Cerca:funk lab

180gr! This 12" features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.
London based jazz appassionato Sean Khan, will release his second album 'Muriel' later in 2015. Dedicated to the driving force behind his musical career, his mother Muriel McGinley, the album is virtuosic free, Latin and nu-jazz experimentation, drenched in soul with the help of the vocal talents of Omar, Sabrina Malheiros and Heidi Vogel (Cinematic Orchestra).

This 12' features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.

On the A side, Henry Wu, a key member of the tight-knit label/ loose collective 22a Records (also home to the likes of Mo Kolours and Al Dobson Jr.), imbues the original track with a distinctly organic and off-kilter groove: a loose and earthy quality which is hallmark of the Wu sound and makes for a perfect complement to Khan's delicious melting pot of jazz, soul and broken beat flavours. Sturdy yet swinging with strong jazzy synth stabs and topped with a child-like, wordless, sing-along vocal, it's sure to be an underground summer club hit.

The B Side sees the mysterious Ben Hauke, whose previous releases have been courtesy of Melodica Recordings, steep Khan's 'Things to Say' in his own murky yet soul-drenched sound, one that falls somewhere between hip-hop and broken house. Not much is known about this young producer, but what we can glean from his work on this remix is a sound drenched in syrupy, slightly sinister keys and a plodding, unpredictable thump not entirely dissimilar from previous Far Out remix contributor Theo Parrish. Like the work of that Detroit innovation, these two young Londoner's contributions both look set to lend a funkily idiosyncratic and offbeat edge to all the right dance floors.

Etruria Beat welcome again the berlinian Dj Oliver Deutschmann! He was already featured on the label with his remix of Dast's 'Architect'. Now he offers two original tracks with a defined and aggressive sound, backed by two huge remixes from Etruria label boss Luca Agnelli and from french Techno stalwart Electric Rescue. Get ready to blow up some dance floors with those 4 hard hitting monsters. The EP opens with Agnelli's remix of Resist", this track is a muscular and stomping. He catches the originals mood and transforms it into a spectacular version that will leave the dance floor in ashes. BIG! The original version of 'Resist' it's a funky and driving technostomper with house chords that creates an obsessive and powerful rhythm, accompanied with a hypnotic vocal saying 'Resist' in132bpm! The B side continues with the original version of 'Hope' which got a melody in the best Detroit tradition and powerful 808 drums. A stripped dark atmosphere ensure a breathless pace, to the final second. Finally, Electric Rescue morphs this one into a powerful loopy journey, A synth hellfire as it's best. All of them are already Berghain approved and rocked countless other floors. Don't be stupid, buy that shit!!! Additional mix downs have been made at Caduceus Lab Geneva

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

Matt Nowak drops a trio of mesmerising techno tracks on his Zaijenroots imprint this June with appearances from Sebastian Klenk and Jerome Sydenham. Matt Nowak inaugurated the Zaijenroots discography under his No Mad Ronin moniker alongside Jerome Sydenham in 2013, before reappearing for the second release with Quiet Daze (Ian Pooley) on remix duties. As the label returns for its third outing Nowak pairs up with German producer Sebastian Klenk whilst distinguished veteran Sydenham carves up a remix. 'Aleister' sees Nowak and Klenk create an acosmic track that initiates with a touch of funk before sullen synths make way for punchy SP-1200 beats and unsettling throbs. Sydenham provides a rendition of No Mad Ronin 'Chemical Planet' from Zaijenroots second release, featuring a perennial hook joined by intangible spoken samples and a subtle sub bass. Lastly 'Lenore' ties things together with a subterranean cut abundant with echoes and spacey atmospherics.

Originally released in Japan only, back in 1979, Prone is considered by most aficionados to be Ned Doheny's crowning glory. Even better than the superlative Hard Candy. So quite why this AOR/soft-funk gem has not been available legitimately on vinyl for over 35 years is anyone's guess.

To celebrate 'Be With Ned' - the West Coast maestro's first ever tour of the UK and Europe in March 2015 - Be With Records proudly present the first ever officially licensed reissue of this forgotten-funk classic. What makes this release truly special is the inclusion of the full-vocal version of jazz-funk classic To Prove My Love. It's the version of Prone that everybody has been waiting for.

Produced again by the legendary Steve Cropper, Prone's super-smooth grooves showcase Ned's beautifully laid-back vocals, virtuoso playing and forever-wry lyricism. Aside from To Prove My Love, it boasts some of Doheny's most under-appreciated tracks: witness the slickness of Think Like A Lover, Guess Who's Lookin' For Love Again and Funky Love.

