Repress
Sam Binga returns to drop his debut EP for Critical Music. Inviting back the infamous Redders for vocal duties, picking up where his trail blazing single AYO and the much loved 'Lef Dem' from Critical's 'Underground Sonics' LP left off. A deft combination of low slung beats and bass with a nod to the jungle tradition.
WhoDemSound024 by J. Robinson.
The finest in ReggaeDub
Beware of the blazing sun when she's orange and transparent.
Overwhelmed with the ecstacy of flight, Icarus soared into the sky like a bird, or rather a god. Drawn by desire for the heavens, he ascended higher and higher towards the sun. When the heat melted the wax on his wings, he fell from the sky and vanished into the dark blue ocean, where feathers, still today, ride the waves of the Icarian Sea. Aimed at dancefloors in sleazy bathhouses, seedy basements and soiled warehouses, Icarus Traxx' first offering takes us back to the mythical days of anonymous, muscular power house. Delivering no less than three takes of 'Commandment' (plus two acapellas), the 12 inch, starring the enigmatic voices of Jesse B. Simple and Charlotte B. Good, supplies a choice cut for every disc jockey.
'Jack 88 Tape Mix' starts things off with a vigorous kick, prosperous strings and the spirited voice of Jesse B. Simple. The oracle proclaims celebration times. Addicted to Jesse's vocal delivery The acapella will guide you through your most ecstatic moments.
The lights go out on 'Get Your Life' just before it wakes you up with a slap to the face. Again, it's Jesse in the vocal booth, groaning his mantra to 'dance, jack and get your life to this' on a bed of erratic kicks, jittery acid and vexed rave stabs.
On the flipside, the celestial Charlotte B. Good glides into the room. Her sensual Spanish stanza gracefully inhabits 'Spanish Fly Reprise', made for horny, high as a kite early mornings. Charlotte alerts you that your time to snatch up your one true love on the dancefloor has nearly expired.. Like a siren, she lures you into her universe with sweet lamenting whispers. Better think twice before you follow.
Orlando Voorn Comes Through With A Hi-tech Soul Future Classic. Original Mix Is A Prince-in-detroit Tinged Electro Floor Filler. Two Remixes From Gary Gritness, One A Full-on Assault Of West Coast Electro Funk And A Djax-inspired Cut Of Speaker-busting Bonus Beats. Hidden Away On B2 Is An Otherworldly, Dub Techno Masterpiece, Reworked By Cv313.
Over the last several years, the Zappa Family Trust and UMC have lovingly been restoring Frank Zappa's iconic catalog together by reissuing his classic albums on CD and pressing long-out-of-print records back on vinyl. Next up in the ongoing vinyl initiative, coming on the heels of the reissue of his enigmatic Burnt Weeny Sandwich, is Zappa's 1970 stylistically diverse and subversive album, Chunga's Revenge, which will receive a 180-gram audiophile repressing on black vinyl on July 20. Supervised by the ZFT, the record, which has been unavailable on vinyl for more than three decades, will be press pressed at Pallas In Germany and feature reproductions of the original artwork. Chunga's Revenge, although released under Frank Zappa's own name, introduced a new Mothers lineup that included former Turtles members Howard Kaylan and Mark Volman, aka Flo and Eddie, as well as keyboardist George Duke, drummer Aynsley Dunbar and multi-instrumentalist Ian Underwood. The album is one of Zappa's most eclectic efforts, encompassing the improvisational title track, the raucous guitar jam "Transylvania Boogie," the bluesy "Road Ladies" and the jazzy "Twenty Small Cigars," along with more conventional rock numbers like "Tell Me You Love Me," "Would You Go All the Way" and "Sharleena."
Classic singles like Billy Fury's 'Halfway To Paradise', Dusty Springfield's 'I Only Want To Be With You' and The Walker Brothers' 'Make It Easy On Yourself' would not have been hits without Ivor Raymonde. As their arranger, and in the case of 'I Only Want To Be With You' songwriter too, he shaped the final recordings. He decided on the orchestration and backing
vocals, chose the instruments and determined what was heard on the radio - and what record buyers bought.
'Paradise: The Sound Of Ivor Raymonde' is a long-overdue celebration of Ivor Raymonde, collecting his work as an arranger, musical director, producer, singer and songwriter. The story of a British musical great is told for the first time.
Billy Fury, Dusty Springfield and The Walker Brothers are heard. So is the only vocal performance for which Ivor Raymonde received a credit on a record label. He worked with the pre-fame David Bowie and Tom Jones. He spotted the potential of Los Bravos, steering them into the charts with 'Black Is Black'. Near-misses and obscurities made with Brit-girls Cindy Cole and
Helen Shapiro, the soulful Sonny Childe and confrontational protopsychedelic London band The Flies are as fantastic as the hits. With these and more, 'Paradise: The Sound Of Ivor Raymonde' distils the essence of the magic of Ivor Raymonde.
'Paradise: The Sound Of Ivor Raymonde' is released by Bella Union, the label run by Ivor's son, former Cocteau Twins member Simon Raymonde.
Compiled by Simon and Kieron Tyler, it is a very personal tribute to a sadly missed father. Born in 1926, Ivor Raymonde passed away in 1990. The previously untold story is revealed through a moving reminiscence written by Simon and in-depth liner notes and a track-by-track commentary by Kieron. Ivor Raymonde played on the ocean liner The Queen Mary in 1949. In the Fifties, British television viewers saw him in legendary comedian Tony Hancock's 'Hancock's Half Hour' but music was always going
to be most important - the hits with Billy Fury and Dusty Springfield in 1961 and 1963 meant he was in demand. The 26 selections balance the wellknown with collectable rarities and tracks drawn from - until now - barely heard-of singles. Each is a gem and each shows the magic of an Ivor Raymonde recording.
'Paradise: The Sound Of Ivor Raymonde' is issued on CD and 180g heavyweight double vinyl album with digital download code. The vinyl version is sequenced slightly differently for listening flow. Every track was originally issued as a single issued in mono for the pop market until 1968 / 1969. Keeping the integrity of the compilation in mind, all but four tracks appear in mono as they did originally. The masters used are those of the original singles.
Produced & Mixed By Johnny Jewel -
Artwork By Johnny Jewel
Glasgow's Wheelman provides the tenth iteration of DBA's Dubs series, following a series of high profile releases on Huntleys & Palmers, Studio Barnhus, and his own Stereotone label. Signal is Wheelman's most ambitious effort to date, its searing amen stabs and deep sub bass guaranteed to wreck any club, while floating pads and crystalline strings add a bittersweet moment of rave nostalgia to the breakdown.
On the flip, in line with the DBA Dubs concept of pairing a house track from an up and coming UK producer with a remix by an established techno name from across the pond, Detroit In Effect provide a cold, bleep-drenched take which raises the tempo of Wheelman's original to an almost breakneck speed. D.I.E, also known as Cybonix, were prolific throughout the late 90s and early 00s on their own M.A.P. label and more recently on Rotterdam's Clone.
To coincide with the release of the tenth edition in the DBA Dubs series the label are also making all ten original tracks available as a digital package, while all ten of the remixes from the series get their own bundle, with Wheelman and Basic Soul Unit providing a megamix of each edition respectively.
N8noface Was The Vocalist For Underground Synth-punk Legends Crimekillz. He Is The Younger Brother Of Tucson-bred Modern Boogie Rocket Man Zackey Force Funk, Both Now Residing In Long Beach, Ca.in 2017, Hit+run Released N8's Visceral Debut Album Stories Of Those, As Well As Demos And Demons Vol. 1, A Ten-track Collection Of Home Demos Recorded Between 2015-2016. On Dia De Los Muertos 2017, Noface Also Unleashed The First Single From His Forthcoming New Album True Story, The Haunting Double A-side Lathe Cut idgaf / Say Goodbye.'
True Story, The 14-track Lp Due This August, Reads Like A Collection Of Compelling Mini-narratives, Brief Yet Honest Tales Of Personal Struggles, Anti-establishment Rants, Dead End Loves, And Real-life Tragedies. N8's Minimal Wave Sound Is Not About Nostalgic Lo-fi Nor Home-recorder Formulas, But His Own Instinctive Style That Defies Categorization And Comparisons. The Result Is A Distinct Sound Of Rapid-fire Hardcore Punk Moshing With Awkward Pop Music. Standout Tracks On The Dense 18-minute Album Include not Like You', bad Day', men Who Dress Well' And glasgow Smile'.
It has been exactly ten years since Finders Keepers Records rst liberated Luboš Fišer's immaculate soundtrack music for Valerie And Her Week Of Wonders (Valerie A Týden Divu) from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative 'Film Miracle' that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as our listeners who consistently request an updated repress of this signi cant vinyl milestone. Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign uff merchants, to nally nd its rightful audience as a bona de surrealist cinematic masterpiece of world class standards, this 1970 lm adaptation of Vítezslav Nezval's 1935 avant-garde novella (a lm that literally cross-pollinated Max Ernst's A Week Of Kindness and Lewis Carols Alice In Wonderland) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and lmmakers - all of whom regard this truly individualistic and inimitable surrealist lm poem to be an indelible in uence - Valerie continues to impregnate their daily artistic referential fabric.
The Song Says - Bruno Pronsato´s label restarts after 4 years of hiatus with a Vinyl Version of his seminal "Lovers Do"
It's been fours years since the original release of Lovers Do. For the first time now finally released on vinyl. In the meantime he's kept very busy--primarily with side projects. First there was Others, his experimental house outfit with Daze Maxim. Then came Public Lover, his duo with the French artist Ninca Leece that debuted last year on thesongsays (Bruno's label). He's continued to join forces with Sammy Dee as Half Hawaii, playing live shows around Europe and putting out tracks on Perlon and Diamonds & Pearls. As half of the duo Ndf, he coproduced Since We Last Met, a single that marked his debut on DFA and landed in Pitchfork's top tracks of the year. But while he was juggling all these different projects, one piece of music was slowly taking shape: his third and most immersive album, Lovers Do. Like much of Bruno's work to date, Lovers Do is experimental without being snobby--or to use his own term, accidentally avantgarde'-- but this one takes it further than the others. It has a looseness that's truly rare in techno, scrapping formulaic verses and breaks, it winds along like an abstract sketch, guided by intuition instead of logic. Some songs are fraught with nervous tension, others are soothing and rich with detail, from dappling rhodes to orchestral swells, jazzy drum fills and wet hand claps. Human voices swirl in and out of the mix, serving only to make things more surreal. Many of the tracks stretch well beyond ten minutes, one bows out after less than three. The album overall is delicate and subtle, but it also features Bruno's best club tune in years, the eerie and delirious Feel Right.' Brian Eno once described his own
Luciano has arranged a special series of four releases as part of the celebrations for the fifteen years anniversary of his own Cadenza Records, launching the first one to begin the festivities. Each episode is coming out in a different season of the year; the first one, with the catalogue number 118, is the chapter dedicated to the summertime and contains 5 enchanting tracks with an exquisite sound. Thisseries is just one of the astonishing surprises that Luciano has set aside for the birthday of his beloved label.
The show begins with "The Amazing Lilou", a crispy ariose tune with elaborated percussions and calypso-flavored synthesizers. "Hiding Hearts" is a latin prelude with pleasant guitars and restful melodies, flowing with joy and peace. "Nabusima" is another Caraibic spell, with noteworthy carefullymixed drums and elevating harmonies. "Magik Mechanics" explores complex broken beats andelectronic textures, drawing a colored narration in between a fairy tale and a sci-fi movie. Finally,"Tirana del Oriente", as disclosed by the title, is a trip into the Oriental ardent magic. A collection offive long summery compositions to accompany our hot pleasing days from the dawn till the dusk,holding our hands during a never ending daydream.
Echocord's Echo Echo sub-label continues with its third releases this August, courtesy of German producer and Credo founder Alex Bau with his 'Zenstory' EP. Germany's Alex Bau has been a prominent name on the underground DJ circuit on his home turf, and further afield, for three decaces as well as racking up an impressive back catalogue as a recording artists for labels like Cocoon, CLR, Sleaze and of course his very own Credo label which has been a platform predominantly for his own material whilst welcoming the likes of Kyle Geiger, Takkyu Ishino and Electric Rescue onto the imprint also. Here though we see Bau joining the roster of Echocord's fledgling sub-label Echo Echo with a new four-track EP and taking the lead on the package is 'Clouds' with pulsating low-end tones, hissing analogue noise and dusty drums samples all flowing in unison with ethereal chords and sweeping pads. 'Contour' follows, tipping the focus over to bubbling delayed stab hits, fluttering sub bass and evolving white noise bursts throughout. The 'Prelude' of 'Zenstory' opens the flip side and as the name would suggest it's a cinematic build up to the title-track featuring tension-building, expansive atmospherics ahead of the original mix which features a thumping muted kick, stuttering atmospheric echoes and spoken word vocal tucked into the depths of the record.
2022 repress
currently the rediscovery of long forgotten japanese electronic, jazz and new age music is at a peak like never before. but although many re-issues already flood the record stores around the world: the large, diverse musical culture of japan still got some gems in store that are really missing.
for example, it is still quiet around the the work of japanese bass player, new-age and ambient musi-cian motohiko hamase. when the today 66-years old artist started to be a professional musician in the 1970's, he quickly gained success as a versed studio instrumentalist and started to be part of the great modern jazz isao suzuki sextett, where he played with legends like pianist tsuyoshi yamamoto or fu-sion guitar one-off-a-kind kazumi watanabe.
he also was around in the studio when legendary japanese jazz records like 'straight ahead' of takao uematsu, 'moritato for osada' of jazz singer minami yasuda or 'moon stone' of synthesizer, piano and organ wizard mikio masuda been recorded.
in the 1980's hamase began to slowly drift away from jazz and drowned himself and his musical vision into new-age, ambient and experimental electronic spheres, in which he incorporated his funky medi-tative way of playing the bass above airy sounds and arrangements.
his first solo album 'intaglio' was not only a milestone of japanese new-age ambient, it was also fresh sonic journey in jazz that does not sound like jazz at all. now studio mule is happy to announce the re-recording of his gem from 1986, that opens new doors of perception while being not quite at all.
first issued by the japanese label shi zen, the record had a decent success in japan and by some overseas fans of music from the far east. with seven haunting, stylistically hard to pigeonhole compo-sitions hamase drifts around new-age worlds with howling wind sounds, gently bass picking and dis-creet drums, that sometimes remind the listener on the power of japanese taiko percussions. also, propulsive fourth-world-grooves call the tune and all composition avoid a foreseeable structure. at large his albums seem to be improvised and yet all is deeply composed.
music that works like shuffling through an imaginary sound library full of spiritual deepness, that even spreads in its shaky moments some profound relaxing moods. a true discovery of old music that oper-ates deeply contemporary due to his exploratory spirit and gently played tones. the release marks another highlight in studio mule's fresh mission to excavate neglected japanese music, that somehow has more to offer in present age, than at the time of his original birth.
Fresh off the release of his 'Cosmo EP' earlier this year, longstanding label stalwart Fetisch reignites the fire with 'Singularity EP' - the second EP from the forthcoming Terranova album. A six-tracker featuring four original cuts plus a pair of remixes from Seattle's Pezzner and Istanbul's Rising Star Alican along with collaborations with Sifa (Congo) & Ivory (Milan). The outerspace'y stomp of Terranova's prime versions of 'Cosmochord' feat Flashmob and 'Cosmocode' feat Voltague, both lifted from his latest outing Cosmo EP, resonates deep into the grooves of the present platter, whilst the ethereally hypnotic vibe of 'Let It Fail' (feat. Sifa & Ivory), with its brittle percussions and slow-scudding pad tapestries, as well as the left-of-centre, hovering electro of 'Powergrid' draw in a further zero-G atmospheric vein and 'Sophia (Ode to a Robot)' are tailored for dawn-time party communion and intense stargazing momentums. All of these tracks are inspired by Fetisch's obsession with the current developments in creating artificial intelligence and robotic technology and his ambition to add androids to the impressive list of humanoid guests of the Terranova Soundsystem.
Already quite the jacking pumper, 'Cosmochord' gets a further menacing treat with Pezzner at the controls - ramming the doors of the club by means of loud kicks and lusty piano chords - each of them pounding with the impact of an apposite Glasgow kiss. Meanwhile Alican takes 'Cosmocode' further into Saturnian confines, densifying the minimal backbone of the track with an extended battery of arpeggios, bleeps and middle-eastern percussions thrown in for good measure. With the rolling techno shuffle of 'Escape Ism' and stuttering rhythmic engineering of 'Tempelhof' (the 'Terranova Maschinenraum' studio is located inside Berlins old airport). Fetisch loops the loop on a pulsating note, expanding the mind to horizons both poetic and physical - further establishing his unmatched sound signature.
* As we all know, reggae music was created in the Ghettos and has helped many people in their struggle & creating many opportunities for those who worked hard for it. Reggae developed its own alternative industry with the support of sound systems and gave opportunities to so many deejays, toaster and singers. In Brasil, with the rise of sound systems inspired by the UK and JA scene, Monkey Jhayam was one of the first artists to express his art and also build a solid and prominent career alongside many sound systems in his country. Out of São Mateus, Monkey broke barriers and has been collaborating with producers from all over the world with his uplifting Portuguese message.
Kendrick Andy's Roots song 'Great Old Men' lends itself to a new version by the major Brasillian Reggae artist, Monkey Jhayam. The 7 single features back to back versions, both in English (A) and Portugese (B). Rhythm: Alien Dread. The tracks also feature Alvin Davis (Hornz), Asha B (Congos & Percussion) and Rhythm/Lead Guitar by Steven 'Marley' Wright.
The music on this EP was conceived in China, between 1989 and 1993. The original tracks were mixed to DAT in real time, in a small neighbour-proof studio inside my apartment in Macau, a 19th floor with a view to the hurricanes. There's a small, unexpected or improbable story behind each track, some little magic fused with the local atmosphere, certainly guaranteeing their lasting authenticity 25 years later.
TAIPEI DISCO
Late 80s Guangzhou was an exotic city where the traditional past coexisted in harmony with the present and even already with the future.
I'd rather spend my weekends in Guangzhou than diving into Hong Kong consumerism - as most ex-pats in Macau did. I took a cab at the border and travelled 150 Km through chaotic roads with family and friends until reaching the hot, humid, mega South China metropolis.
We ate on street joints in the evenings, went on to a karaoke bar and ended up at Taipei Disco, the only proper club in town. All the others were inside hotels and played generic music or they were seedy, sleazy, smoky cabarets.
Taipei Disco used to be a cinema and played cantonese pop music and anglo-saxon pop/rock (that was new). The spacious dance floor was generously lighted, the atmosphere was airy and modern. Boys and girls were in the habit of dancing in pairs, one in front of the other, observing a respectful yet sensual distance. When the girl took a few steps back, the boy went along and vice versa. With legs and feet (more than the upper bodies) synchronized with the music, they never exceeded in extroversion. Cool.
