issue release titled 'Awakening The Past 2'. Returning as The Evader for the second instalment of 'Awakening The Past', this will be Steve's fourth appearance on 6dimensions and features four tracks from 1994's 'No Hats Required' EP, which dropped on influential UK label, Cosmic Records - the tracks were originally made by Steve to be played together as a segment in various combinations. This release follows outings from 6dimensions artists Jing, Metro Skim and Heartless - continuing the label's theme of illustrating the 'human mind's natural make-up'. 'No Hats Required - Track 1' displays a locked 4x4 groove, filled with tidy modulations bouncing gracefully off the kicks before 'Track 6' offers a fast-pitched looping beat with floating percussive jitters. 'Track 2' then features twisted stab sequences over a minimal drum loop before a rolling 808 beat joins oscillating bass flutters in 'Track 3'. On the flip, Bicknell presents two new tracks recorded in 2017. 'Power Of Balance' provides cross firing synth shrills layered and tough techno convolutions to generate a rising intensity, until 'Shifting Illusion' concludes the package with minimalist dubbed-out flavours whilst flush melodies harmonise with continuous pulsations.
First single taken from the forthcoming Miniman's album "Digital Harmonies". Miniman, a true-to-the-roots French producer and live artist. Fierce proponent of sound system music for more than two decades, the veteran is at it again in full force. Full album to be released on the 16th of November 2018 by Moonshine Recordings. This 7" vinyl contains two exclusive mixes that will not be included on the album. Limited to 300 pcs!
Nachdem die Münsteraner Indie- und Punkrockband im Februar 2018 eine Live-Reunion gefeiert und wenige Monate später eine - mittlerweile schon ausverkaufte! - Tour für 2019 angekündigt hat, muss man festhalten: Muff Potter sind zurück. Das Quartett veröffentlichte zwischen 1993 und 2009 sieben gemeinsame Alben, vier davon bringt das Label Grand Hotel van Cleef auf Vinyl noch einmal heraus. "Bordsteinkantengeschichten" erschien ursprünglich im Jahr 2000 als drittes Album der Band. Zu dieser Zeit mauserten sich Muff Potter gerade neben Gleichgesinnten wie den Boxhamsters oder Dackelblut vom Geheimtipp zur ernst zu nehmenden Szenegröße. "Bordsteinkantengeschichten" präsentierten Muff Potter einem wachsenden Publikum durch extensives Touren im Verbund mit den befreundeten Formationen Hot Water Music und Leatherface. Der Langspieler stand noch ganz im Zeichen des mitreißenden Hardcore Punk der Anfangstage, gleichzeitig ließ die Gruppe aber auch schon das Interesse an anderen Stilelementen durchklingen. Das führte später sogar soweit, dass die Jungs Streich- und Tasteninstrumente in ihr Soundbild einflochten.
Danach haben sich die Fans gesehnt: Nach langer Abstinenz kehren Muff Potter 2019 für eine Deutschland-Tour auf die Konzertbühnen zurück. Im Zuge dessen legt das Label Grand Hotel van Cleef vier Alben der Jahre 2000 bis 2007 auf Vinyl noch einmal auf. "Heute wird gewonnen, bitte" kam 2003 auf den Markt und katapultierte die Band mit raffinierten lyrischen Geschichten, Melodien zum Verlieben und einem kraftvollen, elaborierten und durchdachten Punkrocksound in die erste deutsche Indie-Liga. Während der Albumaufnahmen und der anschließenden Tour wurde Muff Potter von Jule März als Backgroundsängerin unterstützt. Sie verlieh den Songs, in die auch mal ein Glockenspiel oder Mellotron eingebunden wurde, eine völlig neue Note. Anders ausgedrückt: Die Tage der rotzigen jugendlichen Punkkapelle waren eindeutig gezählt. Passend dazu veröffentlichten die Münsteraner mit "Placebo Domingo" ihre allererste CD-Single. Gleichzeitig gab es mit dem ersten Videoclip eine weitere Premiere für die Gruppe zu feiern.
Landing on Alchemy Dubs is our seventh release on 7' format, a special collaboration between Ojah and Nikolaj Torp Larsen 'Nik Torp', keyboard player from The Specials.