Pressed on audiophile 180gram vinyl and featuring the original artwork for both jacket and lyric-insert, this limited reissue is one to treasure.

Only 200 copies - SUPPORTED BY: Roman Flügel, Raresh, Laurent Garnier, Joris Voorn, Eats Everything and more
The 9th release we look to the label's homeland and the city of Córdoba, as we welcome Bodeler & Brandub with their Sensitronic EP. Together the duo paint a brilliant display of sound as they intuitively merge minimal, funk, techno and house to create two stunning originals. Our vinyl release is lead by the raw, jacking' groove of 'Hat Swing', before we are plunged deeper it the hypnotic expanse of the aptly titled 'Spaced Out'.
Keeping it Córdoba, we are excited to welcome Cadenza hit man Ernesto Ferreyra, who takes Hat Trick on his very own cosmic ride. Stunning. The velvety smooth 'Que Head' gives the final touch to our record.

Hot off the back of the their successful inaugural release from Quenum & Cesare vs Disorder, the young Barcelona label continues to drive forward with their mission to move people by drawing from an expansive and expressive universe of melodic and rhythmic sounds. The result of this is a carefully curated, limited edition of vinyl and digital releases, and next in line is a brand new EP from Russian producer and DJ, Tripmastaz. Andrew Guyvoronsky (aka Tripmastaz) is the one of a few underground producers from Russia to make serious tidal waves in the dance community gaining world-wide recognition and respect from fans, media and DJs alike. On top of his tracks being featured in a variety of famous compilations such as Fabric and DJ-Kicks, Tripmastaz has been focused on a busy touring schedule and on making Russia decidedly more funky for the past 10 years. This new EP melds the stripped back with the downright, dirty bass bombs synonymous with Tripmastaz's style. Title track 'Ain't Made 4 U' is a swirling house-funk journey that is built to move bodies across floors. 'Live from the Basement' takes things back a little with a more minimal approach to percussive techno then Christian Burkhardt & Andre Buljat's remix of EP opener slams us back to the heady, peak-time dance floor, before HITCH closes out the EP with his rolling and hypnotic take on the A-side. Good taste will always prevail.



[C] B1 | Ain't Made 4 U (Christian Burkhardt & Andre Buljat remix)

Since its conception three years ago, the Hamburg based label hafendisko has been patiently building its reputation with a diverse and varied artist roster. Alongside releases from emerging talent such as Deo & Z-Man and Brynjolfor, it forms parent label hfn music's outlet for club oriented music whether with full releases or remixes for artists such as Kasper Bjørke and Faded Ranger and just recently welcomed renowned remixers such as Michael Mayer, Charles Webster and Luke Solomon, to name a few. Now with the release of Nummer Eins, Hafendisko is taking the next step in its evolution, serving up the best of past and present releases together with a string of exclusive cuts that signal an undeniably bright future. It's machine music with real heart and soul as, time and again, the tracks locate that elusive sweet spot that unifies mind and body. The opening act replicates this highly collectable four track vinyl EP that precedes the digital release: Snacks' ‚Easy' provides an aptly titled intro, with sweet melodies, warm synth swells and looping vocal hooks evolving over a low slung, funk inflected groove. 'Purdie', the duo's debut last September instantly became a huge underground hit, while they are currently working on their debut album. Unkwon is Anders Dixon from Copenhagen and people will stop asking if it's a typo soon. Just off his stunning remix for Trentemøller's Deceive he takes it underground with the stuttering beats and melancholy phase of ‚Everything', building a cavernous yet claustrophobic soundscape that's designed to make your eyeballs sweat, before Ewan Pearson's NRG instrumental of Kasper Bjørke's ‚Apart' goes into dance floor overdrive, upping the ante again. Both the Michael Mayer and the Ewan Pearson mixes of Bjørke's final single off his newest album stirred a buzz.

