Before starting work on the self-produced album, Owens, a 28-year old Londoner, turned her keen ear towards dance music after working with techno producer Daniel Avery in a London record store. Her voice and contributions can be heard on Avery's Drone Logic. Since then, she self-released two white label 12's, with the Oleic' EP to follow. Her debut solo album is first and foremost Owens' vision, a record that exudes a startling level of intimacy even in its largest-sounding moments - such as Arthur,' a percolating mixture of looped vocals and rustling rhythms that rides on a perpetual near-crescendo. The song is a tribute to the late iconoclastic musician and kindred spirit Arthur Russell. He wrote music and stayed true to his vision up until the day he died, ' Owens explains. He didn't compromise as an artist, and those are the kind of people I look up to - people who know what they want.' On S/T Owens translates that self-assertiveness into a record that explores a variety of moods - sadness, anxiety, darkly shaded ecstasy - with a trippy-eyed clarity and confidence that only bodes well for the future.In addition to Avery, who has a co-write credit on Kelly Lee Owens' ghostly Keep Walking,' Jenny Hval also appears on the album's lead single, Anxi.' It's a track that shifts from drifting tones and distant vocals to warm squelches and tunnel-vision club beats. It has been my most freeing and open collaboration so far, and my first time working with a female,' Owens says of working with Hval. "It was a very powerful experience for me, I felt she brought something strange and quite beautiful.'
Wata Igarashi's Ciphers Ep (MDG006) out in March 2016 is getting reworked. The artist involved were carefully chosen together with Wata Igarashi after some friendly exchanges during his last visit in Europe. We want to deeply thank Nuel, Yves De Mey, Orphx, Shawn O'Sullivan, r²p and Ruff Cherry for taking part to this project and giving their amazing contribute! As happened for the original Ciphers Ep, which included 2 free download only digital tracks, we decided also this time to give away two tracks: 'Cocytus' remixed by r2p, newborn collaboration of Ruhig, Retina.it and PRG/M and 'Displacement' remixed by the Ruff Cherry.
Omar has a totally unique, individual style and sound still marks him out as a future thinking and utterly unrivaled artist, who has collaborated with so many legendary names that it would be foolish to deny his worldwide reputation - who would dare contradict the likes of Stevie Wonder, Erykah Badu, Carleen Anderson, Angie Stone, Common and fellow fans and followers like Maxwell and Jarrod Lawson
Following on from 2013's album The Man, 2016 sees his new long player further cement this undeniable reputation. Love In Beats is Omars' 8th studio album of his long, illustrious career and may just be the most eclectic & varied to date. Somewhat more electronic in it's conception and sound than it's predecessor, Love In Beats incorporates soul, Caribbean rhythms, an undercurrent of funk, with touches of zouk, a jazzy waltz, spoken word and also features collaborations with Us soul legend Leon Ware, Blue Note pianist Robert Glasper, grime MC Ty, Guadeloupe born singer Jean-Michele Rotin, and Uk soultress Natasha Watts, The Floacist and Mayra Andrade, the Cape Verdean born singer who lives and records in Paris.
Co produced by Scratch Professer, Omars Grammy winning brother,this collection should create excitement worldwide, the sounds are varied - but all have Omars' unique fingerprint on them, style and substance beautifully merged!
This release - a collaboration between Ali X (Alphonse from Azari & III) and Mexico's Theus Mago - turns the heat up all the way to 'ON' and just leaves it there. The lyrical content of the title track would lead many to use descriptors like 'sexy,' 'sleazy,' and 'steamy like you wouldn't even believe,' and while the music also bears that out it's important to remember not to stigmatize something that almost everyone does at least a couple of times a week. 'Vision,' meanwhile, offers the perfect B-side accompaniment, a sci-fi techno workout where you don't even have to think about sex if you don't want to. The EP features dub versions of both tracks for more stripped-down club sets aimed at people who understandably have problems with the sound of the human voice. It also includes a remix by Curses, whom we recently 'bumped into' (he says 'cornered") in Berlin and asked if he'd provide one of his trademark eerie downtempo excursions. Long story short: he said 'yes.
Jacob Long's newest recordings under the Earthen Sea moniker deepen his compelling synthesis of shadowy rhythms and opaque atmospherics, drawing on the most potent qualities of melancholic ambient and dub techno.
An Act Of Love' follows 2015's Ink,' released via Ital's Lovers Rock imprint,
and was inspired by internal tribulations and the experience of exploring an empty nocturnal metropolis. Careful waves of tones drift and decay, beats materialize and pulse across twilit landscapes, a noir mood reigns.
Given Long's background as bassist for revelatory tribal-punk trio Mi Ami, An Act Of Love' showcases a musician in the midst of transcendent redefinition, crafting an immersive language of texture and motion.
From Jacob Long:
This record was made over the course of the most emotionally difficult and stressful year in my life thus far. As such, it is both a reflection of that experience and also something that gave me space to begin working through issues to see a way forward, to a better place both psychically and physically.
An idea that was also central to my thoughts while creating the album was the concept and reality of being out in the city at night, wandering around a large urban area after dark - the contrast of empty streets but with life still going on all around, and the openness and possibilities that can bring. This music was an attempt to capture that feeling.
Bastardo Electrico is a techno night and label based in Cork, Ireland. It's run by Jamie Behan, a veteran of the scene and one half of Flexure alongside Stephen Mahoney. Both have been DJing since the mid-'90s, but Flexure is a relatively new hardware-based project that sounds like a mashup of techno, acid, electro and Chicago house. Shadow Puppets is Flexure's debut EP, a collection of unhinged machine bangers fans of Tinfoil's and On The Hoof's weirdness will likely appreciate.
Modulated noise drills through the centre of "Blizz," getting more rancorous as the track steams on. "Callmecrazeey" is less abrasive but boisterous and more energetic, like a mound of Mexican jumping beans, complete with cartoonish xylophone notes that give it a cheeky twist. The cheekiness continues on "703 39flr," which teems with homemade sounds between the kicks, giving you plenty to home in on even if the track doesn't make you want to dance. The hypnotic "Piltrafiltra" is more likely to get you moving with its slender '90s trance hook. It's the most functional track on the record, but who needs functionality when you can be ricocheting off the walls with "Callmecrazeey'"s oddball jive.
Origine Rec is the music part of my new concept mixing music & fashion.It's a "vinyl only" label influenced by the underground house scene, with the desire to propose my own production and various artists I love and respect.-For the 1st release, I wanted to include "Riviera" a track from my childhood friend Unknyo, which he produced 5 years ago -The track called "Les Bains" was produced by me (Saull) & Unknyo. The title comes from the place where we met 13 years ago in Paris, Les Bains Douches.
-To remix Riviera, Terence Terry was an evidence: his style combines authenticity and musical signature, nothing better to spice a record.-Not to mention a track dedicated to my lovely wife and first support "Ju Lya".
Rune Lindbaek joins Bastedos on this new edition featuring two tracks from polar oposites of the BPM spectrum. Side A from Bastedos features a pacey electronic number with flavours of both rock and disco and a singer making the asertion that ' I Just Wanna Dance, I Just Wanna Boogie', surely any listener will be left with a similar desire when they hear this at their favourite discotetheque. Rune slows it down a gear or two for the flip with his version of Supermann, this is a perfect end of the night track that would melt the hips of even the man of steel.
Ricky L and Marcoradi have been friends for as long as they can remember. They frst met on the dancefoor of one of Italy's most iconic clubs, Red Zone in Perugia, where Ricky has been a resident DJ for the best part of 25 years. Now, they've joined forces in the studio for the frst time, uniting under the Hear &
Now alias for Claremont 56. Those with a keen knowledge of Italian dance music will know their impressive track records. Both have a history of producing fne deep house records and remixes for the likes of Ibadan, Uomo, Reincarnation, Top Tracks, Restricted Tracks and Vega Records. With Hear & Now, they've decided to step back from the dancefoor, instead producing hazy, emotion-rich music for after-hours listening, and mornings spent blinking into the sunshine. A-side 'Hirundo' is a thing of rare beauty: a gently fowering opus constructed from shuffing, mind-massaging drum rhythms, spacey pads, stretched-out
organ chords and Marcoradi's effortless guitar playing. Lilting, alien synthesizer refrains seemingly tumble from the heavens, intensifying the duo's blissful mood. Flip for an even deeper excursion, the softly spun wizardry of 'Sabbia Magica'.
Here, the duo's house infuences gently rise to the surface. This is slow, deep and dreamy house from the top drawer, with jazz-fecked guitar fourishes and undulating electronics combining effortlessly with hypnotic, metronomic drums,
cascading string lines and a wonderfully dexterous electronic bassline. You can dance if you wish, but you may just want a hug instead.
Sometimes in life you find yourselves at a point where you need to walk away and leave something behind if you ever want to go back to it. Other paths must be walked, other experiences learnt from to give you a fresh view of where you've come from. In that sense going back to the roots, rediscovering their past with fresh eyes, is the concept behind Richard Dorfmeister & Rupert Huber's new Tosca album, 'Going Going Going'.For over two decades and several albums Tosca has served as a vehicle for Richard and Rupert to express their personal moods and impressions, each release holding up a mirror to their inner lives. Now though after ten albums the journey has come full circle and once again they've returned to the kind of instrumental tracks, full of deep beats and dubbed out textures that made Tosca's name. The result is 'Going Going Going', an album that Tosca fans will immediately recognize and yet one that doesn't just trade on former glories. Hitting the ground running opening track 'Import Export' sounds like a Lee Scratch Perry version of a Ennio Morricone soundtrack, a motif reoccurs throughout the album, most notably on 'Dr Dings', their reinterpretation of America's classic 'Horse With No Name'.
Returning to Hypercolour with a second volume of his Sugar Cane Chronicles, Gary Gritness lays down more devastating funk and classy riffing over his trusty Roland 606. After the first volume, released last April, sold out its vinyl run, Gritness delivers more explorations and adventures into his unique and soulful world. Having elusively built his reputation as an outstanding session player, live producer and fantastically dressed Funkateer, Gritness has delivered a handful of releases on labels like Clone Crown Ltd, Nyami Nyami and his own DIY and cassette-only Slikk Tapes. "Steady Choosin" gets downright fusion-jazz and Gritness fires out seductive melodies and latin piano playing of the highest order whilst "Countin Up With Starr" delves into a darker well of synth mania, with a sexual groove reminiscing of Rick James, all the while retaining Gary's signature licks and riffs. "Runner Joe's Revenge" on the flip ramps up the hysteria for a gritty and colossal production that typifies his love of cyberpunk soundtracks and the drama and narrative to be found in this style. "The Sugar Cane Chronicles Vol. 2 closes with the low-slung "Pool Shark Loot", wrapping up on a mysterious and captivating tone; its wandering bassline and melodic touches carrying all the signature Gritness sounds, with the P-Funk sleaziness on top.
Fans donated €25,000 to Emika for the project
Fans paid for the album before hearing any music
Electronic & Neo Classical. Fits 2 genres / Cross over
The composition is inspired by electronic music
Emika hired double the amount of bass players in a normal orchestra
Emika created a new seating plan for the orchestra, to sound more like a wide stereo pop album
Echo concepts (electronic music)
Romantic piece, lyrical piece, universal themes of love and sadness, huge beautiful melodies
50 piece symphony orchestra
Silver-toned soprano Michaela Srumova
Composed in Berlin
Recorded in Prague at Czech Radio Studios.
* The crossover between electronic music and classical composition has never been in more vibrant and dynamic health. Multifarious musician Emika explores this fertile ground on her ambitious new opus 'Melanfonie': her first orchestral composition, some four years in the making.
* Funded by a hugely successful Kickstarter campaign that exceeded its target by an impressive €25,000.
* While many rebel from their classical training never to return to it explicitly, Emika has always been attracted to the potential and freedoms offered by the symphony form.
* As well as taking inspiration from her electronic music background in composing the music itself, Emika also applied some of production and playback principles from that realm to create a piece whose every element has been carefully considered.
* Emika is on a quest to try and change what we mean when we talk about 'classical music'. For her, the magic of the 'genre' is about the instruments themselves and more importantly the people who play them; not the restricting traditions and conventions of the classical world itself.
* I want to change the face of classical music and give it a more honest and real image. It is time we had something other than pomp and circumstance and avant-garde squeaks and pops..
Supported by
Chilly Gonzales, Zola Jezus, Ellen Alien, Nina Kraviz, Mala, Christian Kellersmann, The Barbican, Francesco Tristano.
There's a myth about music critics that says we are frustrated, wannabe performers. Evidence to the contrary: Vivien Goldman. Ever since she migrated from pitching editors on the little-known music of Robert Nesta Marley to becoming one of the foremost chroniclers of the perfect storm of reggae, punk, hiphop and Afro-Beat, the London-born, New York-based Goldman has made documenting music her primary life work. But between 1979-82, Goldman was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, courtesy of Staubgold Records.
Resolutionary takes us through Vivien's first three musical formations: first as a member of experimental British New Wavers The Flying Lizards; next as a solo artist, with her single 'Launderette,' featuring postpunk luminaries; and then as half of the Parisian duo Chantage, with Afro-Parisian chanteuse Eve Blouin. Goldman's synthesis of post-colonial rhythms and experimental sounds are threaded together by her canary vocal tones and womanist themes. Her eclectic musical crew included PiL's John Lydon, Keith Levene and Bruce Smith; avant- gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; and Viv Albertine, then of her good friends, the Slits. The majority of the tracks were produced by dubmaster Adrian Sherwood, and Resolutionary channels the history of a time when the bon-vivant voice of music was in the air, and Vivien Goldman was its eyes, ears, and mouth.
Ichisan has been coaxed back behind the velvet curtain of the Bordello, this time for eleven track trip into a land of funk filled machine music. Aperitiv cruises with no single style, instead this Slovenian synthesist glides and slides through a scatting of sounds. Cosmic. House. Disco. Wave. Italo. All are plundered to produce an album overflowing with good feeling. And these feelings are pretty damn good. The road bends- The course changes. Bubrling acid bliss, crisp beats and stunningly delicate key shifts characterise this collection. Inviting strings pull you ever deeper. A soundtrack to coast line journeys along the Gulf of Trieste in a top down convertible, late night romances and evenings of endless warmth. Allow yourself to be whisked off by Ichisan, a trip you won´t want to come back from.
Vinyl Only
Implosive Incorporated. Three guys with a crush for old gear and demandingly moving vocals exploring the deepest depths of US House. Three years of sampling, jamming and having a god time in the studio. The result: A box full of tracks is waiting to be released. This is our first life sign, this is the birth of Implosive INC.
Despite a discography that stretches right back to the late noughties, little is known about Turkish producer Ali Kuru. Perhaps he's publicity shy, or simply wants to let his music do the talking; either way, the music he makes is magical, and undoubtedly worthy of wider acclaim. Kuru came to the attention of Leng late last year, releasing the Luna 12' his frst vinyl release for six years - in January 2016. That EP boasted two typically exotic and fragrant tracks, both of which effortlessly joined the dots between dub disco, hazy house, gentle downtempo movements and snaking, Middle Eastern instrumentation.
Here, the Istanbul native further explores his unique musical perspective, serving up a quartet of tracks that eschew easy categorization. Twittering birds, throbbing dub basslines, crisp hip-hop beats, trippy vocal samples, and distant chimes combine on the moody 'Mandari', while 'Causa' peppers a jangling, acoustic guitar-laden loop-groove with futtering futes, deep space electronics and rolling hand percussion.On the fip, his more exotic musical inspirations return to the fore. There's 'Zurna' - the musical equivalent of a panicked dash through a bustling late
night market full of drunken jazz drummers, metronomic groove merchants and snake-charming pungi players - and the low-slung stomp of 'Avaz'. Here, sampled vocal chants and Bollywood-inspired instrumentation wind their way around a rubbery bassline and handclap-heavy rhythm track. If
there was such a thing as Turkish-Hindi jazzdance - and maybe there should be - then this would be a guaranteed foorfller.
All four tracks offer further glimpses into Ali Kuru's fertile imagination. It's the perfect teaser for the Turkish producer's debut album, which will be released by Leng in early 2017.
Recorded in 1969, the fourth album from Sly And The Family Stone, "Stand!" was the crowning musical statement by this unisex, multi-racial rock and soul combo from the Bay Area of San Francisco, featuring four chart hits, including the number one smash "Everyday People", "Stand!" virtually invented the 'progressive' funk of the 1970s and 80s, jettisoning the trappings of 60s soul and paving the way for a new sound that would influence other artists to this day.
Villalegre Recordings is back with his second release after an acclaimed debut ep, which is already found in some 'real deejays' " vinyl cases, namely Dj Garth, Stevie Kotey, Timm Sure, Richard Sen and Massimiliano Pagliara.Discómanos ep consists of 4 edits of unknown gems, masterly revisited by collectors and artists as big as Mike Burns, Rayko , the great Sagittarius and Christian Beetz aka Frwctrl. Once again, Jorge Moreira and Crew dig deep down into many underground scenes around the world, to come up with an ep you'll always want to have in your case.
