Rowle is coming with its awaited 9th release from the closed friend Viceversa, who is back after his succesfully previous release 005. On this one he delivered 3 classic tracks full of melodies and percussions, perfectly in line and evolution with his unmistakable style. On the remix duty the romanian star Floog with a killer dancefloor version. Already supported and played by Sublee, Sit, Barac, Cally, Mihai Pol, Silat Beksi, Herck, Raresh, Vlf, Vincentiulian, Giuliano Lomonte and many others.
Tamango Records boss Yaya heads to TRMNL Records as he unveils his latest EP on the imprint, backed by remixes from Salty Nuts head honcho Fabe and label resident Vito.
Heading up his Tamango Records imprint while serving up killer cuts and remixes on Desolat, Moan, Revival New York and more, Yaya is a man in high demand across the globe. With his take on house music bridging influences from Africa to Italy, his percussive-driven and slick sound has made him a favourite for those looking for productions leaning towards the more energetic yet minimal end of the genre. That style is on show once more as he adds a new label to his catalogue. Joining the likes of Djebali, East End Dubs, Ray Mono and Samu.l, late July brings the release of his new EP ‘Para Siempre’ on UK imprint TRMNL Records, accompanied by a slick pair of remixes from Fabe and Vito to shape up the package.
Title track ‘Para Siempre’ is a skippy and bouncy lead effort as crisp drums, a zippy bassline, and warped vocals go to work to showcase a production bursting full of vigour, while ‘Umbrella Corps’ leans towards more organic, rolling percussion arrangements, shuffling rhythms and elastic melodies guide things towards the later hours. On the flip, Fabe steps up for the first remix as he brings his signature groove-led style to proceedings for a swingfuelled slice of funk, before Vito’s crisp take on ‘Umbrella Corps’ closes the show with a final injection of early hours goodness.
Early DJ Support:
Joseph Capriati, Marco Carola & ALISHA
"We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life." — Sara Oswald + Feldermelder
The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums' sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals' timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald's cello spins tales and emotions burst forth. Nature's eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth's primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello's warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.
Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.
Finally the wait is over. Played for years as an unreleased weapon – not only by Priku - Ave is this kind of track where you just can’t forget the synths. You will still hum them while walking the streets months after. The mighty melody can catch the whole crowd creating memorial moments on the dancefloor.
B1 with „For your love“ is an older track but old is gold, right? It fits perfectly with its house beat and sexy vocals on the B-Side. The track gets even more love on top from Bärtaub with an excellent sounding remix – as usual for their work - completing the Ep as the B2. Thank you guys.
Paul Walter, who definitly defined producing as his lifestyle, runs also Meduka Records and has released music on labels such as Do Easy Records and Neostrictly.
Harold Melvin & The Blue Notes; one of the most successful worldwide cross-over hit-making soul groups of the early to mid-1970s.
This single presents two of the best cuts from the legendary album “The Blue Album”. On the A side we have Billboard R&B Chart Hit – “Prayin” – hugely popular within the UK dance music scene. On the flip we have the wonderful “Baby I’m Back” – written and produced by none other than disco hall of famers McFadden and Whitehead.
Remastered by Phil Kinrade and presented in a 7” discobag sleeve mirroring the original artwork. Part of the Demon Records Singles Club.
Introducing our first limited edition vinyl release LOK Records from Floog
Floog's tracks are energy-oriented, featuring melodic, raw sounds and vocal hooks, that alternate with a more minimalistic approach.
His EP is bringing the listeners on a journey through a variety of sounds and styles keeping the connection with the dance floor.
Early support from Priku, Sepp, Nu Zau, Hostox, Lumieux, Techu, Constratti…
100 bpm leftfield Dancehall inspired by early 2000s riddims. Silvestre's reaction to his research and digging on dancehall music resulted in composing a 6 track Ep with heavy influence in this genre adding his own dreamy melodies and razor synths which he has got us used to.
In addition to melodies, you can notice chopped vocal samples which actually are taken from UK Drill tunes proposing the connection between the two genres.
ABC Collective signs the 3rd release on abc.ltd label, featuring tracks by Bread&Butter, Herck, Gabor, TmrsTn, and Sandru. This compilation offers a fusion of mesmerizing melodies and rhythmic beats across various electronic genres. A must-have addition for vinyl enthusiasts and music lovers seeking fresh and diverse sounds.
Montreal duo Bas Relief present a collection of rough-cut IDM and pitch-corrected emo on Insulary, a five-song EP out June 2023 on Brooklyn imprint Quiet Time. Written and compiled long distance from threads of bass music-inspired alt pop and guitar recorded in isolation, Insulary is the duo’s first substantial release since 2018. Granulated microglitches fill out the digital drum arrangements, calling on influences Baths and Loraine James, overlaid with warm piano progressions, melancholic guitar loops, and collaged vocal production.