The A side contains the track 'Mindset', a Hammond and melodica version of Ojah's 'Mind' riddim, both played by Nik Torp and masterfully recorded through an MCI desk that used to belong to Island Records (hundreds of seminal records where recorded through it, including for example Bob Marley's Exodus). Next up on the label will be a 12' featuring versions of this riddim with vocals by Fikir Amlak ('On my mind') and flute by Don Fe ('Remind').
On the B side we find a dub version as usual, mixed in analog live by Ojah in classic style & fashion.
Limited edition of 500 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London
Hammond & melodica by Nikolaj Torp Larsen 'Nik Torp', recorded by George Murphy at Eastcote Studio 1, London
Mixed & mastered by Oscar Pablos 'Ojah" at Alchemy Dubs Studio, London
Graphic design by Victor Castro
If you're going to call your band audiobooks, you'd
better have some good stories to tell. Stories that
should move you and stories to make you move.
Stories about real life and surreal life and all that
weirdness that you just glimpsed out of the corner
of your eye. Luckily, audiobooks really do.
The London-based duo have developed a unique
ability to conjure up magical aural snapshots that
wallop you like bong hits.
Each of their discombobulating observations comes
stretched out over a series of discomfiting
oscillations, like messages from the spirit world or
pulp fictions found in a box at the end of your road
or a crackling pop broadcast from a far-away
galaxy.
'One to definitely get under the skin... a thing of
exotic beauty' - DJ Mag (8/10)
Yuri Méndez's 7th album is called W. W is a collection of finely crafted songs. The instruments are many and their intonations, variegated. W comes in the usual formats, only better, and full to the brim with sensitive lyrics for the man and woman of today.
On the other hand, presumably the left, Yuri's ageing well and intent all the while on writing more numbers in order to keep a steady flow of fresh material ready at any time.
These are good times in W land or, as the poet said, 'it hurts a bit, but the colours are admirable'.
Yuri Méndez is Pajaro Sunrise. Initially a duo, he's been working on his own ever since the release of the second album, 2008's Done/Undone. His previous albums received praise from such fine publications as Q, Uncut and Monocle, and his music can be heard in several international motion pictures and TV series such as The Missing Lynx, Castle, The Big C, Catalan hit series Cites and Benvinguts a la família, and ad campaigns by the likes of McDonalds and Vodafone.
The 4th release on Dark Circles DC Trax imprint focuses on 4 varied reinterpretations by artists who are currently inspiring the London duo. Starting with a blistering acid workout of cans from Tokyo's Shun. Vin Sol completes the A side with a trippy electro journey. Body Hammer's Scott Fraser takes Torpor on a peaktime techno journey. Jackie House concludes the package with a 1992 sub bass breakbeat rehash of Papoose. Released on vinyl at the end of october with no current plans for a digital release.
Aperture records has always been about discovering new artists and bringing them to the forefront and italy is well-renowned for its electronic music, both former and current. so, from one italian duo (t.e.s.o.) to another... introducing Diaster.
Diaster aka Teo & G grew up in treviso, listening to the most experimental music they could find in their small rural city near venice.
With Matteo inspired by metal and musique concrete and Gianluca a researcher of old electronic/instrumental music, they decided to experiment with their various experiences in house, techno and drum n bass, inserting strata of industry and noise into their material. after 'Enchantments', a debut ep on DVNTT which deserves more recognition, and an accomplished follow up on Subsist records; 'Final Beginner', aperture records brings you their latest contribution; 'Clustered Non Symmetry'.
On first acquaintance, this 8 track album appears on the minimal spectrum; monolithic and indivisible. tension builds slowly and influences, mostly of a similar vintage, come through. arrhythmic incursions of stark and contorted electronics conjure up a hesitant, stealthily-undermined delineative framework.
New York producer and pianist Eric Maltz lives in Berlin. He produces and mixes his music in a simple, subtle and elegant way and puts his music out on his own label - Flower Myth.
In 2017, Eric Maltz released his first record on Levon Vincent's Novel Sound, including the splendid 'We Have Power', an ode to freedom and celebration of life, featuring the warm vocals of Peruvian Cristina Valentina.
On the brooding rhythmic dancefloor, Cristina's voice opens up and reminds of the power of a meaningful lyric, how a loving message can touch the heart ever so strongly.
Over the past year, 'We Have Power' has become a permanent fixture in the Possible Futures record bag. The two had to learn more about Eric and Cristina. 'Naked Broken' is the first engraving of this newly formed and inspiring musical friendship. A hot groover rooted in a rich NY House tradition, featuring di erent versions for the adventurous DJ.
