Unusual Colour And Complex Microtonality Found In The Classical Music Of Iran / Blurts Of Noise, Sour Tones, And A Vaguely Technoid Or Dubwise Impression Expose The Inner Rhythm And Counterpoint Embedded In This Strummed Music / Emotional, Mathematical And Polyrhythmic Principles Underpinning Persian Music, The Record Reveals A Dramatic Blend Of Acoustic Persian Instrumentation And Contemporary Electronics. Sote Aims To Devise An Idealised Fusion Of The Musical Heritage And Tradition Of Iran With The Forward-thinking Vision Which Has Propelled His Storied Career Producing Techno, Hardcore And Computer Music For Labels Like Warp, Ge-stell, Morphine And Repitch. Now Living In Tehran, His Music Has Frequently Grappled With The Strict Cultural Restrictions Imposed In His Country Over The Past Few Decades, Finding A Space And Setting To Nurture New Developments In Experimental Sound And Performance. Working With Arash Bolouri Who Plays The Santour (persian Hammered Dulcimer), And Behrouz Pashaei On The Long-necked, Four-string Setar, Sote Frames And Responds To Their Traditional Artistry. On Occasions He Directly Manipulates The Music Emanating From Their Ancient Instruments, Cultivating And Thickening Up A Surreal And Beautiful Tonality Plucked From Their Strings With A Series Of Processing Techniques, But Mostly Each Track Is A Peaceful Arrangement And Partnership, Sote Electro-acoustically Augmenting Their Movements Within His Own Cybernetic Framework.
* The two label runners combine forces for the deeply old skool EP. Saiyan and Luna-C bring the simple joy of the old rave sound to their EP, with two tracks cut in the style of the early breakbeat scene of 1992, and one track that stems from a little later, when things got more 4x4 and slightly tougher. All the tracks on the EP are made with a majority of hardware rather than the standard software of today, and the result is a warm, analogue, and absolutely true to its era EP of rolling breaks, deep basslines and uplifting vibes!
Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.
The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.
Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.
After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.
For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.
So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.
And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.
LYBES DIMEM is a project by visual artist and musician Lukas Rehm. With a focus on digital sound-de- sign, elaborate beat structures and the use of error, the music plays with cognitive phenomena and abstraction while maintaining an emotional refuge. LYBES DIMEM is presented in formats ranging from spatial sound experiences to sy- nesthetic shows complementing the auditive layers with visualiza- tions of real-time data, computer graphics and moving image. Lukas Rehms installative art, and compo- sitions have been internationally presented and awarded with multi- ple emerging arts prices.
SYNCLEFT CHRONEM is the first album released by LYBES DIMEM in both digital and vinyl format and accompanied by a moving image artwork. The title reflects the pro- jects interest in the potential of difference, cognitive frictions and exertion: sync = variability in the processing of auditive and visual signals, syncleft = the synaptic cleft, which is a crucial empty spa- ce in biological neural networks, chronem = the chroneme as a the- oretical unit to measure the time of
an articulated sound. Mathemati- cally clean sounds juxtapose pat- terns and transitions familiar from the realm of organic acoustics. Multi-layered noise textures ex- plore the simulated space. A tem- porary continuity is provided by percussive and melodic elements, right until the next escalation, eventually awaiting a concluding resolution.
The visual language explores dif- ferent phenomena and techniques of cognition inspired by the rhe- torics of big science (computer graphics, discontinuity of materi- al, pop cultural references). Both the moving image artwork and the graphic design of the release pay tribute to the multi-layered appro- ach of the music. The design of the vinyl cover by studio BNAG.cc uses subtractive colour synthesis to interchange between abstract for- mality and representationalism.
SYNCLEFT CHRONEM is the first release by LYBES DIMEM on SVS Records following a first encounter at the SVS residency at the 4D Spa- tial Sound Institute in Budapest.
'It is now clear that humans are no longer the most important things in the universe, that their knowledge, creativity and intelligence are ultimately limited.'