I always carried a MicroComposer and a portable DAT recorder in my travels through China and weekends in Canton. Any spontaneous musical idea was imediately recorded and memorized. The MicroComposer allowed multitrack recording, which was very handy on the road. Based on the emphatic choreography of Taipei Disco's dancers, i started to compose a rhythm track while sitting at a table, with headphones, listening to Cantopop in the background. As if by magic - not a rare occasion in music - everything began fitting together. Odd as it may seem, the track ended up sounding more germanic (Kraftwerkian) than Cantonese pop.
The story ends in a circle: the cantonese DJ at Taipei Disco, whom i used to ask to play certain records, wanted to play my music at the disco when it was basically only just a rhythm track and little else. From a cupboard under his set up he took out a battered keyboard (unrecognizable brand) and invited me to play over the track with the available sounds on the keyboard. The circle was complete, with Cantonese clubbers happily dancing forwards and backwards, as if it were another Cantopop hit.
I didn't get payed but the house offered us free ice cream cups in which little Portuguese flags were sticked.
The track would be finished later, in studio, with vocoder strings ensemble and synth solos.
TAIPEI DISCO (LIVE)
The live version of 'Taipei Disco' was recorded during a live set at the China Pop venue, in Macau, 1993. China Pop was a rock club built in the ample space of an old fishing warehouse, located in the labyrinthic Inner Harbour area. It was decorated with large Mao Zedong and Cultural Revolution posters and memorabilia and had a unique atmosphere, fusing Pop Art with film noir. We began our performance at 1AM, pretty early for Macau's nightlife standards. We were lucky. An audience showed up. And in Macau there were always several friends among the audience, which tranformed a musical performance into a relaxed party.
The atmosphere was particularly surreal on that night. The front row was dominated by French Crazy Horse dancers, a sort of Oriental Moulin Rouge. The girls had finished their last performance of the evening at the Crazy Horse and were still energized from their show. During our performance, right in front of us and perfectly synched, we could hear the famous irreverent screams of can-can dancers. You always had to expect the unexpected in Macau.
RED MAMBO (IMPROMPTU)
I was familiar with the Portuguese-speaking African countries well before having lived in China. I found myself returning several times to one in particular, always attracted by its magic and very distinct, identitary culture and music: Cape Verde.
During the early years of DWART a lot of the inspiration for drum machine rhythms (Roland's TR series) came from African music, especially from new musical trends that gained full autonomy with Cape Verde's independence from Portugal, as was the case with funaná.
I had the privilege of having known and befriended some of the greatest Capeverdian composers, musicians and singers during the 70s and 80s, such as Bana, Luís Morais, Cesária Évora, Paulino Vieira, Chico Serra, Tito Paris, and historical bands such as Bulimundo (ambassadors of funaná) and Os Tubarões (great innovators of morna, coladera and funaná, with the sonic impact of an afro-beat big band).
When Luís Filipe de Barros began playing Os Tubarões for the first time on Portuguese radio, that was the turning point for African music in Portugal. The 'Tabanca' album was so widely heard and talked about that it quickly got a Portuguese release through one of the big labels of the time.
The mystic of this band from the Santiago Island would reach the East. Os Tubarões played to a packed room in Macau in 1992, and after the bombastic gig we arranged a dinner and party at my place.
We ate and drank generously and the moment came for a jam session at the small studio on the 19th floor. Because Os Tubarões didn't all fit in the studio, we recorded an impromptu with only three of the musicians: Tótó Silva (electric guitar), Mário Russo Bettencourt (bass) and Zeca Couto (piano). And there we were improvising without barriers, suddenly detached from cultural roots, labels and constraints, a truly unique moment. The track is now being released exactly as it was recorded, imbued with the real communion between the musicians. And it could only be titled 'Red Mambo'. I wish to dedicate it to the memory of Ildo Lobo and Jaime do Rosário, founders of Os Tubarões, sadly and too soon departed from the land of music.
* Bristol dubstep mainstay Gemmy, a key figure in pioneering the city's electronic music identity alongside fellow 'purple trinity' producers Joker and Guido, is set to release his latest EP 'Unruly' on his World Of Wonders imprint.
* Since his acclaimed 2008 debut with 'Bk 2 The Future' on Peverelist's Punch Drunk imprint, Gemmy has released on respected labels including Pinch's Tectonic, Mike Paradinas's Planet Mu, Soul Jazz and Earwax before forming his own imprint in 2011. The new three-track EP follows on from his 'Bamboozled' EP for World Of Wonders last year and shows off Gemmy's keen talent for crafting purple wave influenced dubstep.
* 'Unruly' offers three tracks that serve as measured excursions in melody and restraint. 'Na Tek Bak Chat' is an intensely rhythmic and darkly spacious production, whilst the searing 'Sonicboom' bristles with funky, grime-inflected rhythm. The propulsive 'Stop Dat!' is a vividly expansive and minimal exploration of bass music.
* 'Unruly' brings another solid release from one of dubstep's most influential producers. World Of Wonders will release 'Unruly' on July 27th.
As we celebrate the 25th year of V Recordings, it couldn't be a better time for another release from DJ Patife & Vangeliez. One of the OG's of Brazilian D&B Patife teams up with fellow countryman Vangeliez (formerly one half of Human Factor) once again. Fresh from their last single, as well as features on last year's very well received 'Viva Brazil' compilation released in conjunction with SUNANDBASS, this duo has definitely found their own lane!
* On 'Living Together' they link up with two of the most recognizable voices in the D&B, MC Fats and Stamina MC to create an uplifting summer anthem, that spreads the positivity of music across the globe. These two vocalists need little introduction, but in case you don't know, they are behind some of the most seminal moments in our genre's history, classics like Calibre's 'Drop It Down' , DJ Hype's 'Peace, Love & Unity, DJ Marky & XRS's 'LK', D Kay's 'Barcelona' and so the list could go on... Basically with the coming together of these four names you're in safe hands! 'On The Floor' continues to push a euphoric feeling, but adapts a sub low bass that could tear through any system!
* Teaming up with Manchester's finest for vocals on 'Ain't That Bad', the tracks follow in the vein of their previous collaboration on Soul-R, and DRS delivers a stellar vocal performance that brings the track to life, and is again full of good vibes, definitely something you can never have enough of! 'Unexpected' is dripping with original liquid vibes - think Carlito & Addiction, Calibre, D Bridge Big Bud, Solid State - with a 21st-century twist - one for the those who like it deep.
* Drum & Bass as a genre now has so many different sounds and styles, but one sound that has ridden the waves of fashions and emerged as timeless is on display here as the duo deliver 100% organic, funk-filled Drum & Bass music for the soul.
* LABEL MARKETING: Features on V Recordings Podcast, Dedicated newsletter to 85,000 V Recordings subscribers. 80,000+ Facebook reach through label controlled Facebook and Twitter. Press on websites across the globe.
Zwei Jahre nach seinem hochgelobtem Debütalbum Tremors legt der ehemalige Wahlösterreicher sein
zweites Album vor. Mittlerweile lebt SOHN in Los Angeles und dem neuen Album hört man die Wärme seiner
neuen Heimat durchaus an. Erneut hat er das Album in reinen Nachtschichten erarbeitet - dieses Mal in
einem Studio im Norden Kaliforniens. Die 10 Songs sind zuversichtlich, direkt und fokussiert. Vorsichtig
lockert er die Beschränkungen auf und baut in jeden Track neue musikalische Elemente ein, durch die
Gesang, Melodien und Rhythmen noch besser zur Geltung kommen.
Originally released digitally on Luke Solomon & Derrick Carter's Classic Music Company last summer; Girls of the Internet's deep-house-dub-techno-afro ballad 'When U Go' is now being pressed up to vinyl on RAMP Recordings. Since it's release, 'When U Go' has been burning up some of the more discerning dancefloors worldwide, with club support from DJ's as diverse as Mark Farina, Stacey Pullen, Eli Escobar, Oliver $, François K, Soul Clap, Roger Sanchez, Carl Craig, Booker T, Serverino, Riva Star, Doc Martin, Karizma, Marco Carola, Tensnake & Mousse T. Peckham's finest pervayers of Deep House, Bradley Zero approved duo FYI Chris, turn in an exclusive dubby West Coast-vibed remix of the track available only on this vinyl.
The B side is a brand new track from Girls of the Internet - 'Running' featuring Nattlie Maddix, of the House Gospel Choir. Mixing live instruments with synths and drum machines, 'Running' is a soulful yet driving disco tinged deep house track. To finish off this massive package, Local Action's Finn delivers a genre-straddling remix of 'Running'.
Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.
"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.
During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.
Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.
Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.
Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.
The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.
This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.
Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.
Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).
His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.
He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.
For this EP, Jófríður Ákadóttir has re-recorded some of the finest songs from her bands and solo-projects (JFDR, Samaris, Pascal Pinon) with new string arrangements. These versions have a simple, inherent beauty that is juxtaposed with their seething, stark intensity.
To replace the original arrangements with strings was originally planned as a one-off event: When preparing a Pascal Pinon performance in Portugal, Jófríður asked NYC-based composer Ian Davis to help her re-arrange four tracks. After the show Jófríður realized that the material deserved to be captured.
The featured songs were chosen from the repertoire of JFDR (her solo project) and Pascal Pinon (the duo she forms with her sister Ásthildur). There were no objective selection criteria: - I chose the songs that called for strings, songs that I was interested in continuing their story', Jófríður says. - Making this EP was meant to cast new light onto old bodies, to explore what is song and what is arrangement'. Indeed, the arrangements establish a fresh perspective on the selected songs (except for - My Work' - as the track will appear on a forthcoming JFDR album). Being freed from genre, these versions also expose JFDR's voice and its dynamics— the absence of beats gives her vocal performance new possibilities.
The EP was recorded live in a studio in Reykjavík, where Jófríður was joined by producer Albert Finnbogason, her sister Ásthildur (additional vocals and piano) and a string quintet. Ian Davis also made it to the recording sessions and brought two new transcriptions: - I wanted to have moments of clear simplicity juxtaposed with more dense, experimental passages. Sometimes the strings are just holding root notes and simple chords and other times they open up into more contrapuntal and textural moments', Ian explains. As a result, you'll find both moments of modest beauty as well as intensely seething passages. Even if Jófríður's voice clearly is the main attraction here, this EP - as she emphazises herself - is a collective work of those involved: - Trusting your collaborators is the truest gift'.
Das ursprünglich 2013 erschienene und international gefeierte Werk "Stories" war das erste Album, das der in Berlin lebende Komponist und Vibraphonist Masayoshi Fujita unter eigenem Namen veröffentlichte. Es bildete den Auftakt für eine Trilogie von Solo-Vibraphon-Alben, dessen letzter Teil, "Book Of Life", im Sommer 2018 bei Erased Tapes herauskommt. "Book Of Life" ist letztlich auch der Grund dafür, warum das Londoner Label "Stories" als weltweite Neuauflage noch einmal in die Läden bringt. Der Zeitpunkt ist gut gewählt, da 2018 perkussiver Ambient eine Art Renaissance erlebt, unter anderem befeuert durch die Wiederveröffentlichung von Midori Takadas wegweisendem Album "Through The Looking Glass" in 2017 sowie Ryuichi Sakamotos "Comeback", dessen Soundtracks durchaus Parallelen zu Masayoshis Storytelling-Klangwelten aufweisen. In den vorangegangenen Jahren fokussierte der ausgebildete Schlagzeuger sein künstlerisches Schaffen ausschließlich auf das Vibraphon und prägte so einen ganz eigenen Ansatz zwischen Ambient und moderner Komposition. Das Vibraphon "ist ein recht junges Instrument, und doch wird es fast immer auf dieselbe Art gespielt", so der Berliner Exilant. "Ich habe das Gefühl, dass es da noch viel mehr zu erkunden gibt mit dieser spannenden Erfindung."
This is the first reissue of Tim Hecker's classic 2003 album. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering.
- Reissue of classic 2001 album by renowned ambient / noise / electronic artist.
- Received acclaim upon release, including Pitchfork giving it a 8.3.
- Originally released on Alien8 and now long out-of-print.
press quotes for Radio Amor:
"Hecker at his most painterly and evocative.' Pitchfork
"Radio Amor has a simultaneous tangible/intangible quality that is both miraculous and enigmatic.' Tiny Mix Tapes
"Tim Hecker may be the finest sonic photographer around, the re-release of Radio Amor being further evidence for this claim.' Brainwashed
"Hecker's 2003 standout is a stirringly emotional narrative, without the slightest aid of a single voice.' Treble
"A slow-shifting mix of steely headrush and protracted morse code dispatches from the bottom of the ocean.' Dusted
Sampled by Drake ( Jungle') and G-Eazy ( Running'). Instrumental versions of Gabriel's Stones Throw Records debut Jardín now available on limited edition wax. Gabriel Garzón-Montano's formidable skills have come to fruition on Jardín in his Stones Throw debut. This album came out of wanting to make music that reminds people how beautiful life is and how delicate their heart is,' he said. I've always wanted to make music that is healing, comforting, and funky. I named the album Jardín hoping for it to create a space for healing when people put it on. A garden is full of life, growth and beauty,' Gabriel said of choosing that unifying image as the title for his new album. It makes me think of green and white and all the colors as they appear in different flowers.' That vivid spectrum bursts forth on Jardín itself and the album contains references to fruit of all sorts, sour mango, juicy tangerines and sweet peaches. From the heartache and aching vocals that float over the dusty drums of Crawl' to the stutter-step thump of Bombo Fabrika' to the high falsetto he nails on Octave,' Garzón-Montano proves himself to already be one of 2017's biggest breakout talents.
Mid last century. Commercial Music is a machine that generates dances that run each other over in the urge to reach the audiences and mark their place in time and history.
A never-ending list of choreographies co-habit: hully gully, madison, rock, limbo, twist and a long etcetera, until a new dance, bossa nova takes over the dance floors. Joao Gilberto, Tom Jobim or Vinicius de Moraes reach stardom in Brazil with this mix of samba and jazz, but the genre doesn't explode internationally until a few American jazzmen decide to import it. From there it reaches Europe, via France, thanks to Sacha Distel, the first on the continent to record an EP completely dedicated to this phenomenon.
It is 1962.
Shortly after in Spain, the number of artists including original or adapted tracks in their albums, escalate: Tony Vilaplana, Mina, Duo Dinámico, Latin Combo, Los 4 Brujos, Gina Baró, Grau Carol, Salomé or Marisol, who popularizes the new trend by recording 'Marisol rumbo a Río', a blockbuster film partially filmed in Brazil. The maestro Augusto Algueró writes the films soundtrack.
For this compilation we have consciously dug into the archives of three Barcelona based labels like Belter, Discophon and Olympo to serve Spanish sung bossa nova songs that have never, inexplicably, been released on vinyl, all songs are recorded during those two (musically speaking) prodigious decades: the twentieth centuries sixties and seventies.
Kevin Murning is a musician, producer and DJ from Cape Town, South Africa. He describes his music as fake jazz, probably because he dropped out of jazz school. At 23 years old, Kevin's music is youthful yet precise and his debut EP offers an intriguing cross-section into his varied musical experience to date. The release comes out via Cape Town based imprint, Quit Safari, home to some of SA's most exciting producers.
Kevin's debut comes in the form of a 5-track EP called Mode's Arp. Comprised of 3 originals and 2 remixes, the release serves as a dual functional one with tracks for home and club use. Taking 2 years to fully complete, Mode's Arp is a wonderfully considered body of work and speaks volumes about Kevin's talent and his ability to create music that is beautiful and banging. Both Kevin and Quit Safari label head, Zanasi Wifi, are on remix duty for the EP, taking the originals and recontextualising them into high octane percussive workouts.
DJ support already includes The Maghreban, Turbojazz, Severino, Laurent Garnier, Mystic Bill, Edmondson and more.
From 140 To 170 Bpm Acidcore Music !
When Scanning A Lsd-brained Activities Then The Scanner Gets Colorfull.... Of Acid Mental Tribe/techno, Acid Melodious And Acidcore !
Lets Check Pink And Lets Be Punk !
Originally Hailing From Columbus, Ohio, Where He Was Born In July 1948, Bill Mason, The Son Of A Baptist Minister, Had First Learnt Music In Church. Starting Out On Piano He Switched To Organ In His Late Teens. Mason Had Come To Bob Porter's Attention When As Part Of The Bryant Group He Recorded At Prestige On Two Sessions In 1971. Bill Mason Proves Himself A Formidable Leader With His Solo Album, The Aptly Titled Jazz-funk Outing gettin' Off'. The Album's Physicality Is Astounding, Mason Is An Extraordinary Soulful Hammond Organist, Conjuring Spiraling, Spellbinding Grooves That Seem To Grow Deeper And More Relentless With Each Successive Track. He Also Proves His Talent As A Composer With Originals Like "mister Jay" And The Scorching Title Cut Standing Tall Alongside Covers Highlighted By Al Green's Immortal "let's Stay Together".
Gettin' Off Features Idris Muhammad On Drums, Which Means A Frenzy Of Funky Jb-influenced Over-the-top Soul-jazz Drumming. Featured On Bass Is The Legendary Gordon Edwards (known For His Work With James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, Etc.) And Saxophone Duties Are Handled By Hubert Laws (quincy Jones, Gil Scott Heron, Moondog).
All Of The Above Is Carefully Overseen By Engineer Rudy Van Gelder & Producer Bob Porter (known For Their Work With Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis...and Many Others). Bill Mason's First (and Only) Album Was Originally Released In 1972 On Eastbound Records, Super Rare And Fetching Large Sums On The Collectors Market, Now Finally Back Available As A Limited Deluxe Vinyl Edition (500 Copies). This Album Also Comes With The Original 1972 Art By Prestige Records Photographer Al Johnson.
Sandra Wright was an incredibly powerful Soul singer from Memphis (later Nashville). 'Wounded Woman' is one of the greatest Deep Southern Soul albums of all time and defined by it's title track re-issued on 7' here for the first time. The flip side 'Midnight Affair' has been an in demand modern soul dancer for many years and it receives it's first UK release here. Both songs were recorded at Broadway Studios Muscle Shoals in 1974 produced by David Johnson, in the same studio that Swamp Dogg used for his seminal albums by Doris Duke and Sandra Phillips. Timing for the release coincided with the demise of it's label Truth/Stax Records and so missed its opportunity for the commercial greatness it deserved. Original copies of 'Wounded Woman', the 7' on Truth Records have sold for over £300. Soul Brother also have the full album available on LP and CD.