Listen carefully to Jose Rico's mastering work! A unique sound, which brings back reminiscences of Tom Moulton, Larry Levan, Dany Krivit or the very own Ron Hardy's reel to reel edits. Exotic love (Frwctrl mix) The trip starts with a Christian Beetz opus, which edits and extends a wonderful and unknown antique Spanish disco-funk track, with chorus voices flying like eagles to drive the dance floor to a unique climax. Sweat and pleasure lead by a smashing funky guitar, synths which drive you from the beach to the darkest, most hedonist dance floor. For your Love (Rayko edit)
Rayko is an edit master; he has presented his productions on the biggest disco dance floors on the planet, and this work reconfirms him. 'For your Love' tastes like Paradise Garage and nights of freedom and love. An original track with first class drums and a bass guitar, that reaches straight to the heart. The message comes with violins, which create the perfect emotion to wrap up a disco music masterwork that later becomes house. I want your body (Mike Burns Edit)The original track is a treasure that's hard to get, edited by Mike Burns, one of the strongest artists in the European underground disco scene. Mike selects this cut with a killer bass line, crazy synth effects and organs to turn the original track into an extended cut, which not only shakes the dance floor, but also the cloakroom and toilets. Programa Sintético (Sagittarius 1983 Tribute Edit)Sagittarius edits in a sublime way a mysterious track, loaded with energy, synths and effects. A production work, which transforms the original track into a technoid cut with a frequency in tune with Ron Hardy's proto-techno edits and progressive European music.
Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Arthur Forests name should be more widely known in the world of dance music, the man lent his expert to touch to more than one classic record emanating from Detroit during his time and has quietly left an indelible fingerprint on House and Techno history. Here at Mint Condition and for our third release we are extremely proud to present one of Art Forest's (in our opinion) finest moments - The majestic, futuristic 'Expectations' EP. Released in 1992, this 4 track EP has always been sought after by Detroit lovers worldwide. Often very difficult to track down and commanding high prices on the second hand market, this 12" is a real rarity. Showcasing a style that stands out from a lot of records released around the same period "Expectations" still sounds so killer today. Listen to "Flow with me" on the b-side, an insanely deep, melancholic piece of Detroit house, steeped in motor city futurism (those synth pads!) and with an otherworldly vocal performance from Dan Carter it ticks all the boxes, absolutely sublime and worth the admission fee here alone. Stunning.
If you're up to your neck in the history of Detroit dance music, or if you've literally just stumbled upon this entire world of amazing music (Welcome!) you'll want a piece of this. Beautifully crafted deepness from a quiet master of the artform, what's not to dig MC003 has been reissued with the permission and involvement of Arthur Forest and remastered by London's very own Curvepusher. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!
'Mint Condition - We're out there'
future sessions is proud to bring you a release from the owner and operator
of finale sessions and one half member of the legendary balance recordings imprint with the legendary chez damier . so we will start you with the first track which is a remix of the classic track chez damier - never knew love with michael zuckers take on the track which gives it a real dancefloor driven sound with its funky guitar streams filled with filtered synth's and perfect drum programming and then we get to the second track 'wisdom and knowledge feat. maya angelou filled with her masterful poetry and michael zuckers pads and deeeeep bass and perfect drums gives it what it needs to flow streamingly then last but not least we have 'jacobs ladder' with is smooths pads and it's mesmorizing and hypnotic keys but the drums are the key to this track ..we want to thank you at future sessions for giving us the oppurtunity to do what we do and we thank you for the support.
Moving across the dynamics of feelings and rythms of matter, Oltrarno Recordings presents 'Observing Organic Structures', a mini LP produced from the duo Raccoglimento Parziale.
The breath of analog machines tarnishes the infinite mirrors of possibilities. Our duo wants us to absorb their work not only with the ears, but through all our pores. Attention becomes our antenna.
To refine this package, long time friend of the duo Spacetravel, who just released his debut double-EP on Perlon, elaborates his personal view with a full galloping remix.
Raccoglimento Parziale is a project by Stefano Meucci and Andrea Giachetti
Written and recorded in Pausenraum, Berlin, 2015.
Mastered by Stephan Betke at Scape, Berlin.
Artwork by Juana Anzellini, von der Serie "Anonyme", 2015.
Drums, bass, saxophone. Three main ingrediences for the three members in Kriget. In this gorgeous 7" they've added mad nice electronics. It's krauty, spacey, free jazzy etcetera, so forth, blah blah blah. Lets settle at free music for free people.
A-side Dincons bass seduces you so subtle that you hardly notice that you're about to take off for a ride that you can't fight. Only feel. When you think you've landed safe and sound its time for side
B: Sama kicks of like a no-nonsense session with a sleazy elektroschaman who wants to hypnotize and program you with so vicious methods that the CIA would be impressed. When the acid kicks in at the end it's time to breathe slowly and quietly repeat for yourself:
Keep calm and remember that being paranoid doesn't mean they aren't after you.
3x12"
On the A side SCM provides the perfect blend of analog synths, heavy kick drums and a badass bass line ranging from fuzzy voices to contagious la
tin samples. On the flip the Berlin based label delivers a very rare recordings of his guest Chicago's Jordan Fields. These experiments were recorded directly to tape and lost till now!
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Warm Tapes Adjustment returns with the Second Volume once again performed by SCM a Gari Romalis.
On the A Side two raw and dusty live sample sessions from SCM.
On the B side two lo-fi disco styled house tracks from one of Detroit's finest underground producers
Four house tracks fused in a combination that makes this record unique! Vinyl Only release
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Keep your eyes peeled for Warm Tapes Adjustment the new project that took place between Detroit and Berlin. The two sides of the same coin bring the name of Gari Romalis and SCM. Four tracks ranging from well know Garis House imprint to hyped tunes performed and cutted by the emergent Berlin producer.
Don't miss the chance to get your hands on this pure dope wax!
Music has always coursed through Roman Lindau's blood. Even if he weren't the accomplished producer and respected DJ he is today, the German audiophile would still be spending all his money on the stuff; giving over all his time to the art form. ''I'm a music junkie. I need music to live'' he states matter-of-factly. ''For me it's the elixir of life.''
Good job, then, that he gets to spend his ..
Roman Lindau is a German techno DJ, artists and producer, as well as being a core member of the infamous Fachwerk Records from Berlin.
Music has always coursed through Roman's veins ever since he was a young boy so it is no suprise that he became the accomplished producer and highly respected DJ that he is today.
In the late 2000´s Lindau became active in the Berlin electronic music scene, beginning to play music in clubs as well as producing his own music.
The first track he released in 2008 on his home label Fachwerk Records appeared in one the world famous Berghain Mix Compilations, mixed by Len Faki.
Following from this Berghain invited Roman to contribute an exclusive Track for Ben Klock´s Berghain Mix in 2009. After this success the gates opened for him to play regularly as a DJ at Berghain.
At the same time he continued to work on music for Fachwerk Records. He produced dance floor smashers like ´Crasse´ in 2011 and ´Rave on´ in 2014, which were charted by the likes of Ben Klock, Sven Väth & Chris Liebing, afirming his deserved place amongst the techno elite.
More recently in 2015 the well known Victor Calderone from NYC invited Roman to release on his label Matter+.
The reason why Roman is such a great DJ is because of the fact he knows what the people want! ''I love to dance and that's very important: as DJ you need to feel what the crowd want so you can help them to party and have fun.''
Combining a varied selection of raw house and techno in his sets, recent bookings have taken Roman across the world; from the hallowed techno Mecca that is Berghain to dark underground clubs as part of the recent Fachwerk label tour.
He has performed at every legendary Berlin venue, past and present from Tresor to Berghain, and it is this that gives Roman the edge above the rest. If you can do it there, you can do it anywhere!
From 2014 Till the closing he was a resident DJ at Stattbad, one of Berlins findest adress for Electronic Music.
Following releases on labels such as Greco-Roman, TTT and Templar Sound, Dro Carey (Eugene Ward) returns to the scene with his new offering, the industrious yet delicate track 'Queensberry Rules' featuring the vocals of KUCKA, taken from his Dark Zoo EP, out now via Australian label Soothsayer.
Where his previous releases have been firmly focused on the smoke-riddled clubs, Queensberry Rules sees Dro Carey traverse new territory. Working with KUCKA and Collarbones' Marcus Whale on the track, 'Queensberry Rules' sees the Sydney producer creating a unique pop sound, however maintain the gritty DNA that he is so distinctively known for.
As Dro states ''Queensberry Rules' are the set of rules that outline the general code for boxing matches. It's a document about fairness and sportsmanship in a pretty violent activity. That immediately struck me as a great title for a demo. Working with KUCKA and Marcus Whale (of Collarbones) as a co-writer, I think their lyrics perfectly hit upon the sense of irony that I wanted the song to have.'
The track was the first official taste from his Dark Zoo EP which sees Ward push the limits even further within his musical explorations. Whether it's the pop moments of 'Queensberry Rules' and 'Dark Zoo' where he employs the vocals of both KUCKA and FKL respectively to elevate the sonic sensory overload to new levels, to the brooding club explorations that are 'Grow Lithe' and 'Hidden Halls'; the EP is his musical coup d'état from the outset - simultaneously sinister, restrained and intoxicating.
We are absolutely thrilled to present this little gem on Vinyl. This special vinyl release also includes not only the single, but two remixes from heavy weights Mall Grab and Cassius, and a very special new track titled 'Under' which is and will always only be available on the vinyl release of this. Dive in!
Dark Entries returns to the New Jersey basement studio of Smersh to unearth a 4-track selection from the 'Deep House Anthems' cassette. Smersh was the duo of Mike Mangino and Chris Shepard, who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Recording in a domestic setting necessitated the abandonment of live drums for rhythm machines, and the Smersh sound would gradually change with each new bit of gear they acquired. The Electro-Harmonic Rhythm 12 gave way to TR606, TB303, and SH-09. Most Monday nights, they would write a new song from scratch. A couple hours later, the song was recorded, never to be performed again. By 1988, they had already put out at least 16 different tapes on their own Atlas King imprint. They would be followed by as many more. Some of those (subsequent) tapes there were less than 10 copies that got made because nobody wanted them. They couldn't get reviewed,' says Mike Mangino. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond Piscataway, leading to releases on dozens of other labels from around the globe. Smersh's sound is a lush hybrid of techno, industrial, dance, and experimental. Most songs revolve around driving EBM style beats, intricate industrial noise manipulation and synth melodies. For 'Selected Deep House Anthems' we selected 4 tracks of pulsating acid techno, which were recorded live, direct to DAT. All songs were originally recorded and released in 1991, and this the first time all but one of these songs are appearing on vinyl.
The Gold Play is a compilation of all Tangram-related artists to date.
Tangram Records is an independent Belgian-based record label. It was founded 4 years ago by Up High Collective and Mophito to promote a batch of unreleased beats and live-show by Up High. Throughout the years their releases got picked up by Gilles Peterson, Lefto, XLR8R, Boiler Room, Kutmah...amongst others. Now 4 years later Tangram have introduced a wide-range of talented musicians to the world. Without wanting to limit them to a certain genre you might say their releases are a celebration of electronics and hip-hop.
The compilation itself holds 6 previously unreleased tracks by Up High Collective, Faisal, LTGL, LoneBlue x Halibab Matador (aka YellowStraps), Le Motel and Sokoto. Each side of the vinyl ends with a previously released track on Tangram by Day Fly and Moodprint blending the entire release nicely together.
The artwork release is beautifully crafted by Dzia. Dzia is a graphic artist from Belgium and fine artist in every sense for that matter. His creations range from paintings, through sculpture to taxidermy and street works. This gatefold holds two versions of a fox and a play-full scenery of dear.
Olin follows his debut on Giegling sub-label g g g by launching his very own imprint, Boundary Monument.
The record's A-side is taken up by "Conne" an extended techno work building in momentum until the bassline explodes and all the track's pieces fall into place. "Foist," a tune as playful as it is dizzying, opens the B-side. Then comes "Biota," a nine-minute-long thing of beauty that feels just as delicate and just as mesmerizing as the A-side and works just as well for at-home listening as it does in the club.
BOM 01 is Olin's most confident and composed work to date, and his brilliantly simple, utilitarian philosophy as a producer shines through: "I make tracks so that I can play out what I want to hear."
Our official first time full lenght vinyl release of the James Walsh Gypsy Band album I've got the feeling has been a huge success and are now sold out from the label. As an answer to the demand, we have now pressed a small run of 7" single for the 45 collectors and Dj's. Limited run of 500 only. The 45 is special designed på Hans Jørgen Wærner who also did the original cover art.
Side A: The fantastic uptempo AOR Modern Soul track, I've Got The Feeling was an easy choice as the A side. Smooth soulful sounds for the dancefloor or travelling along the coust of California. The track was also featured on the fantastic Americana - Rock Your Soul on BBE Records.
Side B: Caves of Altamira is a fantastic mid tempo cover of the Steely Dan track. Funky, smooth soulful version with the Tower of Power horns make this as a runner up of the best version of the track.
Here is a review from Juno Records of The James Walsh Gypsy full lenght album, Ive Got The Feeling:
The James Walsh Gypsy Band is kind of the outfit to go to if you're looking for some blue-eyed soul but, just like Ned Doheny and his sublime reissue on Numero, the band never fully came out of its shell and they were limited to just one album on RCA Victor, 1998's self-tiled LP...until now. I've Got The Feelin' was recorded a year later, in 1979, at the legendary Muscle Shoal Studios, but it never made it out onto the shelves apart from a seriously limited CDR run. Norway's Preservation has thankfully done the right thing by pressing it up on vinyl, and the opening title track is as just as wonderful as the first time we heard - a true soul masterpiece with a clear LA influence. "Looks Like You Got Down In Love" is a funkier, more soulful version of Credence at their deepest, while other highlights include the supremely majestic "It's Over Now", and the tear-jerking "Alabama Eyes". It's a road album, the sort you want to really take in properly. Recommended.
Virginia-born singer/songwriter Nicole Wray has everything you'd want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha's, and a church upbringing that's brought a pure, healing texture to her voice. But the struggle she's been through has made her more than a singer. Nicole Wray is an artist. When talking about Queen Alone, her first solo album in some time, Nicole explains, It's a reflection of my soul. It's who I am today.' And aptly so. Nicole is writing and singing songs about her life. And yet to even start to know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole's family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (Make It Hot). Suddenly she was part of a team that included late '90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Nicole found herself in a familiar situation. In 2013, Nicole paired up with London vocalist Terri Walker and released the album Lady. Once again, Nicole was tested. Terri parted ways with the group to pursue her own projects shortly after the album's release. Fast forward to now-the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, Queen Alone. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Nicole says she is Singing out loud now-singing from the stomach.' Back in 1998 she was coached how to sing, and told to stay in a pocket that never let her show her range, power, and passion. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs-all of it from her life. They Don't Hang Around", tells the story of her post Roc-a-Fella days, Guilty", is about her brother's incarceration, Make Me Over" tells the relatable story of being broke with expensive taste, and 'Let It Go', a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, You have to go through something for it to be real.' She has been living with one foot in fame and the other in real life. The result is clear: she's feeling something real in her music again. And it's hard for us as listeners not to follow suit.
A Complex Web - The Story of THE SHINING PATH...began in 1982 when Peter Miller (aka Dr. William S Ray - vocals, tapes, guitar) met Andrew Millar (aka Maurice Spectograph the Nose-y Pieman - program execution) in Gold Coast, Australia. While sharing a similar taste in music, they decided to form a band, so DIVE POSITION was born. Equipped with a Korg synthesiser and Tascam 4-track recorder, they 'wanted to have the 'sound' of Kraftwerk, the groove of Can, and the 'menace' of Throbbing Gristle', ending up with 'a cross of Suicide and the Residents', as Peter recalls. In a local record shop they met Stig Andre Leonardson (aka Vincent Blackshadow), who joined the duo on percussion and drum machine programming. Their motto was 'Now is Then'. DIVE POSITION then became THE FATAL CHARM around 1984, and THE FATAL CHARM became THE SHINING PATH who eventually released their only album 'Basic Training Manual' in an edition of only 250 copies, most probably in 1986. The band then started to drift apart, and shortly after Andrew sadly passed away - this re-issue of 'Basic Training Manual' and the upcoming compilation 'Now is Then' comprised of previously unreleased DIVE POSITION and THE SHINING PATH material is dedicated to his memory.
In the lead up to their 5th year as a label Music is love celebrate by continuing their infamous VA series the 'LOVEBOX'. Sticking to the winning formula of a hefty double vinyl package comprising of 8 tracks from 8 top artists, this time they have some familiar people alongside new faces to the label.
Kicking off the package in fine form is South London's prodigy Wbeeza and his track 'Bodyman'. It's as if this track announces the the opening of the VA with its beat-less and thickly textured opening... when that beat drops you know your in it!
Label main stay Jamie Trench is up next with his track 'Oil Spill ', this sees Jamie veering away from his tech house roots, delivering a quirky house track laced with an almost footwork groove.
On the Flip we see more new additions to the MIL roster as Ingi Visions ( Samuel Deep & Julian Alexander ) drop Nauyaca, a deep druggy track, with the kind of hypnotic flow and delicate arrangement the pair have become known for. Liam Geddes finishes up the B side , fresh from dropping the previous release on Music is Love his track 'reach out' continues to stamp his unique sound on the label.
And it don't stop...
As we reach for the second vinyl in this double pack we are greeted with a familiar site in the shape of Dutch duo New Jack City. 'Pick Me up' is everything you want from a NJC track, big, bumpy and beautiful.
Mak & Pasteman counter with their very cool track 'U Said', the boys are in serious form at the moment and this track is no different. Slick drum workouts decked out with Juno licks, what's not to love.
The final side welcomes another new act to the stable. Am Unit present their track 'Bang Dat'. With 'Bicep' style production values echoing throughout this track and THAT break, this one will be big.
Closing out the final track is label boss, Oli Furness. 'Broken Summers'. A huge 808 rave workout. Broken beats and sub rattling kicks are the setting for this track, finely polished electronic music for those with a fondness for rave.
American experimental musican Shane English continues in a long tradition of outsider electronics as he's been humbly prolific in his output though the years involving himself in numerous recording projects.Collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name), English now commits his second full length solo offering to vinyl in the form of the General Dimensions lp.Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Highly recommended for those into early electronics.