The Posthuman realises that the ultimate questions about existence and being do not require answers and accepts that humans have a finite capacity to understand and control nature. Even just to know the ultimate nature of the universe would require knowing everything about the universe, everything that has happened and everything that will happen. If one thing were not known it would imply that all knowledge of the universe is partial, potentially incomplete and, therefore, not ultimate.
Humans privilege to order over disorder on the assumption that the essential laws of nature are gradually being discovered. This is a fundamental error; nature is neither essentially ordered or disordered. What we perceive as regular, patterned information we classify as order; what we perceive as irregular, unpatterned information we classify as disorder. The appearance of order and disorder implies more about the way in which we process information than the intrinsic presence of order or disorder in nature.
The humanist era was characterized by certainty about the operation of the universe and the place of humans within it. The Posthuman era is characterized by uncertainty about the operation of the universe and about what it is to be human.
What is a human Is there such a thing
No finite division can be drawn between the environment, the body and the brain. The human is identifiable, but not definable.
Consciousness, (the interaction body-brain) and the environment (reality) cannot be separated; they are continuous that defines the being.
All technological progress of human society is geared towards the transformation of the human species as we currently know it; the posthumans regard their own being as embodied in an extended technological world. In such 'synthetik' reality power no longer needs to impose physical regulations, as it is able to manipulate and shape up the minds directly, becoming part of it.
There won't be any resistance from the individual, as he will have embodied the needs of the system in his own being, and their ambition will serve the economy.
Currently the output of machines is predictable; the Posthuman era fully starts when the output of machines becomes unpredictable, so that complex machines, apparatus whose workings we do not fully understand or control, become an emerging form of life.
In the Posthuman era, the future never arrives.
..from ´The Posthuman Manifesto´, Robert Pepperel, 1995
Hospital are honoured to present the last known piece of new music from Rob Dickeson, aka Apex. Released in his memory, in association with Help Musicians UK, all proceeds
will go to their incredible work on the Music Minds Matter campaign. Available as a digital download, and limited-edition 12-inch vinyl, which features Unknown Error's 'The Yearning' (Super VIP mix), which is exclusive to the
physical format. Drum & bass has lost a number of unique talents in recent years, and we can only hope this release will be a positive force to raise awareness surrounding mental health issues within the music industry, and also as a fitting tribute to
Rob's memory. 'I hope that this record will raise awareness that help is out there. If you, or someone you love, finds themself in a situation where life just seems impossible, don't forget that you are not alone, and that there is help.' - Katerina (Apex's
partner). Help Musicians UK is the leading UK charity for professional musicians of all genres, from starting out through to retirement. Operating 24 hours a day, seven days a week, Music Minds Matter is a support line and service for the whole UK music community.
After kicking off the year with releases by Wheelman and General Ludd, we're very pleased to announce that Naum Gabo completes our recent trilogy of releases from Glasgow based artists. Alongside Ivan Smagghe, it's no secret that Optimo have been a huge influence around these parts and having released Ivan's Smagghe & Cross project on Belters last year, it's a huge honour to work with Naum Gabo - the production partnership of Jonnie Wilkes (JG Wikes of Optimo) and James Savage (Mastering Engineer for Optimo Music).Fittingly enough, Naum Gabo played live at the first ever Optimo related parties we attended at the Sub Club back in 2005 and Jonnie's influential and supportive presence has been felt over the years as we started to become more involved in the Glasgow scene and as the label developed.
So it didn't require much thought to do this release before we had even heard these new Naum Gabo tracks...they are absolute slammers of the highest order! Really big release, bringing to our minds the likes of Errorsmith.Belters is a new club-focussed label brought to you by Huntleys + Palmers.
* To celebrate the second anniversary of Khemia Records we are pleased to welcome back In Aeternam Vale, the legendary French artist who inaugurated the imprint on a split Ep with Bronze Teeth in March 2016.
* This is the first single-artist Ep produced by the label, initiating a new series that will run parallel to the V/A editions.