You'd Think That Following "melodies Of Love" Would Be An Impossible Task. Not So, If You Happen To Be Genius Brit-funk Pioneers John Rocca And Andy Stennett. On Their More Understated - Yet, Pound For Pound, Stronger - Second Record, Pink Rhythm Stretched Out To Create A 4 Track Ep Of Richly Melodic, Exquisite Beauty. In The Process, They Trumped Their Most Well-known Release.
Cruising On A Funk-fuelled Journey From The Swaggering Title Track, Via The Blue-eyed Soul Of "trust Me", To The Stabbing Staccato Synth Heat Of "more And More" And Back Again ("india" Dub) This Ep Has Essential Seared Onto Its Substantial Grooves.
Aussteiger is a Berlin based German DJ / Producer. He runs the Dub Disco label in Berlin and DJ's around the world. Zusammenkunft is his debut album released on Copenhagen's Music For Dreams. Once upon a time a golden boy came back from the shadows. Rumors were told that he once left the big city in a time where the music scene and clubs were dominated by cold music and average beats. He left behind civilisation, living withdrawn in the woody mountains of a covert place. From there on people talked about him as Aussteiger. Connected to the nature and deeply rooted in the harmonic essence, Aussteiger became a part of the great whole. In a full moon illuminated clear night while experimenting with various unique herbs he accidentally found a recipe to create warm and ravishing music. He firmly believes that music is his infinite source to gather strength and positive energy After years of strengthening himself and shaping vibrant sounds Aussteiger decided to share his delightful music with the world. He returned from his retreat in order to enchant the music lovers all over the world with his feel good approach and supernatural sounds. Coming back to the city, he also co-founded the awesome Dub Disco Label with his buddy Serj Nosé.
The wonderfully monikered Golden Flamingo was one of many labels operating alongside the now legendary P&P Records imprint in late 70's to early 80's NYC. Fans of deep Disco, raw gritty Soul and rare as hen's teeth Electro and early Rap know of the cult status of it's brief but influential output and in recent years the P&P label and it's associated entities have enjoyed further popularity through the exposure of it's music by some of the world's most respected DJ's and selectors, and rightfully so. An amazingly lo-fi, endearing and overtly underground aesthetic runs through all of the labels, from the label artwork down to the music itself. This style is evident on Margo Williams' epic 'God Save And Protect All The Children', a colossally rare 12" from back in 1980.
A huge, drifting soulful Gospel number, 'God Save...' has been an oft overlooked gem in the wider P&P related catalogue. Not much info is known about Williams other than she contributed backing vocals to some classic Disco records including Inner Life's 'Inner Life II' and The Salsoul Orchestra's christmas LP as well as appearing on other P&P projects. The production on this record was handled by the absolute powerhouse duo of Peter Brown and Patrick Adams so it oozes that amazing quality that these 2 legendary studio figures brought to all of their projects - the trademark P&P sound. It's all here in this beautiful stirring plea to the lord to look after all of us set to some incredible arrangement and production. It's obvious these self-made music industry legends were at the top of their game back then and one only has to explore the rich and diverse catalogue of amazing music they've given us over the decades. Absolutely essential repress action here.
This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK. Housed in original 1980 release full sleeve artwork.
A fresh iteration of the mid-eighties LP (itself a compilation of recordings from the previous five years or so), replacing two tracks — Dancing In The Rain and All Things — with their full 12' versions.This is a deeply personable, expert, limber blend of roots and lovers, kicking off with an exclusive mix of the deadly Mash Down Babylon; dropping classic, lush, spaced-out Wackies dub science to close; and taking in reworkings of Lickshot, Billie Jean and The Righteous Flames' I Was Born To Be Loved, along the route.The moniker 'Chosen Brothers' is Lloyd Barnes' spiritual way of sharing the credit for his solo projects. "Anyone in the studio at the time could be a Chosen Brother,' he says. In this case a full crew includes Sugar Minott and Prince Douglas at the desk; Jah Batta, Milton Henry, Wayne Jarrett and Junior Delahaye all on backing vocals; and such dream-team Bullwackies instrumentalists as Clive Hunt, Jerry Johnson, Fabian Cooke and Ras Menelik.
Deadbeat graced ZamZam with a release in our very first year of operation. Lending his name & gravitas to our young effort with ZamZam06 meant a lot to us at the time, and is something we never forgot, so we couldn't be happier to have him back for a second outing. Canadian by birth, now residing in Berlin, Scott Monteith is known the world over as one of the most adventurous and reliable producers in the areas of techno and dub-inflected electronic music. Extremely tight quality control over multiple full length albums and countless singles on seminal labels including ~scape, Echochord, and his own flawless BLKRTZ have made him a household name in dub techno and beyond.
Deadbeat's second ZamZam sets aside obvious techno constraints for a mid-tempo reggae scorcher that sounds like it was beamed straight from the humid & heady glory days of the Black Ark studio. Anchored by a tar-thick bassline recalling Lee Perry's 'Dub Organizer,' 'Wail Ball and Cry' leans hard into its rockstone drum kit, with whip-sharp turnarounds, clattering Binghi drums, melodica stabs and restrained yet ever-present flange and reverb keeping the atmosphere swampy and sparkling. A sweet falsetto intones on the loneliness and alienation we all navigate in these times of political debasement and (social) media spectacle.
'Dub Ball and Flange' mutes the vocal for a traditional version focused on nuance rather than over-the-top effects; high hats take the spotlight through expert filter & phaser work, as the heat inches up in the room with a stew of bubbling reverb & delicate echo trails adding to the already simmering & shimmering vibe.
Mastered by Sam at Precise
The Moment We've Been Waiting For. Youngsta's Sentry Records Continues To Set The Pace And Raise The Standard With One Of The Most Sought-after Artists In The Current Dub And Dubstep Scene. After Releases On Institutions Such As Deep Medi, System And Zamzam Sounds - Egoless Is Back For Another 12' Shell. Revealing The Next Masterpiece Of The Croatian Heavyweight, The Prolific Imprint Welcomes Its Next Family Member And Two Mammoth Tracks. From Vintage Fx To On-the-fly Arrangements And Live Instruments - Egoless' Production Style Encapsulates The Jamaican Roots, Transferring Its Spirit Into The Modern Era.
Heading Straight Into The Abyss Of 'decolonize', We're Being Greeted With Tastefully Overdriven Tape Hiss, Obscured By Reverb. Oriental, Sitar-esque String Plucks Take Form, Wielding An Increasingly Inquisitive Nature. Alongside The Organic, Percussive Swing The String Plucks Cease For A Moment - A Fierce Vocal Statement Excites The Air As The Full Intensity Of This Sonic Weapon Hits The Speakers And Every Last Fibre In Your Body. The Superbly Orchestrated Arrangement Flows In A Continuous Groove, Led Onward By Haunting Surges And Psychedelic Flute Arpeggios. On Top Of The Stomping Foundation, Longing Spheres Conclude The Anthem And Leave Us Crave For A Rewind.
Turning To 'global' - The Alarm Bells Of An Apocalyptic Future Reverberate Into To Your Ears. Gargantuan Drone Pulses Lead The Way For Tribal, Acoustic Drums To Stir The Dance. A Daunting Swing Hurls Its Monumental Weight. Deeply Imbued With Rhythm - The Meticulously Crafted Sound Design Leaves Us Dancing In Awe. Life-like, Vibrant Flute Performances Form A Harmonic Composition Of Exceeding Quality, Sure To Fire Up Any Dance. Polished By Creative Vocal Sampling And Egoless' Fine-tuned Sense Of Controlling Tension & Release - These Tracks Will Stand The Test Of Time - For This Year And Beyond.
Woven Entity are Patrick Dawes, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.
Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie Havens, Duke Garwood, Beth Orton to name a few.
Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.
Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson, es, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.
Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie Havens, Duke Garwood, Beth Orton to name a few.
Woven Entity are Patrick Dawes, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.
Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie HavensWoven Entity are Patrick Dawes, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.
Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie Havens, Duke Garwood, Beth Orton to name a few.
Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.
Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson, , Duke Garwood, Beth Orton to name a few.
Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.
Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson,
Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.
Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson,
Underworld And Iggy Pop Announce Details Of A 4 Track Ep, Teatime Dub Encounters, Due For
Release On July 27th Via Caroline International.
While Overseeing The Soundtrack For T2 Trainspotting, Underworld's Rick Smith Arranged A
Meeting With Iggy Pop In A Room At The Savoy Hotel On London's Strand To Discuss Working On
Collaborative Music For The Filmhe first track from Teatime Dub Encounters - Bells & Circles - was premiered live as part of
Underworld's recent headline performance at the BBC Biggest Weekend Belfast. A second track -
I'll See Big - is streaming everywhere now. Something of a flipside to Bells & Circles, I'll See Big is a
wash of gorgeous ambient sound that features Iggy recounting how friends - however
dysfunctional - have saved him from a lifetime of bad decisions. The lyric for I'll See Big was
inspired by a conversation Iggy had with Danny Boyle about the subtext of both Trainspotting films.
After introducing Griffit Vigo 'the Gqom legend' on the Originators EP on Gqom Oh! Records back in February with the percussive anthem Ree's Vibe and the historical track featured on MTV Base Gqom Nation documentary "Gqom 5 - Gqom Oh! is finally ready to release Griffit Vigo's first solo single 'DJ' on a 7" vinyl, with on the b-side another Gqom viral Durban track coming from the numeric series "Gqom 6. Griffit Vigo, a real innovator in the Gqom genre who grew up in Clermont and started to produce music around 2007, has attained a legendary status amongst his peers as he was one of the originators of gqom, inventing sounds as Umshanelo (meaning broom in Zulu) and chopping vocals that everybody then started to sample. Many of his beats were appropriated or sampled, so now the time has finally come for him to show his talent and unique style and inspire the listeners in the same way he inspired everyone in Durban. This single introduces his forthcoming album on Gqom Oh!, to be released in September/October 2018 entitled 'Gqom is Alive'. As the Gqom sound has massively changed in the past year, taking over South Africa and the world, also by evolving into a more commercial-focused and melodic branch which derives from Sgubhu, Griffit Vigo's intention is to keep the original Gqom sound as pure and authentic as it was when it was first birthed whilst still pushing the sound forward in the future.
It Was A Musical Cocktail Born In A Marketing Meeting: Two Parts Easy Listening, One Part Jazz, A Healthy Dollop Of Conga Drums, A Sprinkling Of Bird Calls, And A Pinch Of Textless Choir. Serve Garnished With An Alluring Female On The Album Jacket For Best Results. Exotica! The Soundtrack For A Mythical Air Conditioned Eden, Packaged For Mid-century, Tiki Torch-wielding Armchair Safariers. Be It Mosquito-bitten Torch Singers, Landlocked Surf Quartets, Fad-chasing Jazz Combos, Mad Genius Band Leaders, D-list Actors, Or A Middle Aged Loner Programming Bird Calls Into A Hammond, Exotica Was Always More Concerned With What Geography Might Sound Like Over Who Was Conducting. Captured Across Three Albums Are 48 (54 On The Cd) Curious Examples Of The Short-lived Genre's Reach, Each Summoning Their Own Sonic Visions Of Shangri La, Bringing Their Versions Of The Pacific, Africa, And The Orient To The Hinterlands Of America. Technicolor Paradise Is Where One Makes It, After All.
Various Artists - Technicolour Paradise: Rhum Rhapsodies & Others Exotic Delights
The 2nd Release On 823, A Creative Project Founded By Ta-ku, Is Featuring The Label Debut Of Portland Wunderkind Quickly, Quickly.
823 Is Also The Numerical Representation Of The Phrase 'thinking Of You'. It Represents The Appreciation For The People/ideas/places That Inspire Us And Push Us Forward. As A Label We Are Proud To Present A Series Of Musical Releases That Showcase The Artists Musical & Visual Endeavors. The Artwork Is Shot By The Artist Themselves & Each Release Has An Accompanying Photo Zine That Acts As A Visual Story That Compliments The Music They Wrote At That Time.
There's A Maturity To The Sound Of Portland, Oregon-based Producer Quickly, Quickly That Makes It Difficult To Believe He's Just 17 Years Old. Using Elements Of Jazz, Hip Hop, And R&b, Quickly, Quickly Weaves A Tapestry Of Wispy Productions That Feel Equally Inspired By The Dusty Drums Of Early '90s Boom Bap As They Do By The Whimsical Electronics Of Head-turning Contemporaries Like Tennyson. Taking Over On Vocals, Bass, Drums, And Piano, He Offers Insight Into A Greater Understanding Of Musicality, There's Time Devoted To Each Audible Layer And It Shows.
Ta-ku:
graham First Caught My Eye With His Film Photography - It Was Only Co-incidental That He Also Made World Class Sounds & Made Me Ever So Jealous With His Musical Talent At Such A Young Age. Graham Is One Of Those Wunderkinds That Have Managed To Create Such A Strong Musical Identity For Himself And Makes It Look So Effortless. Graham Is The Reason Why I Started 823. He Is The Epitome Of Someone Who Embodies That Free Flowing Creative Energy That Needs To Be Showcased To The World!
Music Has Always Been A Part Of Quickly, Quickly's Life, As He Started Playing Piano When He Was Two Years Old. This Love Of Music Shaped His Young Life And Created A Solid Musical Foundation For Future Efforts. In 5th Grade Quickly, Quickly Found Hip-hop, Citing Common Market, J Dilla, Blue Scholars, And The Pharcyde As Early Influences. With His Love Of Hip-hop And Early Musical Background, It Seemed Only Right That Quickly Would Begin To Produce His Own Music.
Having Now Made Beats For Around Six Years, Quickly, Quickly Is Producing At The Top Of His Game. The Production On His Debut Ep over Skies' Is As Easy-going As It Is Complex, And The Fact That There Are No Samples On The Ep Makes It All The More Impressive. Inspired Heavily By The Sky And The Many Forms It Takes, This Ep Blends Genres And Crosses Musical Borders With Ease.
Mateis e. aqir is an artist currently based in Catalonia, living by the sea. Shortly after releasing his debut 12" he's back to share a 10-track LP recorded sometime during 2017. Psychedelic cuts from different moments and places, precisely reflecting his state of mind and inquisitive nature. Mateis develops an original technique based on the usage of subtle synthesis, drum-machines, field recordings and acoustic instruments, including his own percussion and bass guitar. Hope you enjoy : )
Banileue Records Boss Benoit B Lands On Facta And K-lone's Wisdom Teeth Imprint With A Spacious Four-track Set Of Dazzling New-age Steppers. The Record Follows On From Benoit's Excellent Japonaiserie Ep - A Stunning Tribute To Japanese Synth Music Released Last Year On Berceuse Heroique. Onvague À L'âme, The Melodic Ideas Developed On The Japonaiserie Ep Are Set To Work Against Broken Beats And Uk-leaning Rhythms, Bringing It In Line With The Output Of Wisdom Teeth Label-mates Duckett, K-lone And Don't Dj. The Ep Is Bookended By A Pair Of Euphoric Broken-beat Rollers: First, The Melodic Bleeps And Weighted Kicks Of The Title Track, And To Close, The Scuzzy Pads And Glissando Synths Of Kimono. Sat Between Them Are Two Lean, Smokey Half-steppers: The Record's Vocal Centrepiece, Gyvenimo Tekme (featuring Lithuanian Songwriter Dália), And Ice Valley - An Intergalactic Slowjam Built Around Dubbed-out Bleeps And Yearning Cluster Chords.
Meet Me On The Corner is taken from the band's sophomore album, Orange Whip, which itself was BBC 6Music's Album of The Day on its release. It follows previous singles Whatever You Do and Sinner, which garnered support from Craig Charles, Tom Ravenscroft and Huey Morgan. The song showcases Honeyfeet at their funkiest and chunkiest. A pounding beat beefed up by bass, guitar and brass propels forward while Rioghnach Connolly sings lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in its demands for a dalliance on the street.
Remixes on this more foot friendly single come courtesy of homegrown legends of funky house music, Crazy P who come through with both a vocal and dub version. Honeyfeet's latest opus is turned into a straight up soulful disco monster by the boys from Nottingham, with Rioghnach's rasping vocals playfully meandering over Hot Toddy and Ron Basejam's crisp beats and trademark live bass. Elsewhere, much hyped Russian production don, I Gemin, delivers his take - still aimed at the dance floor of course, but a slightly deeper house affair based around jazzy keys and chopped up vocals that take the song into more sonorous territories.
As a bonus, the 12" package also features the acclaimed remix of previous single, Sinner, courtesy of erstwhile Polish Innocent Sorceror, Envee - his shuffling, moody take only previously being available on vinyl via a super limited (and now impossible to find) 7-inch release late last year. For the last couple of years Honeyfeet (whose name comes from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music.
The band are fronted by Rioghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "A remarkable singer and flutist who...can ease from Irish traditional influences to soul" (The Guardian). The line-up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).
Since their self-released debut album, 2013's It's a Good Job I Love You, keyboardist John Ellis jumped on board as full-time member, bringing his unique musical presence. This enabled the development of a more texturally adventurous style, as witnessed with the dual atonal solo between himself and guitarist Ellis Davies on Sinner. Similarly, for their current LP, Orange Whip, engineer, bassist and spiritual guide Lorien Edwards makes his Honeyfeet recording debut, so completing the 'kitchen' of this very special band.
- The album, Orange Whip, is out now.
Iron Sight's music crosses territory between dystopian sci-fi futurism and biblical eschatology, perhaps the same event, the end of the Uroburos' tail; mechanical percussion hits anchor drones that evoke Albrecht Durer's vision of The Four Horsemen, bristling synths audibly resemble locust drones descending upon rotting fields, a voice made from barbed wire emerges from a storm of reverb.
This record, as the title suggests focuses on the trauma of a broken heart, bodies longed for are dissected and reconstructed, the minimal composition of the tracks allows cinematic spaces to unfold, constructing the scaffolding for a descent into obsession, mania and the annihilation of memory.
Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD and Digital.
"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.
During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.
Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.
From 'Breaking Bad' to Danish films and albums
Asger Baden is a productive composer and has created music for countless films, television productions and series. He has worked with directors such as Christoffer Boe, Nicolaj Arcel and Martin De Thurah, and his music is featured well known productions like 'Breaking Bad', 'The Wolfpack' and 'VICE' on HBO.
'Zarniqa' is recorded with a 40 piece major symphony orchestra in Prague. On the album, Asger Baden chases music's untouched essence.
Asger Baden is a composer and producer based in Copenhagen Denmark. 'Zarniqa' the 1st album in his own name - 16 cinematic, timeless compositions with a dramatic and dense expression ranging from melancholy to an etheric ease.