The Saint Petersburg-based DJ duo Gradient Logic has released a new EP on vinyl with producer Milos Dordevic, better known by his stage name Tonbe.
Their first cooperation brought four digital tracks released by Disco Fruit Records in January 2016.
The repertoire on their new EP is varied without losing the characteristic of Gradient Logic's disco-groove.
"I Want You Slide" is an energetic track trembling with the chords of a killer bass-guitar.
"Talk About" has a summer feel to it with vocals that invite you to the dance floor and a beat that makes you want to move.
"Far Away" with its electric beats takes you far away from ordinary life and brings you into a party mood the way only a good summer track does.
"Feel Me" is a skillfully cut slow track pleasing as lounge music and catering for unhurried dancing.
The album should be considered a continuation of 2013s critically heralded album "This Time We Go Together". The story follows a duo of wanderers finding each other and traveling through life - hand in hand without roots. A 'love conquers all' theme which has been a highly embraced motif in his more recent works.
'We become Ravens' con- sists of 15 electronica vignettes which craftily utilize synthetic soundscapes, memorable melodies, timeless introspection and Gudmundsson's signature electronically infused beats.
Having been an integral part of the Icelandic Electronic music scene since his debut album in 1999. 'We Become Ravens' is a pinnacle release by a well seasoned veteran of electronic music's fringes.
Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.
Next up to close out a hefty year of DJ-Kicks releases is one
Daniel Avery, bringing with him two exclusive new tracks and
a host of techno heavy goods. In his own words:
"To me, the most appealing thing about electronic music is that
it requires time and patience to fully enjoy. It's about becoming
lost in the repetition and the atmosphere. The warmth of the
kick drum.It's important to remember to take a breath in this world. The studio and the club can offer similar experiences in that regard but it never feel like it's running away from things. It's almost the opposite: it's in those moments where we stop that we can feel the most alive.We're constantly being told that modern generations have no attention span but it's simply not true. There is more out there to distract us but we have not changed as humans. Kids now want to go and listen to a DJ play for ten hours and become locked in their world. A mix CD, like an album, is designed to be listened to from beginning to end. It's something I still firmly believe in.
2024 Repress
"Apodiktische Gewissheit" ("apodeictic certainty") is the title of an audio-visual cooperative project from Berlin-based artist Gerhard Mantz and Wolfgang Voigt. The project is premised on a digital video piece from Gerhard Mantz. Steadily flowing geometric forms and themes move evenly around a fixed center towards the viewer. A hypnotic undertow-like effect of seductive beauty emerges - impossible to elude, whether you want to or not. Wolfgang Voigt seizes on the digital aesthetic and the mechanical flow of the images, giving them a musical equivalent. The result is a successful amalgamation of imagery and music that generates maximum intensity with minimum motion. An Impression of concurrency between loop-ish continuity and a constant forward thrust, always the same and always different, beginninglessness and endlessness is created.
The vinyl release at hand is a part of the audio-visual art installation "Apodiktische Gewissheit", developed in cooperation with Cologne-based gallery Hammelehle and Ahrens at Cologne's Gertrudenkirche and starting on Friday, November 4th 2016.
Limited Vinyl Double pack pressed on transparent Green & Blue Vinyl. Four tracks, the brand new VIP mix of Species and the Doc Scott inspired track Redeemer, along side Blood Red and the original mix of Species. Serum said of these tracks, they are inspired by the original Virus releases. I wanted to make something with a harder edge and modern production but without losing the grit or the groove. I sampled a lot of experimental electronic music from the 60s and 70s and used vintage style hardware to bring out the right character in the sounds.
20 track Album from Various Artists released by Dub Store Records
The first instalment in our new 'Mr Bongo Record Club' compilation series - a selection of favourites, recent discoveries and sought after obscurities, which form the basis of our DJ sets and our radio show of the same name. Including cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie Laverne, Barbosa and more. The original concept for 'Mr Bongo Record Club' was a radio show that allowed us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions, not constrained by the need to beat-mix every record, a space where we could play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl. We have always DJ'd across-the-board, but playing in an eclectic way hasn't
always been easy. Recently DJ's such as MCDE, Floating Points, Nick The Record, Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and Young Marco - to name a few - have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco, boogie, jazz, house, techno and beyond.
We're seeing a rare groove like sensibility. A shift towards the attitude of legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson, where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people have a progressive attitude and a thirst for new-old music. It is a vibrant and exciting time - we are proud to be a part of it.
With half a century of existence, Beninese band Poly-Rythmo can easily be considerate as legends of the African music alongside Sela Kuti and Tinariwen. Drawing their name from the extensive mix of influences that forged their sound (American soul and funk, Nigerian afrobeat, French chanson, Congolese rumba, etc.), they are known to be impressively productive as they released from 1969 to 1980 hundreds of EPs and dozens of albums. In 2014, orchestra conductor Florent Mazzoleni visited the band and decided to produce this new album recorded in the legendary African studio Satel. With its warm tone and mastery of rhythm variations, 'Madjafalao' ("watch out") will instantaneously become a classic of afrobeat and Poly-Rythmo will share their warm joie de vivre with thousands of people during their European tour starting in late October.
The Turbo debut from Gilmer Galibard is a collection of four dark, visceral techno floor-destroyers from a young Canary Islands-based producer about whom we know relatively little. It also marks the label's first release to feature a swear in the title, offering a foreboding glimpse of the paranoid machine-driven warehouse terror contained within. "By now you will have heard the demo in its entirety and are still dancing whether you want to or not. For my purposes, you will use the Search Engine Optimization terms "Dark," "Visceral," "Techno," "Floor-Destroyers" and "Paranoid Machine-Driven Warehouse Terror" to ensure that it finds its way to the 83 people who need to hear the release through this specific channel. You may tell people I am 26 years old and from the Canary Islands; both facts are true and sound comforting enough but as you now know this does not matter. Print this in its entirety and leave the release title unchanged. I would say I've said too much but that is impossible because as you've come to understand all of this has already happened.
finally repressed
Back in February 2013, shortly after their impressive first release as a label, Music Is Love launched a double VA entitled Lovebox: an 8 track double-vinyl release that included tracks from 8 talented up-and-coming producers on their roster. By innovatively previewing the producers in this way, the label laid the foundations for what listeners could expect for each artists' subsequent EPs. The artists who released on it were not hyped up flavours of the month, but rather emerging talents who sat perfectly with the label's musical ethos - quality and original underground house with a contemporary, dynamic feel. Since the VA, the label have gone from strength to strength and have firmly established themselves as one of the most brightest house labels around in the UK.
Just over a year later and following in the success of its predecessor, MIL return with their second VA and with that, a chance for listeners to hear the new additions they've acquired, in addition to some already known faces. Liam Geddes opens proceedings with Untitled. A deep sense of soul permeates the whole track as a rumbling baseline imbues the beat with an ever-present sense of groove that never lets the head stop nodding. Geddes has really fine tuned and matured his sound over the past year, and this track is further evidence of his quality as a producer. The subtle percussive rhythms, electronic bleeps and synth nuances give this track a natural flow, as Geddes conjures something altogether more hypnotic, dark and purposeful.
Mr.KS, one of the newcomers to the label, outlines his coolly crafted style with track (Music) Makes Me Stronger. Brittle drums and deep warped synths suck you in and out and shape the structure of the beat, while afflicted chord patterns combine with the hypnotic repetition of a vocal sample to give the track a gesture towards techno but with a flow that pulls in house elements. Cassio Kohl introducers himself with a warm, melodic house number; rumbling synths circulate in the background of the track while ticking hi-hats and snares play off against the sumptuous vocal sample, which builds and falls back nicely into its original path until electronic glitches sporadically ease in and move the beat forward.
Jamie Trench has been making some serious headway of late and his track I Want You with Rebel serves a timely reminder of a producer on top form. A heavy, rolling baseline resonates intently, building against murky vocal samples, shuffling snares and off-beat key stabs that grow in presence and intensity - a track that will no doubt prove a high point in any DJ set. Label boss Oli Furness has a raw knack for creating crisp, heavy sounds and Take Monday Off remains on a similar path, albeit the beauty lies in the subtlety of arrangements rather than bigger hitting sounds. Chopped shimmying keys tease, filter and build fluently with urgent hi-hats and swinging drums that flourish harmoniously together, while an understated baseline adds weight and rhythmic groove typically inherent in Furness' work.
Italian heavyweight Tuccillo has released on some of the most reputable labels on the circuit - releases for 20:20 Vision and Freerange is evidence enough of his provenance - and this time he brings his baleric house sound with the impeccable sounds of DubFlanged Gru. Shimmering percussion shakes meander against the bumping bassline while the endearing, muffled vocals that threaten to break out are superseded by breeze-block keys that filter and descend into a chattering groove. Dutch producer U Know The Drill brings things back into heavier house territory with a no-nonsense, stripped-back stomper, the type of track we've been used to hearing on Dutch affiliates New Jack City's material. Heavy snares kick with a punch, and the deep drone-like vocal swings against the wobbling baseline and tapestry of electronic bleeps. Other sampled vocals and glitches weave in with the juxtaposing elements playing off one another to huge effect, ensuring that sheer energy pervades the track.
Jackson Ryland rounds off the heavy 8 track VA - scattering hi-hats and swirling pads build, while the shuffling drums roll on until fleeting chord flourishes and a musky vocal hook bring the track into wistful nostalgia. The elements of track balance superbly and are propelled forward by the intricate drum arrangements and well-crafted hi-hat/vocal combo.
The difference in approach and outcome from each artist results in yet another highly impressive outcome, with 8 high grade tracks that show another side to Music Is Love. The sounds are tougher and the mood is darker, but the premise of the whole MIL concept remains more apparent than ever with this release: sourcing fresh underground talent, curating original electronic music and evolving artists already on the roster.
Der nigerianische Musiker Fela Kuti gilt als Begründer des Afrobeat. Das Label Knitting Factory legt nun verschiedene Werke aus dem Backcatalogue als neue Vinyl-Edition vor. Diese entstammen ursprünglich dem von Brian Eno zusammengestellten Set "Vinyl Box 3/Compiled by Brian Eno" und waren einzeln nicht erhältlich. Schwarzes Vinyl / 180g. 1973 entstanden, ist "Gentleman" der direkte Vorläufer zum legendären Album "Alagbon Close" - und alle Zutaten des legendären Afrobeat sind hier schon perfekt angelegt. Thematisch pendelt das Album zwischen Kolonialismus (das Titelstück) und persönlichen Erlebnissen. "Fefe Naa Efe" zelebriert die Überwindung von Herzschmerz, während "Igbe" (zu Deutsch "Scheiße") durchdekliniert, wann ein Menschen "scheiße" handelt: von Verrat bis zur mangelnden Selbstachtung ist die Rede.
God, reviews can be LOL. So we'll presume you know your own mind and taste. Let us scrub all metaphor. We'll resist comparison. Today's musical tenor overlooked, we'll refuse to dissect. Moments preferred are muted. We won't highlight respite or forgiveness. There's no considering of geographical fact. We'll shut our ears to technology.
Remember how badly we wanted to join them and be part of those sea-faring adventures: Jack London’s The Sea-Wolf, classic TV shows based on his novel The Road, on Radu Toduran’s novels... back then, a couple decades ago, the titles of these shows alone were enough to trigger some strong gusts in our hearts, salty squalls perfect for imaginary downwind journeys we dreamed of with billowing sails. We wanted to cruise alongside albatrosses, seagulls, and fellow sailors. Floating high above a three-masted vessel, we watched our own adventures unfold far below, an imagined movie scene complete with a whole crew that worked the rigging, and all the rest. Cutting waves. Amidst the storm and stress of sounds hitting our eardrums far out in the ocean. Combined with the sounds of rotors, of tropics crossed, of marimbas and cabin wood pounded, of strange music spotted in the distance. And even though it was merely for an hour or two that we were rescued by that seal-hunting ship “Ghost,” as Jack London had it, plus, even worse, often found ourselves surrounded by villains: it was a great escape, for we’d successfully set sails – to new and exciting places.
Both around their own Weilheim shores and elsewhere, brothers Markus and Micha Acher have launched various musical vessels, bands and free-floating constellations over the past three decades – and yet: amid all these other speedboats and unlikely sonic barges, The Notwist has always remained the mother ship. This new album documents the latest live incarnation of this very band, which also features Andi Haberl, Max Punktezahl, Karl Ivar Refseth, and Cico Beck. Recorded on December 16, 2015 on the second of three consecutive, sold-out nights at UT Connewitz in Leipzig, Germany, "Superheroes, Ghost-Villains & Stuff" indeed feels like a first-hand live experience caught on triple vinyl. That’s why it’s the definitive album of The Notwist’s career.
Although there is one song that points to the early, “louder years” of The Notwist – “One Dark Love Poem” off the album Nook –, the rest of the night’s set sees the band perform all the major hits off Neon Golden, The Devil, You + Me, and Close To The Glass. However, these are different, organically enhanced versions, new interpretations and combinations that feel much more alive; thanks to Olaf Opal’s incredible mix, they sometimes even outshine the original studio recordings. Listening to "Superheroes, Ghost-Villains & Stuff" feels like watching these songs evolve and change, moving from one frame to the next, much like a baroque triptych.
What starts out like ‘wimmelbook’ imagery, the music soon folds and unfolds like a Moebius strip: Sans bottom or top, sans inside or outside, the inside becomes the outside and vice versa. It’s all about sonic interconnection, about music as entanglement, music as reconciliation. The rather majestic, cinematic (indie) pop and experimental, kraut- infused jazz, the spirit of the enlightenment and baroque playfulness, the traces of modernism and minimal music, dub leanings, hip-hop lessons, and even hints of house music: here is where they all come together, reconciled in a sound that’s both melancholy and romantic. And ultimately, the spirit of these songs is set free – and the band has released itself, is free at last.
As for the album title, it’s lifted from the song “Kong,” and encapsulates Markus Acher’s motto. Throughout the track, the water theme first appears as a dangerous threat: a force that’s strong enough to wash away an entire house; and yet the fluid state keeps transforming and eventually releases that sense of threat into something rather hopeful, a new musical beginning, a melodic departure that ultimately leads to euphoria and a renewed spirit of adventure. These are the strong gusts mentioned above, it’s the spirit of discovery, the urge to set sail together. The crew’s back at it, working the instruments, the rigging, with sails a- billow, launching the next voyage of discovery, assuming the East in the West and vice versa. And thus the adventure saga continues.
Pico Be (Das Weiße Pferd)
This ep represents a further manifestation of sound-expression over sound-design. Each track has it's own characteristics. It's a symbiotic EP which combines vintage analogue gear with live digital effects; everything is done in a moment - manipulating things that you can't calculate but feel. This live combination is really important that the listener will subconsciously get a psychedelic and emotional bound to electronic music - resembling genres like Krautrock. Do what you want, it's the only law - It's a sentence very dear to the whole Les Points collective and with this boundery it's no surprise that Audino & Barbir have collaboration featured. Dilettantes on the rise!
Giant Step/De Ole Folks at Home is the third studio album by American Blues artist Taj Mahal. A double album, the first disc (Giant Step) is electric, while the second (De Ole Folks at Home) is acoustic.
The nine cuts on Giant Step feature support from the instrumental trio of Jessie Ed Davis (guitar/keyboards), Gary Gilmore (bass) and Chuck Blackwell (drums). The arrangements are unique and offer the artist's distinctive approach.
Those who are searching for an introduction when discovering Taj Mahal's voluminous catalogue are encouraged to consider Giant Step as a highly recommended starting point.
Third release of Dancing like Quagmire, italian white label (vinyl only) born to make you dance shouting 'GIGGITY GIGGITY GO'!!! Mini-album with five tracks deeply rooted in 20th century Russian culture in which Neotnas is showing his poetic music style wandering between rough drum patterns, old dusty samples (hard to dig for sure) and hypnotics saxophone melodies. A-side starts with dreamy downtempo intro Elin, followed by crispy broken rhythms of Colourful Tension and closes with breezy and fluffy Don't Rush with Dubjazz. B-side contains mighty deep house trip Morning Way, and outro Come, where the main character is undoubtedly Ivan Pona's magic sax which created an illusory atmosphere over Neotnas's soul beat.
First complete Sonic Youth album is one of Thurston Moore's favorites. Includes live cover of The Stooges' I Wanna Be Your Dog'. Vinyl includes digital download. Originally slated to be a 7' to follow up their self-titled debut, Sonic Youth's Confusion Is Sex blossomed into the band's first album: a brain-bludgeoning, completely fried endeavor of dissonance and disarray, a perfect soundtrack for running from a chain-wielding gang near the SIN Club. This was the sound of 1983 New York City, nothing like the jangly roots of college radio rock starting to formulate in Athens, Georgia. It sounded like no one else on Earth, for that matter. The raw, Wharton Tiers 8-track production is dark, the Kim Gordon- scrawled cover figure art of Thurston Moore is dark, Lee Ranaldo's back cover photo-collage and Catherine Ceresole's crumpled-xeroxed images that adorned the inside are dark. It's an album that moves Sonic Youth forward from their first EP almost by devolving backwards into true ugly, lo-fi primitivity. The bareboned arsenal of junkpile guitars and implementation of alternate tunings was growing, and so were the songs that matched the individual attributes of each instrument: certain ones groan and growl a specific way that the band started to realize itself could become the compositional germ of a song. Herein is the threshold of a new explosion of the band's creativity, replacing the comparatively cleaner buzz of the Sonic Youth EP with guitars that spew fractured, uglier chunks of sound everywhere, held down by menacing minimalist basslines (actually played by Thurston on half of this LP, and for the only time ever on Protect Me You,' Lee) and the brutal-yet-controlled metronomic drumming of Jim Sclavunos, augmented with replacement drummer Bob Bert's notable bashing on Making the Nature Scene' and grotty no-fi live rendition of I Wanna Be Your Dog.' Hearing the crashedwindow intro of Inhuman' and subway-brake screech of The World Looks Red,' you can attest that while Sonic Youth's guitars are not quite yet being utilized in the totally controlled, lyrical fashion seen later on albums like Evol, Daydream Nation et al., they were well aware of the colors and tonalities that were unfolding and the possibilities presented. Also, they were getting a grasp on adding colors to the chaos with tempered, simmering moments like Gordon's Shaking Hell' and Renaldo's chimy, home-taped Lee is Free.' Making the Nature Scene' and The World Looks Red' even toss in glints of hip-hop vocal approach way ahead of its time, albeit through a blender. While its confrontationalism might have put off some critics, time has rewarded Confusion with a truly distinctive air and atmosphere in the Sonic discography, enough to have Moore declare it his fave along with the band's swan-song The Eternal. Brian Turner, WFMU.