* The tracks 'Dave' and 'Circles' form an elliptical conundrum composed of various references including Kubrick's alchemical allegory 2001 A Space Odyssey, (sampled in French) with it's existential narrative of a schizophrenic artificial intelligence lurking in the shadows. The Deus ex Machina wondering if mankind is still useful to machines, or perhaps even dangerous to them The infamous Seveso chemical disaster at the pharmaceutical laboratory ICMESA caused by human error, the glowing blood-red sphere of HAL 9000, the all-seeing eye of the sentient super-computer and the circular composition of the toxic compound 2,3,7,8 Tetrachlorodibenzo-p-dioxin (TCDD), released into the atmosphere at Seveso. With this cryptic feedback loop, Laurent Prot is suggesting that the new technologies we are developing now, for use in our near future could result in catastrophe when human control is lost to the self-learning of AI. The homicidal consequences of a machine take-over find visual form in the bleak, dystopian aesthetic of Evelyn Bencicova's cover artwork.
Solipsism heads into new territory with this deeply hypnotic four track EP of Dubbed out Downtempo Techno and Fuzzy Electro. Hypnagogo EP has had support from Soma Records (Scotland) Joe Muggs (Mixmag, The Guardian), Indie Rock Magazine (France), Is This Music Magazine (Scotland), Regal Radio (Scotland), Relaxed Machinery (Australia) & many others. Comparisons have been drawn with artists as diverse Beaumont Hannant, Boards of Canada and Deepchord.
The latest SM release presents two Spanish artists, three are the tracks for ethical Error, composed of new order sounds, tight and industrial synths, with bassline that bring the dancefloor back into a disturbing atmosphere.
Includes a track by Jose Poju that detects a sort of ritual, a mechanical sequence and bassline hard and decisive.
Dub like it used to be from the High Note and Gay Feet labels.
A selection of rocking rhythms from The Revolutionaries masterminded by Jamaica's finest female record producer, Mrs Sonia Pottinger, and mixed by Duke Reid's nephew, Errol Brown, chief engineer at the legendary Treasure Isle studio.
2022 is the 40th Anniversary of Iron Maiden’s Iconic third album The Number of The Beast. The first Iron Maiden album to feature Bruce Dickinson on vocals, The Number of the Beast was also the band’s first album to hit the number 1 spot in the UK. The album spawned the crossover hit singles Run To The Hills and The Number of The Beast, and introduced the band to a truly global audience.
To celebrate this milestone anniversary Iron Maiden release a very special 3LP collectors vinyl featuring the original album with revised track list plus the legendary 1982 live show from Hammersmith Odeon ‘The Beast Over Hammersmith’.
The original album replaces Gangland with Total Eclipse in a revised track list. The accompanying double live album The Beast Over Hammersmith is presented on vinyl for the first time.
This collectible 180g 3LP vinyl set is packaged in a double gatefold sleeve featuring a special ‘split’ cover image and many rare photos from the time. Also, featured are excusive sleeve notes from Steve Harris.
Inspired by the early industrial pioneers, dead crooners and the unrelenting speed of change, Uncanny Valley combine homemade metallic resonators, pound-shop contact mics and sellotape synthesisers, with human error for unusual effect. Remixes come from the fantastic Manfredas and Mondowski.
Rat Life Records presents Serial Error a Project by Credit 00, Jacob Korn & Sneaker. This outfit was brought to life in 2013 when Red D called for some New Beat style tracks for his "Our Beat Is Still New" Compilation. Flying a bit too low under the radar ever since Rat Life decided to reissue Drum Abuse on a Super Sound Maxi Single. The Track was made in Jacob Korn's headquarter studio / synthesizer museum. The task distribution was hit quickly: Jacob squeezing the acid out of his huge Formant modular system, Credit 00 beating the drums on the Boss DR 660 and Sneaker throwing his unique vocals on top!
