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repressed !

Some people are just not destined to have enough sleep.When you don't sleep enough the world appears to be a different place, compared to the way it is when the mind is fully rested. In such cases very different scenarios may occur.
Starting with a dreamy melody of Roma Zuckerman's 'Sleep not found', which inspired the entire 008 album, and ending with a thirteen minute live recording by a_000, the side project of Alex Backdrop, the entire record has a dreamy and tripped out flow. 008 continues the tradition of gatefold double EPs as conceptual album.All tracks are selected around a particular story, a trip, and presented as a continuous sonic landscape.All tracks are structured in a way that they can be mixed one with another an endless amount of times making a continuous loop, a trip, that needs only end when the party stops. Kraviz works without release dates or deadlines, enabling her to achieve a certain sound bank to shape the story, unmasking the thoughts and unravelling like a dream. A1. Roma Zuckerman - Sleep Not found (North Edit) Apart form the fact that he leaves in Krasnoyarsk in the middle of Russia, very little is known about Roma (short version of the name Roman). But listening to his music and engaging in random short conversations late at night makes it clear that there are really a lot of things going on Romas mind... Minimalistic yet emotionally complex, his music always stands out with it's murkiness and signature moodiness that Roma creates like nobody else.
A2. Deniro - G Deniro continues the record's journey with his new live cut that like pretty much everything he did so far is a beautiful sparse atmospheric groover. He says he wanted it to be angry and it its done with triggering synths from the tr909 and tr808.
B1. Maayan Nidam - Infinite Rattle
Maayan was born in Tel-Aviv. She does not like computers and prefers to record her music live using hardware only. In order to do so she built her incredible studio in Berlin where she recorded "Infinite Rattle'.There is much more to come from Maayan on
B2. Bbbbbb - Prins Polo Caramel milkshake.
Side project by Bjarki-bbbbbb. Like any other normal Icelander, Bjarki really likes ice cream. In Iceland they are absolutely crazy about it.They walk the streets, ice cream in hand, even when its freezing cold outside. But even more than that Icelanders like Milkshakes with all sorts of added cookies and candies. Bjarki's favourite is called Prince Polo after the name of a chocolate bar. He always believed Prins Polo was an Icelandic brand but a couple of months ago somebody proved him wrong.
C1. Exos- dub jazz
In Iceland Exos is a legend. Everybody knows him there. He's been playing incredibly powerful and technically advanced techno sets since the late 90s and releasing delicious dub techno on Icelandic label Thule. Nina always appreciated his subtler, dubbier side, and this short recording a the continuation of it.
C2. Maaayn Nidam - Justice for some
This second live recording was a perfect fit for this album. Maayan has managed to create a particular mysterious night time dreamer here. Sound wise it's even more unique. It took a few times to get the master right, because we wanted to keep the original breathing of the machine that has captured a seriously freaky vibe. Maayan has always been one of Nina's favourite DJs as they share a similar attitude towards music. But after this tune she has also reserved a place in Nina's collective of favourite producers. D1. A_000
This is a side project of Italian native Alessio Meneghello (Alan Backdrop) & Enrico Voltan. . A beautiful 13-minute sonic journey.