The Martinez Brothers Cuttin' Headz returns with a new EP from The Butcha, entitled '10001' and backed with two remixes from Matrixxman.Phil Moffa aka The Butcha is a New York City based musician, producer and engineer most notably known for his works alongside DJ Spider and Anthony Parasole for Sublevel Sounds / Plan B Recordings and alongside Seth Troxler for Hypercolour. Here we see him return to the fledgling Cuttin' Headz imprint with his idiosyncratic take on raw, emotive house music following his Destination Void release alongside DJ Spider and Brendon Moeller last year.Up first are two originals from The Butcha, the first of which '99 Prince St.' lays focus on echoing atmospherics, snaking Rhodes and shuffling dubbed out percussion while the latter, '6 Hubert St.' pivots towards an amalgamation an upfront organic rhythm alongside a weighty low end drive and wandering synth swells.
To complete the package San Francisco's Matrixxman delivers two interpretations, firstly the 'Acidized Mix' which as the name would suggest draws on squelching 303 lines layered over processed snippets from the original before the digital bonus 'Transhuman Mix' closes on an arpeggio fuelled Techno tip.
The Butcha's '10001' is out on Cuttin' Headz 23rd September 2016.
Ascorbite resurfaces from the depths of the notorious Malmö underground with his second release on Corseque Records. This time, Ascorbite takes the old school route and puts the heavy arsenal on the A-side and the late night swings on the B-side.
The title track Actuator is nothing less than a behemoth, crushing and trampling everything in its way like one of Tolkien's Oliphaunts on speed. Spore Crawler is darker and just as sinister as its name, sounding like a suitable soundtrack to a combat scene in a dystopian Richard Morgan sci-fi novel. The warm and dub-hefty Cast Adrift and the clever tech-stepper Mara on the flip side are completely different species - tracks that makes you want to close your eyes and make sweet love to the smoke machine. The two sides combined, Actuator EP shows great versatility and character on Ascorbite's side. A record sure to be found in a great number of diverse record bags come fall.
Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans. Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along - Salem Remix.
Len Leise - Ing Ing - The first release for General Purpose (GP), a record label created by Len Leise and longtime DJ partner and collaborator Salvador. Leise and Salvador neither plan to release exclusively on GP, nor promise regular releases. It's a label for when they can find the time, energy, money and, most important, the sound they believe in. Ing is about embracing change, experimentation and progression. Terrified to follow a format, Leise looked to other genres for inspiration. He turned to his love for dub, afro, post punk and experimental music to find guidance. Artists like Scientist, Jah Shaka, Savant, Adrian Sherwood and Andromeda all in their own way influence Ing. Ing is not what you'd expect from Leise. Ing is a dub record, a post punk record, an experimental record, a balearic record, a homage record, a record with a purpose.
THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.
There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.
CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.
And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.
So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.
Following the success of their 4th album 'Malamore' released in April this year, French duo The Limiñanas have now trusted London star DJ, producer and friend Andrew Weatherall to remix the flagship single Garden Of Love (feat. Peter Hook). The collaboration has resulted in two unique remixes. When we released Je Ne Suis Pas Très Drogue in 2009, Andrew played it in his radio show in London. Then Bernie Fabre contacted me because Andrew wanted us to play in his festival De La City A La Cité in Carcassone. That's how we met. When we worked with Peter Hook, the idea of a maxi with one or two remixes made sense. So we did this record with the original edit of Garden Of Love and two remix edits by Andrew Weatherall. - Lionel Limiñana
Nas' I AM was his third studio album release and proved his reputation of one hip-hop's leading rappers. His strong lyrics are heard on tracks like "Small World" and "Favor for a Favor" featuring Scarface of the Ghetto Boys. The original material of the album was leaked onto the internet and this forced him to record completely new material.
The album debuted at #1 on the Billboard 200 and on the US Top R&B/Hip-Hop Albums, and was certified Double Platinum in the USA. In the US Nas had chart success with tracks "Nas Is Like", "Hate Me Now" and "You Won't See Me Tonight" featuring Aaliyah. The production on this album is solid and stands up, even to this day.
Recovering from the gray decay of the winter here in Berlin, we are more than ready to push forward farther into the future. In order to do so the powers at Chronicle have aligned a new musical offering to test the palate of those who know, and those who care. We are pleased to present six tracks from the prolific Arnaud le Texier, who has made waves for years with his Children of Tomorrow imprint and renowned taste. From cosmic interludes to heavy hitting transcendence, Arnaud manages to showcase all sides of his production skills as they translate into a compelling and emotive narrative. Among them stands a tribute to one who was lost along the way that we simply do not want to forget. Only rarely in this life do we stand witness to gures that make a true impression, an imprint that continues to leave a mark long after the original has passed. Max_M was one of these gures, and it is through his music and immensely dignified curatorial prowess that his legacy will live on. Arnaud's poignant tribute stands as a personal note amongst an EP full of forceful techno suitable for deep space exploration.
With his first EP on Orbis, Binny is ramping it up, once again.
We're very pleased & honoured to host him, his 11th appearance on a vinyl record so far.
Someone to watch out for!
"Resistance" & "Infinite Ratio" has a brilliant hypnotic tension to it.
We won't bother explaining these two. Simply Binny, UK tension building up and excellent for playing 3 decks.
Excellent DJ tools.
On the B-side, Lee takes it to the raw side of analogue techno.
Lee Holman, a veteran that should ring a bell.
Performing in clubs since the late nineties, he has travelled throughout Europe compounding a reputation for his unique vision on Techno.
Production has earned him international recognition, leaving his mark building a reputation for consistency, originality and delivering his dynamic sound on both cutting edge and classic Techno Labels. In other words, Perfect Orbis material!
"Instructional" is no-nonsense raw material, the way Lee likes to build up his tracks.
Straight forward. No compromises. Plain old good techno.
If you're a fan of some older and raw flavoured repetitive techno, you'll want this to light up the dancefloor!
"Urbanite" well. Quircky, filthy, heavy, stomping,... You get the picture.
We're very honoured to host these the gentlemen,
as we're convinced they are a very good fit that matches our vision: transcending mediocre electronic music.
Repress
Peter Zummo (born 1948) is an American composer and musician. He plays the trombone, valve trombone, euphonium, synthesizer, other electronic instruments, and also sings. He is associated with the postminimalist and Downtown aesthetics, and he describes his music as "minimalism plus a whole lot more." He's well-known for his work with Arthur Russell.
"In this project for Optimo, the listener can hear that my musical food pyramid has musicians at top, or maybe they are at the bottom. In any case, they are important. That is why, from track to track, I selected
segments in which one player or another is featured in the take. Some may think that we musicians do multiple takes to get the perfect performance, but I like to find the special interactions lurking in each excursion. Different players came forward in each of the takes, which were recorded in the studios Seaside Lounge and Headroom, in Brooklyn, and live in performances at Cube Cinema, in Bristol, U.K., as well as in Long Island City and on Staten Island, New York.
In order to escape the tyranny of the lyric, I am exploring in this release the possibilities of nonsensical and non-emotional lyrics. These kinds of lyrics bring the singing voices into the mix without an overweening message. The tracks include open-form compositions in which the duration was not specified."
We want to present to your attention a compilation that consists of the Russian musicians' works. They're stylistically different, but in the same time they've got one energy and close affinity with classical sound. Musicians in this compilation represent a little-known stratum of a new Russian electronic scene. Their music embodies positive transformation of cultural values of our present and future. We'd like to thank all the musicians and those who support us. Peace!:)
Shut up!
But look at yourself - you look pathetic! Who do you think are you trying to impress
You of course! All the time you have to bicker and put the finger in it. I'm sick of it. Pss off!
But i only want you to be more than you are. I only want the best for you, you know that!
And I just want to be me sometimes!
Tough luck - I am you! hahaha!
You're not real! I am not having this Nonversation anymore. I'ma Boy-Cott you!
Vinyl Only
Anunnaki Cartel is up next with another release from label co-owner Chris Mitchell. This is his follow up to the Din Gir Dialectic EP that was released last year. Remnants is a more introspective outing with a sobering feel. These are heady selections for a darker floor, and will satisfy those DJ's who want to inject this into their sets.
Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy..... Daniel Wang
Following on from this year's Hate/Love 12", E. Myers returns with more basement music in the form of 'Untitled'. The original will no doubt appeal to the House slickers that still like to go a little rogue.
For those who wanna get loose, turn to the 'Heat Mix' with it's sprinkling of Miami arriving at just the right season. Rounding it off, for those who always need one more, the 'Beat Mix' is a 4 minute drum middle of the night cap.
Born in Sao Paulo to a deeply religious family, Laercio has been around music all his life - amidst the challenges of daily life, his adventist parents would whip out all sorts of instruments whenever the situation would allow it, introducing a young and curious mind to a wide range of musical expressions. It should come as no surprise, then, that our hero quickly felt at home with notes and bars, choosing the flute as his first weapon of choice which he eagerly studied from the age of seven.
Even later non-musical career choices always reflected an infatuation with the world of sounds, like his stint as a capoeira teacher, combining martial arts, acrobatics and dance.
With such a multi-faceted background in music, the inevitable tinkering with synthesizers and other means of electronic sound generation was rather a question of time than one of ambition, and sure enough we find Laercio roaming the parties of the mid-noughties, absorbing the unique melange of styles and scales that inform club culture to this day.
In stark contrast to most other rave inductees at the time, however, he never wanted to become a DJ: his area of expertise is the performance, not the collecting and curating of other people's releases, and it shows in the unusual fact that Laercio has held club residencies as a live electronic musician in venues like Sao Paulo's The Edge without ever so much as touching a record.
In these release L_cio has worked with D.O.C. mastermind Gui Boratto. and the result is music for the dancefloor.
They say all good things comes in threes, and with the marking of Nachtbraker's 3rd release for Heist, we can confirm this universal truth once again. Maurits Verwoerd comes back to Heist with more dancefloor muscle than ever before, and shows us great development of his sound: while keeping his unconventional drum patterns and love for the deeper side of house, he adds some filtered funk flavor along the way. 'Gotta act to react' drives on a saturated bassline, a hypnotizing guitar lick and some seriously loose hi-hats, but really delivers once those hard to place filtered hits come in. 'Pollo con Pollo' is potentially Maurits' most clear attempt at a straightforward groove, with a lovely dreamy guitar loop running throughout the track. Add his loose sense of arrangement and changeovers, and it's still anything but straightforward. The B- side gets nice and weird with 2 versions of Intermezz(l)ow, the one being a lovely textured interlude and the other a rough drum workout built around the same theme. When we asked Maurits who he wanted to have as a remixer, he suggested he'd do a remix himself. We knew better than to argue with him, and since he is who he is, we're not entirely surprised he came up with a great dubbed out acid-tinged flip of 'Gotta act to react'. This EP really shows Nachtbraker's steady rise and will most likely take him out of the shadows he so enjoys, into headline territory and we're glad to support him in this journey. Sincerely yours, Lars & Maarten
Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.
Entirely curated and compiled by Collins himself, his idea for the 'Take A Look At Me Now' concept is to examine how his songs have evolved over time, with the majority of the additional content throughout the series focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.
Collins returned to #1 in 2010 with 'Going Back' which represented his first studio album since 2002's 'Testify'. 'Going Back' was a personal labour of love project that found him faithfully recreating the soul gems that played such an influential role in his musical life.
The concept, he said at the time, 'Was not to bring anything 'new' to these already great records, but to try to recreate the sounds and feelings that I had when I first heard them.' That objective was achieved with the help of special guests including three surviving members of The Funk Brothers: Eddie Willis (guitar), Bob Babbitt (bass) and Ray Monette (guitar).
'I decided to call this version of 'Going Back' 'The Essential Going Back',' he explains. 'In retrospect, I included too much music on the original version, and I believe that too much is not always a good thing. Hence this trimmed down selection of my favourite Motown songs.'
MONDO DISKO club has been, for over the past 16 years, the flagship for discerning electronic music lovers and dancers in Madrid. With a loyal and enthusiastic crowd and a booking policy that combines a selection of solid resident djs alongside a list of high quality international artists, creating a record label seemed to be the most reasonable step to follow..
MONDO DISCOS is born as an extension of the club, with the sole intention of bringing to light musical projects that excite us, projects with which we feel particularly identified.
For our first reference, which we found particularly important as it will set the tone, we have a very special and mysterious proposal called MENTHO. This is the brand-new side project of a well known house duo that wishes to remain anonymous for now, and wanted to dig deeper into their more experimental side
Teo's Sock consists basicaly on a mix of electronic, experimental music, halfway between mental electronic vibes and instropected techno. Polirithmic and intrincate patterns with an afro sounding background, deep and moody synth work and an overall endless melodic vibe.
DJ OIL is an old friend, musical activist from the wrongly dreaded city of Marseille. Some of you may remember Troublemakers and Lionel records for BBE.
'Rain' features Saul Williams in a troubled stomp. Voodoo house if you want to call it something. It's turned into a electro monster by 'Radioactive Man'. Cold Europe under the sun or a frozen Southern island. Who knows We got lost on the way. 'Space Opera' and 'Hypnosis' push the boundary of psychedelia. Slow burners but potent mushrooms. Warped politics.
Some records just barely nudge your consciousness, but they do so in such an intriguing manner that their tentativeness and ephemerality lure you in deeper than you expect. Such is the case with Overflow Pool by Mogador, a new project by Will Long. This prolific producer—who is best known for his profoundly meditative ambient music under the name Celer—favors the longform, beatless approach to composition, as he lets his rigorously honed tones unspool with a gentle insistence. Overflow Pool consists of three lengthy pieces full of lingering, aqueous chords that are spaced out by suspenseful lacunae. Each piece revolves around episodes of briskly struck piano chord clusters that are left to decay to near silence, for maximal contemplativeness. These are followed by a lowerkeyed retort, as if to ground the listener and to keep her from getting overly optimistic from the preceding burst of Harold Buddonuppers tones. Similarities to Brian Eno's Thursday Afternoon are also evident, as Mogador methodically doles out morsels of oceanic calm geared to align your chakras like some 21stcentury Stephen Halpern LP. It sounds ideal for flotation tanks, deeptissue massages, and general relaxation. Long observes that Mogador differs from his Celer output because it's completely unprocessed. This is a pure room recording with no extra effects, only piano and reeltoreel delay.' The Yokohama, Japanbased musician says that his primary aim with Overflow Pool was to make something that doesn't happen all the time—it's so sparse, that it blends into the room. It happens so seldom that it's easy to forget about. You just catch it here and there. That's the feeling I wanted.' It's a feeling that's all too rare in modern music—peacefulness without sentimentality.
After making some massive claims regarding electronic music last year which caused a stir in the dance music community, Mat Zo had a lot to live up to with his long awaited second album "Self Assemble". What didn't help was the fact that his first album, "Damage Control" was critically acclaimed by many within dance music and is now considered a modern-day masterpiece with mesmerising tracks such as The Sky and the massive Easy with Porter Robinson.Blending genres and sounds in a way only Zo can achieve, this record flows incredibly well as the tracks move from one to the other almost telling a story of the different styles of electronic music. At times the album is reminiscent of Zo's incredible Essential Mix from back in 2013 in the way that it progresses and constantly surprises the listeners. A lot funkier than Damage Control, it's no less incredible.
Beginning with the beautifully atmospheric "Order out of Chaos" which starts with an absolute wall of sound that boggles the mind in how Zo even went about designing something so complex, this sets the tone for the rest of the record in a cracking way. The melody soon crescendos and we're introduced in to the meat of the album with "The Enemy". Bringing out all the good funky vibes on this track, again Zo exhibits his insane production talents which are a staple of the album. Featuring vocals from the wonderful Sinead Egan, this is a great uplifting tune that'll no doubt have you dancing in your chair or in the club.