Eric Maltz & Cristina Valentina played live in Berlin on September 2nd, for The Hot Run! - the annual Possible Futures open-air summer dance, along with Elena Colombi, Kassem Mosse, Sassy J and Tom Trago.
* Pev re-masters and re-issues a lead track from his debut LP 'Jarvik Mindstate' on Punch Drunk alongside a newly unearthed and previously unreleased track from 2008.
* A leading protagonist of a nascent, more techno indebted sound in the 07/08 dubstep era, alongside peers such as Martyn, 2562 & Appleblim, Peverelist released a series of tracks that helped shape and define that scene. Alongside 'Infinity is Now' (Tectonic), Circling (w/ Appleblim - Skull Disco) and 'The Grind on Punch Drunk to name a few, Bluez was a standout track fusing melancholic Detroit style synths with the dub-wise aesthetics of the UK underground. Peverelist has since explored these themes further with his pioneering Livity Sound label. This release revisits the roots of his sound a decade on.
Really Dark And Experimental Dubstep Tracks.
Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London
Four-and-a-half decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.
It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."
It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).
Since 2010, Buyepongo has led a steadily growing Los Angeles underground movement that combines the vast influence of traditional tropical sounds with the streetwise edges of the Latin American diaspora. Much like their name implies (translation: to cause a ruckus), their hybrid style is focused on the celebration, an infectious, energetic vibe that is universally and rhythmically connected. It'll get your feet moving, and much like many of the records from the golden age of cumbia, these two offerings demonstrate an updated and adapted reverence for the roots that is truly distinct to their own unique place and time.
For the group's latest single, that place, the sprawling Latinx scene east of Los Angeles, met head on with the east coast hot pot of Brooklyn. Recorded and produced in collaboration with Names You Can Trust during the band's serendipitous 2017 trip to NYC, this new release takes two of Buyepongo's most fan-favored and party-tested original songs, two that had yet to be recorded, and combines them with the NYCT forty-five ethos: a stripped-down, warm analog recording that perfectly captures Buye's live, bring-the-ruckus style in the room as it happened. "Por La Vida" romps over the A-side, a modern-day classic in the making whose lyrics (how beautiful is life, always full of surprises...) compliment a sunny, easy-going house party vibe, while "Miri" on the flip evolves from a loping, almost reggae groove into a transcendent journey through Caribbean feel-good sounds.
London duo Damian Daley & Danny Dixon aka OdD return to FUSE sister label Infuse to follow up their breakthrough Cold Fusion EP with a four-track EP titled 'Tones Of The 90s'.
Lead track 'Tones Of The 90's' brings together the core elements of the London underground scene. Snappy hi-hats combine with subtle tones and garage-like vocal samples and plenty of bass. A2 'Phone Home' starts with the famous ET sample. Once again it's the snappy hi-hats that take centre stage, working alongside a well-programmed loop that bubbles throughout underneath the surface.
On the flip, loopy drum patterns dominate B1 'Yes Yes' before the EP comes to an end with the pick of the bunch 'Pressure'. Low-end frequencies combine with a dreamy synth line, signing off the release in typical Infuse style.
For his first appearance on Spring Theory, a twelve inch by Bryce Hackford, Brooklyn producer best known for conceptual experimental recordings incorporating field recordings and sampling in improvisation that often resides somewhere between ambient and techno. Recorded mostly during time living in London in 2015, this is Hackford's most floor-oriented release. Coming from a time of extensive all night DJing everywhere from private affairs in upstate New York's mountains to Panorama Bar, these tracks combine a rawness reminiscent of Theo Parrish and long form cosmic droning of eternal music. Fans of dub techno, ambient, psychedelic music...
New collaborative album from two of the world's most revered sound artists. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' Pitchfork // 'Awe-inspiring: strange, elemental, and profound.' AllMusic // For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante's Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiselled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.
This is the third release of Anonym on bloop recordings, back in Detroit after years in Amsterdam, the boy returns for a four track including a remix from the portuguese Andrade. Anonym brings the powerfull of 3 floor bombs, once again we have selected 3 tracks from a selection that Anonym send us. Prepare yourself for dreamy and quirky tracks with really fat kick drums. On the remix duty, portuguese Andrade give us his frenchy house flavour, watch out on his forthcoming ep on bloop!
After a long time in making music, Alexander returned to the stage in the role of iO (Mulen) and co-owner of Mulen Records. Despite on absolutely non-commercial music format, project is attracted attention almost from the first days of existence, as or..