The Tel-Aviv centered Yotam Avni officially joined forces with Stroboscopic Artefacts last year, turning in a sensual an invigorating entry for the Monad series. Thanks to his personalized fusion of esoteric and worldly sound elements, Avni immediately made a case to deliver more work to the label, and now he has done so with 'Perlude to Dybbuk,' the second in a new series of S.A. releases to feature the Oblique Artefacts visual team's distinct, elegant portrayals of scanned foliage. As with Avni's previous Monad contribution, the new Perlude to Dybbuk makes references - both in title and in sonic content - to the ancient Hebrew folklore of his homeland (a 'dybbuk' being a kind of limbonic spirit attaching itself to the body of a living human until it has successfully reached its final destination). However, the atmospheric, rather than overt, use of these references gives this record a level of dignity and quality as well as a premonitory feeling that hovers over the proceedings.The opening 'Avka (New Life)' opens with the twin stimuli of chthonic, rolling percussion and ambience that has become a modern Stroboscopic tradition, but ever so gradually deviates from the realm of the easily anticipated. Some of the surprises to be found here are sharp, organic drum fills and sighing strings that have an uncanny vocal quality to them. By the time a surgically clipped acid synth sample comes into the mix, the track has reached a simmering level of excitement and the listener's imagination will have license to reside in a virtual world seamlessly combining elements both ancient and futuristic.Dybbuk' temporarily situates listeners back in brutal modernity, with the first sounds heard being something like insistently slicing helicopter blades. Avni merely uses this as the foundation, though, for a genuinely unique construction whose shamanic beats, throttled horn and undertow of frenzied electronics combine to give the feeling of being menaced and eventually overtaken by a spirit entity. This piece shows just what Avni is capable when operating in a more aggressive, 'post-industrial' mode, and the result stands up with some of the best exponents of that genre.The finale 'Modern Matters' is the most readily club-friendly selection from the disc. This potent, floor-shaking and perspiration-inducing number superimposes resonant vocals from traditional Middle Eastern folk song onto this alchemical mixture of machine oil and sweat, and provides a romantic flair without resorting to naïve, touristic 'ethno-techno.' Avni's skillful dedication to counterpoint, and determination to make a finished form is more than the sum of its parts, shines through here and throughout the duration of this record.

HDSN is an artist of distinct talent. Even he´s still flying under the radar of the broader audience chances are high that you came across his musical output that is singularly creative. His work not attached to any trends. Instead, he operates within a deeply personal sphere, working influence from experiences spanning his lifetime and old-skool records that inspire him. He made his name with balmy house thumpers carried out over twelve instalments on NBAST for the best part of more than five years now. So it´s no wonder that he follows up with a beefy sequel to his previous released joint “For My People” a release that did connect as closely with people’s hearts as it does with their feet in the club. “I House You But Love” marks another fruitful EP for the producer. A record that feels like he’s just cracking the next piece of the puzzle. By the time you get the opportunity to experience these tracks live, there’s no doubt they will pull you into the get down groove. That is to say: NBASTWAX013 is vivid and it will move you. Grab your copy #datsoulthang

Clear Green Vinyl

Prolific Colombian producer Felipe Gordon returns to RNT to deliver his first offering in a two-EP and album project series.

The records kicks off with the swingy Strings of the Afterlife, evoking classic Chez-N-Trent vibes and moves to the sultry emotive tones of The Fall of A Withered Empire. On the flip, Felipe takes us into high gear with the hypnotic looped synth groove and relentless beats of Clásico, and lets us down easy with the jazzy lilt of Julia y Luis. A truly standout EP, even for Felipe who delivers quality time and time again.

In the early 21st century, a shadowy figure rose from the dust that settled atop forgotten record collections throughout Africa, leaving behind
a trail of clues in what seemed like a wild good chase, but in October 2013, Luaka Bop will unmask a phantom: the great William Onyeabor.

'...anyone out there making music at the moment will be quite excited by this...' Damon Albarn
'...a synth-slathered prog-funk killer...' - Pitchfork
"talk to @LuakaBop about details of the William Onyeabor comp they are working on today... gonna blow minds!!!!!!!!!' - Four Tet

Promotional Assets
Covers & Remixes by Devendra Banhart, Man Tear (DFA) & Hess Is More, Caribou, Dam-Funk, Justin Strauss, Scientist, Optimo, Prince Language, Illum Sphere, James Holden, Peaking Lights, etc.

Art collaborations with John Akomfrah, Njideka Akunyili, Harrison Haynes, Dave Muller, Odili Donald Odita, Xavier Simmons and music videos by Brian Baderman, Mike Sumner & Kindess. Partnership with Moog, Boiler Room, DubLab, Beats in Space & East Village Radio. Events at Moog Fest, Pop Montreal, Le Comptoir General

Incoming, a massive EP from Anderson.