'Sinful" acts to continue the funky good-time vibes and transports us to a cool summertime drive. It has us yearning for happier times and again the guest vocals from I SEE MONSTAS go a long way in getting across this happy vibe. Featuring an uplifting almost french house inspired bassline and squelch synths that wouldn't look out of place on a Daft Punk or Madeon record, this is another stunning track from the record. "Patterns Emerging" feels like a bridge into the next section of the album and is unfortunately short. The orchestral element really brings out the emotion on this track and we only wish it was longer. "Killing Time" has those classic chopped up vocals that Zo uses to great effect and some nicely programmed drums that could be a nod to the drum and bass he used to put out under MRSA.'Smacked up on Jack" features some cool middle eastern sounds and a wacky vocal sample that helps to progress the album and keep the listener interested, again though we feel like it's a bit too short and are left wanting more. The next tune "Ruffneck Bad Boy VIP" is an absolute mammoth and one of our favourites off the record. Opening with an immense rhodes melodic sequence and after some nice vocals, the track rips into the electro house and dubstep infused banger that it really is. Some dirty, dirty sound design and drum production will have the dance floors going wild and shows us again why Zo is so good, it's a far cry from the funkier elements of the earlier stuff on the album and shows how Zo can show off a range of electronic sounds. "Lights Out" is a straight up hard hitting electro banger with an infectious vocal sample that only needs to be heard to be understood. Not much more needs to be said about it! Coming into the last section of the record, "Soul Food" returns us to the groove with an astonishing house beat and bass line that have us questioning how Zo makes it so hard not to smile listening to this album."Stereo no Aware" starts sounding like it's taken straight from a space movie epic and soon transforms into a goose bump inducing melody with a driving growling bass line that bring back the epic dubstep we all used to love a couple of years ago. Skrillex eat your heart out. Finishing off this record on a more emotional note, "Too Late" starts off like a guitar ballad and then transforms into something totally different. Egan's melancholic vocals enhance this track to great effect and is all backed by Zo's lovely downbeat production until we're treated to a monster of a climax around half way through the track which will surely blow the cobwebs right off you. Zo says goodbye to us with the phenomenal "The Last Transmission" and what a way this is to close out an incredible sophmore album for the English producer. The melancholic piano chords are a subtle and pleasing way to close out this journey of a record. Mat Zo really has outdone himself here and we're really looking forward to hearing some of these bombs dropped live. Surely a contender for album of the year at such an early stage, yet again it's only the best delivered by Mat Zo.
Latest album, Damage Control was Grammy-nominated for Best Dance/Electronic Album last year
Our planet... IS NEXT! Yes, this is in fact the case, at least according to one Stockholmdwelling, 30-something (wishes-he-was-a) failed pop star, real name Arvid Wretman. Just how he fell from his position as poster boy of Kärrtorp's ever-vibrant noise scene to the pill-popping, Cher-covering discotheque pleaser standing before us today, we could not tell you. What we do know is that Studio Barnhus stands ready to ride that cash train all the way 'til the bitter end! So yeah, wanna pop some pills Or do you wanna chill Varför alltid dansa och spela det ena ...and do you, or not, believe in life after love These and many other questions are posed, but never answered, on this YPIN EP, the starting point of what we hope will be a particularly lucrative bizniz venture between those two powerhouses of Scandi-tronica, Your Planet Is Next and Studio Barnhus. PS. Your Planet Is Next's live show will bring added marketing value and guaranteed customer satisfaction to your dance party
The eight tracks on 'Versus' exemplify a remarkable cross-pollination of genres, a true testament to the intense, 'it takes a village' spirit of collaboration among the artists in the Wolf & Lamb aquarium.
The LP kicks off with "Real Love," an electronic duet with San Francisco's PillowTalk. A sparse, airy kick and lackadaisical, scale-climbing bass line complement a vocoder-drenched croon, evoking nothing less than an R&B version of Aphex Twin's Selected Ambient Works. In the album's next track, "Fo Porter," butter soft vocals from Voices of Black ("I want it/I need it/I just can't get enough/I hold it/I squeeze it/I just won't give it up") complement lush orchestral arrangements, doing for hip-hop inflected dance music what Metro Area does for disco.
"In The Morning," an after the after party, hands to the air entry into the house of god, will instantly conjure up for those lucky enough to have visited the Marcy the familiar image of Gadi's hands feeling up the wall in ecstasy while Zev soldiers through the groove. "Weekend Affair," perhaps the real standout of an all-round exemplary album, punctuates stuttering, oscillating synths with a ferocious cowbell and moaned vocals, continuing a long-standing New York tradition of sexualized Downtown funk.
The gorgeous "Serpentine," with it's kettle-drum compression worthy of Phil Collins's "In the Air Tonight" and atmospheric vocals from French chanteuse Rap Lisa, is rounded out by the it's a perfect ending to the album, a moment of calm before the sharks, always on the move, start circling again.
Sie schrieb Rihannas Überhit "Diamonds" (in 14 Minuten!), sang und schrieb die David Guetta-Hits "Titanium" und "She Wolf" sowie Flo Ridas Millionseller "Wild One" und komponierte zahllose Songs für Katy Perry, Beyoncé, Britney Spears, Birdy, Christina Aguilera, Kylie Minogue und Eminem. Im vergangenen Jahr gab sie mit dem Song "Elastic Heart" (auf dem "The Hunger GamesSoundtrack" und auch auf ihrem kommenden Album) ihr internationales Chart-Comeback unter eigenem Namen. 2014 veröffentlicht die australische Sängerin und Songwriterin SIA nun endlich ein neues, eigenes Album "1000 Forms Of Fear". Die 1. Vorabsingle ist die in jedweder Hinsicht atemberaubende Pop-Hyme "Chandelier", die mit Jesse Shatkin entstanden war und von ihrem langjährigen Studiopartner Greg Kurstin (P!NK, Lily Allen etc.) produziert wurde. In ihrer Karriere veröffentlichte Sia bislang 5 Solo-Alben, zuletzt 2010 die LP "We Are Born", die Platz 2 der australischen Charts erreichte und ihr auch in Deutschland die erste Album-Chartplatzierung bescherte. Das Billboard Magazin widmete ihr eine Titelgeschichte mit der Headline: "This artist is responsible for 12 million track sales... and doesn't want to be famous".
MERC is very proud to welcome Mark Seven as guest editor on E-Versions 7. It took a long time, a lot of telephone conversations, a lot of pleading, digging, sweat and tears to simply find out what TONY'S SLICE was after hearing it on Mark's Parkway Mastermix.
Turns out its MKVIIs attempt at recreating a live mix by Tony Humphries he heard on Kiss cutting 2 copies of the phone conversation back and forward forever.
With EV#7 looming we knew this would be a perfect opportunity to have a guest on the series, so we persisted and broke him down and he finally gave in to the pressure.
In addition to TONYS SLICE, MKVII has turned in a superb acid work out in the form of CASE STUDY 9.
"I WANT TO KNOW IF YOU HAVE ANY PLANS FOR THIS WEEKEND"
Electro kicks, raw textures, ominous choirs: L' immaginario, Previsto's opening track, ties a bound between Martelli's two releases on Antinote, giving us one last glimpse at the uninhabited post-apocalyptic landscapes drawn in Menti Singole.
However, this time Leonardo Martelli explores a more urban universe, as the use of rap samples on Negli abissi and Lo Schema suggests. Martelli exploits their aggressiveness in a way that somehow reminds us of minimalist rap tapes from Memphis. The third track's title makes it even clearer: called Leggende Metropolitane, the song is
a trip into the darkest blind alleys of the city, an invitation to wander among human wastes, driven by its light kick.
La Luna, is the most contemplative moment of the album, offering us a meditative break before the nightmarish Il
registro, Martelli's brutal come-back to raw electro with a tune which depicts us a hellish engine room for expiating souls. Finally, the record concludes with Previsto, a haunted title track, filled with wailings that give us to contemplate a cruel vision of the urban misery we're stuck in.
Gone beyond. That's what they say when an (astro) pilot crashes to earth and takes the journey into the big sky.
When Juan Trippe took that last flight little did he know that his re-incarnated self would be an electronic pioneer. In tandem with his co-pilot Guido Zen (his own father also a pilot) and Kyle Martin (from the Land Of Light) they formed Brain Machine and scaled the highest Peaks to bring back music both unearthly and intensely human.
Are we all not stardust anyway This music proves it, takes you out flips you over and rolls you in stardust. Don't try and think it through, make sense of it, grasp it - just wander in wonder and bask in beauty.
Get lost again.
At this moment, Global Bass music is an intimate circuit in the electronic music landscape. Airplane tickets and the internet serve to connect producers and artists in every imaginable combination. Spanning across Africa, Europe, India, the Caribbean, and the Americas, allowing for the birth of new forms of collaboration. At the nexus of the Tropical music monsoon is producer Thor Partridge, aka Thornato. Born in Sweden, Thor grew up in a household filled with traditional Greek, African, and Carribbean music. Moving in early childhood to Queens, New York, the borough's diversity further influenced his style and taste. Thor added to his rich musical palette by studying classical piano, jazz guitar, and bluegrass banjo. A passion for electronic music production, remixing, and music of the entire globe soon developed. Thor's debut EP "Things Will Change" is an amalgamation of his global influence, coupled with strong roots in dance music culture. His music is not a product of samples downloaded from the internet, but from his driving wanderlust and ability to hand select musicians to work with on location in the countries where they are from. By recording in the field with a mobile studio, Thor captures the real essence and soul of the music and where it's coming from. The EP kicks off with "Chapinero", a bass heavy joint with an infectious Colombian Gaita melody. Handclaps and chopped vocal samples make for a booming floor rocker. "Deux a Duex" turns towards the African dancefloor incorporating infectious guitars and beautiful vocal harmonies courtesy of Kongo Electro from Cape Town. "Koz Kazah" heads to the Middle East with it's violin melodies, thick sub-bass, and Arabic vocals courtesy of Karen Be. Finally, "Tera Dewana" lands us in the Indian subcontinent with it's driving beat, tablas, and Hindi vocals from Vasanth S & AKS. Thornato's "Things Will Change" EP shows that while indeed the music does change, the soul and the heart of sounds from all over the world remain consistent, and that dancefloor music is universal - no matter where in the world you are!
Janette Jnett Pitruzzello is considered something of a legend in her home city of Melbourne, where she's been DJing for well over two decades. Here, she delivers her debut solo EP, featuring a quartet of tracks co-produced by Maurice Fulton. The latter also delivers a solo mix of opener Reflection", which adds a little leftfield disco sparkle and percussive sweatiness to an otherwise organ-heavy deep house groove. There's a similarly cheery, funky and disco-tinged feel to the rolling, cut-up house goodness of Swangzipani". Elsewhere, the duo gets a little stranger in pursuit of dancefloor thrills, Bubbles Away' is deliciously dark, wonky and intergalactic, while Judge Not' wanders off into head-nodding, instrumental hip-hop territory.
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With their next carefully curated release, the Opilec Music label begins to shine a light on the roots of Italo with the reissue of an ultra rare and obscure synth Italo disco track by A. Avenue from 1984.
This is a special Record Store Day 2016 release and of course, Opilec Music has remastered the original vocal and instrumental versions and here include I-Robots reconstructions and two Flemming Dalum's reworks.
This is a track many labels wanted, but only Opilec Music have been granted official rights to this cult re-release. Originally released on Discover Records, this is the only EP
A. Avenue (aka Dario Ancona and F. Feleppa) ever put out and it now fetches high prices on Discogs. Once you hear the music, you can understand why: The lovably naive and innocent vocal version is seven minutes of cosmic and psychedelic grooves with perfectly retro melodies and pixelated chords that take you into outer space.
Mid tempo drums are full of funk and drive and the two part vocal—one crisp and clean, one filtered and dehumanised—really lend the whole thing a special robot feel that is second to none. As well as a stripped back instrumental, there is a fine I-Robots Reconstruction that is quicker and more driving.
The vocals are also more prominent, soaring up top above reflective synths and rainy xylophone style melodies. It is a real Italo disco gem that is followed by a spacious and tripped out version from Danish DJ and producer Flemming Dalum, who has been devoted to Italo all his life and works with labels like Mothball, Bordello A Parigi and Disco Modernism.
He also layers in more cowbells, punchy drums and claps that refresh it for a modern club, and buy the EP digitally and you will get a second Dalum edit that is the deepest of the lot - 100% true to the original.
This reissue will make many record collectors and Italo disco fans truly happy, and is just the start of some brilliant new projects to come.
Invite's Choice Records continues on the path chosen with a 3-track vinyl release which showcases some new and well-established names.
Hertz Collision has the honour of being chosen to be the only artist showcasing a track on the A-side. This eerie, melodic track sets quite a special mood for the EP to start with. The B-side is opened by Wrong Assessment with a track that's focussed on the low-end. This synth-driven track fits well in the mood set on the A-side, but continues with a heavier drive. The droning kick draws you in and makes you want to go dance the day away in smoke-filled rooms. Savas Pascalidis finishes the EP off with a banger true to his own style that relies on the drummachine for it's swing. This oldschool, loopy techno banger closes another outstanding EP by Invite's Choice Records.
During their European tour earlier this year, Canadian duo Jokers Of The Scene stopped over for a couple of days at Club Bizarre studio in Northern France. The two pair of producers locked up and came up with Betaville and Breakwater, two killer lo-fi and spaced out tracks. Betaville is a fuzzy dream that will make you dance in slow motion with your head in the clouds. Boasting a strong melodic and nostalgic feel, it unfolds its warm analog synth pads, old school sequences and drum machine to psychedelic effect. Imagine Boards Of Canada wanting to make you dance.. Even slower is Breakwater, a dirtier, chunkier track that ditches the softness of Betaville in favour of a more 'in your face' bass line and all together rougher attitude. It chugs along to old fashioned beat box claps and percussion and quirky synth melodies. Lastly Betaville gets the Timothy J Fairplay treatment of being violently pulled apart and chucked in all corners. Reminiscent of early Chemical Brothers music, a heavy beat slaps over agressive drugged up analog sound effects while a repetitive, haunting melody screams on top and reverberated vocals whisper in your ears. Scary.
'To pick up where 'I Am The Walrus' left off'; that was the goal when Electric Light Orchestra formed in the early seventies. They wanted to steep different music styles in a rock tradition and mix in some Beatlesque pop, but it took Jeff Lynne & co until their third album Eldorado to get on the right track. Their most ambitious album to date, they decided to hire a 30 piece orchestra and choir to fill out their sound, and the investment paid off. With the unforgettable 'Can't Get It Out Of My Head' as the lead single, 'Eldorado' was a commercial as well as a critical success, and it would achieve gold status in the US. 'The English guys with the big fiddles' had arrived!
Ostgut Ton reissues Acht of Zehn with original tracks by DIN (aka Efdemin and Marcel Fengler), Fiedel and Tobias.
2015 marked Ostgut Ton's ten-year anniversary, celebrated with an extensive 30 track compilation release, titled Ostgut Ton Zehn, spread out over ten 12 vinyl records housed inside a limited box set. This sampler sold out in no time, which is why Ostgut Ton is re-issuing these ten 12"es individually in 2016.
Bubbling synths, a stoic bassdrum, some live hi-hat percussion and synth pads full of bliss - what started as Marcel Fengler's and Efdemin's inaugural collaboration as DIN for 2013's MASSE ballet sees its continuation in form of Mono' on A1. On A2 Fiedel contrasts the opening track's cool sounds with an upbeat contribution: Probe-806 gently brushes Funk, Electro, Acid and even Boogie territory atop the general muscular rhythm.
Analogue synth aficionados are being served by Tobias.: Like A Drug is a minimalist Techno track with maximalist dancefloor effect through its use of haunting, distanced vocal fragments, discomforting alarm tones and crackling background textures. As with every good drug, you don't necessarily want more of it, but rather a longer duration of effect (in this track's case: 8:36 minutes).
Originally released in 2009, 'See Mystery Lights' sees YACHT expand their musical palette; from the the quirky B-52's esque pop of The Afterlife, the LCD Soundsystem inspired krautrock of Summer Song to the infectious 'Psychic City'
Gari Romalis and Lello Di Franco - Dreamin For the uninitiated, our man Gary Romalis is the unsung master of Detroit's house and techno scene. Having DJed across the motor city's top venues for the last three decades, Gary is somewhat of a seminal figure for many of Detroit's DJs currently at the forefront. Following a slew of high quality releases on various labels over the past few years, Gary now unleashes that special flavour on us for SKYLAX 142! He is not alone though. With him, he brings all round Italian partymaker, and top selector in his own right, Lello Di Franco. Let me tell you, this duo's collaboration is something to behold. Throughout all 3 tracks on the record, Gary and Lello maintain the essence of what the Detroit underground is all about; stripped back tracks with soul that never feel like they go 'big' for the sake of it. While Dreamin (Wanda Mix) may be packing a big kick and power clap combo, it's the elegantly filtered, jazzy sample that will leave you wishing that the track lasted forever. The vibe takes a dip right into the deep in Detroit Underground (Beat Dat Mix). Spacious pad synths alongside a mesmeric vocal carry us through. Taking a step back up, Afrobeat rounds off the EP, made with a solid toolkit of afro-centric samples.
limited to 300 copies - Vinyl only
This vinyl EP is a collaboration between Paris label CORRESPONDANT and Germany's GOMMA records. Remixes by Los Angeles' finest psychedelic electronic producer SECRET CIRCUIT (Beats in Space records) and German shooting star LAUER (partner of Gerd Janson at Tuff City Kids). Why this EP Gomma has a long history with the Paris scene. Mathias 'Munk' Modica who runs Gomma (and sublabel Toy Tonics) has been living in France for many years. He worked with many Parisian artists from DJ Chloe (on Munk's first album Aperitivo 2004) to the Ed Banger Crew or Black Strobe. Probably apart of Berlin there is no city in the world that saw more Gomma events than Paris. Seems only a project with Jennifer Cardini missed. So Jennifer invited Mathias last year to send over tracks. Decision was made fast. And so Wurlitzer Wank and The Bösus Bounce have come up on Correspondant.
Phoebe Killdeer & The Shift is the collaboration between newly Berliner Phoebe Killdeer (Nouvelle Vague, The Short Straws) with experimental musicians Thomas Mahmoud-Zahl (SFX, The Nest, Tannhäuser Sterben & das Tod, Von Spar) and Ole Wulfers (Kapaikos, Party Diktator), supported by actress and singer Maria de Medeiros (i. e. »The Saddest Music in the World«, »Pulp Fiction«).