The main part of the album is recorded with a 40-piece symphony orchestra in the majestic Rudolfinum Dvoák Concert Hall in Prague. In stark contrast to the orchestra are the piano pieces - recorded solo by Asger Baden in Copenhagen. The contrast between the grand symphonic sound and the intimate piano pieces defines the album
Halleluja Mystic Garden contains two long sides of blissed out, super tight AMT jams that somehow stretch into the future while staying strongly rooted in the group's celebrated psychedelic history. Hallelujah!, another essential AMT classic including vocals from Cotton Casino ! First pressing of 500 copies. Packaged in a heavy duty single pocket sleeve with silver metallic inks. Part 2 will be released later this year on Important Records.Cotton Casino : voice, astral mama
Kawabata Makoto : guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru Higashi Hiroshi : synthesizer, noodle king Mitsuko Tabata : guitar, guitar-synthesizer, voice, kisses & hugs Satoshima Nani : drums, another dimension S/T "Wolf" : bass, tapes, space & time recorded at Acid Mothers Temple, Jun. 2016 - Mar. 2017 produced and mixed by Kawabata Makoto
During the eighties it was possible to observe an Italian fascination with the mysterious Far East. This can be found across art, design and music in Italy during this time, in subtle or obvious ways. Specifically there are Italo-disco records that proudly show this influence, some of the best known being: Fun Fun Living In Japan, Koto Chinese Revenge and City-O' Rose of Tokyo.Following in this theme is Fancy Null Null. Not to be confused with the famous Euro-disco artist behind Slice me Nice, this 'Fancy' is a one-off project from Italo-disco icon Raffaele Fiume, the artist and voice behind many great Italo-disco hits, such as: Helicon You See, Malcom & the Bad Girls Shoot Me and Ralph River Band Strange Vibration.Adding to the original tracks of the 1982 release is a totally ecstatic and powerful remix from Betonkust: one of the most talented and exciting Dutch producers of recent years. Also included is an instrumental edit from Hysteric, for those who find the unique vocals challenging.
To coincide with the release of their eagerly awaited debut album Gate Of Grief (now due out on 20 July), US dark electronic outfit WHITE RING release a double AA side 7' single of the two lead tracks on the album 'Leprosy' and 'Nothing'. Blending heavy, distorted electronics with eerie, unsettling vocals they push the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix
'Leprosy' is brooding, abrasive and ethereal all at once, the track draws from a varied and challenging palette, steeped in existential dread. It was the first song they wrote for the album and features the vocals of co-founding member Kendra Malia. As Bryan Kurkimilis explains; 'This song was the first time we really wanted to start exploring aggression in our music.'
'Nothing' is underpinned by gothic 80s beats and sinister synth bass-lines. It crackles and fizzes with arcade bleeps with wraith-like melodies floating over the top. In this song, nothing is true and everything is permitted. It features the first collaboration with newcomer Adina Viarengo, who added her vocals in 2016 to the existing instrumental track that Bryan Kurkimilis created for the first set of WHITE RING demos in 2009.
WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. Gate Of Grief arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe.
Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.
Dwelling on the outskirts of pop music, WHITE RING grew up in the age of the internet and were exposed to a huge range of music. They have developed a unique style while pushing the boundaries of accessibility and musical genre. They have created a piece of art that is brimming with symbolism and underlying tensions, that seduces and scares in equal measure.
With The Ever-growing Demand For Victor "ticklah" Axelrod Productions It Is Our Profound Pleasure To Present His Latest Masterpiece - Whatcha Doing (to Me) B/w Strike Three. Originally A Stand-out Album Track From Charles Bradley's "changes" Long Player - Then Titled "you Think I Don't Know (but I Know)" - Axelrod And Co. Artfully Transform The Soul Groover Into An Early Reggae Stroller, Ala 1970 Bunny Lee. Charles' Signature Plaintive Vocals Provide A Beautiful Juxtaposition To The Lighthearted Bounce Of The Inversion's Island Beat. On The Flip You'll Find The Dub Version Titled Strike Three, That's Sure To Make Our Beloved Dj Demographic Select The Number 2 In The Ol' Order Box. Thankfully Cb Was Able To Hear This Version Before He Passed, To Which He Said "ooooooo! I Love It!" We Think You Will Too!
The band formed in late 2013 by former Coldworker members Joel Fornbrant (vocals), Oskar Pålsson (bass) and Anders Jakobson (drums). The line-up was completed by guitarist Kristofer Jankarls (also in Livet som insats) a few months later and the quartet focused on songwriting. The first recording took place in the spring of 2015 and the 12 tracks were released on the two 7' EP's Time and again and Mankind crawls.Following the releases of the EP's and a few live shows Axis of Despair continued to work on material with the ultimate goal to create a striking grindcore album with an aggressive, yet diverse selection of strong songs. The writing process was spread out over a year until the band went into the studio and begun the recordings in the summer of 2017.Contempt for Man propels with twenty super-charged raging songs, clocking in around the half an hour mark - short enough to retain attention, and long enough to serve a good taste of the bands particular brand of European grindcore.
Two Words is the debut release from the duo of Canadian sound artist crys cole and Australian songwriter Francis Plagne. Building on a series of experimental live performances in which the pair toyed with possible common languages for their seemingly unrelated approaches to music, the LP's two sides present a single piece that brings together abstract texture and slow-motion song in a sonic space where genre cedes to the logic of dreams.
The piece begins with a long, nearly static sequence built primarily from rubbed surfaces, using movement in the stereo field and changing mic placements to create a unified but unstable sonic environment that mimics wind, water, and breath, opening an impossible space between nature and artifice. This artificial outdoors ultimately makes room for Plagne's electric organ, which sounds a series of melancholic chords to accompany a wandering Wyatt-esque keyboard line as cole's intimate contact mic textures sizzle and pop in the foreground.
From here the piece makes a surprise detour into song, as the majority of the second side finds Plagne intoning a series of obtuse two word phrases (from a text by Berlin-based poet Marty Hiatt) to an austere organ accompaniment. Working closely with engineer and producer Joe Talia, cole and Plagne extend the studio-as-an-instrument tradition of Teo Macero and This Heat, introducing subtle yet unexpected production shifts that lead the listener from the initial austerity of the organ and voice to an oneiric space of asynchronised vocal doubles, creaking textures, and distant whistling, ultimately arriving at something like an imagined meeting of Organum and Arthur Russell.
Packaged in a suitably mysterious sleeve featuring a lush work by Australian painter Anne Wallace on the front and text by Hiatt on the back, Two Words is both comforting and strange, a disorienting blend of seemingly discrepant elements.
89:Ghost are thrilled to bring you an EP from talented Finnish producer Vesa-Matti, with an EP that could be a dub techno soundtrack to a Finnish sealife documentory, here's some direct info : "Tracks were written & produced by Vesa-Matti Kivioja in Vaasa, Finland, between 2011-2017 in three different locations, Highsquare Sound, Studio K & Seafront Mixingroom" : We seriously dig this dude, try check out his other, more ambient work too if you can. Peace - Nx
"Oozing.. oozing soul, oozing feel, oozing the essence of rhythm and the body. This is what Elbee Bad is about. A native New Yorker who has long since transplanted himself in Berlin, Elbee Bad AKA The Prince of Dance is back on Thema Recordings with a masterclass mini album that will resonate for years to come. "Crossing Dimensions" is more than just a record, it is a philosophy on turntablism and what it means to be engaged in this culture. Sitting comfortably on the shelf next to artists like Mr. G, Moodymann, and DJ Sprinkles, Elbee recalls this genuine house feeling while adding a spice that could only be summoned out of his creative nuance. From the anthemic knowledge of "Request Monster" to the bass blistering sonnets of "Crossing Dimensions", Elbee showcases the sound of an artist who is deeply in touch with himself, the crowd, and the history of this music. No filler, no bullshit, just truth, love, and HOUSE.
Text by: Nathan Levenson"
Tivoli Trax started as a Multiplex series paying tribute to local artists connected to Kong's Mantra night club, while it was based in Copenhagen's Tivoli Gardens. The first 1996 EP was followed in '97 by Vol. 2 and finally by a 12 track CD compilation in '98. In 2018 we are bringing back this iconic tribute to amazing Copenhagen based producers with Tivoli Trax vol. 3!
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To bridge the twenty years gap, the first track is an original Hüebsch Originators production from '98. This deep techno track was released on the Tivoli Trax CD, and we are delighted to finally be able to present it on wax. The duo also released the Evanouir EP on Multiplex in '97. Secondly we have the beautiful Bodies by Vassdrag, a Norwegian word for a river system and the Multiplex alias of a well-known Copenhagen producer, who's been releasing on a quintessential techno imprint since 2010.
B From E aka. Frej Levin, a rising star on the Danish scene and known for releases on Copenhagen Underground Posse and Tartelet Records, delivers classic, atmospheric, deep house in the form of No Memory. The last track is Nightwave by Dennis Uprock, better known as dub-techno producer Resoe of Baum Records, Echocord and Pattern Repeat. A prolific producer of multiple genres. He has used his Uprock moniker when playing house music since the mid-90s.
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!
The debut release on the label is a real doozy - New Birth, the mighty Detroit Funk outfit who operated from 1970 onwards are first up to bat. Their late 70's rarity 'Deeper' is a real monster lifted from their killer 'Behold The Mighty Army' LP. Produced by legendary Motown stalwart Frank Wilson this is some straight-up Disco-fied Funk for sure! One of those solid, mid-tempo groovers that just ignites a dance-floor at any time, any place. Side-A is the glorious full-side Disco mix and we're treated to the full instrumental version on the flip. No lazy edits here, just the full Funk and nothing but the Funk, just as the group intended! This is one of many soulful treats that Dynamic Range will be presenting in the coming months, stay tuned for more - 'Ain't It Something'. All music selected by the Dynamic Range team / Licensed and reissued by Above Board distribution in conjunction with Warner Music.
Remastered with love by Optimum Mastering, Bristol UK. Artwork and design by Atelier Superplus. 2018.
Peter Kadergard has been active in the Helsingborg (Sweden) electronic music scene since the early 1990's. He was involved in various collaborations during the 90's and appeared on a few cassette releases under the names Grodans Fodelsedag, Marchentraum and Mannix System. Peter released his first Rittowski record on the Borft sub label Djuring Phonogram in 2004. Apart from this electro project Peter is a member of the bands Goz Mongo Alliance and Inyurmania, who has made a few releases on the Ufo Mongo, Pripuzzi and Skiboy record labels. This is new Electro!
Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP 'The Marquis of Hawkes', due out 24th August 2018 on fabric's in-house label Houndstooth (home to Call Super, Aïsha Devi, Special Request and more).
Ahead of this, Hawkes will also release a new single featuring acclaimed UK soul singer Jamie Lidell. The single, entitled 'We Should Be Free', features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single, Don't U', which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album.
Essential repress of stunning 1977 Disco-soul rarity, written, produced and arranged by the incredible team of Norman Connors, Reggie Lucas and James Mtume. Vitamin E, a a short-lived group that yielded only 2 singles and one long player during their time certainly knew who to work with in the studio. 'Kiss Away' is an absolute belter, raw and raunchy Funk riffing gives way to some ultra smooth, grown-up stepping Soul awash with some stellar string arrangements. This one is definitely for the dancers, it simply glides along with the utmost class and sophistication, an incredibly uplifting and funky cut that features here in it's 1977 special disco version guise as per the original Buddah Records release. On the flip is a cool cover of Neil Sedaka's 1974 hit 'Laughter In The Rain' - a sweet version, no doubt, but the real winner is the stellar A-side. Reissued, remastered and re-presented for 2018 by Above Board distribution - 100% legit and licensed.
Earthboogie's debut album, Human Call, rightly earned praise on its release earlier in the year, with listeners responding positively to its sticky and humid dancefoor fusions of African and South American rhythms, chunky dub disco, retro-futurist house,
spacey analogue electronics and sun-kissed Balearica. Hot on the heels of that release, Leng Records has sourced new remixes of two album highlights - 'High Minded Man' and 'Silken Moon' - from Running Back label boss Gerd Janson and synthesizer-wielding Balearic boogie stalwart Pete Herbert.
It's Janson who steps up frst, offering up two total overhauls of 'High Minded Man' that re-cast the undulating, Afro-fred original as a dreamy, drum machine-driven chunks of vintage deep house goodness. Where Earthboogie's album version bobbed
and weaved around horns and live bass, Janson's Deep House Mix places the duo's original chanted vocals above a bouncy, polyrhythmic rhythm track, Larry Heard style chords, Kwaito-esque electronic bleeps and a smooth, soul-stroking bassline. Janson's
Deep House Dub, which strips out the vocal for a more sparse and ethereal listening experience, is also included on the EP.
The EP's other remix comes from sometime Reverso 68 member Pete Herbert, who gets his mitts on previous single 'Silken Moon'. While he retains some key elements from Earthboogie's original - specifcally the vocals, Afro guitars and house stabs - he
naturally adds a little of his own rubbery electronic disco favour via spacey synthesizer fourishes and a massive electronic bassline that brilliantly tracks the rising and falling
movement of the main melody. It has the feel of a terrace anthem in the making.
RINT ONLY! 340-page book, Public Possession Katalog (01), chronicles Public Possession's graphic output to date, marking their 5th Anniversary, It includes past flyers and posters, with written contributions from Gerd Janson and Olaf Nicolai. The book, available now, will be on sale during Public Possession's fifth anniversary tour, which will include dates in Munich, London, Amsterdam, Berlin and Zurich throughout 2018. Each date includes both a daytime book presentation and a label party. PP Kat-01 - Valentino Betz & Marvin Schuhmann / Public Possession Katalog (01) - 336 Pages / 23cm x 31cm / Soft Cover / Glossy Paper / Multi - Colour - 1st Edition 2018 / 500 copies - Featuring Public Possession Graphic & Artwork, All PP Party & Instore Flyers of the last five years. - Index at the back of the book featuring international DJ cast (Hunee, Optimo, Ron Morelli, Seth Troxler, Young Marco, etc.) - Additional Text Contributions by Gerd Janson & Olaf Nicolai
Opening track 'In The B' kicks off proceedings in no uncertain fashion. It's 100% wall shaker material, the type of techno music best paired with strobe lights and towering speaker stacks. It mesmerises with its low-slung undulating bassline and Detroit rhythms before giving way to some riotous old school Essex stabs and sharp claps. No messing, this is a certified 3 AM red light burner! Track 2 'Chocolate Biscuit' accelerates proceedings! Beginning with unfussy drums and a robotic, bleep-heavy melody driving it off into a wonderfully off-kilter direction. Its arpreggio'd rhythms may be brutish and wrestle a growling sense of menace out of the track, but the overall feel, however, suggests considerable care and attention has been paid to make it sound this way. There's clearly an uncommon musicality at play here to make something this complex feel so simple.
The BPM drops next on 'Jenny's Hall' but from the offset, there's enough funk and thrust in the motorised synth line to get bodies gently grooving without the beauty getting lost in the slower loop. This is blissed out, psychotropic techno - the kind of track where it feels like you're floating and falling at the same time, but all the while making sure you still remain fit for purpose on the dancefloor. Ian Blevins takes on remix duties this time and the Berlin-based DJ/producer offers up a sleek peak-time banger that fizzes, bubbles and percolates. He gives the rhythm on 'Jenny's Hall' less space to swing and ties it to a tight motorik beat turning it into a slice of shiny, modern techno but with extra shoulder-checking force. Its vibe drawing from a sense of outsider-party fun with a wry smile, and a knowing wink running throughout before bringing the package to a suitably left of field crescendo.
To mark the 50th anniversary of Trojan Records comes 'Trojan Ska & Reggae Classics', a double vinyl album comprising 24 of the most celebratory Jamaican music hits from the iconic label's legendary catalogue.
Released in tandem with the TV advertised 3CD version of the same name, this joyous collection showcases the very best in classic Caribbean sounds, from rude boy ska to dancehall anthems, with the set featuring an incredible 22 Top 50 UK chartbusters, including 4 UK Number 1s and 13 Top 10s.
The perfect musical accompaniment for the summer of 2018 and beyond, this blistering 2LP vinyl collection compilation ably demonstrates just what makes Trojan so special and why it remains the world's greatest reggae label, half a century since its launch.
As an integral part of the Trojan 50 marketing campaign, the LP will be heavily promoted via the label's website, Facebook & Twitter pages, Instagram and YouTube channel.
[T] D2 | Desmond Dekker - You Can Get It If You Really Want
July sees Radio Slave's Rekids invite Britain's renowned Swayzak to the roster with a Cold War themed release entitled 'Odessa Calling' EP.A name associated with quality, Swayzak's ability to retain their signature sound whilst producing across various sub-genres has cemented them a solid reputation since their humble beginnings in the 90s. Their impressive back catalogue includes six studio albums and appearances on labels like K7, M_nus, Curle, Ellum and Swayzak's own label 240 Volts, which was relaunched in 2017. Originally a duo comprised of David Brown and James Taylor, Brown has been helming the project solo since 2012. He now joins respected Berlin-based imprint Rekids with two inspired productions. 'Odessa Calling' is a mysterious track with hypnotic synths, mesmerising pads and enigmatic vocals that combine together to create a celestial aesthetic. On the flipside, 'Numbers Station' continues with the otherworldly feel employing shimmering percussion that wanders alongside a brooding bassline for a well refined finish to the package.
Paramida's Love On The Rocks imprint readies its eighteenth release, in this, the year of our lord, 2018 - the latest instalment on the ever-evolving, hard-to-define label is a decidedly non-dancefloor oriented, melancholic/euphoric instrumental number from promising Lon-don/Lisbon producers Elles & Violet.
Elles, fresh from her Netil Radio & Rádio Quântica residences, alongside Violet, with a string of releases under her belt on One Eyed Jacks , Cómeme, Paraíso, Snuff Trax and her own imprint, Naive, deliver big time here with A Life Lived In Fear Is Like A Life Half Lived, a warm and bubbling acid future closing time jam that has all the feels of watching the sun rise over the city with your best friends on ecstasy.
Backed with 4 heavyweight remixes from Love On The Rocks fam Kasra V, Prins Emanuel, Etbonz and Massimilano Pagliara. Pure love.
Last spotted tomfooling as Tryck & Ton with Edvin Edvinsson, and prior to that as Tiedye on Mike Simonetti's Italians Do It Better imprint, subversive Swede Anton Klint makes his debut on Simonetti's latest label 2MR with two more vitally trippy, heavily dub-informed originals.
'Mun' chugs at a stately 107. Rippling in places, squiggling in others, there's an unabashed FX weirdness bubbling and popping over the insistent shimmering dubwise groove. Tweaking, freaking but running at such a smooth temper there's space between the chaos, Anton is balancing some heavily hypnotic alchemy here.
'Strupe' takes things even lower and slower. A dusty bluesy chugger, unhurried-yet-relentlessly building with a great sense of cosmic drama, listen and marvel as more elements are precision introduced throughout the seven minute trip. A masterclass in modern day honkytonk.