After his recent easter eggs EP, this four tracker is a blend of trance, breaks, drum & bass and experimental electronica.

Starting off the A side with the ‘Jelly Bean (Virus Outbreak Mix)’, this monster of tune will rattle your subs (and brain) with his crunchy kicks and trancey sequencing. This track will blast you off into oblivion eventually bringing you right into A2, ‘Level Quest’, a trancey chugging progressive tune building energy from the moment the first kick ignites.

After a much needed break, the B1 puts you in an immediate trancestate lasting just a few minutes and before you know it you will be blasted into drum and bass land with ‘Tasteful Nudes’ closing out the EP.

See you on the other side..

Pink Marbled
Limited 50 copy press

Reissue of Elizio De Buzios's "Tamanquiro". Remastered and pressed on 45 RPM!

Sitting a good 90-minute drive away from Rio de Janeiro’s crowded beaches and packed tourist hot-spots, Campo Grande is not a neighbourhood that attracts travellers from around the World. Traditionally it is home to the city’s lower middle-class, whose aspirations of moving up the social ladder were played out in a suburb that has always been solidly working-class.

Campo Grande is home to Elizio De Buzios, a Brazilian musician who started playing music in the late 1970s and early 1980s. De Buzios began as a drummer, before learning to play guitar and starting to compose and sing his own music. When he turned 18, De Buzios joined a local band formed by some of his friends and other like-minded local musicians: Sol da Terra. The band mostly played samba in neighbourhood bars and small venues around Camp Grande, but De Buzios was interested in more than just samba. While he naturally admired great samba composers such as Cartola and Beth Carvalho, his musical pass went far beyond Brazil’s national music. He also loved MPB and bossa-nova and at home he listed to Joäo Bosco, Milton Nascimento, Luis Melodia, Tom Jobim, and many bossa-nova singers.

In 1980 De Buzios was noticed by a local representative of international major label Polygram, who gave him the opportunity to record two songs. He was excited, so started searching for inspiration for the songs he would eventually lay down. He found that inspiration close to home while passing a neighbourhood shop which made and sold clogs. After noticing a display of then fashionable Portuguese clogs outside the store, De Buzios popped inside to talk to the owner. It turned out that he was a tamanqueiro – as clog-makers are traditionally called in his native Portugal – and was as passionate about music as he was about the footwear he made. Thus inspired, De Buzios returned home to work more on the lyrics and music.

The next day, he headed into the studio to record the song, with Vale Ribeiro, who later went on to produce tracks for Marcos Valle, behind the desk. With Ribeiro’s assistance, De Buzios managed to record two songs in one day: ‘Tamanqueiro’ and ‘Sou Um Louco’, a ballad with English lyrics blended into the mostly Portuguese text. From the start, it was clear that ‘Tamanqueiro’ would be the single’s A-side. Incredibly catchy and funky, with some subtle disco elements, the song remained distinctively Brazilian thanks to the use of the cuíca. Listening back all these years on, De Buzios’ lyrics seem almost spontaneous, carry the track forward, and make it almost impossible not to sing along. Its infectiousness and funkiness made it an instant hit with the first few people to hear it.

When it was released, responses to the song were enthusiastic, even if it never became the Brazil-wide smash it should have been. It resonated well in the local clubs and on the radio, but unfortunately the marketing was handled by an inexperienced Polygram employee who failed to adequately promote the track. As a result, the record sank without trace and De Buzios’ dreams of stardom evaporated. Having just started a family, he realized he could not live off the uncertainty of being a musician. Instead, he got a job at city hall as a civil servant, a role he continued until his retirement a few years ago. ‘Tamanqueiro’ and ‘Sou Um Louco’ remain the only two songs he ever recorded.