»The Piano's Playing The Devils Tune« is »free music« in a most emphatic sense: The interplay between the abstract instrumentation on the one hand, equally recalling genres as diverse as noise rock, bass music and musique concre`te, as well as the intimate, concrete humanity of the sound on the other hand establishes a sprawling sonic space that gravitates around the haunting vocal passages of Killdeer and de Medeiros. »The Piano's Playing The Devils Tune« thereby succeeds in combining a decidedly experimental gesture with an urgent, uncanny familiarity and warmth; a precise sense of composition with an almost lavish casualness.
Phoebe Killdeer & The Shift do not resolve the numerous paradoxes that mark »The Piano's Playing The Devils Tune«: The result is an equally challenging and rewarding album that in fact — as played out as this predicate may be — truly defies categorization. Devils tunes.
Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound. Beautifully presented... the LPs with a 12"-square, full-colour, sixteen-page album of photos and original artwork. Check!!
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can't We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM ('Generous Motors') in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.
Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul... Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes' Wake Up Everybody, and Jean Austin's raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family's furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole... Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree... Bangers 100%-guaranteed to find their way into Theo Parrish sets, and mortal delirium for the prissiest of soul and gospel purists.
Tapper Zukie is not only a successful recording artist in his own right but a well respected producer also.
In the mid 1970's he set up his own record label Stars to help nurture the many artists who were rising in Kingston,Jamaica.
In doing so he created a great catalogue of Reggae music that few artists have bettered.
For this release with the help of Tapper Zukie himself,we have picked the highlights of the Star label to make this great album.
All the artists are stars and all the tracks shine....
Hope you enjoy the set.....
Among guitar aficionados, they don't come much heavier than acid-drenched enigma Eddie Hazel. A founding father of Funkadelic and responsible for the blazing "Maggot Brain" solo, he released just one album. A concentrated dose of guitar-driven psychedelic soul and loping funk-rock, Game, Dames And Guitar Thangs(1977) was co-produced by George Clinton and features the full Mothership crew. Despite impeccable credentials, the album sank and dropped out of print for years, becoming a sought-after collector's item for funkateers ever since. Mercifully addressing the dubious legitimacy and quality of previous reissues, Be With Records present a worthy and welcome 180 gram edition, limited to 500 copies.
Possessing a rare ability to be showy whilst maintaining subtlety, Hazel took Jimi Hendrix's style to his own new level. Here, his fuzz-tinged wah-fuelled guitar licks shimmer across seven brain-bending tracks, showcasing highly inventive virtuoso playing and searing riffs. The LP famously opens with the most soaring, soulful version of "California Dreamin'" you've ever heard. Eschewing the structure of The Mamas & The Papas' hit, Hazel slows the pace, adding a pronounced longing to create a truly emotive reworking. Virtually unrecognizable, Hazel's exquisite arrangement recalled Hendrix's rendering of Dylan's "All Along The Watchtower" and his delicately distorted guitar work propels the track into the stratosphere.
The much-sampled "Frantic Moment" - sumptuous head-nod G-Funk a full 15 years early - is essentially a Parliament song whilst "So Goes The Story" showcases Bootsy Collins' rubber-band basslines. The incredible, grooved out version of The Beatles' masterpiece "I Want You (She's So Heavy)" even manages to evoke early Sabbath. Using the original as a template to jam off, he turns the classic sideways into a monster guitar freakout, tossing off lick after lick with enviable nonchalance. The wild "Physical Love" follows, allowing Hazel and the sizzling Bernie Worrell to strut their stuff before funky instrumental "What About It" ignites pure dance floor fire.
Eddie Hazel was a pioneering guitar genius, but his troubled lifestyle led to a dearth of recorded material that demonstrated his strengths. It's a wonderful thing, then, that this lost classic is available on vinyl again. Possibly the finest slice of P-Funk you've never heard, it's a record that will make your brain dance and one every funk fan needs.
Coming from Geneva (Switzerland) but "napoletano" by heart, Pascal Viscardi is a new face in the deep-house panorama. The 31 years old fellow started his career (as a producer) a few years ago with 2 twelve inches on "The Exquisite Pain", including remixes from some heavy weights : Mark E, Session Victim and Agnes.
For his debut on "Frole Records", Pascal kicks in with a single track. "The Warmest Color" is the kind of cut you might play when the sun shows up and the bodies are ready for the slower and sexiest loops. In a totaly "Modern Swiss Vibe" (Did you say Agnes...) this double kicked tune offers you a straight, extra-shuffled, moodygritty and dubby moment. Is this Love at first sight! Yes, it is...
Our new friend didn't come alone, chosing carefully his remixers to complete your wax in a most accurate way.
On the A side - together with Pascal's "Original Swiss Swing"- we're proud to present you the greek berliner : Kindimmer. If you ask Ralph Lawson (2020 Records), the boss could tell you how talented the young dude is... At least, his record on the inconic label proves it all. Here on our release, Kindimmer offers a subtle and minimalistic approach to satisfy all your germanic house needs.
The B side starts with the german puncher Manooz, well known for his bangers on labels like "Tomorrow is Now Kid!", "Morris Audio", " Housewax ", and more... His version is a devastating big room nugget you should drop if you wanna see your dancefloor burning.
On B2 we have the third remix which comes from a really interesting outsider, our french mate : Toni Be. His releases on "Courtesy Of Balance Recordings", "Soul Notes" and "Rawthenticity" have truely convinced the genre specialists. Concerning his tune : dont look further, here you have the deepest cut of the bunch.
Sometimes we don't remember how some situations have become out of control. We are left to ourselves in a losing battle. The time distorts everything. The rules change and leave us with nothing else but frustration from a world that no longer exists. But the music we defend is out of time. It offers us its purity and pierces our soul with its intensity. Let the music be and evolve by itself. Let's break down barriers and give up all that prevents us from listening, feeling and loving it at its true value.
Support - Gather - Discover - Create : Be authentic.
LiT is you, is them, is us. A community that gather talents around one common passion: techno and experimental music. Our first aim is to create relationship and meeting between
artists. Our approach is to accompany and help them on their way with full transparency : no booking fee, no exclusivity. We want to have no differences between artists, people and
promoters : we are only here for the music. We are one.
Welcome 2016 and welcome back everybody to the second Cocoon Recordings roll out. We wonder what this year will bring if the kick-off is already on such a high level Ricardo Tobar's first remix 12 comes with two stunning re-arrangements by Fairmont and Tech-House grandmaster John Tejada. The canadian minimal techno hero Fairmont remixed Tobars Angora' and gave it such a strong Border Community vibe. Dark but at the same time pushing and hedonistic. Fairmont starts off with a subtle percussion-beat-acid-combination and turns his remix into a proper and mad electronic masterpiece the longer it runs. Epic! Californian tech-house pioneer John Tejada is on remix-duty for Invierno' and he blasts us away with the result. Deeper than deep and kick-ass house with a pushing detroit and KMS vibe. This one almost appears like a lost & found alltime techno and house classic and it will hit the Zeitgeist in Berlin, London, New York and Tokyo like no other release on Cocoon Recordings lately. This is ingenious clubfood for all the innercity hipsters and musiclovers and it simply makes us wanna dance! This! Is! Tech-House! Baby!ly makes us wanna dance! This! Is! Tech-House! Baby!
In the far reaches of space, an American pilot named Peter Quill finds himself the object of a manhunt after stealing an orb coveted by the villainous Ronan. In order to evade Ronan, Quill is forced into an uneasy truce with a group of misfits including Gamora, Rocket, Drax the Destroyer, and Groot. But when Quill discovers the true power of the orb and the menace it poses to the cosmos, he must rally his ragtag rivals for a last, desperate stand - with the galaxy's fate in the balance. Staring Chris Pratt, Zoe Saldana, John C. Reilly as well as the voices of Vin Diesel and Bradley Cooper.
This deluxe double vinyl edition of the soundtrack to the James Gunn-directed 2014 film Guardians Of The Galaxy includes classic 1970's songs from the movie like Blue Swede's "Hooked on a Feeling," David Bowie's "Moonage Daydream," 10cc's "I'm Not in Love," the Jackson 5's "I Want You Back," Redbone's "Come and Get Your Love," and The Runaways' "Cherry Bomb" plus the film's original score composed by Tyler Bates.
Music plays a major role in Guardians of the Galaxy as the 1970's songs featured in the film are part of the storyline in a unique way. Explaining how the songs come to play in the story, director James Gunn says, "One of the main story points in the movie is that Quill has this compilation tape (Awesome Mix #1) that he got from his mother before she died that she made for him. It was of songs that she loved, all songs from the 1970s, and that's the only thing he has left of his mother and that's the only thing he has left of his home on Earth. He uses that as a connection to his past and to the sadness that he feels of having left all that and lost all that."
Black magic, what is that supposed to be A spell that seeks to do harm to others Usually yes, however Taron-Trekka are animated by the best intentions, rather aim for the magic of the night and as always want to merely destroy the dancefloors of this world in a symbolic way. In fact, nobody has comes to grief with the four tracks of their "Black Magic EP" (the last part of their "Magic" triology) - nevertheless, they possess a certain magic.
However, Taron-Trekka don't make jumbo jets disappear, they don't walk through the Chinese wall or initiate other cocky tricks à la Copperfield. They are more like thimbleriggers. Or card jugglers. You know, those guys who surprise you when you least reckon with it. Those who have already outsmarted your mind when you were still thinking that it was just about to really begin. Taron-Trekka have the groove and cast a net of loops, which magically creates a tremendous energy. Loops with which the smallest shift can open up worlds. Worlds, which admittedly appear accessible, but are hardly decipherable. This way, tools become magical tracks. Furthermore, house becomes a music, which brands itself to the last corners of a soul. Just like the trick that you haven't understood until today.
A1 Black Magic Taron-Trekka's ride through the night starts funky and dry with the title track of the EP. The effects bleep here and fade away there, however over distance a magical pull develops. A pull that can only be escaped from with great difficulty.
A2 Monofile Regarding "Monofile", Taron-Trekka conjures a groove as selfwilled as enchanting by initially making vocals and keys appear on a dead straight beat and then letting this very same one stumble over itself. At the right moment it engenders at least as much "Ohs" as "Ahs" in a club, you bet.
B1 Red From black to red, from night until morning. For exactly this moment "Red" was made, which brings every last person to the next afterhour with its swing and depth.
B2 Distance Entirely against its own title, "Distance" may indeed affect one deeply. Namely then, when one wants to delve into funk as subtle as extensive. That is Jan Jelinek at a gallop or SND with more punch. Both are fantastic
The English blues rock band The Yardbirds released
their album Roger the Engineer in 1966. It was the
only Yardbirds album with all original material.
Although the record was officially titled Yardbirds it has
since its release been referred to as Roger the
Engineer, a title stemming from the cover drawing of
the record's audio engineer Roger Cameron by band
member Chris Dreja. Due to the influence of Jeff
Beck's experimentation with guitar distortion, the
album is considered a precursor to heavy metal.
This 2016 LP reissue features the bonus non-album
single Happenings Ten Years Time Ago b/w Psycho
Daisies at the end of Side B.
With House Warming - Andy Vaz returns with his 3rd full lenght album on his own Yore Imprint. Due to Andy's half Indian roots, he is lucky enough to owe a Beach House just outside of Mangaluru, South India in the State of Karnataka. - where most parts of the Album were written over a period of 6 months. In this totally isolated, entirely tourist free hidden spot, which had become Andy's second home over the past years, he found himself away from the usual routines of western life, to find himself in a position to simply sit down and create. The result is House Warming". As the Title suggest's - think of house, sure and no doubt- but here on this album, thought all the way thru from beginning to end. The result then is House Music in all it's aspects: The Soulful, the deep and the raw or if you want - Deep House, Acid House, Garage/Vocal House - the joints range from downtempo, elektro and even hip hop beats. Oldschool you may think Maybe in spirit, as entirely produced with analogue synths & the roland series from 808, 909, 505, 606 to the original 303, but used in a modern studio environment. Andy Vaz is someone who has been around long enough to know how to programme his very personal idea's into the music - without denying influences such as Detroit, Chicago and New Jersey, to create something that goes further than a simple reflection of the past. Deep isn't a genre, it's a feeling. A warm feeling most of all. Be invited to come and see if you'll find it here.
(1lp vinyl version - hq cover art)
Jakob Häglsperger AKA Kalipo is a busy man. Operating as one third of German electro-punk band Frittenbude, his solo alias was brought to life in 2014 with debut album Yaruto", released on experimental label Antime Records. The multi-faceted producer now returns to Audiolith with the Wanderer EP", after having released the gorgeous Mäusemarsch' this summer on the label's electronic-focused Stiff Little Spinners compilation series. Wanderer is a restless record which sees Kalipo work his way through the deeper ends of four to the flour with a refreshingly experimentalist approach to production, with defamiliarized samples and analogue gear running the show. The music has changed since the Berliner's debut album, becoming more propulsive, more physical and geared towards the dancefloor. Composed mostly on tour or over extended periods of travelling, the track names on Wanderer' each come with their particular story, referencing places Kalipo has previously played or traveled to. Monolithic opener Donau Sunrise' sets the tone straight from the start with sanguine arpeggiators that work their way across a mystical backdrop. Melancholic themes infiltrate the cracks of the album and stand out tracks Banana Garden", written when Kalipo was stuck in a bamboo hut in the middle of thai jungle with a 40 degree fever and nothing else but headphones, a sampler and penicillin for company, and the stunning Institute Of Cotton Wool' are set to become earworms of the highest order. Wanderer' sees Kalipo right in his element.
Reissue des legendären On-U-Sound Klassikers der Missing Brazilians von 1984, der mit seiner rhythmischen Kollision aus Noise, Dub und Elektro der Musikwelt den Atem raubte. Vocals von Shara Nelson (später Massive Attack) und Annie Anxiety (Crass Records). Neu geschnitten im Berliner Dubplates & Mastering Studio für noch wuchtigere Bässe. Schwarzes Vinyl inkl. Poster und Downloadcard mit zusätzlichem Bonustrack "Ace Of Wands (unreleased extended mix)".
Eliot Sumner präsentiert ihr erstes Solo-Album "Information"! Nach vier Jahren des Schreibens, Tourens und Erwachsenwerdens meldet sich die ehemalige I Blame Coco-Frontfrau jetzt als
Solokünstlerin unter ihrem bürgerlichen Namen Eliot Sumner zurück. - Ich bin stolz auf die Musik, die ich mache, und jetzt ist es an der Zeit, auch mit meinem echten Namen dafür zu stehen so Eliot. Die Tochter von Sting hat sich für ihr erstes Solo-Album - Information" genug Zeit gelassen um erwachsen
zu werden, zu experimentieren und ihren eigenen Sound zu finden. Fündig wurde Eliot im Lake District, dorthin zog sie sich für fünf Monate zurück und arbeitete in totaler Isolation an ihrem neuen Album - Information . Die neuen Songs sind viel organischer, frisch und voller Energie. Beeinflussen
ließ sich die Sängerin u.a. auch von ihrer Lieblings-Band aus Teenagerzeiten den Bad Seeds. Die erste Single - Information ist ein Song mit Synthesizern und Strings der von Duncan Mills (The
Vaccines, Spector, Crocodiles) produziert und in den Strongroom-Studios in London aufgenommen wurde. Zusammen mit ihrer Band I Blame Coco veröffentlichte sie 2010 ihr Debütalbum - The Constant . Das Album verkaufte sich in Deutschland rund 40.000 Mal.
The Filthy Six are back with a cover of Michael Jackson's 1983 mega hit 'Wanna Be Startin' Somethin'. Available from January 22nd on 7' vinyl (& digital download).
Already something a floor filler for a handful of DJs lucky enough to have a copy. It is expected to become the funk floor-filler over Christmas and the New Year, as well as a regular feature on Craig Charles Funk 'n' Soul Show.
Wanna Be Startin' Somethin' is the bands' first single from their third album for Acid Jazz, More Filth' which will be released in February next year.
Wanna Be Startin' Somethin' comes accompanied with jazz-soul instrumental, 'Iguana Strut', which also features on the album.
Limited to 500 units, pressed on black vinyl and delivered in an Acid Jazz house bag.
(feat Brendan Reilly - radio edit)
A collection of nine reworks crafted by fans and selected by Nils himself form the 'Screws Reworked' re-issue, also featuring his original 'Screws'. The 2012 album 'Screws' by Nils Frahm, was the result of inspiration from his fans and friends while he recovered from an unfortunate accident, which saw him fall from his bunk bed located directly above his studio, which resulted in a broken thumb.
These nine intimate recordings were offered to fans to download for free and in return fans thanked Nils by sending him their audio and visual reinterpretations. Fascinated by the results, Nils then publicly asked his fans to submit their reworks or any form of art that was inspired by the release and all these submissions have been collected since on a dedicated website: It gave birth to the 'Screws Reworked' project from which Nils selected nine reworks to feature on a special edition re-issue which also includes his original 'Screws'.
'Whenever you have to decide between two things, you end up favouring one over the other. In the case of this record, I had to choose nine out of hundreds of songs - but I didn't want to follow this logic, I didn't want the songs to compete against each other. I never liked music competitions, neither when I was a kid playing classical music contests nor today when the best album of 2015 is awarded.
Having been in the situation to pick my own tracks for my own records, I knew that the only way to manage this tough job is to concentrate on the cohesiveness of listening to the songs all together. Screws Reworked should sound like a record, not like a random collection of tracks.
The motivation to make such a record came with the release of Screws in 2012 as a gift to my listeners. I thought about it as a starting point for people to make their own interpretations of the songs. The feedback was overwhelming. A couple of months later, we counted over 300 contributions. Without going through a selection process, they were all available only online until now.
It seemed essential to make it a real record as I imagined how happy it must make those who would find their names - in most cases for the first time - on a real record.