This is RRR01 :)
Record open on a 160 BPM cruiser... kind of tribe electro techno with a cool suspense melody. Then comes a Banging acidfucker... Finished comes with GIS from LPR : banging dancefloor Hardtek !
Lottus got this deep and old school flavour touch, driving and sweat at the same time, this one is for Franck the highlight of his new Ep,so no big words on this one.. It's a Lottus love affair here :-)
Air is a cosmic journey into Franck's synthetic drum sounds, passing thru his famous Space Echo 201 made back in the days by Roland..the machine got some natural errors and goes with the tape delay feelings.. it's all about movements and space rythms here.Christal is using the famous 909 drum machine and 808 toms.. this one goes very deep into our mind with strange vocals wich Franck got the secret to play with, it's a sentimental and emotionnal song, cute for some people but very relaxing after all to complete this Ep.My name is was originaly out on Franck's RealTone Records imprint. It came out with two different versions.The track received some good feedbacks and plays so far and our dear friend Berlin based Alexkid came back to us with his own edit and we definitly loved it but we were very busy with the releases.. This edit has been lost in our hard drives and now Franck is more than happy to give it a new life.
The sound is short and dry, like a fist colliding with leather or other flesh, but the repetition and reverberation transcend such violence and lead the listener to a heightened state by the time the parade is cancelled. A point of consideration. Stick around because at least a few folks will still march and it could be a gorgeously lonely thing to witness...
This Make Noise Records release was Digitally Mastered by Shawn Hatfield at Audible Oddities
Analog Mastered and Cut by DC at PLUSH/
Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve and Matte Jacket w/ photography by Moe Espinosa and layout by Sean Curtis Patrick..
After a decade's absence, spent working in commercial sound design, New York based electronic musician and producer Joseph Fraioli returns to his Datach'i alias for a brand new album entitled 'System'. Featuring 16 tracks of beautiful yet unsettling electronic music recorded exclusively on a Eurorack Modular synth, 'System' will be released on August 19th via Venetian Snares' Timesig imprint. Speaking about the album Fraioli said, 'I've spent much of the past decade building up my own sound design company, Jafbox Sound, and in recent years have become fascinated by modular synths. I'd been making a series of performance videos, showing how they work and that inspired me to start making music as Datach'i again. I suddenly realized I had a growing collection of tracks that worked together and had something new to say. Aaron heard some of them and encouraged me to start thinking of them in terms of an album and here we are.' Venetian Snares says of the album 'Joseph's special take on live modular production has had me really excited this past year. There are so many great tracks, it was nearly impossible to compile this album. I'm tickled he agreed to release them with Timesig!' The first non-VSnares-related release on Timesig, 'System' will be available on double vinyl, CD and digital download. Those who pre-order the physical release via the Planet Mu website will also receive a bonus CD featuring 19 more tracks recorded around the same time as 'System'. In addition Timesig and Datach'i have partnered with TipTop Audio and everyone who pre-orders the album will also be entered into a draw to win a Z3000 Smart VCO oscillator and 'Happy Ending' kit, the perfect introduction to building your own modular system. Having released 6 albums between 1999 and 2006 on labels including Planet Mu and Sublight, Fraioli has spent the past ten years running award-winning sound design company, Jafbox Sound, where his productions for film, TV and adverts have been recognized by the likes of the Cannes Film Festival and the CLIO Awards. In 2014, Fraioli also joined forces with Interpol's Daniel Kessler, forming 'Big Noble.' Their freshman release entitled, 'First Light," combined Fraioli's approach to sound design with Kessler's guitar work to create cinematic, ambient soundscapes.
Step Time Orchestra was the collaborative work of producers Jori Hulkkonen and Toumas Salmela, who began producing music together in the nineties whilst studying in Oulu, Finland. Whilst all their friends would be getting up early to go to university, they would only just be going to bed, having spent the night listening to house records from New York, drinking Whiskey and programming their MPC 2000!