After a long time in making music, Alexander returned to the stage in the role of iO (Mulen) and co-owner of Mulen Records. Despite on absolutely non-commercial music format, project is attracted attention almost from the first days of existence, as originality and professionalism. Leaving aside the trend peak-time sound, iO is explores a deep flows of house music. Jazz reefs and an abundance of syncopation, samples and unhurried rhythms, gives a tribute to the traditions of the classical sound, but at the same time don't without futurism. Due to the inventive production, iO have especially recognizable groove, and therefore deservedly valued of underground music lovers.
One of the top drummers in the Israeli scene, Tel-Aviv based songwriter and producer BEÃTFÓØT launches his solo project with the powerful new EP De Vibez, a fanciful gutter-glam cross between stoner-acid-pop and 90's-garage-punk. Side A contains some stunning originals alongside a surprising cover of a melancholic oldie by the legendary german singer Nico. Side B be the remixes: the first, a colorful club-driven remix by Garzen Records head honchos & electronic duo Red Axes, followed by a groovy down tempo drone version by the mesmerizing Smagghe & Cross.
Camisole Records welcomes you on board for this Business Class Library compilation. During your flight you will be listening to music by Serge Bulot, Alan Shearer, Gérard Gésina and Pascal Wathelet. All these 80's electronic library tracks have been curated by your captain Silver Fox to assure you a pleasant journey. 'To Thwart Soul' by Gérard Gésina will guarantee you an easy take-off while 'Ondulations' by Serge Bulot is perfect to calm down during turbulences. For hours of magnificient dreams try 'Mouvements' by Pascal Wathelet. Landing with'Hollywood' or 'Marathon Life' by Alan Shearer will prepare you for your busy day to come. We thank you for flying on Camisole Records and hope to see you again on our lines. This trip is limited to 500 copies.
Hailing From Nashville, Tennessee - A City Better Known For Being The Cradle Of Country Music, Jaundice And Dzee Form The Backbone To The Future Dz Duo, Which Has Way Less To Do With Johnny Cash Than With The Hague Sound, And Their Latest Offering For The Label They Help Co-run, Tram Planet Records, Although Tracing Rings Of Fire In Its Wake, Further Ratifies That Lineage.
A Shape-shifting Collection Of Post-apocalyptic Detroit Electro And Squelchy Acid Grooves Sieved Through Filthy Filters - Perfect To Play In Your Muscle Car While Speeding The Highway At Night, 'splint Mask' Finds The Duo At Their Most Epic And Unhindered. Premiering Today Through Our Channels, 'sawed Off' Is A High-octane 303 Fuelled Racer Blazing With A Hint Of Unit Moebius Weirdness And Off-the-cuff Rugged Hardware Spritz. If You Like Your Electro Scruffy, Grinding And Aggro Like We Do, Future Dz Have You Covered. Get In The Zone And Feel The Burn, You're In For A Treat.
The elusive producer 'Nortasun' hasn't released a record since his debut 'One' through SAFT back in 2016. After two years, it's time for a follow up which is fittingly named 'Two'. The track titles also resume in a fashionable manner with the opening track being titled: 'Untitled 3'. On this track, Nortasun introduces a firm rhythm that is supported by the impossibly beautiful strings that serve as the tracks key element and appear throughout. Next up is the 'AntonZap' remix. AntonZap doesn't do the stereotypical remix take on the original. His version is dub laden, otherworldly, and only implements miniscule pieces from the original take. With just under 7 minutes, the remix version is a true sonic voyage.
On the B-Side, Nortasun takes a more dubbed out approach to modern day house music. 'Untitled 4' is a work of precision. The carefully crafted hats and dub elements sizzle throughout the entire track and help the track morph into a stunning piece of dance floor music around the four minute mark. Nortasun cleverly introduces a thumpientire ng bass that changes up the mood for the work.
Soundway Records delivers a beautifully remastered reissue
of Brazilian duo Grupo Controle Digital's only album, 'A Festa
É Nossa'. First released in 1988, the album is now housed in a
tip-on heavyweight sleeve and restored artwork.
With the title track 'A Festa É Nossa' having circulated the
last few years in the DJ sets of influential tastemakers, the
album has become highly sought after by electronic fans
and collectors alike. Lo-f synths and cruising bass lines
permeate the record, influenced by the group's Brazilian
contemporaries at the time such as Tim Maia, Cláudio Zoli,
Secos E Molhados, and rock outft Made In Brazil.