'Decadubs 5' is a vinyl-only double-pack companion to 'Hyperdub 10.4', the fourth and final CD in Hyperdub's series of collections throughout 2014 to mark the label's first decade in existence. Both 'Decadubs 5' and its full-length parental set explore the club spaces opened up by house, garage and techno, as viewed through Hyperdub's singular filters. Side 1 leads out with 'Lambeth', a long awaited previously unreleased track by Burial, with an unusually triumphant and - compared to recent extended montages - relatively direct 2step feel. This is followed by the low slung tech-garage of Kode9's 'Oh', while on the flip the whole of Side 2 is given over to the lush deep house of Cooly G's 'Love Again'. Side 3 opens with the fathoms-deep bubbling bass and synth washes of DVA's extremely psychedelic 'Monophonic Nightmare', then Dorian Concept turns in a quirky remix of Martyn's classic 'Mega Drive Generation', which originally appeared on Hyperdub's fifth anniversary compilation in 2009. Side 4 reveals another classic from the vaults in the shape of Cooly G's skeletal house cut 'Him Da Biz', and the EP comes to a close with energy levels turned up on Funkystepz's 'Vice Versa', a track much in demand since it first appeared on Kode9's 'Rinse 22' mix compilation from 2013.




E C2 | Martyn - Mega Drive Generation (Dorian Concept Remix)

Hubie Davison returns to Leisure System December 1st, 2014 with the Khayyam Grey EP, his second release for the Berlin-based label and one that marks both his and Leisure System's funkiest output to date.Following on his 2013 debut of pastoral electronics and muffled house, Khayyam Grey highlights Davison's vivid production skills, drawing from a deep well of influences varying from Werkdiscs and Sound Signature to Bill Withers and Otis Redding. The three tracks here are also the strongest representative document yet of the 26-year-old Davison's DJing, which incorporates all manner of memorable house and assorted wonkiness and has seen him play in Panorama Bar, Corsica Studios, and Gaité Lyrique in Paris amongst numerous others.The title track takes cues from Daphni's stand-up-and-shout, sample-heavy house, while "Get On" is a comparatively restrained yet incredibly funky mid-tempo number. "Vowels", which first appeared as the opening track on the LSR-LSD1 compilation, appears here in extended and altered form, breaking down vocals on a syllabic level from smooth to percussive.These three tracks of addictive house have been on constant rotation at Leisure System for the past few months - it's high time everyone else joined the party

BARNT - geboren in den 70ern, Kind der 90er.
Seine Klassenkameraden hörten Grunge, während er Techno studierte, als die gleichen Klassenkameraden dann Techno entdeckten, hatte er sich bereits die HipHop DNA in Form von ITF und DMC Meisterschaften vorgenommen und als alle nach Berlin gingen um - Minimal' zu zelebrieren, blieb er in Köln und begab sich auf eine Exkursion in die Geschichte deutscher Elektronik- und Rockmusik - stets angezogen von den zwei Hauptmerkmalen dieser Ära: Präzision und Freies Spiel. Diese musikalischen Schlüsselpunkte und seine nun schon zwei Jahrzehnte dauernde DJ Erfahrung sind die Basis für die Formel aus Pathos, berechnendem Dilettantismus und Dance!oor-Funktionalität, die alle seine Produktionen kennzeichnet - von seinem Beitrag für Cologne Tape auf der EP Render, der ersten Veröentlichung auf seinem mit Jens-Uwe Beyer und Crato betriebenen Label Magazine, bis hin zu dem berüchtigten Geen. Render und seine Debut EP What Is A Number, That A Man May Know It wurden 2010 direkt zu Underground Hits und die Platten sind seitdem begehrte Sammlerstücke. Zu dieser Zeit war Barnt schon ein etablierter Teil der Musikszene Kölns, der Stadt in der er zunächst sein Biologiestudium abschloss und darauf noch ein Kunststudium folgen liess, was erneut die beiden Pole ,Präzision' und ,Freies Spiel' in seiner Entwicklung vereint. In der fruchtbaren Atmosphäre der Stadt fühlt er sich noch immer wohl und entwickelt von hier aus seinen eigentümlichen Stil weiter, der ihn bereits vom Robert Johnson zum Trouw, vom Montreux Jazz Festival zum Mutek und vom Berghain zum Burning Man gebracht hat.BARNT - geboren in den 70ern, Kind der 90er. Seine Klassenkameraden hörten Grunge, während er Techno studierte, als die gleichen Klassenkameraden dann Techno entdeckten, hatte er sich bereits die HipHop DNA in Form von ITF und DMC Meisterschaften vorgenommen und als alle nach Berlin gingen um - Minimal' zu zelebrieren, blieb er in Köln und begab sich auf eine Exkursion in die Geschichte deutscher Elektronik- und Rockmusik - stets angezogen von den zwei Hauptmerkmalen dieser Ära: Präzision und Freies Spiel. Diese musikalischen Schlüsselpunkte und seine nun schon zwei Jahrzehnte dauernde DJ Erfahrung sind die Basis für die Formel aus Pathos, berechnendem Dilettantismus und Dance!oor-Funktionalität, die alle seine Produktionen kennzeichnet - von seinem Beitrag für Cologne Tape auf der EP Render, der ersten Veröentlichung auf seinem mit Jens-Uwe Beyer und Crato betriebenen Label Magazine, bis hin zu dem berüchtigten Geen. Render und seine Debut EP What Is A Number, That A Man May Know It wurden 2010 direkt zu Underground Hits und die Platten sind seitdem begehrte Sammlerstücke.Zu dieser Zeit war Barnt schon ein etablierter Teil der Musikszene Kölns, der Stadt in der er zunächst sein Biologiestudium abschloss und darauf noch ein Kunststudium folgen liess, was erneut die beiden Pole ,Präzision' und ,Freies Spiel' in seiner Entwicklung vereint. In der fruchtbaren Atmosphäre der Stadt fühlt er sich noch immer wohl und entwickelt von hier aus seinen eigentümlichen Stil weiter, der ihn bereits vom Robert Johnson zum Trouw, vom Montreux Jazz Festival zum Mutek und vom Berghain zum Burning Man gebracht hat.