In the early 2000s, with the rise of diggers’ culture, ‘Tamanqueiro’ slowly surfaced again. It became a sought after, hard to find seven-inch single, finding its way onto the airwaves once more and into the ears of a new generation of listeners. Some started appreciating the song so much that it was referred to as the “best-Jorge-Ben-song-Jorge-Ben-never-recorded”. And they are right: ‘Tamanqueiro’ does have that Jorge Ben-straight-forwardness. It’s a completely honest song that’s almost impossible not to fall in love with. Thanks to this remastered reissue on Rush Hour, De Buzios may now get the props his sole record so richly deserves.

Now for the good news: De Buzios is still singing in local bars and clubs in and around Campo Grande. He is surprised, but also incredibly proud, that the record he had almost forgotten about is appreciated so much by a group of music lovers he didn’t even know existed. But above all, he is happy that more than 40 years after the recording session, the record lives on – not only on this re-release, but also in his weekend sets in the bars of Campo Grande.

For their second release Breidenbach Label once more gathers six artists from their regional circuit. Connected by their floating and sometimes even hypnotic soundscape, pulsating pads and strong grooves, each of the four tracks has its own intimate style.

With Love Entropy Crécy delivers a powerful and emotional ambient introduction to the A-Side. His fellow artist and close friend Ami adds a poetic layer: spoken word which shimmers through the sound, adding to the sentimental vibe. An atmospheric first serve. KliX picks up the love theme and transforms it into a mesmerizing ear catcher called Give Me Love. The somewhat trancy elements accompanied by evolving patterns, vocoder-vocals and classy 909 drums give this track its enticing and unique character.

Spaceloop on the records B-Side marks a debute release for the Mannheim based duo Seeder. They teamed up with Benny Delara to deliver a hip shaking dancefloor weapon that captivates through its strong and pulsating baseline combined with atmospheric elements that carry the records narrative. The EP is accomplished by Tech Report from the promising live-due CVSO. While blending breaky grooves with atmospheric elements the listener may find himself surprised by a jazzy piano melody that is proof of their creative and forward-thinking musical mindset.

Adeen Records 009 Make-Up... The Edits comes courtesy of producer and edit maestro Alkalino. The Germany based selector dug deep into his vaults of hard and electro to deliver some of the best sleeper and classic gems.The highlight of side one is easily Breakin' Wind, with other notable bangers such as Bang on it, Stardance and Fly with the wind. One thing about Adeen Records and the Make-Up series is they deliver every time.

The Minneapolis-raised DJ/Producer’s second album following 2014’s ‘Monoliths’ lands on Radio Slave’s Rekids imprint in November.

Although based in Berlin for several years, Dustin Zahn has continued to exert influence over the fertile but steadfastly underground Minneapolis techno scene as part of the Intellephunk collective whilst cultivating a worldwide rep via releases for Blueprint, Token and his own Enemy Records. The ‘Gain of Function’ LP sees Zahn channelling the groove-fuelled techno of the late ’90s and early ’00s and shaping eight powerful but funky contemporary techno tracks that display the decades of experience under his belt.

Forged from a series of live jams with two drum machines and two synths, the album is a refined collection of raw, purist techno brilliance. Across the A-side ‘Tell Me About Paradise’ brings shimmering staccato chops under bright and airy percussion before ‘Tangie Groove’ picks up the pace with floating pads, vocal slices, and a rumbling bassline. On ‘Lucid Dreams’, scattered percussion plays with hypnotic synth licks, while ‘Smoking in Silence’ sees off-kilter leads dancing between emotive vocals and evolving drum loops.

Opening the second disc is the deep and shuffling ‘Crimson Cheeks’, with trance-inducing samples nestled between sharp drum hits and rolling synthesis, and ‘Days Like These’ takes a darker turn as twinkling arps and droning pads carry the track. ‘Shark Rodeo’ featuring Jeremy Black mangles samples into a dense rolling affair, before closing number ‘Next Level Looseness’ drops the 4/4 pattern for a raucous club track, combining oddball sound sources and unruly production techniques for a trippy finish to the album.