Band members Billy Jaguar and Gel Valiery regularly
performed in various groups in São Paulo throughout the
80s and 90s, but after Gel passed away, Grupo Controle
Digital was no more - the band and the album faded into
obscurity and Billy became a priest, working with gospel
music. It remained that way until Brazilian DJ Millos Kaiser
(from label Selva Discos, and one half of Brazilian street party
organisers Selvagem) tracked down the remaining member
of the group to be able to include one of their tracks on the
highly anticipated Soundway compilation 'Onda De Amor:
Synthesized Brazilian Hits That Never Were (1984-94)',
released in July 2018.
Audio restored by Neal Birnie and re-mastered by Frank
Merritt at The Carvery, London. Artwork restored by Lewis
Heriz.
FOR FANS OF:
Soundway 'Onda De Amor' compilation, Music From Memory
'Outro Tempo' Brazil compilation, Spacetalk compilations,
Sabor Do Brasil
In July 2014, Jungle released their self-titled debut album. Featuring the singles 'Platoon', 'Busy Earnin'', 'Time', 'The Heat' and 'Julia', neo-soul classics all, it was the aspirational sound of young London, a soundtrack of escapism, an unmistakable Jungle sound and a unique, vivid, visual Jungle world. The whole thing was dreamed up by Josh 'J' Lloyd-Watson and Tom 'T' McFarland, a production and multi-instrumentalist duo who never expected to leave their bedroom studios, far less become the core of a talent-filled seven-strong collective that morphed into a killer live outfit. Cue online word-of-mouth and IRL buzz, rave reviews, a Mercury Music Prize nomination, songs of the summer (two summers, even), viral videos, Noel Gallagher declaring the album 'fucking amazing', half a million sales, burgeoning DJ careers, a global tour that lasted two solid years. It all just happened.
Today, Jungle announce news of the follow-up to that defining debut record. The album is titled For Ever and will be released on 14th September via XL Recordings. If Jungle's first album was their imaginary soundtrack to the places they had never been, For Ever is inspired by real life experiences of the places they'd dreamed of for so long. Swapping Shepherds Bush for the Hollywood Hills, J and T set up camp in Los Angeles to write and record the album. Over time however, their romanticization of The Californian Dream clashed with the reality of actually living it, the feeling of being adrift on the West Coast compounded by the collapse of long-term relationships. Returning home to London, they teamed up with highly regarded young producer Inflo where they sought to create a "post-apocalyptic radio station playing break up songs', whittling down loads of ideas this concept spawned into the core 13 tracks you have before you. That station and those songs and that journey are the sound of Jungle's second album For Ever. They had to go away to come home. And what J and T lost in love, they gained in music. For Ever is for real, deeper and higher, more intimate and more expansive, feelgood and, just occasionally, feelbad. It is, then, a proper second album.
We are very happy to announce the 13th release of Cabrera with two special remixes from the label boss', J.C., 'Vertigo' record that came out in the summer of 2017. Side A comes with a special Shed rework. Rene is a huge influence for us and we are thrilled to have him on our catalogue. Keeping the essence of the original, he made a proper raw dub techno banger. On the flip side, Kastil, already part of the family, took Nyame in a whole other level and made a fresh blend of fierce techno.
Matthew Dear is a shapeshifter, oscillating seamlessly between DJ, dance-music producer, and experimental pop auteur. He is a founding artist on both Ghostly International and its danceoor offshoot, Spectral Sound. He writes, produces, and mixes all of his work. He straddles multiple musical worlds and belongs to none, now nearly 20 years into his kaleidoscopic career, with ve albums and two dozen EPs plus millions of miles in the rearview of his biography.
Bunny is the name of Matthew Dear's fth album. His rst since 2012, it bounces into plain sight preceded by two slyly different singles in 2017: the moody, urgent "Modanil Blues' and the buoyant, blithe, Tegan and Sara-featuring 'Bad Ones.' Bunny follows both modes, among others, parading down a rabbit hole of unhinged phrasings, dreams, and interludes. It saunters in the shadows; it stands brightly in the moonlight. Bunny is a dual vision of avant-pop; an artistic reckoning from a 21st-century polymath; persona splintered, paradox paraphrased, a riddle rendered.