Now part of the family for more than a year, TvFrom86 aka Thomas Zander is releasing his 1st solo EP on the imprint. Tvfrom86 did a brilliant debut on Roche Musique with the single 'Loosing you' including the very good electro funk song 'Brooklyn Business'.

Keeping the good work and the talent for sampling, TvFrom86 explored the funk with dexterity and exactness in Purple People adding just what the sample needed to sublimate it and make it as powerful as it deserves to be. Creative Swing Alliance, side project of the talented label manager for MCDE, Pablo Valentino, and Steven Wobblejay, gave their own interpretation with and heavier bass and no less efficiency.

S3A was invited on the project for the rework of Flying Piano, the third original of the release. The French producer, very proactive at the moment with releases on Lazare Hoche, Hold Youth, Faces, Large Musique and more, definitely didn't steel his nickname. S3A Is telling us three stories in one with a rough analogic sound for an impressive result.

Efficient DJ tool, perfect to turn a dance floor into a mess, By all means combines great rhythmic, samples and voices around a bass guitar for the last original of this French touch record.

Producer CRISTIAN VOGEL, born in Chile and in raised in Bristol, England, represents an inner turmoil within the history of electronic music and techno. Like only a few other artists such as Aphex Twin, he personifies the second wave of techno during which authorship, previously pronounced dead, returned in full force. The former punk, who had completed studies in composition (20th century classical music in Sussex) conveyed a powerful force in his music, which now finds its place very naturally as electronic music; back then, it did more than just shake up the concepts of techno. Complex and intricate rhythms (Süddeutsche Zeitung) dig deep chasms in dark (listening) spaces.

In 1996, together with JAMIE LIDELL as SUPER_COLLIDER, he made a final attempt to breathe life into electronic music, which was still primarily seen as dance/rave/club music, and produced clustered break funk music that was so relevant to its time that many considered it more a music of the future: science fiction for the dance floor. Although the project was not a failure, it did not succeed even halfway in meeting the expectations of an artist who was rather perplexed by the lack of interest he perceived in others in music as art and research. Vogel believes that music has a will to unfold, like a jungle from the undergrowth of industrial cities where music is thought of as an attack and a defense.
Seemingly out of disappointment in the predictably declining hedonism of the scene, he moved to Barcelona and bound his explosive ideas to more accessible formats, founded labels, created networks (No Future, Sleep Debt) and, at the same time, revisited his early days by working more and more on formats such as music for ballet and similar concepts. He also sought freedom precisely in what was referred to as functional electronic music through conceptual and serious endeavors in the artistic sense.
Vogel went under for a time and lived in Vienna before arriving in Berlin nearly two years ago, where he made his first new and daring attempt to assimilate everything that electronic music represented to him on one album: 'The Inertials' on SHITKATAPULT. Shortly after that, his mystical, floating ambient work 'Eselsbrücke' was released, which already spoke the language of the new city.