Remix-wise we're thrusted into the later hours with a technoid twist from Andre Laos. Maintaining Anton's original's trippy charm and measured pace but re-amping it with grittier foundation, teasing risers and an insurgent synth strike, it's the perfect complement to one of 2MR's most singular releases to date. Open wide.
This record comes with a version for every time and mood of a club night: Jo Pariotas Cut of the Original Mix is the ideal warm up tune. Flowing on a synthline that calls Mike Huckabys Waldorf to mind, it is sweet and driving at the same time. The Original Mix by LOVEiTs own Nico Brun might be called - Casual Affair', but comes rolling on a phat wonky rhode that brings the groove! Between the crunchy drums, a relaxed vocal snipped and warm synth unfold like the first rays of sunlight. The JK & LDS reduction is punchy, minimal and dubby - with its pull and release kind of melody and the stuttered vocal sample it works perfect as a peak time DJ tool. Finally, the A.S.S. Amnesia returns Mix is something else entirely... you just have to experience it in its full 8 min breakbeat Aphex Twin-like glory.
- morri313
Los Angeles native based out of Paris, ONYVAA is one of Europe's newest Techno imports.
DJ, Producer and owner of her Parisian based underground label Passeport Records.
Passeport is an outlet for her to release original productions with full creative musical freedom, gathering inspiration from around the globe.
ONYVAA's sound consists of strong driving techno with Dub influences along with an abundance of analog touches.
Benjamin Vigneron, also known as Vronsky, was born in 1991 in Aix-en-Provence, France.
As a Teenager, drawn simultaneously to Visual Arts, Cinema and Musiproduction, he made his first contact with Techno by working for a local club as a graphic designer. During his 20s, while living between Montreal, Canada and Marseille, France, it was revealed to Benjamin he suffered from a heavy bipolar disorder. As a reaction, he started losing himself in free parties and increasingly dangerous habits.
Gradually learning to love himself despite his flaws, he kicked his risk-taking after he realized the love of music prevailed over anything else.
Equipped with a strong desire to share his vision despite not being able to perform as a DJ, Benjamin started a youtube channel and a collective named Listening Blue.
'The first release from Berceuse Heroique arrived at the Honest Jon's basement the 21st of April, we didn't sell it until the next day, though, 'cause we don't like all that RSD bullshit. This April we wanted to celebrate 5 years since that day, with our 50th release, but manufacturing records is becoming a very weird place where time and deadlines don't exist. So, today we are releasing 3 new tunes by our dear friend Florian aka Don't DJ and a remix from one of our favourite artists ever, Mr. Newworldaquarium. It's properly cut on two 12"s (180g vinyl as always) and properly mastered by our favourite mastering engineer, CGB of the D & M crew.'
Very LIMITED album discs available now:
This is the first album Oscar Mulero has released under his own name, after two acclaimed LPs under the moniker Trolley Route. Well known for his skills as a hard-edged, raw and floor-orientated techno dj, his productions go far beyond, digging deep into the intricate landscape of intelligent techno, floating moods, reminiscent atmospheres, harmony and detail.
Grey Fades To Green is the affirmation of his maturity as a producer, using both hardware and software in the pursuit of a highly coherent and diverse album.
The concept is split into two parts: The Grey and The Green, each one with its own character. The first part is rougher and meant for the dance floor, although pays full attention to detail and complexity. The second part is quieter, has a slower pace and is best enjoyed at home.
In The Green Oscar goes deep into the intellectual side of techno music and is heavily influenced by the post rave sound emerging from the UK in the nineties: Aphex Twin, Gescom, B12, Plaid, Autechre.. but with a contemporary approach.
This part of the album brings you melodies, harmonies, endless atmospheres, and hours of studio work. Each sound has been carefully constructed, nothing is left to chance: Every stereo panning, every change to the synth's parameters has been meticulously designed for your listening pleasure; just what you want when you listen to techno on headphones. Futuristic music made with the utmost care.
'Last Regrets' shows how melancholic harmonies can be a perfect match for abstract beats and a dub-step reminiscence. A fine piece of sci-fi techno.
'Grey Fades To Green' makes a clean break by offering us an industrial drum'n' bass piece with a techno approach that mutates as the minutes tick by. A dub-step melodic track. Futuristic breakbeat for the decades to come.
The final track of The Green, 'Silent Air', picks up the homage to the intelligent techno sound of the beginning and returns to random grooves, crunchy samples, impossible hi-hats and massive synthesizer and step sequencer routines. A perfect ending to this sound journey from the heart of the dance floor to the core of your mind.
A mature work that confirms Oscar Mulero as one of the most qualified studio animals on the techno landscape.
This four-track EP named 'Curiosity' from techno duo, Abstract Man marks the beginning of the new On the 5th Day imprint, the latest branch to extend from the heart of the London-based underground techno project. The final outputs of a year-long creative journey in the studio with a focus on analogue machines, 'Curiosity' (including Mike Parker remix) represents a chapter of exploration into sound design and manipulation, and the unity and evolution of two separate musical identities through the collaborative process.
The debut release from Abstract Man begins with 'Curiosity' itself, portraying the first stages of the pair's collaboration and inspired by a shared appreciation for driving, hypnotic techno. Mesmerizingly linear and highly textured, the components forming Curiosity's foundations each command their own space, separately evolving with clear purpose whilst interacting in a compelling, ritualistic dance to lock in the listener. Its overall progression, including an emerging chant-like drone, signifies the manifestation of a new artistic voice, all together making this a symbolic achievement for Abstract Man, as well as a compelling and highly effective tool for the dance floor. The subsequent Mike Parker remix of the same track is another striking portrayal of his distinguishable sound and style, whilst developing to present something surprising and perhaps unexpected from the techno veteran, making this a must for collectors of his work.
Then follows 'Proposition', exploring the powerful possibilities through simplicity and symbolising the 'less is more' approach which fuelled much of the first chapter of Abstract Man's time in the studio. The joining of its elements creates a dark, seductive and unwavering tension, making it the ultimate tester for any venue's sound system!
Finally, 'Exploration' steps in a with an uplifting vigour and propulsive, rhythmic magnetism, rounding off the EP nicely with its feeling of freedom and completeness, leaving a sense of intrigue in readiness for their next instalment.
- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
Alanis Morissette released some of her bestselling albums during the mid-90's, before writing some of her more complex songs in the zero's. Her sixth studio album So-Called Chaos deals with subjects like cynicism, bitterness and jealousy, but she acts in a happier way. The records reaches out to a more serious approach, but the catchy refrains stays intact. Romanced by her relationship with actor Ryan Reynolds she reaches out to unconditional love on her single Everything'. The opening track Eight Easy Steps' is layered in the ideas of self-destruction, while the new-age sounds of the synthesizers creates the imagination of Out is Through'. Allover it's an satisfying record in which she searches for answers in a more hopeful way.
Four years after her debut album Alanis Morissette released her million seller Jagged Little Pill, which includes her singles You Oughta Know', Ironic' and Hand in My Pocket'. She released eight studio albums and sold over 75 million records worldwide.
Taking a turn to some of its roots, Emotional Rescue offers a reissue of Ramjac Corporation's UK house/breaks anthem Cameroon Massif!. First released on the increasingly cult-status Irdial Discs in 1990, this was very much the sound of the big bang explosion of Acid House morphing and splintering, as subsequent multi-genres developed, formed, imploded and reformed in new ways that still subsists today.
Within the melting pot of anything goes, chemically-enhanced optimism that spread across the UK during that return to the summers of love from 1987 onwards, the nascent sounds coming from Chicago and Detroit were mixed with a hybrid of 80s British influences, taking in European synth pop, US electro, new beat, hip hop and reggae. Out of this appeared a new sound, mixing that love of techno and house with dub bass and break beats into a proto-jungle swirl.
Like many growing up through the ever-evolving 60, 70s & 80s British music scene, Paul Chivers' early years of learning piano and guitar, moved from Beatles era pop to take in punk, jazz and anything an eager musical mind could explore. Developing a long-term interest and study of Cuban and Afro-drumming, his acquisition of an Atari and sampler soon moved to programming of both drum machines and TB303 and with that, Ramjac Corporation was born.
Playing live at some of the earliest raves in 1988, as often through luck and "right time, right place", including the infamous Back To The Future and Energy parties, Ramjac went from playing from 50 to 10,000 ravers in a matter of months, as the nation was gripped, depending on your cultural standing, by either a mixture of drug apocalypse paranoia or ecstatic celebration.
It was a meeting with Akin Fernandez, founder of Irdial Discs, that led some of the first studio experiments and creation of Cameroon Massif!. Utlising Akin's in-house studio and production skills, alongside Chivers' jazz influenced outlook of improvisation over arrangement, the track took shape, mixing the live programmed percussion, heavy doses of phase, delay and reverb and Sun Ra inspired keys that resulted in a number of mixes of Massif!.
Collected here are the original 12" "Massive" and "Massing" mixes, plus a special live version taken from the "Live At The Brain" reunion gig of 2009. The sought after 1990 versions and original Live mix are taken a step further with this 13 mins + mix, in essence a resampling and remixing reversion with didgeridoo and live on mic MCing, that gives a real glimpse of those early live sets. With more Ramjac Corporation material upcoming and a live reel-to-reel show appearing soon, the return of Cameroon Massif! is now.
Broken District is a new label launched by the creative minds of Jus Jam, Momla and Antwan. The project is born with the idea of exploring alternative music styles that blend the influences of the label's creators, including Jazz, House-Music, Hip-Hop, Funk, Soul, and more experimental sounds.
In order to give a global overview of the label's territory, Broken District kicks-off with a series of VA EPs, here delivering its second volume.
Steve Cobby and Laurie Welton are both from Hull in the north of England. Cobby is one of the members of the pioneering electronic outfit Fila Brazillia while Welton is the man behind the Myth! project, whose "False Profits" EP was released last year on Posthuman's Balkan Recordings label. In fact, Cobby has known Welton's aunt for 20 years and Laurie has been a fan of Fila Brazillia since the early '90s. So when Laurie was asked by Steve to collaborate with him, he jumped at the chance.
The fruits of their collaboration are the three tracks on the "Absolute" EP. This release is truly an international affair; the label, Adam Warped's Whiskey Pickle imprint, is based in Austin, Texas, the artists are from the UK, while a remix of "Absolute" comes courtesy of New Yorkers Whatever/Whatever, a duo staffed by Bryan Mette and legendary NY DJ, producer and remixer Justin Strauss.
Cong Burn go deep on their third record with Freerotation affiliate Duckett making his first appearance on the label and Chekov following up his recent contribution to Timedance. The heady A-side opens with Chekov's 'Spring' which has spent the last few years popping up in sets from Lena Willikens, Call Super and the Hessle Trio. Duckett's 'Lost In Israel' rolls through its first half carried by complex arpeggios before its layers are broken down and evaporated. On the B side Lack provides a extended and dubbed out DJ tool sounding like if Kowton released on Workshop. Haddon's 'Anabiosis' ties this batch together having first appeared on Cong Burn's debut CDR back in 2015 - since then it has become a go-to opener, closer and after party ender.
The young Dutch DJ & producer Lewski debuts on Darko Esser's Wolfskuil Limited series with 'Folkloric Human' EP presenting four fine Electro / Techno cuts.The title track opens the EP with a blend of old school electro and distinctly modern techno, featuring rhythmic bouncy beats and a playful built up perfect for the floor, followed by 'Phase Mistress', a vintage sounding beauty with captivating bass sequences and plenty of analog flavor.'EreBus' kicks off the B-side with its twisted drive, cyborg samples and sinister attitude that justifies it's name been derived from the mythological god of darkness. The atmospheric, Detroit flavored 'Decommissioned Androids' rounds the EP off with tight basslines and relentless analog madness.Lewski's debut EP on Patron Records last year gained support by the likes of Ben UFO, DJ Stingray and Umwelt. Lewski is part of a select cut of young artists who are absorbing electro's legacy, carrying it into the future and with his release on Wolfskuil Limited we can be sure that the future looks very promising.
The Brooklyn duo of Bryce Hackford and Joakim teamed up again, this time as Joyce, 2 years after their debut as Jhack.
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/A two track 12' featuring a thumping and heady psychedelic deep house groove, in a classic Prescription zone, on the A-side ( Bubbles'). On the B-side, Die Siesta' is a tribal ode to the Balearic art of napping, a moody live percussion improvisation jumping down the bpm and floating on filtered piano chords.
Big Release by Dubbing Sun feat. Mowty Mahlyka.
From the remote township of Te Mata, in the rugged hills of New Zealand, comes a new imprint following in the tradition of mid-80s rub-a-dub from an often overlooked corner of dancehall culture.The brainchild of local farmer and radio personality Red Robin - alongside the deadly production duo Naram and Art - the first 12' features two heavy-like-lead riddims with discomix cuts from four unsung heroes of the 80s with conscious, street-level lyrics.
Side A finds legendary singer Winston 'Midnight Riders' Powell rise again on a synth-infused piece of classic rub-a-dub. Despite being his first release in decades, he delivers a cutting edge vocal from his Kingston 9 borough about life Outta Road in the Jamaican capital. He then crosses live to special agent Speng Bond for a deejay report on the current state of Britain in Dread Outta Road. With a more uptempo riddim, the flipside sees Toronto-based 80s star Steve Knight fire some timely shots at corrupt politicians with Dem a Fraud, before Los Angeles-based MC Tippa Lee comes correct with a self-affirming deejay cut on Salute the Veteran.
Both sides are served with one-away dub mixes from Naram and added textural touches from Disrupt. Six cuts on one record, strictly limited pressings.
Warsaw based duo Private Press join Rekids Special Projects this July with four deep techno cuts entitled 'Zero Sum EP'.
Hailing from Poland, Adam Brocki and Jan Wóycicki make up Private Press - a project that's released sought after cuts on labels like Technosoul and Indigo Aera. The duo is also known by the name Raw Feelings, however many will be familiar with Brocki's Newborn Jr. alias, which has dropped releases on Rhythm Section, Echovolt, Dopeness Galore and Les Yeux Orange. 'Miracle Man sets the tone with delayed resonant synths accompanied by crunchy and distorted snares before 'Becomes The Prime' opts for a lo-fi sound with filtered synth blips and enigmatic vocal slices. On the flip side 'Tooms' delivers heavily reverberated horn-like stabs, modulated synth lines and an underpinning bass that rumbles throughout as 'Clan' offers a fast paced cut with high pitched whistling that echoes alongside a thumping kick drum and organic percussion to bring the package to a close..
On Video Age's forthcoming album Pop Therapy, out June 22nd via Inflated Records, longtime friends and songwriting partners Ross Farbe and Ray Micarelli conjure up a thrilling assortment of experimental pop songs. Using a palette of vintage synthesizers and the propulsion of a Sequential Circuits Drumtraks drum machine, the New Orleans-based group's buoyant synth-pop echoes from some imagined vision of the past, leaning on an invented nostalgia to soundtrack an ideal future that never arrived. Video Age brings that future fully to life on Pop Therapy. Emerging from New Orleans' DIY scene and label collectives, Farbe and Micarelli were intrigued by each other's songwriting among several curiously satisfying guitar pop bands. As a producer and prolific engineer, Farbe has helmed some of the most exciting releases from genre-pushing New Orleans artists, whose singular visions are made possible with his gifted ear and love of tape recording. Micarelli's talent for crafting simple, tangible melodies complements Farbe's studio world-building, letting ideas drift until they emerge into impressive arrangements. The pair's seemingly effortless gift for crafting earworm hooks was glimpsed on their 2016 debut Living Alone, a gorgeous collection of guitar-driven melancholy. On Pop Therapy, they're joined by Duncan Troast, Nick Corson and Jordan Odom, taking inspiration from the limitless possibility on sonic canvases of the late 1970s and early 1980s (Yellow Magic Orchestra, McCartney II, Donald Fagen's The Nightfly). Where Living Alone catalogued the solitude of reflecting on what was and could have been, the sentimental love songs on Pop Therapy gaze longingly at the likeliness of a brighter tomorrow.
Producer Okzharp and vocalist-artist-dancer Manthe Ribane both hail from South Africa, where Manthe still resides, while Okzharp lives in the London where he is a DJ and producer, initially cutting his teeth in LV, who in 2007 were one of the very first acts signed to Hyperdub. Manthe has been at the forefront of South Africa's cutting edge fashion, art and dance worlds for over a decade. After leaving LV, Okzharp and Manthe started collaborating, going on to release two well-received EPs on Hyperdub, 'Dumella 113' and 'Tell Your Vision', recorded in Joburg and London respectively. The recording of 'Closer Apart' reflects the title. Okzharp says 'Most of the music came out of headphone moments in hotel rooms, planes and airports in the brief periods of time that we spent together.' Describing Manthe as a co -producer, he continues 'She selected instrumental sketches and we developed them together, sometimes just keeping the bare bones or a melody or rhythm, or trying different elements or sounds.' Even though the album was built long distance, the short periods they spent together were the ground zero for creativity. Okzharp recalls 'One particular moment in Milan last year, we had a whole free day before our flight so we visited the Salone di Mobile design show. We were so inspired by an installation there just walking around, listening to the amazing soundtrack. That evening our flight was delayed, so we sat on the floor of the airport terminal putting musical ideas down for 'Time Machine' on the laptop speakers and writing the lyrics. "Tic Toc time, we'll be fine / Airport queues, cerulean blues / Viper trails cross the skies / Lights reflect in your eyes...' ' 'Closer Apart' has a softness and openness that contrasts the tougher sound of the EPs. Manthe explains, 'The new music is a 360 turn, an expression of my 'Lady' side. I grew up listening to Jazz, Classic and Gospel, I am a very soft spoken person, and it resonates with being confident with that. It's been crazy finding balance and finding a smart way to strengthen my weaknesses, I had to trust the process.'
'Solidarity Forever Vol. III' Co´meme is the last chapter of this series, in which Co´meme introduces new artwork, a new logotype and three Various Artists EPs. 'Solidarity Forever' is a motivator for our everyday actions, and a reminder of why we are doing what we do, 'Solidarity Forever' is Co´meme's commitment to the reconstruction of underground culture. The last EP, Volume 3, features music by RIZU X (Laredo, TX/Nuevo Laredo, MX), ANA HELDER (Rosario, Argentina), AYE AYE (Vaparai´so, Chile), Christian S (Cologne, Germany) and Katerina (Helsinki / Sofia). You will be able to hear Texmex Hardcore Industrial, New German Hot Wave, Psychedelic Seaside Dub, Motivating Rebel Techno, and Highly Sensitive Low Tech Jazz - here's more utopian music against dystopian times. Welcome to volume three...
CRS ltd 005, "Gray Fox" is the first Ep from the Polish producer Michal Jablonsky on VSK's label, following The last Ep from the duo Scalamerija and VSK himself.