Step Time produced a slew of tracks during this time, some of which were licensed and pressed on 12" singles during the late nineties/early noughties on labels operating in North America and Europe, but not everything they made saw the light of day. Heavily influenced by labels like Ibadan and Spiritual Life Music at the height of the New York House Scene, 'Jazz Error NYC' and '2am in Africa' were never signed, not fitting the profile of their other releases at the time, they were left in the drawer and sadly forgotten!
Skip forward to Winter 2016, and FBNM's Lorenzo, whilst over on a DJ excursion, visits Jori in Finland. Keen to keep working together, he presses him for something uniquely special. Magically, the Ajos E.P jumps out of the drawer into Hulkkonen's hand, and as it turns out, it has aged with a rather remarkable grace. Written using a combination of MPC sequencing and an Atari ST powering vanilla Cubase for some midi programming duties, it features the sounds of the Italian made Siel Opera 6, an Alesis S4 Rompler and other vintage Roland, Yamaha and Kawai Synths. They went full out on this one, even finally learning to play keys for that jazzy piano action. It was recorded live through a soundcraft analog board with outboard Fx, creating a sound that transcended it's time to feel remarkably fresh today!
The Ajos EP is named after an area in their native city of Kemi, Northern Finland, which is where they wrote and produced it in 1999.
Excise Records' 2nd vinyl release is a celebration of both Northern and Southern Californian techno. Oakland's Milkplant has been making heady dancefloor bombs for 2 decades, and Los Angeles icon Developer jumps in with a beautiful retro-hypnotic remix of Far Star. Milkplant's Dust Cloud is a 10 minute epic build with dreamy synth work shattered complex metallic percussion and anchored by a shockingly weighty bassline. The original Far Star is a wild romp with psyched out synth arps and relentless spit-fire hi hats.
Artist biography:
US based artist, Milkplant (real name Justin William Pennell) is originally from Milwaukee,Wisconsin; but has resided in Oakland, California since 2010. He relocated to the West Coast in 2004, lived in Seattle for six years, and started the internationally recognized Techno label and artist collective, From 0-1; with fellow artist, Sone. Schooled in the Midwest and developed on the West Coast, his work encompasses over 30 years of combined DJ/production experience, and 9 years of record label operations.
In autumn 2014 he released 'Time Dilation', a four track 12" EP on From 0-1. Charted by Gary Beck, Paul Mac, and Ben Sims at #2, #1, and #26 in their November 2014 Juno charts, this was a turning point for him. Since then he has released on Planet Rhythm, Wall Music, Dark Net, Etichetta Nera, From 0-1, and Excise. His productions have drawn critical acclaim from many notable artists; showing up in mixes and charts by Ben Sims, Jerome Sydenham, Bryan Zentz, Joachim Spieth, Tommy Four Seven, Submerge, Tadeo, Mattias Fridell, Mr. Jones, Electric Indigo, David Meiser, Samuli Kemppi, Arnaud Le Texier, Abstract Division, DJ T-1000, and many others.
As a DJ he can be found playing a combination of vinyl and CDJs. He has played in various cities across the US, most notably in Detroit at the Blank Code - Droid Interface/Scene party for Movement 2016. His mixes have been featured on Droid's D-Node podcast, the Warsaw Torture Boyz podcast, Blank Code podcast, Drone podcast, and Error Sessions. Regarding upcoming releases: 'The Distance' vinyl EP arrives autumn 2017 on San Francisco based label, Excise; his remix of Sone's 'Australis' arrives on vinyl late 2017 via From 0-1.