These self-reckoning, forlorn vocals form a patchwork narrative, hazed like a shapeshifted memory, long reconfigured with each conjuring, coherence inconsistent but still there. Recurring dreams find home among recursive passages, self-referencing lyrically and with samples churned through plugins, recorded on loop until you fall upon the most satisfying aha! moment and lock it to the grid. At certain moments all the pieces combine to reminisce in sentimental shards of Porter Robinson or The Postal Service, while never straying from Bas Relief’s own vernacular.
Visiting the past in person simply by walking the routes you took in a life long past, that reenactment of memory, that attempt to capture that which you can’t – it might even be a future – is a central bolt of Insulary’s lyrical content. It’s sentimental, it longs for some past which might not even have existed, and it’s hopeful too, never capitulating to traditional structures in its embrace of unusual stylistic combinations. Insulary – brim-packed with fragments of drum and bass, uptempo electronica, and emo – is but a preview of Bas Relief’s exciting near future
Respect The Craft's archives keep growing. After a double-hitter with Ricardo Villalobos, Tripmastaz is back on solo duties for the third iteration of RTC with "Rare Sensation EP".
Filling the a-side with the warmest summery vibes, 'Rare Sensation' perfectly displays Andrei's deep love for house music - groove, rhythm, emotional chords and club-ready, euphoria-inducing samples very tightly reminiscent of the world's best beach parties. A "deeper dub" version is also available, stripping down some elements and bringing a classier, less euphoric tone to the forefront.
'3000' has the virtuosic producer back to exploring the minimal and deep tech-house realms while, in essence, still targetting the summer-drenched tropical raves. And where the original version is a driving, slightly dryer, percussion-infused affair, its dubbier 'Space Program' version brings all its elements to the astral plain, filling the space with melody and atmosphere.
Respect The Craft - a goal, a call, and a mission.
Eternally Frozen consists of a series of canon based compositions for brass ensemble, percussion and synthesizer by Andrea Belfi. The canon is an ancient compositional technique in which an initial melody is imitated at a specified time interval by one or more parts, creating illusionary never-ending musical journeys.
The work is inspired by the evocative image of the Deprong Mori, a mythological bat with the alleged ability to fly through solid matter by bending atoms by its natural skill of audio echolocation. The myth suggests that one of these bats had been “eternally frozen” in a wall of solid lead in 1952 by the researcher of the Rockefeller University, Donald R. Griffith. This story is exhibited in a display at the Museum of Jurassic Technology in Los Angeles, an institution renowned for both speculative, fantastical reinforcement of mythology and playful and beguiling distortions of mysterious could-be truths.
Both the canon and the “frozen” Deprong Mori are man-made illusory simulations of eternity. Their attempt is to create mirages, where the insinuation of facts is more meaningful than the reality.
After many years of sonic explorations with percussion, drums, and electronics, Belfi is here projecting himself as a composer through the direction of an astonishing brass ensemble in the realization of these canonic works. There are evident echoes of the works of Arthur Russell, Miles Davis, Moondog, William Basinski, and the Italian soundtrack tradition of Ennio Morricone and Egisto Macchi.
On June 16th momentum continues apace for Alex Paterson’s Orbscure records, with the new album by Chocolate Hills – his duo project with Paul Conboy. Purveying world class melodic ambience and plenty beyond, colours in this high-fidelity-headphone-wonderland range from languid chill, kitsch exotica, library music, space age pop, ye olde folk and even drum and bass – all seasoned with (in)appropriately random plunderphonics from Paterson’s infinite goodie bag. Loosely based around a nautical journey to the Bermuda triangle and back, this is a fantastic voyage, but seas remain calm – more ‘Life Aquatic’ than ‘Moby Dick’. Tracks gently bob and float on bass which is roomy and buoyant like the hull of a ship, whilst luxuriously fluffy clouds meander overhead, before their vessel dives deep below to marvel at aquatic delights, guided by sonar. Paul Conboy’s approach as a member of cult analogue tinkerers Metamono – who use no computers, only old pre-digital gear – has carried over into his new joint venture. Both groups write, record and perform at same time, then later edit for release. For ‘Yarns from the Chocolate Triangle’ Paul set himself and Alex up with assorted gear, including a record deck, synths and drum machines, then the pair recorded the raw version of the album on the fly. These long live jams where then then discreetly augmented, embellished and edited, with a nip and tuck in Logic. As well as releases as A.P.E. on Dorado and Far Out recordings, TV and film scores plus his ongoing membership in Metamono, Conboy recorded three albums as part of Bomb The Bass, with whom he also toured Australia jointly with The Orb. On a boat trip over to Bali, Paul made Paterson pancakes, and their friendship was sealed. Having stayed in contact, many years later the duo began an exploration of ideas with their 2019 debut ‘A Pail Of Air’ on Painted World records (who’ve also released records by Nik Turner from Hawkwind, Youth, Roger Eno and Jaz Coleman). So far the duo have performed a low key gig at Paterson’s unofficial lair The Book And Record Bar, plus a bigger stage at the Roundhouse, alongside Leftfield, GAS, Ulrich Schnauss and System 7. Clearly making a lasting impression on Alex, the duo’s name was first referenced on The Orb’s own ‘Chocolate Hills Of Bohol’ remix of their single ‘Assassin’ in 1992, which was the same year Alex got blown away when visiting the prehistoric geological formations and enchanting jungles of the Bohol province in the Philippines.