He now presents a new album on SHITKATAPULT entitled 'POLYPHONIC BEINGS' - a true masterpiece in the inimitable Vogel style, as his fans will no doubt claim. 'POLYPHONIC BEINGS' begins, after two minutes of an irritating noise wave, with a surprisingly classic dub track and grows darker and more abstract from track to track, minute by minute. An eerie and unbelievable sound, with all as it should be: every reverb tail, every movement of the fader, every composed note takes the listener piece by piece into Vogel's own cosmos.
He foregoes interwoven elements for swaying towers of rhythm, powerful sound passages, spaces, roads, mirrors and pathways, leading to a stream of ideas that never wants to end. He aptly quotes Karl-Heinz Stockhausen in the liner notes: These are the "atomic layers of ourselves." And so it is. We are what we hear. This is the definitive CRISTIAN VOGEL.

The III Rivers juggernaut sets forth once again, release number 4 The Charivari EP, putting Voiceless in the cockpit and leading the charge.

Second Nature sets a dark, sultry and ominous tone as Voiceless deploys a plethora of sounds and moods that resonate with all the tense drama of the label's affiliated club night, Bohemian Grove.
Big laser beam synths dart through a thick pitch black haze while a factory line percussion section hammers on.

Always keeping a foot in the sonic warfare division, we get three locked grooves loaded and ready for battle, funky, electrified technoid wobblers that should fight off most opposition with ease.

Flip the disc and Opt-out opens with a controlled urgency as a barrage of kick drums sets the train in motion. Voiceless layers up rich, untreated piano chords against the backdrop of dark industrial chaos, percussion artefacts career around the mix and various elements are put through an aural meat grinder before the familiar and welcoming piano motif returns like a long lost friend, guiding us through the smoke hand-in-hand. A beautiful juxtaposition of soulful melancholy and cold, glacial machines.

Final track Charivari really hits the accelerator as a tough and mechanical rhythm jolts against blurred, radioactive pads and searing string lines before collapsing into a fractal breakdown introducing mystical, weaving high end leads. An eyes-down fist pumper of the highest order and one that commands excessive smoke & strobe light abuse late, late into the session.

One to close off one of their infamous soirees in style, hoards of mutant dancers leaving the industrial backdrop of the club's venue and crossing paths with the early morning dog walkers and Sunday strollers. Four releases in and we've lost none of the quality control, unique drive and free minded 'true spirit' (to quote Tresor's legendary catchphrase). The label goes from the strength to strength and with it, brings a whole new generation of techno shamans under their wing.

As Pathway Traxx finds itself embarking on a dawn of maturity the now familiar colourful label welcomes in its 4th vinyl only release.
This bright yellow vinyl 4th installment welcomes on board relative newcomer on the house scene, Amir Maglajlija a.k.a. Espada. Originating from Bosnia & Herzegovina, Espada only began producing in early 2011 but as you will hear on this release his production skills far out weigh his years of experience. Amir delivers a truly sublime A-side with sprinkles of jazz influenced house and funk. He effortlessly intertwines melodic keys with jazzy horns whilst keeping things moving along nicely through his infectious drums and percussion.
The B-side of the EP see's Pathway Traxx return to more familiar ground with a stripped back deep rework by Mannheim native, ManooZ. Having released on the likes of Tomorrow is Now Kid, Swink and ALIVE Recordings to name but a few, its clear to see Manooz is a force to be reckoned with, and a name well-known for quality house productions.
And last, but by certainly no means last, in typical Pathway Traxx style, they've saved the heavy weight banger for the last track on the B-side. This out and out club ripper is delivered by close label friend and well renowned groove maker, Kezla. Expect nothing more and nothing less than Stripped back drums and a bone-shaking baseline!

Mark Henning returns to Soma with yet more jacked up machine funk in Titan. Mark has firmly established him self within the Soma mainstays and continues to further his sound on the label. This latest EP sees him take to the street with two energetic drum workouts laden with his unique flavour.

Title track Titan is very typical Henning, keeping the ingredients simple yet effect and created live. A solid groove from his trusty 909 that just oozes dance floor compatibility hooked up with a quirky synth stab, weird vocals and a eerie organ-like riff all rounded off with a fantastic arrangement makes for one seriously infectious track

Roots gives of a real ghetto-tech feel, as once again a 909 groove is enough to get things going while squelchy synth hits bounce of rimshots working up to a subtle rolling bass line. Mark's skill in the arrangement process take hold as he allows the tracks to develop into a full drum workout with mutes here and there and the simple addition of more stuttering percussion help to pick up the pace.

Henning as the enviable talent of being able to create dance floor burners with the simplest of elements, a task he delivers of with blinding result on this EP.