Berlin's party series and the eponymous vinyl label celebrate the launch of its sublabel ASTRAY with the 'Road Force EP' by Discrete Circuit. While AWAY with previous contributions from Joe Claussell, Mr. Ties, and Move D leans more to the housier side of things, ASTRAY will take a different path by taking some darker, techno-centered steps. Following the idea only to release productions by both label founders, Discrete Circuit and H4L, as well as unique collaborations which either of them will form with outside artists, ASTRAY's second EP will premiere the joint studio work of Discrete Circuit and DJ/producer Blind Observatory. EP INFO After releasing on labels such as DVS1's Mistress Recordings, Mark Broom's label Beard Manand Darko Esser's Wolfskuil Records, Discrete Circuit's new EP provides four progressivetracks mirroring his interest in a steadily growing techno narrative as well as mind manipulating onomatopoeia. On the A-side he's evolving his floor-aimed capabilities in two different ways: Starting with subtly quoting the infamous Motor City, the title track's on-edge techno design quickly accumulates into some kind of hounding; not knowing if you're the hunted or the hunter. 'Stress Resultant' increases the pace, whereby the restless vibe is contrasted by melodic synth patterns embodying a sort of playful corrective. The flip side introduces Discrete Circuit's experimental facet: 'Controlled Error' exhibits the dialogue between harmony and chaos in which shrieking, yet claustrophobic shades play hide-and-seek ultimately unfolding a gloomy funk, while the EP's last 'Circuitry' is completely carried by shape-shifting, pulsing soundscapes.
Fifth release of the Common Series. CS 05 (Tirane) is dedicated to migration and to all identities; it is the celebration of the meeting between Marco Erroi, the producer, and Albanian tenor Edmond Lila, who arrived in Italy with the first landings in the 90's. World Music with Opera contamination in the main track; Gothic and dark atmospheres on the B side. 250 copies hand numbered only on vinyl.
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First release comes from Chicago's one and only Melvin Meeks.
With releases on legendary labels like Relief and Target. There's
nothing more we need to say about this great artist!
What Ever Not is the variegated music outlet from experienced Dodi Palese and Dan Mela, Italian DJs and producers supporting, selling, playing and releasing instrumental and dance music for two decades. What Ever Not tenth record, 'Galegos Bar / The Ritual', sees a split release signed by Dan Mela and Marco Erroi. Label co-founder Dan Mela inaugurates a new moniker 'Man Dela' for 'The Ritual' - the original track gets remixed by Anton Zap, with whom Mela already collaborated for a digital release on his own Ethereal Sound. Flipping on the other side, Marco Erroi, head of Common Series Ltd, continues his production career with 'XXXV Gold Fingers' for the 'Galegos Bar' side - one of the many different aliases he personifies - also contributing by realizing the artwork. 'Galegos Bar / The Ritual' offers two sides of the same coin and we can have both things with one stroke. The common denominator is the ethnical ritual. It is fully expressed in the Man Dela side with deep and hypnotic ride out turned upside down by Anton Zap with a dynamic electronic waltz. The same item, however, is magically hidden in the XXXV Gold Fingers side, where we can find it in the form of drink beer and play cards just like in most terrible bars in South of Italy.
Some believe that the environment in which you make music - from the studio space, to the location itself - has a profound effect on the creative process. Immerse yourself in the world around you, the theory goes, and it will shape the music you make. Listen to Gorthleck, the third album from veteran downtempo alchemists Benjamin Smith and Paul 'Mudd' Murphy, and you can almost visualize the craggy, windswept and breathtakingly beautiful environment in which it was made. Reconvening after a near seven-year hiatus last summer, the duo headed up to the Scottish Highlands to spend a week recording in the surrounds of Gorthleck House, nestled on the shore of Loch Mhor in Inverness-shire. Earlier this year, they returned to the same venue, with its' stunning views of the tranquil loch and rocky, wooded hills rising in the distance, to complete the nine-track set. Certainly, the immersive environment and famously changeable weather seems to have inspired the longtime friends and studio partners. The album's epic centrepiece, the nine-minute Mhor', sounds like an emotional love letter to the body of water they strolled alongside every day. Its' undulating synthesizer line - reminiscent of classic Tangerine Dream and the Orb's A Huge Ever Growing Pulsating Brain' - mimics the slow ebb and flow of water across the loch, while Smith's shimmering guitar lines mimic the glint of sunlight reflecting off the surface. Elsewhere, the audio references are a little more subtle, but no less relevant. The hazy jazz guitars, twinkling pianos, rich grooves and fluttering clarinets of Nether' sound like the perfect accompaniment to a single malt whisky-fuelled sunset session at the water's edge, while the quietly foreboding aural textures, layered guitars and urgent electric violin of Enos' evoke memories of watching storm clouds gathering behind distant Highland mountains. The same could be said of Mr Coats' - a track arranged in steamy Mexico, and blessed with all the humidity you'd expect from such an excursion - while you can hear gale force winds whistling around the rafters on Dogwood'. As for Errogie', it's as bracing as a crystal clear morning in the Highlands, chilly, but hugely life affirming. The duo's previous two albums, 2007's Blue River and its' 2009 follow-up, Le Suivant, were both hugely evocative, but neither captured a distinct a sense of time and place quite like Gorthleck. Listen carefully, and you could almost be there with them, watching the sunrise and sunset.