Since the late ’90s, Zahn’s hypnotic and driving techno has consistently caught the ears of top DJs and labels worldwide, with anyone catching his marathon sets at the likes of Berghain exposed to expansive sets. In addition to his techno-heavy catalogue and DJing prowess, Zahn has lent production and engineering skills to bands and singers, recently working with Poliça and on Carm’s Pitchfork approved eponymous album. Beyond this, his vital work with Intellephunk includes the nearly two decades long running Communion after-hours events, cementing his invaluable contributions to the scene.

It’s not normal to take 31 years to release a follow up album. But then Network was never a normal sort of record label, and often opted for the quirky rather than the quick buck. The logo was launched in 1990 and that year, along with a slew of startlingly good singles, created and issued two bio-rhythm compilations, each of which showcased cutting edge USA techno rubbing shoulders alongside its’ sparse UK bleep counterpart.

At the time the words quality and dance music compilations were not phrases shared that much. bio-rhythm 1 and it’s almost instant follow up bio-rhythm 2 bucked the trend with groundbreaking exclusive tracks, iconic minimal artwork and surreal sleeve notes.

Each of the albums have been hailed by many as piece de resistance primers to electronica music.

As well as capturing the zitgeist of a blurry everything of that moment experimental time, they have endured to be acclaimed as all time iconic classics. So why was there no follow up? One reason was that things were moving so bewilderingly fast at the time for Network that the emphasis was always on the next thing, not regurgitating repetitive beat ideas.

Another was that the opportunity arose to direct the acumen gained from the bio-rhythm experience at the release of two (now equally acclaimed) compilations from Frank and Karen Mendez’s cult Nu-Groove label.

The current Network reconstruction meant an opportunity to re-indulge and finally release bio-rhythm 3. Matt Anniss’s splendid sleeve notes are reproduced below and tell you all you need to know about the carefully selected (and mostly exclusive to this collection) tracks on 2 x 12 vinyl for increased sonic joy. Network. We continue.

So strong was EPMD’s epochal debut album ‘Strictly Business’ that it spawned three all-time classic singles, providing part of the soundtrack to, arguably, the height of the original Golden Age. When discussing the landmark artists of that era – Public Enemy, Boogie Down Productions, Eric B & Rakim – the duo of Erick Sermon and Parrish Smith are certainly in the conversation. And when it comes to all-time duos, they might be at the head of the table.

The original release of ‘I’m Housin’ came in 1989, and the only previous 7” release was confined to the UK – it now fetches sky-high prices. Hence this reissue couldn’t be more timely, showcasing just how fresh E Double E and PMD sound over even the most rudimentary but feverishly catchy of beats.

That was their genius – trading ‘slow flow’ punchlines over deceptively simple backings – and that’s exactly what you get here. The loop of Aretha Franklin’s indelible 1971 gem ‘Rock Steady’ does all the heavy lifting musically, the only adornment a brief vocal snippet taken from their own ‘It’s My thing’ – EPMD is a world premiere.

At a time when sampling was still in its infancy, and before producers started to pride themselves on obscurity, and on chopping up samples creatively, this was the approach of many a hip-hop song, and rap was none the poorer for it. When you have voices as distinctive and strong as EPMD, less is more.

Repress

The first various artist compilation on EMERALD presented on double vinyl. Essential Memories EP is here to assist you to reclaim your memories of last night and prepare those who have just entered.

Following the arrival of their debut album ‘Alterazione’, LF58 (F.Scorcucchi and G.Tillieci) are back on Astral Industries with a special trove of outer-space explorations. Recorded one evening back in April 2019 as a live performance at Rome’s Brancaleone, the eponymously titled album offers a sprawling journey across the pan-dimensional ether. Spread across six sides of vinyl, the performance includes fully improvised material as well as choice selections from Simone Giudice, Jonas Kopp, Nuel, Birds of Prey, Rapoon, Steve Roach and Adham Shaikh. There is no doubt that the unique energy and circumstances of the evening contribute to a certain atmosphere present in the music.