Optimo Music presents a 5 track EP & also a debut release from Nashville's Stranded, including a remix of title track 'Celine's Dilemma' by RSD, aka Rob Smith of Smith & Mighty fame.
Despite hailing from Nashville, Stranded has a longing appreciation for the dance centric cities throughout the world whether it be Detroit, Manchester or Berlin, hence the moniker. Alienation, romantic rendezvous, 9 to 5 unease, and an apprehension of the future are just a few of the topics that surface on the debut EP, Celine's Dilemma, on Optimo Music. Sweeping and droning synths, jagged guitars, rolling bass, yearning and weary vocals, and disco beats propel the music and ideas showcased in the project. While using the backdrop of post punk, disco, and synth pop the music is a sonar call to places where people are gathering, working, and dancing.
The first LP release for connected comes from Nandu and as with his previous EP releases the LP is a unique genre crossing palette containing elements from Deep House,House,AfroHouse,Electronic Techno and beyond brought together in Nandus' original style. Truly an LP that begs to be listened to from start to finish. In Nandus' own words: 'One mans high can truly be, another mans anxiety. In some parts of life this is very clear like having a baby, do drugs, to work, not to work, be an artist, be a banker and so it continues. Yin & Yang and the whole idea of duality is another way to describe this. When you go left you say goodbye to right - at least for the moment you choose left. What you choose is up to you. It wasn't always my dream to get up at 3pm to change diapers, but it was always my dream to have a family. And here the sacrifice is not even mentionable. It's more than worth it. But when you sometimes in life make a choice that you regret but which always will follow you, or when uncontrollable powers force you into another direction, it can easily switch the poles between high and low. In these cases you just have to look forward, but not without looking back. You need to learn, take it with you, and do better next time. This album is about how my highs also can be my anxieties."
(12" Lp Vinyl / 33 Rpm / Incl. Download) Music Mania And Indica Dubs Is Proud To Present The Next Release In Their Mania Dub Series. Following Multiple Classic Re-issues, We Now Bring You A Long Awaited Freshly Produced Dubplate Album On A 12' By Uk Dub Innovators, Alpha & Omega: Dubplate Selection Vol. 3.
Conch Have Enlisted Uk Legend Bakongo Aka Roska On This 4 Tracker Of Uk Funky Infused Club Dubs.
Turning Things Up A Notch The Label Brings In Young Bristol Rising Star Wilf On Remix Duties And Also Deliver A Dub Refix Of Bakongo's bongo Crush' Showcasing The Conch Sound.
Finally after years of quality techno and music,Pushmaster Discs is proud to present the 20th release of the label with the label boss Mattia Trani and his solo EP.
This Time Mattia chosed a banging tune 'Time Struggle' with the first new school version, classic heavy techno beat with saturated 303 sub melodies and a futuristic pad to complete this version. The Old school version is more percussive acidic, no pad melodies, no compromises, just straight to the point for killing every dance floor.
In the B side there's a perfect rework from a dutch techno master Steve Rachmad as Sterac, more 909 clean beat rhythmic and minimal detroit infected. The last track 'Floating Life' is a typical Drum'n'Bass spirit influence of Mattia, 170 percussive beat with space pads typical of 90 jungle works in the UK.
As a hidden track on digital only 'Cyber Resurrection' is another killer track with an amazing mysterious sample from rave typical 90 stuff.
Happy 20th release Pushmaster Discs!
Streng Limitierte Neuauflage Des Debütalbums Des Kanadischen Indie-trios Born Ruffians Aus 2008, Produziert Von Rusty Santos (animal Collective, Owen Pallett, Dawn Of Midi) Und Von Pitchfork Als "eines Bezauberndsten Und Liebenswertesten Indie-rock-debüts Des Jahres" Gefeiert. Mit Den Singles "hummingbird" Und "i Need A Life", Farbiger Textbeilage Und Download-code. Anfang 2018 Veröffentlichten Born Ruffians Ihr Fünftes Album "uncle, Duke & The Chief" Auf Yep Roc/paper Bag Records Und Gingen Auf Weltweite Tournee.
Two all-time George Duke greats, 'I Want You for Myself' & 'Brazilian Love Affair', get the official remastered, reissue treatment.