Memoria Recordings warmly welcomes Costin RP. After his amazing releases over the past few years, this artist doesn't require an introduction.
The title track of the EP is called "Astro". As you expect from Memoria, very melodic and warm sound combined with perfectly shaped drums.
As usual, we take things a little deeper on the B-Side of our releases. "Intre Patru Ochi" & "Sidef" by Costin demonstrate once more that he has a lot to offer. Versatile in its strategy, and each track works!
This EP is a classic in the making and belongs in every record bag.
The long-awaited release by Orlando Voorn on NOUN Records is almost here and we're thrilled to share it with you. The tracks on this release are characterized by their pulsating rhythms, driving basslines, and hypnotic melodies, all of which showcase Voorn's exceptional talent for producing top-notch dance music. We hope you'll enjoy this latest offering from Orlando Voorn as much as we do. Stay tuned for its upcoming release and be ready to experience its mesmerizing beats.
The brilliantly entitled 1619 Bad Ass Band covered myriad different styles from mellow sound to furious funk on their superlative and self-titled debut long player back in 1976. Two of it's standout tunes now get pulled and pressed on this red hot 7" from P-Vine, complete with a flip-back sleeve.
That LP is a rare one amongst the famous TSG catalogue and first up from it is the mid-tempo dance gem 'Nothing Can Stop My Loving You' while on the flip there is the more heavy funk sound of 'Step Out' which anyone who has listened to any DJ Shadow will know he sampled.
Seit über dreieinhalb Jahrzehnten hat ihre unterm Strich verrückte Methode des Thrash einige der charakteristischsten Momente in der Welt des Metal hervorgebracht. Jetzt, in der zweiten Hälfte ihrer Karriere, zeigt sich die ganze Erfahrung mit SCORCHED, da es irgendwie reifer, raffinierter klingt und mit Andeutungen von mehr als nur Thrash Metal verschönert wird. „Es ist keine Aggression um der Aggression willen“, erklärt Sänger Bobby „Blitz“ Ellsworth, „es gibt viele verschiedene Elemente auf der Platte. Für mich ist es mehr Heavy Metal und weniger eine reine Thrash-Platte. Da ist verdammt viel Melodie drauf.“
OVERKILL erweitern ihren Aktionsradius, aber lasst euch nicht täuschen, die Band wird die dreckigen, massiven Gossen-Thrasher bleiben, die wir alle kennen und lieben. "Wir sind, was wir sind, und wir wissen, was wir sind, schon seit einer verdammt langen Zeit. An diesem Punkt unserer Karriere in der Lage zu sein, identifizierbar zu bleiben und trotzdem etwas zu machen, das anders ist, ist verdammt aufregend für die Band", schließt Blitz.
Martinou lands on Nous'klaer Audio with his debut album RIFT. Emerging from a waking forest entranced by sun-rays reflected in the morning dew and the sound of rustling leaves in the rising wind. RIFT is a captivating road through the riddles of an imaginary landscape, full of noisy and organic textures bound by hypnotic and soothing melodies. From the calm opener of Absorption (Citywide) to the breathtaking Cirrus Apparition, and from the piercing tones of Velvet back to the closing act ...in all it's splendor. An album consisting of twelve tracks for every moment, a triple vinyl suited for warming up and tearing down a dancefloor, but best listened to from start to finish. Artwork by Romee van Oers. Including download code.
Expansion is the 7th EP on Belgium based Nightflight Records. On several levels it is a deft alignment of the label’s emotional techno aesthetic with Mihail Petrovski’s ability to deliver exquisitely poised music that drives deep into the mind and soul. The EP is a fine addition to his discography presented by the likes of Ferox, Common Dreams, Verdant Recordings & Distant Worlds over the last half decade.
Petrovski possesses an incredible appreciation of the history of deep techno and evidently distils that into his own craft, whilst adeptly melding a sound that is undoubtably his own. This 4 tracker, all original compositions, manifests an uncluttered platform to fully appreciate those talents. Elegantly programmed percussion is balanced with sumptuous basslines and pads but leave wide open spaces for heart warming melodies on each of these tracks.
Tsuris is arguably the most urgent on the record with a warm pressing kick. Omec switches around a superb elastic bassline. Dream Thief brings the tempo down but its innocent celestial melodies linger in the mind. Closing out with Circadian Rhythms, its broken percussion becomes the focus with a sophisticated nod to the finest of mid 90’s UK deep techno.
Hearing Colours is pleased to present their fifth EP, engineered by the master heads behind Melcure, the iconic duo, Felipe Valenzuela and Dani Casarano. These guys return with, "Under My Skin", showing us a touch of punk, techno and early uk tech house all mixed into one main idea.
This hybrid saw the light after one of their latest, but few, studio interactions. The 3 cuts were designed on the same day and composed mostly with a MPC, an unusual system in their classic setup. This approach has given their sound a new twist which is presented uniquely on this EP.