With seemingly no beginning nor end, the session emerges in suspension; an electric ocean of infinite deepness. Gleaming across the patter of galaxies on a wide black backdrop, its myriad vistas are projected like transitioning scenes of an unending story. The gentle tide brings with it specks of cosmic debris and mysterious signals. Soon, quiet drones are overtaken by ripples of solar flare and percussive clamours. Forms melt like liquid, a ball of amorphous plasma pulsating with ecstatic radiance. Prying open universe within universe, ‘Live at Brancaleone’ has a vastness that cannot really be contained.

Tropical Disco Records have once again delivered four scintillating feel good summer disco jams courtesy of the latest edition of their well loved vinyl series. Perfect for those gloriously sunny outdoor events, BBQ’s and beach parties alike their latest EP is another must have slice of black gold.

Scouring the globe for the freshest cuts Volume 22 is another multinational affair combining the skills of Colombian duo Vagabundo Club Social, Mexico’s Monsieur Van Pratt, Italy’s Infradisco and New York’s Roland & Brother Rich.

Opening affairs are the hugely exciting duo Vagabundo Club Social with their track ‘Costero’. They are producers who nimbly fuse dusty Latin grooves with cutting edge production techniques and dancefloor know-how and here have delivered yet another feel good dancefloor smash. ‘Costero’ is quite simply a DJ’s dream track which will do the business at any end of the set whether you need to get the crowd on the floor or tear the proverbial roof off.

Mexico is currently at the leading tip of the disco charge and Monsieur Van Pratt is one of the stand-out producers from a country bursting with talent. ‘Jazz Player’ pulls absolutely no punches combining jazz cool with disco know-how for a track which wins on all counts. Sublime brass solos sit atop a huge funky gem of a bassline. ‘Jazz Player’ will tear dance-floors up worldwide as the world starts to rediscover its long since packed away dancing shoes.

Italy’s Infradisco is up next with ‘Aungasana’ and it’s the perfect track to follow on combining many of the traits that both Vagabundo Social Club and Monsieur Van Pratt utilised on their tracks. Expect huge jazzy horns, funky bass and tribal vocals building up to a monstrous organ groove which raises proceedings to fever pitch. Infectious and energetic, it’s another seriously classy dancefloor moment.

Closing out the EP are New Yorkers Roland & Brother Rich with the exquisitely titled ‘Roger Moore’s Living Room’. Paying homage to the James Bond legend it’s the ideal track to sip brandy and toast the characters of yesteryear in that velvet smoking jacket you have always wanted. Deep and Jazzy with the essence of the 70s flowing through it’s DNA ‘Roger Moore’s Living Room’ is a track so effortlessly cool that even Blofeld would be throwing some shapes.

Tropical Disco’s Volume 22 is a sublime selection of timeless and wonderfully cool tracks which will be the perfect accompaniment to sun soaked events this summer and well beyond.

Support across Mi Soul & House FM.

Green Black Vinyl

With her second full-length album, Zanias condenses her post-punk, techno and italo influences into a collection of simultaneously brooding and uplifting pop songs. ‘Unearthed’ explores the multiplicities of human connections, written at a time when connectedness was a resource more scarce than ever before. Field recordings from nature, vocal samples and an array of acoustic instruments are manipulated within a structure of catchy melodic synth maneuvers and driving rhythms, accompanied by her familiar and powerful voice conveying personal musings on hopeless desires and stoic acceptance. ‘Unearthed’ seeks the light and finds it within the exquisite pain of reckoning loneliness.

Mental and industrial acid tribe.

A label with a cool state of mind where everyon brings a track and some money and goes with plenty of records at the end :)

Transparent vinyl !

Sleeve by K .Yoô