First up, 'I Want You For Myself' Duke's 1979 jazz funk, R&B tinged gem has got all the ingredients of classic from his illustrious catalogue. A funked up guitar and exuberant percussion, compliment Lynn Davis' fabulously soulful vocals perfectly to make this a love song that's sweeter than most. A Duke classic wouldn't be complete without a killer, keys solo and 'I Want You For Myself' shows off his talents in abundance. The infamous Tom Moulton takes on edit duties splicing it into a 10-minute exploration of this fusion powerhouse, extending and enhancing elements in the mix, alongside adding an epic breakdown in a way that only he knows how.
On the B side, the stone-cold killer 'Brazilian Love Affair' is a Latin American, jazz funk classic. Recorded in Rio de Janeiro, Duke drafted in a host of greats to guest on the track, each bringing something unique to the table. From Airto Moreira's expert latin drumming, to Byron Miller's heavyweight bass and Roland Bautista's overdriven guitar. Duke supplements this to a tee with his blissful vocals and an otherworldly Rhodes solo. Much sampled, much loved, this is a masterpiece that needs a place in the collection.
Auch Auf Seinem Dritten Album Nutzt Sebastian Kramer Aka Redshape Den Für Ihn Prägenden Sound Von 90er-jahre-techno Allgemein Und Speziell Aus Detroit Nicht Als Zitat, Sondern Erzeugt Mit Seinen Neuen Tracks Ein Sehr Spezielles, Eigenes Narrativ: Düster, Gespenstisch, Und Doch Entschieden Romantisch. In Gewisser Hinsicht Ist "a Sole Game" Sogar Die Erste Echte Redshape-lp Überhaupt, Die Nun Nichts Mehr Imitieren Will, Sondern Sich Durch Selbstbewusstsein, Selbstreflexion Und Souveränität Ausweist. Im Klassischer Redshape-manier Begeben Sich Die Acht Tracks Von "a Sole Game" Auf Eine Reise Durch Nächtliche Welten Und Düstere Industrielandschaften, Durchzogen Von Seltsamen Stimmen Und Geräuschen. Eines Der Wichtigsten Ziele Lag Unüberhörbar Darin, Ein Nahtlos Perfektes, Ganzheitliches Elektronisches Album Zu Produzieren, Das Ohne Interludes Oder Typisches Füllmaterial Funktioniert. Entsprechend Warm Und Analog Klingt Die Platte. Letztendlich Setzt Redshape Damit Klassisches Songwriting Mit Den Codes Von Techno Um Und Macht In Seiner Musikalischen Entwicklung Einen Großen Schritt Nach Vorne.
CYBERSPEAK, Milan multidisciplinary collective appears on the internet as a language of objectivity and truth, as the computer is, challenging the existing order in electronic music.
'V1' is the first physical episode coming from duo TRAIN TO ELTANIN showing their skills with 5 tracks that embody the musical accelerations of the label.
Hi-Speed Electrofunk with some energetic stop and go that makes it a sure killer dancefloor weapon, atmospherical and evocative club sounds, classicism jazzy school driven by computer sequencers, jungle assaults and broken electronics. The message is clear: Keep on Programming!
Tallinn duo MAVA & NEBUKAT deliver four tranquil cuts on Estonia's LIITHELI, featuring remixes by Leleka founder VAKULA and 1212a alongside label boss ALI ASKER.
Mava and Nebukat have been an important part of the Estonian underground scene for some time, promoting parties and DJing in and around the capital. Their grafting has seen them join up with Green Village producer Ali Asker, who launched LIITHELI in 2016 to focus on local talent with early offerings from himself and fellow Estonian N1MA.
First up, 'Polymer' immediately grips us with rising tension - progressive synth-lines and fluttering percussion becomes the main focus here. 'Ambient Track' provides synthetic luscious melodies harmonising delightfully with the broken-beat drums.
1212a and Ali Asker's remix of 'Polymer' offers a captivating dubbed-out theme throughout, balancing delicate minimalism, with breezy atmospheres. Ukrainian producer Vakula presents a heavenly six-minute healer through precise, fluid pulsations and intriguing, melodic sound design.
Nothing is static. Music moves you places. And sometimes your machines follow you wherever you go. That's exactly what happened some moons ago during a nature retreat in Icelandic landscapes. The man. The machines. Water. Lots of water. Trees. Endless trees. And the horizon. Out of early mornings & contemplation come 3 tracks of sheer beauty ready to reunite with urban dancefloors.
AUDREY CHEN's long-awaited new solo album "Runt Vigor" is an adventurous sonic exploration of the voice, cello and analog electronics.