"Find God" opens the release with an organic broken beat , which meet an evil cinematic voice.
"Post Human Being" is the hypnotic element of the release with a dark tribal groove.
"Gray Fox" has a strong 4/4 kickdrum combined to a sound design High frequency scream.
"Phantom Pain" is a madness slow beat rhythm with outstanding
soundscape layers.
CRS ltd is really glad to welcome this amazing talent on the label.
"Naura Records is proud to be back to present another strong release This time some lost archive material that goes back to the very beginning of his productions. Bleak delivers 3 cuts of his custom recipe but somehow adds new unexpected flavours throughout this Ep even though staying on his formal path. Starting with the A side, Dust (Mix1) takes off with an introspective journey with detroit and classic techno. A real head turner with a classy ride and functional feeling Dust (Mix2) more for the deeper realm, accompanied with enchanted melodies as a twist. Finally on the flip, "Element" samples the heartbeat of a even deeper state, where one is allowed to lose yourself. Get a hold of something solid, for this is a tune that communicates a lot of subtle changes and honesty."
"For the final part of SchleiBen 5 - 8, Emotional Response welcomes two Scottish based artists to close out the series. In Jon Keliehor you have a world and music traveler with history from psychedelic rock to fourth world exposure, alongside one of the best electronic producers of the last decade, Lord Of The Isles. As the drummer of West Coast folk rock / psychedelic band The Daily Flash, Keleihor spent much of the mid-60 based in and out of Seattle and Los Angles, playing alongside the likes of Jefferson Airplane, Cream and The Doors, before an increasing interest in meditation and philosophies outside of the 'rock' realm led him to England in the early 70s where he become involved in dance theatre. Teaching Advanced Rhythmic Music Studies at the London Contemporary Dance School, his music composition style became influenced by his studies of world music. Finally settling in Glasgow for over 20 years, while running the Luminous Music label and Gamelan Naga Mas, his earlier recordings for labels like Indipop, Touch and Bruton have seen a recent revival, with music appearing recently on contemporaries Optimo Music and Invisible Inc. The wonderful recordings included here span over 3 decades, from sessions at the Luminous Studio at The Diorama Theatre, London in the early 80s, through to recent field-work based recordings in the Cairngorms. Reconfigured and updated, a common thread appears through the pieces - a sense of longing and appreciation - as Jon's knowledge of outer-national instrumentation alongside equally extensive travels around the globe gives the recordings a seamless blend of organic craft. The tonal consonances within unlikely combinations of instruments, with tuned glasses (tarang), tabla, jaw harps, clay flutes and ocarinas, Chinese instruments that include Xiao-Bo and Xiao-Ping, large Noah bells, small and larges gongs all employed, the recordings have been reconstructed, edited and updated via sampling and digital processing. Featuring the playing of John "Jhalib" Millar - the extraordinarily gifted musician and tabla player - who has appeared with an EP on sister label, Emotional Rescue (ERC029), sadly recently deceased, the contribution acts as a tribute and more. To close, the music of Lord Of The Isles is an excellent companion to Jon's work. Neil McDonald's list of club-based releases on labels CockTail D'Amor, Ene, Firecracker, Permanent Vacation, ESP Institute and Phonica is comprehensive and exemplary, however within his productions has often been an other-worldly element, a space between the beats and occasional fully ambient pieces. Approached originally for series one of SchleiBen, the 7 pieces included were worth the wait, a journey in themselves and the perfect completion. Spanning almost 5 years, the majority were written during an extended exile in the Cairngorms. The lifting, ethereal, but melodic nature of the music fits that aesthetic. Blue skies, snow, long walks, space to think, but with a longing and appreciation of family and friends. The solitary nature found in SchleiBen 8 and the geographical incidence of both artist's recordings including sessions in the Scottish Highlands fits the series ideals and is a nice closure. Enjoy and listen. "
GMT (Phil Moffa, Guy Gerber and Seth Troxler) heads of the A side with a bang. The haunting strings of the original wind their way through drums reminiscent of jacking 90's house before the
drop of the classic Decompression bassline, chopped and spliced sure to make your mid section feel nice.
Mike Shannon touches down with a modular synth rework that takes the original and twists it into a modern acid trip and groove signature of his programming style. Like surfing a spaceship through a technicolor wormhole to planet funk.
Deadbeat shows his strength with a spaced out dub version. A master of his craft he delivers a reverb drenched, morphing grove that will transport your head to an indica haze.
Natalia Escobar stretches the pulls the track into an intense ambient time machine. This escape into the 5th dimension will induce shivers down your spine and make your 3rd eye burst into flames.
We hope you enjoy the work of these talented navigators! Safe travels :
Volume 3 is still to come and will feature DJ Rush, DJ Sodeyama, Quenum and S Katz (a.k.a.Katsuhiko).
Next up on Francis Harris' exceptional imprint Scissor & Thread comes a collaboration with American Producer, DJ Aakmael. Aakmael has built a reputation for some of the deepest, rawest house music sounds coming out of the States, releasing well-received tracks on the likes of Freerange Records, Release Sustain, Kolour Dogmatik and NDATL. Returning to Scissor & Thread, Aakmael and label boss Harris cook up an intoxicating vibe across this 5 track EP. Each shares a track and work together on the fifth, while also remixing each other's solo cuts. First up Aakmael's Deep Muzik- a quintessential nod to its self-proclaimed mission statement. Skittering drums, a shuffling groove, deep keys, and chords make up this essential opener. Frank's (aka Francis Harris) All That Light Mix shows another side, finding pockets of space and developing the fizzing percussion to produce an equally affecting piece of dancefloor bliss. Sharing production duties from the outset on Mercy of Means, the guys slip into an easy mid-tempo groove with plenty of depth - the rhythm rolls along and offers the perfect basis for some sublime melodic touches. Frank's Part Song also hones in on the subtle deep grooves. Bumping, slightly filtered and saturated drums provide the main body, with beautiful washes and keys finding their way through, Aakmael's remix beefs up the groove somewhat, making the snares snap harder and kick hit a little stronger, but the essence of the tracks melodic atmosphere remains perfectly in place.
Capofortuna is a duo made up of legendary Bologna-based house maestro, DJ Rame and multi-instrumentalist Ricky Cardelli from Rimini. Perhaps our 'housiest' release to date. Crush On You is an EP of particularly sophisticated forward thinking dance music. With glorious live instrumentation and joyous arrangements this is the kind of record that is going to slip right into many DJ's collections. Don't sleep on this one.
Coming back for another round after his first EP for Figure last summer, Shlomi Aber continues to explore different avenues of his multi-faceted sound, tying it all up in a nicely rounded package. Setting the pace is driving opening track Whistler, the producer showcasing his ability to craft something big but undoubtedly refined. He then lets old school drums cruise along gentle sways of washed out ambience, giving the deep heads something to really get into... Back with more techno on the B-side, this time in true Figure-style: lean, sharp, and utterly effective Penetrate The System is sure to leave its mark and comes complete with an extended, separate intro, making for quite an experience. Staying atmospheric to the end, Aber chooses to step out in half-time, taking cues from dubstep as hollowed kicks carve out an endless tunnel that leads only ever deeper down the rabbit hole.
Founder of the independent publishing house " Red Lebanese ", hits maker on D.KO Records beat maker as " L Rey ", graduated from " Beaux-Arts de Paris ", Mad Rey today appears as an artist who do not do anything like others but strongly followed by the whole artistic sector. " Quartier Sex " EP (inspired from his district " Pigalles " in Paris) has been a strong career kicker. But Quentin Leroy did not want to stay in his comfort zone. He wanted to push the limits of the House Music in adding Footworks, Hip-Hop, Techno, Acid in his live act. 1 hour of a condensed a finely written electronic music who literally smashed festivals and clubs crowds all around the world during 2015 and 2016 (ADE with Move D, San Soda and Tom Trago, Weather Festival alongside Kenny Dope, Lil'Louis and Mr Ties, or Concrete RA Residence Tour).
After 4 highlighted EPs and a fresh Asia & Australia tour, Mad Rey comes back with a double EP on D.KO Records. This upcoming " Balabushka " double EP has a touch of Omar S and the grove a 90's release from Move D with a really modern way to mix the styles. He comes back in 2017 with his 2xEP Balabushka on D.KO Records.
In 2018 Mad Rey will release 1 Ep on Rekids (Radio Slave's label records), another one on Promesses and the best one on Mamie's Records.
Here it is !
The long-awaited new LP from former Dubtribe Soundsystem shaman Sunshine Jones
Far from basking in Bay Area bliss, Sunshine has been busy redefining his organic approach to music making and sound synthesis into a rich and textured fresh take on the House blueprint - best realised in his elaborate & ever-evolving live shows.
Assembling these improvised pieces into a cohesive whole, that might well just be the best vinyl based representation off a full night out you're likely to hear this year.
From the emotive opener to last year's anthemic 'Fall In Love, Not In Line' closer, Home represents the fluid but refined garden of sound that's grown from Dubtribe's rich 90's foundation.
The artwork on this splendidly presented gatefold LP is a photograph of Sunshine performing live at the Garden Party in San Francisco by The Holy Mountain, the collage is done by Sunshine and the design is by Fernando_Graphicos. Accompanied by detailed track notes, with all equipment used to make the record alongside sonic schematic. Man and machine aligned for total transcendence !
SINGLE GATEFOLD LP
Echocord sub-label Echo Echo continues this July with Orbite's 'Interstellar' EP, a threetracker from the Berlin- based producer. Orbite is a brand new project founded in Berlin, Germany with a nod towards the raw, dubby sounds often heard across the clubs in the city, and where better to inaugurate things than the recently launched sub-label of Copenhagen's Echocord, one of the leading imprints in the realms of Dub Techno, home to pioneering acts like Rod Modell/Deepchord, Pole and Fluxion who have paved the way for Orbite's own twist on the genre. The ethereal pad textures of 'Skylar' lead on the package, deftly evolving alongside bubbling synth tones, swelling chords and shuffled percussion to create a create dynamically unfolding six and a half minute cut. 'Moment' follows, edging things further into dubbed-out territories with heavily delayed dub echoes and mesmeric spoken word poetry intertwining to create a, hypnotic beatless soundscape. 'Organi' closes the record with emotive, billowing pads, warm bell like tones and vocal murmurs running alongside swinging shakers and stripped-back micro-house percussion.
First Ever Vinyl Reissue, Limited Edition To 500 Copies Only, Bonus Tracks Not On The Original Lp, Remastered Sound, Insert With Liner Notes By Nick Rossi And Photos, Beautifully Housed In Three Back-flapped 1960s Uk Style Picture Sleeve ! The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.
At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.
Out Of The Frying Pan
Released At The End Of The Summer Of 1968, And With A Host Of Session Musicians That Included The Brass Section Of John Mayall's Bluesbreakers, Producer Gus Dudgeon Helped Weaver / Wynder K Frog To Improve The Results Obtained On The Debut Lp And Get One Step Closer To The Live Action. The Formula Was More Or Less The Same, Instrumental Hammond A Go Go Covers Of Hits From The Era, Including The Rolling Stones' "jumping Jack Flash", A Funked Up Version Of The Classic Tommy Tucker Blues Number "hi Heel Sneakers", An Exploding Cover Of "tequila" Or The Standard "green Door", But It Also Included The Sensational Weaver-penned "harpsichord Shuffle".
The Mysterious Love Drop Continues His Homage To The Classic Raw Sounds Of Days Gone By As He Drops An Anthemic And Pounding Slice Of House Music For Home Taping.
With His Trademark Moody Grooves And Heavy Delays He Builds A Vibe Which Is Guaranteed To Set Any Dance Floor On Fire.
Keeping It Raw And Proper With A Generous Pinch Of Soul And More Than A Touch Of Badass, Love Drop Just Moved Things Up To The Next Level. Less Is Definitely More As He Destroys The Floor.
On The Flip, Dicky Trisco Plays To The Emotional Strength Of The Original And Delivers A Highly Polished Heads-down, Dubbed Out Version For The Club.
While Rising Star Of The Scene Dan Shake Raises The Tempo And Treats Us To A Raw And Funky Workout To Complete A Very Fine Package Indeed.
Free Your Mind And Love Drop Will Follow.
Repress!
First Word Records is very proud to present the debut album by Children of Zeus - 'Travel Light'. It's been a long road leading to this album for Tyler Daley and Konny Kon.
They first embarked on their expedition into the music game two decades back - Tyler entered the scene as a songwriter, producer and vocalist, originally under the moniker Hoodman, whilst Konny began MCing, DJing and beat-making for hip hop crews The Microdisiacs and Broke'n'£nglish, along with DRS & Strategy.
To date, Children of Zeus have released three sell-out singles on First Word ('Still Standing', 'I Can't Wait' and 'Slow Down') and a compilation EP comprised of tracks made by the duo over the last decade entitled 'The Story So Far...'. Children of Zeus are finally at the stage where they are releasing their debut album proper, the over-riding ethos of which is about keeping their eyes on the road ahead, whilst shedding the baggage they've accumulated over the years - 'Travel Light'.
Features mainly come from Manny family, ( K S R ), LayFullStop, Metrodome (Levelz) and former Broke 'n' £nglish spar DRS. Guest production comes in the form of Switzerland's Sebb Bash, Nottingham's Juga-Naut, and London's Beat Butcha, and there's your favourite DJ's favourite DJ,
Mr Thing, slicing up the turntables on two tracks too. There's a few extra special ingredients on this album, along with their trademark sub-heavy, rhodes-laden hip hop soul hybrid. Reggae music has always been an integral piece of the CoZ sound-system ethic, so we see Tyler putting on his lover's rock hat for 'Hard Work', and they invite soul queen Terri Walker to join them on the fierce 'Sling Shot Riddim', while the album closes with the epic K15-produced jazz-bruk opus, 'Vibrations', on which Konny breaks it down quite simply: "high frequency means that you travel light, so get lifted yo, we'll live gifted".
Long as the journey has been, the time for looking back is over. This is about the present and future of Children of Zeus. A shining light in Manchester's now-school, and rightly heralded by many as the best new act to emerge in British soul music in the past decade. Aside from the above features, this project is written, performed and produced entirely by Tyler and Konny.
Since the crew first took flight, the end destination has never changed, the aim remains the same - to create timeless music, in their own unique style, without compromise, irrespective of industry and life distractions. The moral being this - travel light.
Echocord's Colour sub-label returns early June with a four- track EP from Eindhoven's Albert Van Abbe in the shape of 'Klangbilder'. Dutch Techno artist Albert Van Abbe has nearly two decades of experience under his belt in various forms of musical and visual expression, releasing on his own Vanabbe imprint, Figure Jams, Semantica and No Comment, as well as playing live and DJing at hot spots across the globe such as Berghain, Tresor, DGTL and Awakenings festival. 'Klangbilder 1' leads with a robust rhythmic drive, employing bumpy toms, shuffled hats and lumpy kicks at its core as vacillating synths, tension building drones and menacing pizzicato strings develop throughout. 'Klangbilder 2' takes things deeper next, retaining the dusty drums sound of the previous cut whilst stirring in airy ethereal pads and choppy, resonant stab sequences. 'Klangbilder 3' kicks off the B-Side with modulating synth whirrs, emotive organ tones and a muted drum tones throughout before 'Klangbilder 4' closes the package, taking things beatless and cinematic via emotive synth leads, droning subs and expansive echoes.
A1: The Exceptional Producer Stenny Has Been A Munich Resident For A Few Years To Be As Close As Possible To His Musical Home Port Of Ilian Tape. Here He Once Again Proves What A Perfectly Mixed Supergroovy Breakbeat Board Is.
A2: Janis And Fabian From The Live Duo Aka Trap10 Do Not Hide Their Musical Ideals. In people Zoo' It's Classic But Classy, according To Old Detroit Style And Chicago Tradition.
B1: Jonas Friedlich's Eps On Molten Moods And Four Triangles Are A Good Example Of What Techno's Style Is All About: Tape Delay Is His Weapon Of Choice, Often With Vocals And Rarely Straight Beats. With jazzersizzzze' He Ties In Masterfully To It.
B2: P-t2 Has Become An Integral Part Of The Red Sun (club Rote Sonne) In Just A Few Years, Indulging Her Fondness For The Harder Pace Of Club Music. Accordingly, Their Rfr Post Is An Acid Board, As It Is Written In The Book.
Den Hague's Dazion (who previously released a 12" on MFM's Second Circle imprint), with a 2 tracker for Safe Trip.
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Label say:
''URGENT: THE SAFE TRIP ORGANISATION HAS TAKEN TO THE WATER IN A BID TO SPREAD THEIR CODED MUSICAL MESSAGES FAR AND WIDE. THEY HAVE RECRUITED A YOING OPERATIVE KNOWN AS DAZION, A KEEN WINDSURFER, TO DEVELOP A METHOD OF BROADCASTING THEIR ADDICTIVE AND MIND-ALTERING MUSICAL MISSIVES WHEREVER THERE IS A SUITABLE BODY OF WATER.
OUR OPERATIVES TRACKED DAZION TO A REMOTE SPOT ON THE DUTCH COAST, WHERE HE WAS SPOTTED TRIALLING THIS NEW TECHNOLOGY WITH HIS FAVOURED F2 DRAGON BOARD. AS HE RODE THE CHOPPY WAVES, WE WERE ABLE RECORD THE RHYTHMICAL ELECTRONIC MUSIC BROADCASTING FROM WITHIN THE BROAD. THIS MUSIC FEATURED THE KIND OF TRIBALISTIC, DELAY-LADEN DRUMS, SWELLING ELECTRONICS AND EXOTIC MELODIC REFRAINS THAT ARE KNOWN TO INSPIRE FRENZIED DANCING IN MEMBERS OF THE PUBLIC. WE HAVE CHRISTENED THE RECORDING DRAGON WAVE'.
WE LATER TRACKED DAZION TO A LIGHT INDUSTRIAL UNIT ON THE OUTSKIRTS OF AMSTERDAM. THERE HE CONTINUED TO TINKER WITH THE TECHNOLOGY, TESTING IT OUT BY BROADCASTING ANOTHER MUSICAL COMPOSITION. THIS WAS MORE POIGNANT AND MELANCHOLIC IN TONE, UTILISING SPAACEY ELECTRONIC MELODIES, GENTLY BOBBING CHORDS, HEART-ACHING GUITAR FLOURISHES AND A TOUGH BUT BROKEN RHYTHM TRACK. THE RECORDING - CODE NAME VX LTD' - HAD A HUGE IMPACT ON US EMOTIONALLY AND EVEN REDUCED ONE OPERATIVE TO TEARS.''
* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch
* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.
* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.
* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.
* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.
* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.
* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.
* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.
* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.
* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.
* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.
* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.
* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.