Now is the time to thank you all for your numerous and beautiful contributions. In case you don't find your track here, please don't think it stands behind the others. This record means, in fact, that some of the most beautiful songs couldn't be included as they simply weren't 'good neighbours' and because there is only one rework for each of my original compositions.
However all of you opened your hearts and minds and shared your uniqueness with us and I feel incredibly blessed by each and every single rework of Screws. Thank you!' - Nils Frahm.
Hitting you like the soundtrack to some wonderful film you will never see, the depth and emotion of the sound of Farbror Resande Mac will take your breathe away.
They have crafted a wonderful EP for Back To The Balearics, which offers the listener a refreshing break from the norms of electronic music making.Across the 5 tracks they cover a variety of moods and themes with great technical skill and top class production values, while creating musical patterns that conjure up images of star studded Scandinavian skies, Balearic sunsets and the buzz of great cities at night.So why not step off the musical beaten track with Farbror Resande Mac on Back To The Balearics You won't regret taking the wander...
Veleno Viola is proud to present the 2nd release by italian artist Mace.
As economic complexity is boosting the financial industry, constantly increasing the demand for financial services, human perception of value changes and so do our reactions and our feelings. I asked myself whether nowadays we are witnessing a financialization of emotions.
Splendore Finanziario wants to reflect on the correlation between human nature and the financial system, considering the intensity and the way in which they're changing and giving a sonourous vision of their future developments
Pink vinyl jacked in gloss printed sleeve.
There are some elements in electronic music that make them timeless, elements that if melted togheter they can give an impressive result, to the mind and to the body. Sawlin - Ursprung is the first album of the career of Sawlin, after his debut in 2010 he evolved like a wonderful orchid, an orchid that never followed the flow of the other flowers around him, but found his own way to the music. Ursprung is the result of an interminable evolution in the mind of the artist, 8 elements that complete a circle
builded on a very mysterious athmosphere, like a film that you never saw, but you always had in your head,
something more bigger then a memory, and something more deep then a picture. This 8 elements are the blueprint of the work that comes from the background of the artist, Deep raw imaginary pictures, mixed with oldschool wallpapers of a new wall based on an old concrete. Sawlin Mix the new to the old in a way that no-one can do, and probably no-one risked to do. This is the power of an artist that needs more attention and more time, you can feel at the first listening
that there is something really big going on, but you need time to understand what he wanted to create, miticulous details that he wanted to paint, in a way that we cannot see them at first, but we find them quite impressive after.
Sawlin present himslef in the most modern way he can, no compromises, he don't want to please you, he want to paint the future. in the most Artistic way possible. This is Sawlin - Ursprung LP on ARTS.
REPRESSED !!
A-side opens with a post-apocalyptic anthem, which makes you want to sniff glue until all worlds break down. Followed by Sirvan, a hypnotic, self-reflective rat catcher - vocal house is back. Changing sides brings you Rufex, which initially takes you back to dubby Berlin times, but ends up with rumbling witches playing their boneshaking rattles. Mattlack rounds it up with a messy, synth-stabbing ravelifter - for doormen only!
Late last year, the world was introduced to DJ Wey via 'Nosebleed,' a singularly jacking piece of house destruction on the Lovers Rock no. 6 compilation. Now the enigmatic producer returns to the LR fold with his debut EP 'Introduccion.' Across four tracks, Wey maps a wild, tripped out terrain, both sinister and fun: 'Anthem Para La Club,' recorded with J. Albert as Amigos DJs, bounces bitter tales of rejection against a twisting, unrelenting drum track. With Wey on the mic, jokes seethe and complaints dissolve into laughs, while the percolating drum pattern takes on a truly anthemic quality. Elsewhere, Wey indulges his dreamier side: 'Emily's' infectious, bouncing bassline and wandering leads are soaked in emotion, while 'Tare Gent Us' builds on the sickeningly-sweet tension of 'Nosebleed.' Finally, 'Llanganatis' closes out the EP with a moment of breathtaking introspection. Unfinished melodies flicker across aquatic pads, while a distant electro beat betrays the producer's Miami roots. Fresh, fun, out of control and yet surprisingly nuanced, Lovers Rock is proud to present DJ Wey's 'Introduccion.'
Soul Jazz Records’ new album 90 Degrees of Shade features the music of the Caribbean – Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds.
This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world – Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas – and more.
This album coincides with the release of Soul Jazz Records’ massive new deluxe large format hardback book 90 Degrees of Shade: 100 Years of Photography In The Caribbean (with foreward by Paul Gilroy) featuring hundreds of fascinating and unique photographs spanning one hundred years of Caribbean history.
The new album comes as a deluxe two-CD pack complete with large outsize booklet, packed full of info and original artwork. There are also two limited edition separate heavyweight double LP vinyl editions, each one housed in gatefold sleeves complete w
Soul Jazz Records’ new album 90 Degrees of Shade features the music of the Caribbean – Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds.
This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world – Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas – and more.
This album coincides with the release of Soul Jazz Records’ massive new deluxe large format hardback book 90 Degrees of Shade: 100 Years of Photography In The Caribbean (with foreward by Paul Gilroy) featuring hundreds of fascinating and unique photographs spanning one hundred years of Caribbean history.
The new album comes as a deluxe two-CD pack complete with large outsize booklet, packed full of info and original artwork. There are also two limited edition separate heavyweight double LP vinyl editions, each one housed in gatefold sleeves complete with insert, full text and free download code. Also comes as a worldwide digital release.
Steeped in house history it was only a matter of time until the next next generation of Chicago House artist came to the forefront of the genre. Luckily we're friends with them.
'Classic Music Company presents Chicago Nouveaux' brings together the new-breed collective of exceptionally talented Chicago-based artists on a single release. Shaun J Wright & Alinka contribute 'Wang's On Broadway' and 'Matters Of The Heart' - the latter coming with a remix courtesy of Smart Bar's own The Black Madonna while Chrissy drops 'Join Me' with Miles Bonny on vocals, complete with a re-edit for the one & only Rahaan.
This is about as Chi as it gets.
First in a series of edits from a well known Brighton based record label. Their resident producers and label mates breath new life into unknown rarities.
VINYL only, as somethings in life, be it food, sex or music are better when they remain physical.
The last tune of this EP is the reason why i wanted to press these tunes from HFK...
Then i saw he did a cover version of the Jones and Stephenson famous rebirth....
As Mr Gazmask did one on Acid Night i decided to press these tunes on Acid Night and not on Rouge De Colère... just for the eye-blink...
And then HFK introduced my to his second projects (of many) called « Molecule SCAM »... And this long a-side tune, 180 BPM killer was the thing... reminding me very strong another famous tune Prime Assault it was called...
Well, this project is a bit special compared to the othe Acid Night... Not an easy record to sell probably... But what a bomb...
LOVE THIS MUIC ! So, fuck the sales and go for it:)
Es ist noch gar nicht so lange her, da hat man aufwendig und wortreich seinem Gegenüber erklären müssen, von welcher Wiener Band man denn hier gerade spricht. Heute genügt eigentlich bloß ein Wort und jeder ist sofort im Bilde: - Amore ! In erstaunlich kurzer Zeit ist es Wanda nicht nur gelungen,
Band und dazugehörige Debüt-Platte in Österreich auf ein Platin-Level hochzuspielen, sondern man hat es ganz nebenbei auch noch geschafft, mit - Amore sein eigenes Schlagwort ins Wörterbuch der deutschsprachigen Popkultur zu zimmern. Und da ist jetzt noch nicht mal über die kollektive Euphorie an der Schwelle Hysterie gesprochen, die Wanda in den über 150 Konzerten der letzten 12 Monate auszulösen vermochten. Nun liegt bereits weniger als ein Jahr nach dem Debüt das zweite Album vor: - Bussi ! Die Atemlosigkeit des letzten Bandjahres findet so auch ihre Entsprechung im Veröffentlichungsintervall. Plattenregal dankt. Ausstattung: Die limitierte Vinyl-Box enthält das Album als Doppel-Vinyl incl. MP3 Code, die Single "Bussi Baby" als farbige Vinyl und außerdem tolle Fan-Schmankerl wie Beutel, Aufkleber, Postkarten und ein Schnapsglas. Die Vinyl beinhaltet einen MP3-Code.
4th studio album by their very own Dapayk Solo. Titled - #nofilter the album will be out on Oct 12, 2015. Since 1996 producer Niklas Worgt is regarded as one of the most creative and versatile protagonists of Europes club scene. Several projects for his label Mo's Ferry Prod., like the - I LOVE VINYL - Festival or the work on new Dapayk & Padberg releases have kept him busy during the last 5 years. But finally he came around to spend some - solo time in the studio. After having turned to a more melodic and gentle side on his last two album releases as part of the german electronica duo Dapayk & Padberg, - Smoke (2013) and - Smoke- The Family remixes (2014), Worgt is now being much more experimental and edgy in his productions. - I wanted the sound to be very focused - he says about his vision for album #4. More straightforward, more reduced, more analog and dirtier than - anything i have done before . On - #nofilter he combines elements from his early days in breakbeat and drum'n'bass with minimal and techhouse to his very own and very unique signature sound - far off the beaten club sound track. Worgt aims to challenge his audience, willing them to see that there is more than just one way of doing things. Well aware of the fact that: - ..some of the tracks might not be for everyone at first glance. But it's always good to do things in an unexpected way, to change the listeners perspective. Niklas Worgt also proofs his provocative and humorous side with the album title - #nofilter , statistically prooven to be one of the most commonly used hashtags. A keyword, often headlining the fact that a filter has been used.
* Jon Gurd's Birth Right EP is the first material from the Portsmouth based Techno producer in more than 2
years since his ventures on Octopus recordings, 8 Sided Dice and Quartz. The EP therefore indicates an
audible step change not just in the approach to production but also in the mindset and emotive feeling
behind each texture and layer. Having emerged unscathed from a traumatic family related drama Jon
communicates a tortuous and re-evaluated life message across all 3 tracks, and is dedicated to his brother
with a hidden meaning conveying, Tomorrow Is - Promised - To No One'.
* Dissecting the EP further the educated are blessed with field recordings, analogue rumbling and modular
synthesis exiting from almost 24 months of lab driven experimentation. No real process has been applied or
extant formulae followed and the EP's resounding success is that this now exudes what Jon feels' innately
rather than what the industry wants, therefore the journey, endless noise making and experimentation gives
a balanced and exciting offering. Jon comments seriously my process for producing this has been all over
the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio
window on day one'.
* Having spent two years asking himself why he makes music, I think on first listen of Birth Right EP we will all begin to empathise why. Remixes kindly provided by Messrs Dave Clarke and Ancestral Voices (new project from Liam Blackburn formerly Indigo / Akkord).
* A long time-friend and recording partner of Alan Fitzpatrick, as well as one third of Mister Woo with Dave from Reset Robot, Jon Gurd is best known for his work on the likes of Octopus Recordings, 8 Sided Dice and Quartz. Abundant with field recordings, analogue rumbling and modular synthesis, his latest signing to Derelicht is a result of almost 24 months of lab driven experimentation, and marks an auspicious return from a musical hiatus that stemmed from a personal tragedy. From the off, 'Tomorrow Is' is a driving piece of techno complete with sinister undertones and menacing atmospherics, meanwhile 'Promised' focuses on a low-slung groove as tantalising synths operate on top. The last original, 'To No One', then exhibits a deeper vibe with ebbing pads and spectral chords. Dave Clarke's decadent rendition of 'Promised' ups the tempo whilst demonstrating commanding kicks, until Ancestral Voices, the new project from Liam Blackburn (Indigo / Akkord), strips back the beats of 'To No One' for a subdued subterranean workout.
* Press / Promotion: 3 x Co-ordinated PR Campaigns (In House campaign by Derelicht, Dispersion PR and EPM Music, 100 vinyl hand-distributed to leading editors, artists and tastemakers. Key editorials through Resident Advisor, Inverted Audio, Ran$om Note, Beat Vision, Slate The Disco, Magnetic Magazine, DJ Mag, Noise Porn, Mind Grub Audio, Portals, Elevated Culture. 1 x videos produced to support Dave Clarke remix
Tiefschwarz - 'Just Beautiful!'
Alan Fitzpatrick - Yeah massively into this, will play a lot. Thanks for sending.
Dustin Zahn - Feeling the original of "To No One." the chord/pads are hitting the right spot for me this morning! The remix is also a nice take on the original
Baikal - to no one and Derelicht are dope
Kirk Degiorgio - Dave's mix for me!
Bas Mooy - yep! A1 for me mate!
Ben Sims - a1 is the cut for me, heavy and heady but still has the groove
Benjamin Damage - Thanks for sending this, top work!
Bryan Chapman - really feeling this EP, fav is the Ancestral Voices remix, that downbeat vibe
Bryan Zentz - Wonderful, moody, and emotive...LOVE it
Carlo Lio - Actually feeling all of them. Something for every time of the night. Can see myself playing a few of these for sure
Lo Shea - Tomorrow is sick! Dave Clarke's remix is dope too.
Common Edit makes a thunderous return with their 10th release and to celebrate, they're going big! 5 A whole extra 5 inches to be exact, extended cuts to keep the party going !
Some of the usual suspects providing the bits and pieces on this 4 course meal. Supplies for the A Side brought to you by the winsome duo of Khotin & Dane, and their two terrifically Eastern numbers 'IMHO' and 'System'.While the one and only Eddie C and Dane team up for a cut each on the B Side. Dane hands over a familiar giant with I Want More' and Eddie ends the trip with his psychedelic guarantee in his endearingly titled 'One For Dane'. No stamps this time, Dane's wrists need a break but no expense was spared in this deluxe offering.As usual, copies given away at the release party in Edmonton, Canada at "The Common"
Be With Records are honoured to present the hyper-limited (200 for the world) farewell single from cult Balearic maestros Korallreven. We've been enormous fans since the beginning so we are delighted to be collaborating on this special release. As per the band's specific wishes, we have created a special one-sided, full colour 7" flexi-disc. Over to the guys themselves for their parting words:
"It has been a trippie trip, sort of a dream come true, sort of a dream become shattered. Kinda incredible how Korallreven, with this weird name in Swedish, snowballed from bedroom recordings in Stockholm into a headline US tour, festivals around Europe, amazing collaborations and all this love we have felt from all around. It's been magic. But there is a time for everything and an end to everything too, also with Korallreven.
So, enjoy this single, as you would the last drop of fresh water in the jungle. It sort of underlines exactly everything we wanted to do from the beginning but never yet achieved. Lifelovingness, big words and melancholy in three and a half minutes, for the last time.
Finale Sessions is excited about this reease and we are greatfull to bring you Natan H hailing fro the "City Of Angels" Natan has this energy that we at Finale Sessions as of late have not been able to find so as you know we are estatic to get this out to the masses and give you a little taste of what is going on out on the Left Coast and we start with the track "Lignes" with its melodic pads and its wavering synths make for a latenight beauty for sure then we move to track 2 which is " 0 (Phase)"This track is another latnight stomper with moving chords and melodic drum patterns that keep it a smooth sounding pieace, Then last but not least we have the song "Invariant" (Feat.Jordan) This dub techno track is floor filler for sure with its heavy laden pads and synths and its monsterous sounds one of my favorite tracks at the moment . We want to thank you at Finale Sessions for giving us the opportunity to share this music with you and we hope you enjoy it
Tensnake's standard In The End (I Want You To Cry) release gets not one, but seven remixes. A nod to the good old remix double pack craze of the nineties, you will find them spread out over two plates. Ranging from a classic Tiger & Woods treatment to Prins Thomas quirkiness via Lone's happiness, two versions by Shan, the timid DJ Oyster as well as Pete Herbert's & Dicky Trisco's respectful re-arrangement, this one has it all: disco, techno, jungle (alomost!), house, cheese & chocolate!
Fresh 31 Records by Hidden Turn!
Godfather Sage USA 8/10 #2 Superb production and original ideas make this EP stand out from the rest. True artistry at work.
Ryan Origin USA 10/10 #4 One of my favorite releases of the year. Brilliant.
Script 9/10 #3 really interesting music. great vibes on every track. i get sent lots of music that tries to be like this but they fail miserably. deffo going to keep my ears open form more hidden turn on 31 :)
Das Kapital 9/10 #3 Always love Hidden Turn's stuff. Subby and expectedly menacing work.
Tony Addison Groove 9/10 #1 very nice 1
Reso UK 9/10 #3 love it. So refreshing to hear stuff someone wanted to make rather than a load of old hyped up bollocks. Nothing is awesome. Top work!
Chris Muniz 8/10 #4 Hidden Turn pushing the boundaries and digging in deep for a synapse-twisting exploration of beats, atmospheres and bass..
Daniel Boden 8/10 #1 Really like the minimal/dancehall vibes going on throughout the EP. Solid work from Hidden Turn. Never seems to disappoint
Von Carl Bown und Colin Richardson (Slipknot, Machine Head, Trivium) in den Metropolis Studio in London produziert, entpuppt sich VENOM als kompromissloser, erbitterter Schritt für Bullet For My Valentine. Ihr heftigstes Album bislang packt den Hörer sofort an der Kehle, wofür die mächtige Performance von Sänger / Gitarrist Matt Tuck, die bissigen Riffs von Gitarrist Michael "Padge" Paget und das Drumming-Sperrfeuer von Michael "Moose" Thomas sorgen. Auf VENOM hält das Trio perfekt seine ureigene Balance zwischen Heaviness und dringlichen Melodien und schraubt sich so auf das nächste Level.