AUDREY CHEN began her relationship with sound through the cello and voice over 30 years ago and since the past 15 years, her predominant focus has been her solo work, joining together the extended and inherent vocabularies of the cello, voice and analog electronics.
More recently, she has begun to shift back towards the exploration of the voice as a primary instrument, delving even more deeply into her own version of narrative and non-linear storytelling. She derives her sound material in continuous process, championing the "in-between" and overlooked. Regardless of instrument, CHEN's mode of experimentation touches both the abstractly beautiful and the aggressively unsettling, creating a kind of curiously imagined architecture, non-prosaic song or ritual that reaches beyond gravity or language.
Recent projects, aside from performing solo, includeher long running voices duo with PHIL MINTON, duos HISS & VISCERA with modular synth player RICHARD SCOTT, BEAM SPLITTER with Norwegian trombonist HENRIK MUNKEBY NØRSTEBØ, and the "romantic noise duo" AFTERBURNER with DORON SADJA (electronics/light projection). Past projects include work with German conceptual artist JOHN BOCK, a duo with NYC abstract turntablist MARIA CHAVEZ, and a quartet with NATE WOOLEY, C. SPENCER YEH and TODD CARTER that released a LP on MONOTYPE. Hernew projects include a double duo/quartet with BEAM SPLITTER and STREIFENJUNKO's, EIVIND LØNNING and ESPEN REINERTSEN and MOPCUT with LUKAS KÖNIG and JULIEN DESPREZ.
London producer-duo, Wayward, are back after blowing us away with their marvelous "Good Afternoon Mr Magpie" EP. Wayward have a knack for bridging the gap between the dancefloor and the more soulful side of electronic music, with support across the radio airwaves from the likes of Giles Peterson on BBC Radio 1, 6 Music, KCRW, Beats In Space and Rinse FM.
Wayward's most recent release, the "Green Lanes" EP is another milestone for the rising duo. The EP opener 'Green Lanes' (co-written with London producer Books) is a dance floor ready tune with a hypnotic bassline and the perfect amount of cowbell. 'Maxi Love' brings the disco heat with an edit of a timeless classic, reinterpreted for late night escapades. On the B side, 'Time and Again' is a breezy house banger and the closing track 'Silver' is reminiscent of Wayward's signature sound, blending samples in seamlessly with warm percussive elements.
Leifur James will release his debut album in October through Late Night Tales' artist label Night Time Stories.
A Louder Silence is the London-based producer and multi-instrumentalist's first proper release; his two earlier singles feature on the record, after gaining support from Gilles Peterson's Worldwide FM with a live airing and interview in 2017, plus continued backing from XLR8R, Stamp the Wax, and BBC Radio 6 Music DJ's.
The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks — creating an array of rich textures, complemented occasionally by James' own soulful vocals.
While James' early unreleased work was singularly electronic, A Louder Silence focuses on analog synths and warm acoustic instruments, all played by his own hand. It's the product of a two-year spell in James' home studio, with additional live drums recorded with Jim Macrae at London's Old Paradise Audio.
James' rich musical influences are laced through the release. Encouraged by his mother, a classically trained pianist, he learned to play the cello and developed adeep understanding of rhythm and melody that informs his approach to writing electronic music. James playsthe piano he grew up listening to in 'Mumma Don't Tell' and samples an indefinable percussive element to drive forward 'Suns Of Gold.' 'Night and Day' sees cello plucks and long melodic strokes interlink with a grooving synth line. He also field records the atmospheric Moroccan sea in 'Red Sea.' Inspiration stems from the experimentation of modern day electronic producers, fused with the Jazz, Classical, Blues, and Soul music that soundtracked his youth.
Central to the album is the idea of space. James recalls the early advice of his uncle, a jazz guitarist, who features on 'Uncle Blue': 'I remember him saying to me: "What goes in comes out' James says. 'Every detail should be a worthy detail; sometimes nothing is better than something.' Moments of blissful, structured intensity are juxtaposed with stillness and near silence — dark and light; loud and quiet. This also forms the foundation for the album title: A Louder Silence reflects the dichotomy of finding pockets of stillness in a noisy world.
The result is 10 distinct tracks delivered as one coherent and well-structured long-player debut, set for release on LP, CD, and digital, on 5th October 2018.
Live dates follow a debut live show earlier this year at the Jazz Café with Yazz Ahmed, including an album launch at London's Ghost Notes in October.