Steve Lorenz the label boss of Tarvisium Electronique is back with an amazing analogic and visionary EP!! Tresor 5 am is a violent techno train for the for dark and industrial dancefloors; Krenzlin an Diego Hostettler give with their remix a really old school and Detroit imprint to the vinyl. The side B, Amnesia 5 am, is characterized by psychedelic and dub sounds; Syntax error with his remix brings the listener in a parallel and obscure dimension. For finish Tz__45g--hkt6 is an experimental electronica track for contemporary art exibition and indipendent cinema.
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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'
Wiederveröffentlichung des Longplayers aus dem Jahr 1980 mit dem markanten Tony McDermott Albumcover Design. Der Klassiker wurde im Channel One Studio eingespielt und abgemischt, am Mischpult saß der legendäre Barnabas (Stanley Bryan). Also Produzent fungierte Henry 'Junjo' Lawes, als Musiker die Roots Radics in Bestbesetzung (Bass: Errol 'Flabba' Holt, Drums: Style Scott, Santa Davis, Organ: Winston Wright, Guitars: Bo Pee Bowen, Andy Bassford, Piano: Gladdie Anderson, Percussion: Sky Juice & Skully). Mit den bekannten Songs "You Are A No Good" (kam auch auf dem Scientist-Album "Rids The World Of The Evil Curse Of The Vampires" zum Einsatz) sowie "Cassandra".
Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.
Manatane strikes back with his new EP including Remixes from
Stephan Strube (Rage & Error MusicMiditonal, Fanatix) Umbertron
(Jackstar, Ghetto Division) and Kaptain Cadillac (Database, Booty Call).
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Last delivered 10 months ago available to reorder, subject to availability
Stephan breaks all common rules with his new Rage & Error EP. Besides his buddys Bastian W and RDR he invited belgian Q-ic (Miditonal, Fanatix, Zoo Records) and Miss Faction to create a new weapon for the dancefloor.
The unstoppable Spaziale Recordings set their sights on an absolute Paradise Garage classic from 1982 - the much sought after and instantly recognisable ‘Together Forever’ by Exodus. This fully licensed, remastered reissue comes housed in a full picture sleeve and contains a killer DEF Mix from Stefano Ritteri alongside the original extended vocal and dub versions.
Bursting with passion, ‘Together Forever’ is a record that was destined for greatness. A Larry Levan favourite, and for good reason. Produced by Errol Mattis and featuring one of the most sampled vocals in house music, there’s a triple threat of plucked basslines, clavinet power and joyful horns backed with the kind of percussion that ignites a rarely witnessed tribal energy within. It’s had crowds in fits of frenzies ever since its release and every collection deserves this gem nestled within it.
As well as the original extended vocal and dub versions, Stefano Ritteri steps up to add his own special touch, giving it some proto house power. He echoes and manipulates those fiery vocals, introducing each element gradually from the acid tinged topline to the layers of drum machine heat, gradually building the suspense to pure fever pitch.
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Last delivered 7 months ago available to reorder, subject to availability