Augustus Pablo's monumental 1988 LP Eastman Dub is back! Showcasing a vital selection of Rockers dub attacks built on the classic 1978 album Tetrack Let's Get Started.' Originally recorded at Channel One and Harry J's and mixed by Sylvan Morris at Channel One. Another classic Augustus Pablo collection from the golden age of Rockers!
For its tenth year as a label, 4Weed Records proudly presents Zion Kingdom, a special EP we've been working on since long time. A feature between historical sound system Dread Lion Hi Fi, also active as producer and promoter, and Mr Biska, this release is enhanced by legendary Henry Tenyue's trombone melody, aka Matic Horns, and it is mixed, dubbed and mastered by Steve Vibronics.
Over the years Matic Horns has been collaborating in studios and live performances with the best Jamaican and English talents such as Gregory Isaacs, Freddie McGregor, John Holt, Luciano, Aswad, UB40, Horace Andy, just to name a few. Dread Lion Hi Fi crew is a historical Italian sound system, that has been a reference point for the reggae vibez in Italy, promoter of historical events such as the Milano Dub Club and the Dubwise Festival, where the best producers, singers and selectas of the international scene have been hosted. The combination with master Steve Vibronics was born far away in time, from a consolidated relationship over the years that brought about this collaboration.
The track opens with a magical trombone melody by Matic Horns that perforates the pad carpet laying down the whole tune while indicating the path, a victorious march to Zion. The guitar riff, which perfectly fits to the trombone melody, introduces the drop of a deep overwhelming rhythm that transmits the desire of moving and dancing, and at the same time a spiritual mantra for high meditation. The production is enriched by three different dubs, mixed and made unique by Steve Vibronics' technique, reverbs, filters and delay, a very guaranty for the lovers of Uk Dub in roots and culture style.
In 2017, Benedikt Frey released his breathtaking debut album with the ESP Institute, Artificial, and now as we finally come up for air, we're more than proud to offer an eclectic collection of remixes that's nothing short of essential. Side A leads with H For Hysteria remixed by a beloved hero, Nicolas Chaix a.k.a. I:Cube, one of the most prolific and respected electronic artists Paris has to offer. His touch is considered and elegant, imbuing the track with a tasteful 303+808 backbone to support an array of patiently floating melodies and angelic vocal samples. Following this, Tolouse Low Trax of Du¨sseldorf's infamous Salon Des Amateurs remixes the same track, stripping instrumentation down to a skeletal palette of bass guitar and stabbing percussive punctuations, chopped up inna minimalist stylee that has become his beat-making signature. Side B leads with a remix by another Du¨sseldorfer, DJ Normal 4, whose re-imagination of Private Crimes takes us for an even more menacing ride, half-timing the tempo and skillfully rolling out a barrage of jungle snares from rave days of yore. Closing the release is the most aggressive remix of them all, a bonafide techno beatdown of the same track by DALO, the co-producing artist to whose haunting vocals lace the original version. Her dark vision opens with sparse industrial drums that blossom into a driving assault of raw machinery, definitely not for the faint-of-heart. An all-around solid release here, fun for all the family... more than just the tip!
2 track Single from Hux Brown / Tinga Stewart released by Power Pack/Dub Store Records
The first release on yeyeh is a compilation of tracks by Dutch poet Simon Vinkenoog, a former poet laureate, and renomated one-man band Spinvis. More than ten years after the birth of this album, it has been pressed on vinyl for the very first time. A journey. A journey through sound. A journey of eighty-one years. Simon Vinkenoog's sound. Simon sings, speaks, yells, hiccups, and cries. As a poet. As a witness, passer-by, survivor, instigator, benefactor and chronicler of the remarkable twists of his own lifetime. A collage of music, sound and poetry, compiled with several hours of archived material. Carefully edited and soundtracked by Spinvis.
The first chapter of Armand Jakobsson's musical career has been
nothing short of remarkable. After establishing himself with rough
but emotive house as Rimbaudian and jungle as Birds of Sweden,
he unveiled his DJ Seinfeld alias to the world, first with underground hit single 'U', then with his Time Spent Away From U album on Lobster Fury in November 2017. It was a post break-up love letter to the dance floor with heart-on-sleeve emotions colouring the dusty and analogue house grooves. Acclaim came in from far and wide, with everyone from Rolling Stone to Pitchfork fawning over its heart swelling nostalgia and melancholic immediacy. Jakobsson approached his DJ-Kicks with the intention of representing all the things that made him fall in love with dance music more than a decade ago, as well as showing some of the progression that has occurred in that time and 'reflecting the simultaneous fear of leaving something safe behind as well as the excitement of venturing into unknown territories, musically and emotionally.' In order to make it as personal as possible, he called upon the many talented people around him making music. They returned with an enthusiasm that reminded Jakobsson of his own early passion, and in turn invigorated him and the whole process of assembling the mix. It was finally recorded at Inkonst club in Malmo because, recently back from years in Barcelona, he has not yet set up a studio in his hometown. DJ Seinfeld's DJ-Kicks is not only a testament of his characterful DJ skills, but also a complete artistic statement that showcases his unique vision of dance music
BIOTIC is our first release on ALLFEELINGS MUSIC, a label focused on emotive dance music. All releases will be available exclusively on vinyl. AF01 is the first self release from London based DJ and Producer ALLFEELINGS. This is a 2 track DJ tool release very reminiscent of Detroit Techno. You can hear crisp and warm sounds alongside Jazz and Funk influenced rhythms. The A side soundtracks a big city during rush hour while the B Side pulls you in with deep synths and percussion.
This release has the support from Mark Broom.
ALLFEELINGS is releasing a 12" in dedication to his love for early dub techno coming out of Berlin. The idea behind the title 'Untitled' is to give the listeners more space to interpret the tracks themselves rather than being distracted with any track names.
As ALLFEELINGS MUSIC label is about the amalgamation of sounds and rhythms to bring about a visceral experience, this can be observed in the African inspired percussion on side A and the subtle changes and movement it has throughout its length. Side B focuses more on easy listening with sounds and dry textures meandering slowly demanding the listener's attention at all times.
The other great thing about this record is it works really well pitched down which can be used to great effect during warm ups and after hours. This release has the support from Ario and O:utlier from Astral Industries.
A1: David Goldberg Revealed His Exceptional Talent Releasing An Extraordinaire Debut Ep On Svs Records. m4l-uv' Is A Euphoric Breakbeat Track That Won't Fail To Make You Dance.
A2: Kit Curse Made His Mark Within The Dnb Scene During The Last Years Having Released On Labels Like Cyclone, Onset Audio Or Shadowforces. weird Solace Master' Is A Broken Ritual That Reveals The Producers Experimental Side.
B1: zezbo Version' By Skee Mask Is A Superb Dnb Trip Leading You Through An Industrial Shadow World. The Producer Upholds His Reputation As An Exceptional Artist All Along The Way.
B2: Top Shotta Runs The Uk Bass Orientated Label Ruffhouse. m-performance Riddim' Somehow Sounds Like A Race And A Fight Both At The Same Time.
B3: The Style Of Bean Is A Postmodern Blend Of Ambient, Idm And Dubstep. tears' Showcases This Eclecticism Within Just Three Minutes.
2017 saw the arrival of Pin Up Club here at the Bordello with a superb three tracker, Friends of the Vortex. Now the Dutch partnership are back. This time a quartet of tracks has been selected to produce The Forever Machine. The bold bars of Friends of the Vortex, the romantic rushes and soundtrack silhouettes are all present with new elements being introduced to further develop a truly unique style. Breathy vocals and melancholy are countered by warm synthlines in the brooding 'Valis' before the lonesome 'Is There Anybody Out There' blooms into a daringly bright work of disco dimensions. Opening the flip is the title piece. Smouldering, 'The Forever Machine' burns with quivering chords that rise ever skyward on a column of tight rhythms as lyrics spiral ever upward. 'A Deepness In The Sky' is a perfect illustration of Pin Up Club's ability to transform burgeoning sombre sounds into tempered elation, rumbling strings and fragile percussion intermingling for a heady finale. Welcome back to Bordello A Parigi guys, welcome back to Pin Up Club.
Subliminale Materiale is the 5th installation on Lustpoderosa. Kind of a split EP. The A side with two remixes and two original jams of Jack Pattern on the B side. With this release we want to point out the remixes on the A side. Both done by Lustpoderosas favourite producers and DJs: Sneaker aka Dunkeltier (Uncanny Valley, Rat Life, Frigio) and Kris Baha (Power Station, Pinkman Cocktail D`Amore) . We guess you know and love them as much as we do.
Pietro 'Bingo' De Lisi and Alex Carpentieri aka Italian duo System of Survival, have long been renowned for their raucous live cuts, the likes of which have firmly established their name amongst fans of discerning house and techno. Regulars at Ibiza institution, Circoloco at DC10, the boys knack for a tune has also brought them to the attention of respected label outlets such as Bpitch Control, Freak n'Chic, Moodmusic, Rawax and Get Physical. However, their latest release - released here via the emerging Deset Music - might just be their best yet. The label's inaugural release sees the boys perk up with two stunning originals and are back by remixes from none other than two Chi-town legends, Boo Williams and Ricardo Miranda.
Opening up the sounds of the release is 'Nu Soul Era'. A raucous, deep cut that displays all that's excellent about System of Survival, this one goes firmly down the rabbit hole in search of kicks. Characterised by its quite brilliant and catchy baseline, the action is dark and trippy throughout, with a firm emphasis placed on a groove that never lets its guard down throughout. A majestic start to the EP, it gets us underway with some distinction.
System of Survival's other original is 'Funky Left Funky Right'. Again, the duo expertly showcase their penchant for melodic structures, this time via a bleepy baseline that's perfectly suited to peak-time floors. Ricardo Miranda's interpretation goes deep and off-kilter, but remains true to the original's full-on characteristics. A stunning indication of the producer's eclecticism and studio mastery, it's an intoxicating take on a track that's never lacking in suspense.
Seeing us out the door is Boo Williams' remix of 'Nu Soul Era'. The 'Mortal Trance' producer can always be relied on to bring the heat in his own inimitable way, and he does so here with the sort of panache for which he's best renowned. Injecting the original with every more bounce, he wastes no time in getting down to business, setting his stall out via an acid-led, 909-flavoured remix that offers up a tantalising version of what's arrived before. An all-round stunning EP of various shapes and sizes, there's plenty here for fans of discerning house and techno to get stuck into on this one.
it's a 2nd release of studio mule's new project with miyako koda aka dip in the pool.
following the cover version of ohnuki taeko's carnaval,we made the new version of japanese new wave classic 'shinzo no tibia by mariah' with a new lyrics in japanese(original is in armenian)which is written by miyako koda. yasuaki shimizu kindly gave us the permission to do this.
extended version on a side is full of the respect for the original version and dub version on b side is dark new wave dub version. kuniyuki said the idea of this version came from adrian sherwood's remix for depeche mode.
Funky DL steps into the arena with his highly demanded album 'Blackcurrent Jazz 3'. Seamlessly weaving his boom-bap style with jazz breaks throughout every track and topped with his smooth and often intense flow, his lyrical ability is top shelf and the beats are at an unequalled standard of excellence. The album showcases some of the finest Jazz Hip-Hop in the scene as it shifts through varied styles of Jazz and Jazz moods. With features from the Nujabes collaboratives Cise Starr and Substantial, the entire set oozes with golden droplets of musical magic moment after moment. The tone is set immediately as the album starts and continues an incomparable and superb standard of quality music right up until the final track.
Betty Harris' The Lost Queen of New Orleans Soul collects together the steady stream of amazing soul and funk singles issued by Betty Harris from 1964 to 1969, under the musical guidance of legendary composer, musician and producer extraordinaire Allen Toussaint, a collection which truly captures the heart and soul of the city of New Orleans during this era.
Betty Harris's powerful, fiery soulful vocals found a perfect accompaniment with the New Orleans' players that Toussaint put together to back her, which by the time of her funk classic 'There's A Break In The Road' were the legendary super-tight, super-funk New Orleans group The Meters.
With the extraordinary song-writing skills of Allen Toussaint alongside the powerful, soaring, confident and emotive singer and the groove of The Meters, you have an unbeatable combination. That Harris never in fact lived in New Orleans (she flew in from Florida for all her sessions with Toussaint's local in-house players) seems almost an irrelevance, a geographical aside to the defining New Orleans sound captured on the recordings featured here.
All of these singles featured here were released on Allen Toussaint and his business partner Marshal Sehorn's local New Orleans label Sansu, widely distributed in the southern city but in only limited quantities elsewhere. As a consequence, Betty Harris' music failed to achieve the commercial success of other New Orleans artists such as Lee Dorsey (who she recorded with) and The Meters (who backed her). And so at the end of the decade she stopped recording, retired from the music business to raise her family in Florida.
This is no reflection of the stunning musical quality of all these songs which encompass everything from southern soul, heavy funk, deep soul ballads and northern soul. Betty Harris has been a cornerstone of Soul Jazz Records' New Orleans Funk and New Orleans Soul compilations. Always soulful and always funky, Betty Harris' music contains the essence of New Orleans music. She is the Lost Soul Queen of New Orleans.
This collection is released on CD, heavyweight gatefold double LP vinyl (+ download code) and digital and comes complete with full biography, original label artwork.
* 7" vinyl
* 300 copies
* Featuring Planet Asia (Cali Agents)
2 songs on a limited edition 45 - 300 copies, all straight SP1200. Both songs featuring Planet Asia with one of the tracks featuring one of PA's friends Waz on the hook.
Fredfades & Sun Raw are keeping alive the gritty, analogue sound with 12-bit drums and loops but with their own unique style. Fred has been working with KingUnderground for the last 3 years and has a flock of releases. Sun Raw from Stockholm, Sweden is new to the crew but about to drop his debut "Beat Weeks". The duo are both part of Mutual Intentions crew and find inspiration from old music, from Jazz, funk, soul, rock and anything they find in the crates.
Planet Asia has been affiliated with KU from early on with a release and some features. Some MC's have been left behind, Asia isn't one of those. He's been kicking out better and better verses since he first showed up on the scene in the early 90's and it doesn't look like he's stopping anytime soon.
'He Bleeds Stories EP' is the first vinyl release on VRAAA Records, a techno label with the aim of queering-up the genre. Both original tracks contains elements from Projekt Gestalten's past original productions clashing with new sounds and being incorporated into a whole new context; like pieces of different stories scattered throughout the music and reconfigured into a brand new tale. Each track was remixed by projects with contrasting gender identities: the heavyweight techno duo I/Y, representing the masculine side and the fabulous German selector Anja Zaube, giving a feminine perspective.
When Michaela Meise performed at WestGermany at Kottbusser Tor in Berlin-Kreuzberg on March 20, 2015, accompanying herself on the accordion, I was perplexed. I knew her first album from 2010, which was about hymns (»Preis dem Todesüberwinder«, originally released on Clouds Hill, available as a download and stream through my label from July 2018 on), but what she was playing weren't spiritual songs! I wanted to put this music out on my label: the songs sounded sad, aloof and wistful but also proud, determined and unerring.
The album title »I am Greek« is a tribute to Melina Mercouri's album »Je Suis Grecque!«, which was released in 1971 when Mercouri was deprived of citizenship by the Greek military junta. Mercouri lived - like Mikis Theodorakis and many other cultural workers - in exile. Meise's album is dedicated to the chanson scene of post-war Europe, whose songs were popularly folksy, but also political. Some talk about the experience of war, the Shoah and labor migration. Michaela Meise has translated the Greek, French and Romanian songs into German (with the help of Aliki Marini and Carmen Gheorghe) so that the lyrics are understandable to a German audience, a gesture that was also common in the European chanson scene. More than half of the songs are by Mikis Theodorakis. He knows the translations and new recordings, gave his blessing and just noted a wrong tone ... The other pieces on the album are by the French artists Barbara and George Moustaki and the German musician Alexandra. There is also a Romanian folk song.
The album was recorded by Michaela Meise together with members of the group Isolation Berlin as well as the guest singers Carmen Gheorge and Dirk von Lowtzow (Tocotronic). The producer was David Specht (Isolation Berlin).
Michaela Meise and me both have intimate relations with Greece - Michaela has innumerable holiday memories with parents and brother, I have a friend who lives in Athens and whom I have been visiting regularly for about ten years now. This friend, the graphic designer Vasilis Marmatakis, styled Meise's album using an impressive, scary photograph taken in May 1985 during the occupation of Polytechnio Athens. Together, we opted for an elaborate packaging made by a bookbinder, a so-called Japanese tip-on-gatefold cover. The packaging reminds us of the records that were made in Greece for export and taken by German tourists as a souvenir back home.
We Are Proud To Announce The Latest Addition To The Moonshine Recordings Artist Roster - Halcyonic & G Roots - Two Young Talented Producers Out Of Bristol, Uk. Their Debut Moonshine Release Entitled 'future' With Vocal Support From Junior Dread And Additional Remix By Violinbwoy Will Be Released On The 6th Of July On Vinyl & Digital.
Cardiff-based singer-songwriter Ivan Moult returns with his latest collection of rich, confessional songs on new album Longest Shadow, out now via Bubblewrap Collective.
The album reflects Moult's progression through the fledglings of blissful romance into the fragmentation of embittered break- up. Each track combines Moult's intricate guitar plucking skills with his warm, soothing vocal to create something both compelling and incredibly moving throughout. His latest single Lay Me Down revolves around the feeling of giving in to depression whilst simultaneously fighting against it. Moult's beautifully natural vibrato soars effortlessly over the cinematic musicality to create something akin to that of Nick Drake or Jeff Buckley's distinctive songwriting charm.
Ivan's soft , subtly shattered vocals are complemented by the orchestral compositions and double bass of Callum Duggan, the precision percussion of Sam Thomas and backing vocals from Kadesha Drija
''Longest Shadow truly is a stunning piece of work and if the likes of Damien Rice, Nick Drake, Willy Mason are your thing, it's a safe bet that you will thoroughly enjoy this - Folking
Dave Stewart und Annie Lennox vermischten auf ihrem vierten Studioalbum Be Yourself Tonight' (1985) härtere Rock-Elemente und R&B-Passagen mit ihrem etablierten Synthie-Sound. Als Gastmusiker sind mit an Bord: Aretha Franklin (auf Sisters Are Doin' It for Themselves'), Stevie Wonder an der Mundharmonika (auf There Must Be an Angel (Playing with My Heart)', dem ersten Nummer-Eins-Hit der Band in den USA) und Elvis Costello, der Adrian' im Duett mit Annie Lennox singt.
Die erste Singleauskopplung Would I Lie to You?', auf der sich laut dem Rolling Stone der Rocksound der Kinks mit dem R&B-Feeling der Supremes paarte', war ein Riesenerfolg in den Staaten. Die vierte Single It's Alright (Baby's Coming Back)' wiederum rief Erinnerungen an eine berühmte britische Sängerin der 60er Jahre wach - an Dusty Springfield und ihr Album Dusty in Memphis'.