"Es ist schwierig, ein komplettes Album zusammenzufassen, nachdem wir soviel Zeit mit dem Songschreiben und Aufnehmen verbracht haben und Blut, Schweiß und Tränen flossen," erzählt Frontmann Matt Tuck. "Es war hart, für die Texte wieder an einige äußerst dunkle Orte zurückzukehren, aber sobald ich Fährte aufgenommen hatte, war es OK für mich, gewisse Themen einfach rauszulassen - und die Hölle brach los. Dieses Album ist ganz klar das aggressivste, das wir je eingespielt haben, und textlich wird es sicherlich Viele aufhorchen lassen.
Mbongwana Star is a newly formed band from Kinshasa, the capital of the Democratc Republic of Congo. Made up of a sprawling network of shanty-towns and night shelters, day-to-day life in the city is far from easy, but the band don't want sympathy. Tired of pre-conceptons around African music, Mbongwana Star ('Mbongwana' means 'change') are creatng their own identty, fusing traditonal Congolese rhythms with post punk and´electronics inspired by life in the townships around them,
'making magic out garbage' says producer and band member Doctor L (who produced Tony Allen's
'Black Voices' album). The result is revolutonary. This isn't an African band per se. It's a trans-global barrier-bustng sound
machine. '..an altogether unique vibe. We will be paying close atenton' - Boilerroom
With Dan Curtin on the 4th release, Melodymathics has undoubtedly one of the key players in the development of electronic music as we know it today. With 'deserted station' Dan Curtin is as innovative and vital as he has ever been.
This funky production, with the typical Dan Curtin edge, covers the sound of the past, the present and the future.
'I want you' the result of a collaboration between 3 Belgian talents, discovered by Melodymathics. Amtek&E-Freak ft. Mike Ekim are bringing the contemporary club sound, though remaining funky and soulful, with catchy vocals. A real dancefloor killer!
Melodymathics holds the tradition alive to indulge the vinyl dj's. This time the funky loops are provided by the mysterious Melodymann and Sjef Wanders.
After "III" Dusty Kid is back with a new album that is a trip and homage through and for his native land, Sardegna. "The Arsonist" anticipates this trip from its most dramatic part, touching upon an issue that haunts the island every summer: arsons. Setting itself apart from the contemporary techno music trends 'The Arsonist Part II" delves into 90's trance, reminiscent of legendary Jam&Spoon and rave parties. An intense explosion of pathos reminding us of the glorious Loveparade to describe a dangerous situation, a desperate attempt to save the Sardinian land. The pathos peaks with "Doa" when the fire leaves behind utter desperation and desolation, ashes and smoke. "Doa" is another stage in this new journey for Dusty Kid. It is an emotional and melancholic stop, drenched in the magic of the spaghetti western genre, honoring Morricone that has always been the artist's idol. The track is dedicated to the date of July 18, 1983, when in the north ofSardegna the worst arson happened; here 9 people lost their lives and 15 reported terrible burns in the attempt to extinguish the fire. This has later become the European date to raise awareness against forest fires. The EP ends on the balearic notes of "Serpentara', little abandoned island in the south east of Sardegna, that represents a small batch of land that is untouched by men, their doings and their fires. 'Serpentara' recalls the likes of "Sueno Latino', the summer of love '88 and Ibiza, when ravers wanted to take a break from the hysteric acid house and needed softer and dreamier sounds. Dusty Kid is back with a masterpiece that cannot be missed, a perfect soundtrack to the Summer of 2015.
Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.
Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.
Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical
revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.
Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'
This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.
While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.
Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.
The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.
Blue Russell was the husband/wife duo of Manlio Cangelli and Lorella Ghilardi from Milan. Cangelli was a session musician and composer for many Italian singers, making music for commercial TV and working long days in the studio. He had a strong passion for the analog synthesizers of the time and discovered the latest drum machines. 'I Wanna Fly Away' was recorded in Milan in the Spring of 1984 and released later that year on Disco Magic Records.
With a magnificent compilation Dial Records celebrate their 15th anniversary! ALL offers a collection of exclusive works by long related label artists and friends. Part 1 of the Viny 12Inch Edition features contributions by Stefan Tcherepnin, Dj Richard, Christian Naukoks, Pantha Du Prince and Queens.
It takes time for a series of seperate ideas to evolve into a fully concepteptualized album if it wants to have a place in history for Ali and Basti Schwarz, better known as Tiefschwarz. Since 1998 the duo, as both DJ's and producers, have perfected the art of dominating the moments only experienced on a dance floor, deeply immersed in sound. Their music is unique as it is creative. Among the countless extended players and remixes, the three landmark Tiefschwarz albums: 'RAL 9005, 'Eat Books' and 'Chocolate' all have a common thread weaving them together; a historic vision uniting the musical crossroads of past and future. As with the previous albums, Tiefschwarz pause briefly on the subjective localization of artists in the (music) world to create an album which unfolds like a story told by master story tellers. Igniting the dance floor while at the same time giving the listener the opportunity to look beyond themselves and into the journey that is 'Left". With 'Left", Tiefschwarz were able to radicalize the album-specific approach and focus more intently on combining grooves with an introspective perspective. They refrained to bring in an outside co-producer for the album and made sure to forego the cliche variety of guest musicians, concentrating instead on one congenial companion: Khan, who both Ali and Basti have been close friends with since the 90's. Khan, a Frankfurt native of Turkish and Finnish decent, is one of the most prominent and exhilarating German Techno pioneers.
Kevin Saunderson's Detroit-based imprint celebrated its 25th Anniversary back in 2012, and the label's continued to cement its legacy with key vinyl reissues over the past couple of years. The recent campaign included Saunderson's Just Want Another Chance, the track which contains the "Reese" bassline—rivaled only by the Amen break as a formative element of drum & bass—as well as '90s releases from MK, Kreem (Saunderson's duo with Juan Atkins) and Chez (Damier) N (Ron) Trent.
The two remix compilations dwell on Chez N Trent versions produced during the 1993 through 1995 period, when they released enduring originals like "Morning Factory" and "The Choice." Volume One contains remixes of Sonya Blade and Miller/Scott Project while the second EP includes Damier and Trent's versions of Kreem as well as Saunderson's seminal vocal house group, Inner City. Chez N Trent's takes on Naomi Daniel's "Feel The Fire" and Essar'ay's "Forces" are also included.
Hardy and Stephan began their musical careers separately in the early 2000's. They randomly met in the clubs in Berlin and started the Survey project back in 2013. Sharing one common direction to produce DNB with a deep, refined and hypnotic edge. Their minimal sounds, paired with systematic DJ skills have seen them perform in some of the top dance venues in Germany and across Europe.
Fast forward to 2015 and we are presented with a 4 track EP on DSCI4. Manufactured on crystal clear vinyl for a crafted, futuristic look. A release that stimulates the mind, body and soul with their signature trademark vision.
//Time EP//
A.Twisting, rolling bass flows with pure techno adrenalin in 'Move in Time'
B. Deep future-sub pairs rolling warehouse vibes in 'Warp Resistant'
C.Warming party atmosphere and dance floor perfection in 'As You Want'
D.Final thoughts with the creeping, haunting electronic precision of 'Both Sides'
This is classic DSCI4....with momentum geared to the future of drum and bass. Pushing and showcasing the finest producers of the moment. Survey leads us into the ever evolving blueprint of Drum & Bass.
There are no rules.
Drum & Bass duo The Prototypes, AKA Chris Garvey and Nick White release their much anticipated debut album 'City of Gold' on Viper Recordings. Already one of the hottest acts in the UK Drum & Bass club scene, The Prototypes are reaching new heights with their debut LP which showcases their trademark club sound, vocal anthems plus a few masterful tempo variations which will leave the listener wanting more.
This vinyl album sampler contains two of their biggest hits from last year with 'Pale Blue Dot' backed with 'Humanoid', both of which went #1 on the Beatport D&B charts.
'Pale Blue Dot'
Kicking off with a mysterious, immersive space-themed introduction, 'Pale Blue Dot' transports the rave into the far reaches of the universe. Building up the anticipation with rising synths, 'Pale Blue Dot' transforms into a dancefloor weapon. Crash landing with a stripped back, infectious melody and churning bass, the alien sounds of 'Pale Blue Dot' are sure to get the rave moving.
'Humanoid'
The B-side stays true to The Prototypes' heavy hitting, galactic-inspired sound, with the whirring 'Humanoid'. Exciting and rhythmical use of synth patterns alongside vocal interjections make this the ideal follow up to the hugely popular 'Pale Blue Dot.'
Der international gefragte DJ und Produzent George Fitzgerald veröffentlicht sein lang erwartetes Debütalbum auf Domino! "Fading Love" ist das Debütalbum des britischen DJs und Produzenten George FitzGerald. Die zehn Songs wurden in London und in Georges Wahlheimat Berlin aufgenommen und produziert. George hat mit seiner Kombination aus House, Garage, Techno und Dub seinen eigenen Sound gefunden und sich in den letzen Jahren in der internationalen DJ- und Produzenten-Szene einen Namen gemacht. Seit zwei Jahren hat er eine Residency bei BBC Radio 1 inne. 2013 begann er an den Albumtracks zu arbeiten.
Oh yeah, we love those tunes, we love the idea of this west (Mexico) to east (Lithuania) studio exchange, we love the jam style, we love the instant 'let's record it and put it on wax' feel! So we don't want to blow this up. No big PR stories, just good music made by Ponty Mython (Dirt Crew, Swedish Brandy, Eat More House) and Sebastien Vorhaus (Quintessentials, Faces Records, Vicario Musique). Buy it, play it, feel it! Thanks!
P.D.D are proud to present Craig Bratley's Magic Feet imprint. The label returns with another double header from two up and coming producers.
Paresse first featured on a Magic Feet label sampler and has gone on to feature on Jennifer Cardini's Correspondant label.
Markus Gibb is a new name to the label and is definitely a producer to keep an eye on, having previously released on Matt Walsh's Clouded Vision label. Both producers deliver two tracks, each one set to be a staple in DJ's boxes over the coming year.
German Mark Jackus and Marcus Sur collaborated on this beautiful piece of music with singer/songwriter Golden Parazyth.
Noir Music is delighted to have signed the incredible 'In The Night' song which sits somewhere in between electronica and deephouse. This one works both as a club track and a treat for the ears when you just want some quality music in your life.
Timo Maas and Ed Ed deliver the more clubby vocal versions of the track and Tiger Stripes makes it a club-dub effort. All 3 remixes are a bit more edgy and functional for club plays.
Hit play and get sucked into the sweet melancholy of this track.
Prolific Seattle producer Jon McMillion returns to Nuearth Kitchen with another crucial chapter in his epic tale of haunted house-music subversions. This EP offers four variations on a bizarre and engrossing theme. Don't It Make You (edit 1)' is a work of extremes: By some miracle of aural physics, it's at once one of McMillion's strangest tracks and one of his most accessible. He sets into motion a staunch, relentless house rhythm bolstered with congas, massed claps, synth-bass raspberries, and a badass male singer intoning, Don't it make you feel good, if you wanna get down/Just say it, say it again,' over which a miasma of enigmatic tones bubbles and swirls. Like Bohannon's disco-funk classics from the '70s, Don't It Make You' seems like a tease, even at 10 minutes duration, you wish it would roll on for at least 30. On Don't It Make You (edit 2),' McMillion strips things down to dance-floor essentials and erases some of the free-floating background weirdness.
The two remixes are revelatory. New York house icon Fred P. (aka Black Jazz Consortium) slides the track into a tighter pair of pants, but that just makes it swivel harder and slyer. He emphasizes Don't It Make You''s mysterious drones and then loops a female vocalist singing He keeps me' while dropping in some echoed male chatter to gently disorient. What a dreamy, soulful trip Fred P. conjures here. And rising German wunderkind Orson Wells layers and pitches up the original's cascades of bleeps, which becomes the dominant motif, and then subtly modulates said bleeps over the tune's seven minutes, while keeping that irrepressible rhythm strutting. McMillion's raw materials prove to be fertile ground for these two maverick remixers to flaunt their own fascinating quirks while maintaining the original cut's club-darkening and ass-moving functionality.
This EP was made during a period where my whole outlook on everything was transforming. The Voidloss project started as an investigation, I was conducting a lot of research and study on the mind, the occult, on different thought modes, and the Voidloss project represented this. The idea was about a leap in to the void. A leap of abandonment into the dark, with total acceptance, total commitment. The idea was to lose myself to the void. This was mainly a spiritual journey for me, and could be best explained by 3 things, the void of Miyamoto Musashi from Go Rin No Sho, The concept of the Tao from the writings of Lao Tzu, and the concept of the abyss from the works of Aleister Crowley. Part of this journey deep inside the self was frightening and horrific, the total loss of self, of all identity and ego, and part of it was beautiful and enlightening. I wanted the music to reflect this, and I wanted the music to change as I changed, as I went to and through all these interesting places. In essence this was about freedom. So fast forward some years and I felt I had sharpened my mind quite effectively, the music had twisted and changed and flowed with me. At the point I began making the music for this EP, I had grown quite angry with the amount of conformity I was perceiving in life. Politically, socially, musically, there was this drive of conformity in the world. I think part of it, and only a part, comes from the prevalence of social media, the need to belong and to be liked, the idea of judging yourself and your works through the perception of others. Musically I felt that within techno there was a tendency for the music to fit within a set of confines dictated by fashion and hype, and this was reducing the diversity of the music, it seemed also that the practices of commercial music were seeping in to techno as the music became more popular. Hype and business driven decisions, brand building and so on. I always felt techno was more about art, and I began to get frustrated. Equally I felt that politically there was less and less choice, as all decisions seemed to lead to the same outcomes. I became more interested in the concept of anarchism, of the idea that government was no longer needed. I have always in my life had a drive to question everything. I've always been 'naughty' and rebellious and done things my way, to my advantage or my disadvantage, I could never accept being anything other than myself all the way. If everyone walks in one direction, I will walk the other way, even if it takes me over the edge of a precipice, just to see what is there. All this stuff influences my music, and during the period of making this EP I was angry, kicking against the things I no longer liked or wanted, screaming dissent. There is a lot of anger and rage, and of course rebellion. I wanted the music to capture that unbridled fury you have when you are in your late teens, when you just start learning about yourself and you start rebelling and questioning things around the time the world is really pushing you to conform. I was soundtracking my own philosophical riot. Previous to this my Voidloss stuff had been more introverted, more pensive and melancholy, more self destructive, more cerebral. For this new music I wanted something more immediate but without being too obvious. In terms of the choices I made I still leaned more towards broken rhythms for beat structure. I find it very difficult to do anything interesting with 4x4 kicks any more, it's too rigid for me, it limits my freedom. I like the looseness you get from more 'drummer' like beats, I guess probably because I have been playing drums all my life. The challenge is to get the same rolling power from broken rhythms as you get from 4 to the floor. It's not easy, there is a ridiculous amount of trial and error and the rejection percentage is high. I also was trying to use less 'synthy' sounds. I wanted to try to take a more acousmatic approach to sound design. With the current modular synth revival in techno I was hearing a lot of 'old' synth sounds re-emerging, and this didn't seem like a progression to me. I wanted to make sounds that were hard to source for the listener, where they weren't sure if it was synth or real world sample, digital or analogue. This involved a lot of experimentation. My process involved a lot of field recording, especially with contact microphones, which open up a whole new world of interesting sounds. You are effectively recording sounds through objects in the environment, 'hearing' the world as these objects hear them, I was using guitars, feedback loops, handmade instruments as well. So I was combining this with different synthesis, granular synthesis, sample synthesis, physical modelling, FM synthesis and of course analogue. Everything was reprocessed and re-synthesised, I tried hard to obscure the source and make something new as much as possible. The stuff on this EP was part of my live PA for some time, so as I learned how the music worked live I could go back and make changes, sometimes the environment I was playing in transformed the sound as well, and so I would try to go back an incorporate this in to the music. For remixes I wanted to choose artists that I respected for their vision as well as for their output, so my list of people I wanted was extremely short. Inigo Kennedy has always been an artist I have respected greatly. His music has always been unique to himself, he remains outside of fashions and trends even though his name has become very big recently. He takes risks with his work, experimenting and exploring, yet remaining relevant to the club, and just tirelessly forging ahead, seemingly for the sake of art above all else. And he's just a really nice guy to deal with. His remix is everything I expected it to be in that it is the unexpected. Regis is another artist who forges his own path in music, you cant really even begin to discuss the avantgarde in techno without including his name, he is one of the foundation stones for artistry and the outsider mentality in techno. His music is always unique to his own vision, and along with it comes an interesting artistic philosophy taking in situationism, post punk and industrial ideology and a good dose of tricksterism ala PT Barnum, all of which comes out in his music and the way it is presented. The man is a truly singular force and it is an honour to have him on this record. Overall the concept here is that of rebellion and dissent. Of asking questions, following your own path, of maintaining some place in yourself that burns like a forest fire.
Whether or not I have succeeded I guess is down to the listener, I'm never happy with my music, I keep wanting to move forwards, or somewhere else, and am constantly trying and failing to capture some essence of perfection. But like Bukowski said
'It's the only good fight there is'
Future Brown greifen auf Themen wie digitale Interkonnektivität, globale Reisen und eine vitale weltweite Künstlergemeinschaft als Inspiration zurück. Von regionalen US Rap-Varianten zum UK Grime, von Dancehall bis Reggaeton - Future Brown spinnen eine zutiefst durchdachte Ästhetik, die intuitive Verbindungen zwischen diesen eigentümlichen Sounds aufbaut, um dann den individuellen Kollaborateuren eine Stimme zu geben. Kollaborationen wie mit Shawnna, Kelela, Johnny May Cash oder Sicko Mob schlagen Brücken über musikalische Grenzen und Klüfte hinweg, während Future Brown zur selben Zeit den eigentlich geographischen Abstand zwischen den einzelnen Künstlern bewusst machen wollen.