2x12" !
An der Grenze (ADG) is glad to introduce you to its 5th release "Talka" on 2 x 12" (ADG005) by Moscow- based composers, live performers & DJs OID & Anrilov, and revisited by Unbroken Dub.
Whereas OID, a versatile artist, has made a name for himself with releases on DJ Koze's PAMPA, Milnormodern and PNN, Anrilov releases here his first solo track. Unbroken Dub, for his part, already has a significant experience with multiple releases on Rawax as well as solo EPs on Delsin and Resonance Moscow, amongst others.
On vinyl 1, each artist presents his own version of "Talka". Whereas OID proposes a dark, mind-blowing and bewitching version, Anrilov opts for a rather cadenced, breakbeat and mystic one.
On vinyl 2, Unbroken Dub delivers two different interpretations of "Talka". On the A-side, his Refix is deep, linear and mystic whereas, on the B-side, his remix appears to be the best musical translation of his artist name: serene and dubby.
Quarion is back on Drumpoet with an enchanting new EP that leaves nothing to be desired. Cobblestone takes the dancer on a deep sensual journey, builds up continuously and subtly into a truly emotive peak. Sunday Night Pt. 2 tops it by captivating with rhythmic chords, which remind of the early 90ies. Jamaican Morse is a driven drum track, spiced with dubby sounds and a higly addictive beat. Once again, Quarion proves his outstanding quality.
Parrish Smith makes his Dekmantel debut on the label's sister-techno imprint, UFO, with a blend of avant garde electronics and industrial.
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With the 'Sex, Suicide & Speed Metal EP', Dutch producer Parrish Smith works outside of the realm of genres and tempos, creating his own unique template of saturated, electronic post-punk, having won accolades from the likes of Nina Kraviz, and Ron Morelli along the way. An analogue purist at heart, Parrish Smith has already amassed a cult following with regular appearances on Red Light Radio, in which the anarcho-experimentalist broadcasts sessions of heavy industrialism, breakbeats and body music.
Parrish Smith's music brings together classic analogue gear and a love for the fusion of aggressive industrial sounds. With title track 'Sex, Suicide & Speed Metal', Parrish Smith channels his inner Alan Vega, with some screaming guitars, and 65bpm machine-crunching body beats, lurching into a sultry space of slick wave music. 'Mute' jacks up the feeling of tempo, rife with energetic drum machines, pulsing synths and retro-fitted vocals, similar to the sound of something Daniel Miller might have released himself back in the early 80s. 'SKINS', delves further into the mechanical, with a grinding bass that bleeds through the track's entirety, while 'Fall into sin' sees him explore the world of deconstructed, gothic-pop yet further. Parrish Smith will be DJing, and performing live as Volition Immanent at this year's Dekmantel Festival, to fulfil the festival's charter of provocative, and intoxicating, energetic beat-filled music.
"phantom Dancehall" Is The Exploration Of The Greensleeves / Vp Records Catalogue By Dj Spooky Aka Paul Miller. The Musical Tapestry Is Built On Samples From Familiar (and Not So Familiar) Reggae Tracks Over Electronic Beats And Melodies Produced By Miller And Protégé Stephen Levitin (stage Name Apple Juice Kid). Selected Tracks Include The Keyboard Work Of Alex Thompson Aka Fourth Shift. Guest Vocals From Walshy Fire (major Lazer) And Dancehall Newcomer Sanjay Added To Vocal Samples Of Busy Signal, Lady Saw And Garnett Silk Give The Project An Eclectic, Modern Dancehall Flavor!
Paul Miller, Better Known By His Stage Name Dj Spooky Is A Music Producer, Arranger, Dj, Author And Performance Artist. His Unique Brand Of Experimental Hip-hop, Dubbed 'illbient' Has Resulted In Collaborations With A Diverse Range Of Artists Including Ryuichi Sakamoto, Kronos Quartet, Lee "scratch" Perry And Killa Priest. With Remix Projects For Trojan Records, Manifold Records And Six Degrees Among Others To His Credit, Miller Created "phantom Dancehall" For His Exploration Of The Greensleeves/ Vp Records Reggae Catalogue.
For Fans Of: Major Lazer, Dj Shadow, Kevin Yost
After releasing their Yantar LP digitally last year, Hell Yeah now serve up a much anticipated vinyl version of Richard Somerville and Craig Wilson's perfectly horizontal sounds. It features two of the superb originals with remixes from The Beat Broker and Los Gatos Escobar.
Somerville & Wilson have appeared on ISM Records, DWDK (Danny Was A Drag King), Paper Records and Music for Dreams and count the likes of Tensnake and Gerd Janson as fans of their laidback and charming grooves, and this EP is a real slab of heat that will surely sizzle souls across the world this summer.
First up, The Beat Broker proves he is on fire right now with a remix of the classic 'Melt'. His heart swelling remix has impossibly mellow chords ringing out into a yellow-orange sky as melodies rise and fall like a yacht bobbing on gentle waters. It's a blissed out musical sunset of the highest order.
Then comes Somerville & Wilson's 'Cero Gravity', eight minutes of cosmic synth workouts, yawning chords and long legged drums offset by soft acid. Drenched in reverb and rippling out in all directions, it's a warm musical rush that keeps washing over you until your soul melts away.
From New York, Los Gatos Escobar duo offer a more driving but just as tropical remix of 'Yantar' with big rubbery drums, zoned out chords and smeared pads. It's beautifully innocent and honest, heartfelt and meditative music that encourages you to escape to a seaside paradise.
Last of all, a melted Space Edit of Yantar is drowned in saturated chords, scorched pads and heat damaged keys that leave you adrift in a sea of sumptuousness.
Music doesn't come much more majestic, melodic and mellow than this.
Number Three Of Five Eps Surrounding The Release Of Efdemins´s Latest Effort: The Hybrid Album/mix-cd naïf' On Curle (released In April 2018)
This Ep Is A Collection Of Four Contemporary Techno-tracks By Dutch Techno-veteran Jeroen Search, Tel Avi´s Pharaoh, Berlin´s Savas Pascalidis And The Mysterious Pom Pom On One Vinyl.
Mastered And Cut By Kassian Troyer, Berlin
Curated By Phillip Sollmann A.k.a Efdemin
One of our humble imprint's closest allies and a longstanding pillar of Philadelphia's electronic music community, Billy Werner has been a constant presence in the booth at parties throughout the Northeast Corridor since 1998. We debuted his M//R alias in 2014 with the 'Gathering Response Data' 12" . Since he's been busy bringing the grit to points beyond the City of Brotherly Love, putting in work for the likes of DetailsSound, L.I.E.S. and JackDept. Most recently, he turned out a remix of Karen Gwyer's 'Why Does Your Father Look So Nervous' for the 'Rembo' remixes on Don't Be Afraid, as well as another for Chaperone's 'Grit Neglect' on the aforementioned 'SnapbackBalaclava'EP.
Written, recorded, and mixed over a period of 15 months,'Among The Methods' is in no small part a reflection of the affinities and sensibilities Billy holds as both selector and producer. Referencing a variety of influences from jazz to dub to electro, the album's allure stems from his deft ability to recontextualize those genres' disparate aspects into a familiar-yet fiercely idiosyncratic-musical context.The end result is at once wildly fractured and precision-focused as 'Among the Methods' finds its own seductive rhythm within a matrix of dub echoes and modulated low-end. It's heady ground,to be sure;as well as the most declarative aesthetic statement fromM//R to date.
Presented without further comment. The music is the message
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Steve Reich's Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism.Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing - pulling listeners into the rhythm and possessing a raw immediacy, directness and energy.The premier performances of Drumming took place in December 1971 in New York City - first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made - and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden.Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich's investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.This first-time vinyl reissue and first-time CD release has been carefully remastered from the original master tapes.
Tiago's wonderful INTERZONA13 deliver another duo of mesmerising, psychedelic club jams from STELLAR OM SOURCE
A message from Tiago...I met C ages ago when both of us were traveling Europe with our separate experimental music units.
Fast forward to today and we got together again to put out this amazing rocket showcasing her latest work.
Recorded at club Lux in Lisbon in a Interzona13 effort on putting together the city's finest to wrap it with much talent in music engineering, design and poetry in one single object.
Recorded in Cleveland, OH October 2017 by Andrew Veres.
Artwork by Ren Schofield.
Ren Schofield has returned with a new installment in his notorious "LP" series for Spectrum Spools. "LP" has all the earmarks of the classic Container sound with it's uber-mangled, saturated tape garble and headlong tempo macabre. However, this new set of tracks feature an attention to composition unlike much of the Container we've previously heard. While the tracks unfurl across two sides of wax the contours and jagged edges of each sonic sculpture display a new refinement while maintaining the full capacity to vaporize any club floor with Container's traditional recklessness.
Miraculously, this new "LP" manages to incorporate some more traditionally 'musical' elements thus far untouched upon in the projects output while simultaneously delivering it's most damaged and blown out offering yet. Despite leaving a trail of albums that get more intense with each passing year, this "LP" is bar none the most loaded. The tracks feature a trajectory with narrative, surrounded by broken acid basslines grating against disintegrating tape loops. This is the infectious and singular hypnosis Container has become well-known for. Overloaded drum patterns, washes of feedback, and dying melodies - it's all here and somehow it's restructured to be different and better than ever before. With this latest installment, there are no longer shambles but merely dust left behind.
As Container continues to evolve in an upward motion, "LP" presents a refreshing and welcome new chapter.
Five Years After "privileged Life" Was Released P.h.o.r.k. Is Back At It For Opal With Four Hypercolour Tracks Referencing French House, Jit, Uk Funky And All Manner Of Hypnotic, Percussive Goodness.
Opener "my Love" Inverts A Super Tight Duelling Loop Of Voices Against An Increasingly Staggered And Glitched Line Throwing Dancefloors Off Balance Like Cassius With A Head Injury. Title Track "no Afterlife" Sits On A Jerking Snare Pattern While Air Vents Open To Release Plumes Of Steam, Urban Fields And Angelic Drone In A 7-minute Ride.
"get That One Note Jam" Has A Clue In Said Title. The Tracks Bounces Forward On A Super Simple Riff While Modular Percussion Pick Out Spaces In Between. The Track Slow Blends Into Resonating Alloys Of Cyber-kora Offset With Reload Clicks And Abrupt Restarts. The Ep Closes On "love Recirculation' A Cartoon-ish Barrage Of Wooden Perc Just Keeps On Pushing While Synths Wow And Moan All Over The Shop. Killer Minimal Funk Throughout That Is Sure To Build A Smile.
A Site-specific Recording Sporting A Straightforward Approach That I've Grown To Love In The Works Of Gonçalo Cardoso. An Album Of Modern Day Exotica, A Genre I Usually Pretty Much Dislike, Yet Cardoso Steers His Vehicle Easily Aside The Trapdoors And Potholes.
Combining Found Sounds, Sparse Playing And Field Recordings He Creates A World That Both Invokes Treasure Island, And An Essay On Exoticism. Indeed Questions Are Raised. But Especially Beautiful Emotions Are Shared. Cardoso Acts Both Like The Journalist And The Aesthetic. Sometimes He Just Registers, As Being The Observer At The Sideline, Sometimes He Alters And Collages The Material Into New Worlds.
The Isle Of Unguja Is The Great Scene Of This Album. We Hear The Sound Of Water, Suddenly Interrupted By Beautiful Chorals Or The Strumming Of String Instruments, A Drum Beat. We Hear The Local Fisherman Talk While The Shortwave Radio Becomes The Symbol Of The White Man Seeking Truth And Direction In The Tropics. Its Dial As A Tool To Reflect. This Album Invokes A Certain Nostalgia For Age-old Enthnographies, Like A Romantic Letter From The Tropics. A Hymn Of Solitude, In Awe Of The Nonhuman And Human Elements. Like Photography, Through Various Compositions - Stills From A Moment - To Shed Light Upon The Unique - Universal Process Of A Place.
"all The Recordings Were Made During Our Month Long Stay In A Beach Hut In The Main Island Of The Zanzibar Archipelago, Unguja Aka Zanzibar Island. Unlike Other Beach/island Locations The Scenery There Was Very Dynamic And Ever Changing. The Colours Would Change With Every Tide Creating A New Washed Out Landscape Everyday.
There Are A Lot Of Recordings Of Tides (they Have 3km Tides Everyday!), Of Walking Around In Low Tide, Of The Tidal Waves Banging Against Our Hut At Night, Of Sailing In Wooden Dhows, Fishermen Talking And Sand Washing Their Dhows, Of Walking At Night In The Village As Well As Some Fm/am Radio Improvs. A Lot Of What You Hear Was Done On The Spot With Some Minor Adjustments Done Later. (g F Cardoso)"
Gonçalo Cardoso Is The Man Behind The Prolific Discrepant Recordlabel And Composes Under His Own Name And The Moniker Gonzo. He Recently Traveled In Middle And Southern America.
During the recent years, Terence Fixmer kept on being prolific by producing and releasing his music output on well esteemed quality labels such as Ostgut Ton, Novamute, Jealous God and recently on Aufnahme+Wiedergabe. Following a constant workflow, Fixmer decided it is now time to restart his label Planete Rouge which he launched back in 1998 already but has always been irregular in terms of releases. The label will relaunch after a 4-year hiatus with his new 12'.
Terence Fixmer's 'Oppression' EP is a great resume of his unique sound design signature, delivering a collection of four energetic tracks that speaks to the soul.
On top of it, as an homage to one of his all time favourite tracks of 'The Normal / Warm Leatherette' from 1978, Fixmer decided to rewrite this 40 year old tune from Daniel Miller as a a personal pleasure and fun.
By using as well the Mini Korg 700 S Terence Fixmer recreated nearly the original sound, keeping a track that is loyal to his own sound as well as its original spirit.
2 Track Single From Hot Rocks Released By High Music/dub Store Records
* Debut single from Eva Keyes from Limerick, Ireland who has hooked up with Partial Records and the Echobus stable out of Dublin to create an incredibly catchy, uplifting tune without losing any edgy militancy associated with the releases on Partial Records.
* Production-wise, encompassing both the digital and live sound with a subtle minimalist dub wise excursion from Dan Taliras.
he first new material from Durand Jones & The Indications since their debut LP was released in July of 2016! And man, they didn't disappoint! Two covers from the Numero catalog that are earth shattering. "You And Me", a tune originally by Penny & The Quarters is reinterpreted by the current kings of sweet soul, with drummer Aaron Frazer taking the lead on this one.
Crosstown Rebels deliver their next album in the form of a masterful offering from Chic Miniature. The cosmic duo, Ernesto Ferreyra and Guillaume Coutu Dumont make a welcome return to the label with eight tracks of melodic bliss.Fourteen years in the making, a thread of mystery weaves its way through the tapestry of this melancholic LP. It's a true journey through a sublime sonic soundscape. Opening track Adormecido is shrouded in mystery, closely followed by Miso Drunky with its tribal drums and dramatic synth stabs. Kaléidoscope bubbles up next, swiftly followed by Tilt with its genteel cowbell. Then comes Año Uno the first track created back in 2004 with its impressive church-like bells. Suki Ni is twinkling and sublime that flows into the delicate groove of Let It Slide, which samples an ambient rain storm. The album closes on La Sandunga gracefully littered with plentiful percussion.Of the album, the pair explain how they were 'raised on old technology and integrated the newer technology in our everyday lives as it was developing' a fact that is clearly apparent upon listening to the album. They give a sonic hat tip to their 'love of melancholic melodies....almost always rooted in the past, but to us, no time is attached. Are the new machines dreaming about the past, or are the new ones contemplating the future that lays ahead'. The album proves their ability to fuse the new with the old to create an album bursting with timeless tracks.Ernesto Ferreyra and Guillaume Coutu Dumont's partnership is a true meeting of musical minds. Their first release was gifted to us way back in 2005- the Conexio´n Califa EP released on German imprint Raum Musik. Since then they've released on Musique Risque´e as well as a previous EP on Crosstown Rebels. Individually, they've released a plethora of music with Ferreyra also heading up his own label Loosen Up Records and Guillaume signing music to Musique Risquée amongst others.
"Things take a psychedelic turn for SchleiBen 7 with a welcome to the label of arch exponents of mind expansion in NYC's Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam. Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations. A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks - made over different years, locations and situations in life - meld in to something poetic simply by being placed within a specific format. Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl's Matt Werth and recordings for Sacred Summits' brethren Firecracker Recordings, it's a warm, effusive glow of a welcome. In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The "Sketches" included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally ('The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries') is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media') is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in. The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts - some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL - fused especially for this release. Bringing these generated pieces in to an audible "mix" creates a discourse of their work in performance, interactions and visual media. An intellectualised album therefore, but still in the premise of the series to allow artists to present something new, unique, discrete, hidden even, all with the aim of giving the recipient the chance to sit back and (un)listen. "
After kindly stepping in on remix duties on our first Miskotom release Kito is back on Pleasure Unit with a nicley rounded EP that shows the full extent of his production skills. Houstrack does what it says on the tin and pumps it up in true old skool house style, Damp firecrackers sounds like it could come from a long lost Italian Library Lp. On the flip Never been to Ibiza beaches in 1997 is a nice laid back Balearic ode as you might expect, lastly Jungle Mantra is a dense tropical treat. Check for Kito's previous releases on diverse range of labels from Bahnsteig 23, Freerange,Dirt Crew,Hell Yeah and Bordello A Parigi
One of Australia's most dynamic up & coming acts acts, The Goods have become vital members of Sydney's rising soul/electronic scene in just a few short years. With word spreading internationally and the band recently joining forces with Brooklyn-based label Bastard Jazz Recordings, The Goods are gearing up to release their hotly anticipatedMake Your MoveEP as they put the finishing touches on their debut album out later this year.
Consisting of founding members Badmandela and Rosario, along with the more recent addition of vocalist Black Tree, The Goods first burst onto the scene in 2016 with the release of their self-titled double EP rooted in a steady stream of hip-hop, space funk, low slung house and soul. Recognised by outlets such as Complex, MTV, VICE and Indie Shuffle, The Goods have also been heralded for their smashing live sets, sharing stages with the likes of Oddisee and Onra, in addition to highlight performances at various music festivals.
TheMake Your Move EPdocuments The Goods' exploration into faster tempos and broken rhythms, and was created in a much more collaborative spirit than their previous work. With Black Tree now an official member, the trio has tapped back into their roots as improvising musicians, with experimentations and ideas developed during their live shows making their way back into the studio, and fine-tuned into the tracks on this new EP.
Led by the bumping, soulful vibes of singles "Make Your Move" and "Glow", the new EP is an exciting taste of what's to come from The Goods in 2018.
