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There is a purpose behind ambient music: it is utility music. Brian Eno made that clear. If we go by Eno's definition, the music on T.RAUMSCHMIERE's new album is not ambient. Although - or in fact, because - each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. T.RAUMSCHMIERE sucks the listener into the perceptible endlessness of his pulsating sounds, even though the music does not actually expect anything from the listener. It is not demanding, it does not sound lofty or ethereal. It is in constant movement and evolution while sounding grounded at the same time. The tracks are not weightless; they have body.

In den 1970er-Jahren lebte Edward Larry Gordon als Comedian und Musiker in New York und tingelte durch
die Clubs des Greenwich Village. Einer Eingebung folgend tauschte er eines Tages seine Gitarre gegen eine
Zither, gab sich den Namen Laraaji und spielte fortan auf der Straße. Brian Eno, der damals in New York
lebte, hörte Laraajis Spiel und bot ihm an, mit ihm ins Studio zu gehen. Daraus entstand das von Eno
produzierte Album "Ambient 3: Day Of Radiance". Laraaji nutzte sein offen gestimmtes Instrument leicht
elektrifiziert und höchstwahrscheinlich mit freundlicher Studiotechnikunterstützung seines Förderers Brian
Eno. 1980 erschien das gute Stück und gilt heute als Meisterwerk der frühen Ambient-Musik. Jetzt wird es als
CD und Vinyl (+ CD) wieder veröffentlicht.

Since debuting in 2013, J.Tijn has found his corner of the electronic music world, developing a hard techno sound that is raw and unforgiving. A core member of Untold's Pennyroyal label, Jesse Tijn has also released on Overlee Assembly, Power Vacuum and Bedouin Records. For Naked Naked's eleventh release, J.Tijn gives us two versions of 'Pick Your Battles' that are ready for damage on the dance floor.
On the A side, 'Pick Your Battles V1' gives us a dark rolling rhythm being led by a crisp snare hit through a sea of machine bleeps and grinding waves of noise. An unrelenting groove which is sure to keep the floor heaving. On the flip, 'Pick Your Battles V2' hits harder with distorted kick drums, an array of hats and attacking synth bleeps. After almost imploding, the track reaches another level, taking us to peak time madness with aggressive percussion. Heads down, hands up, this is sure to bring heat wherever it goes.

Vor eineinhalb Jahren war er noch Tellerwäscher in einem Restaurant in Fort Worth, vor drei Monaten jagten vierzig Plattenfirmen nach seiner Unterschrift. Nun, im Frühling 2015, steht Leon Bridges vor der Veröffentlichung eines DER Alben, die mit Spannung erwartet werden. So musste zuletzt beim diesjährigen SXSW Festival in Austin beim seinem Konzert hunderten Besuchern wegen Überfüllung der St. David's Episcopal Church der Eintritt verwehrt werden. Doch wie war dem extrem schüchternen, 25-jährigen Texaner, der mit seinem Look und Sound den Soul der Prä-Beatles-Ära aufleben lässt, in der kurzen Zeit dieses Kunststück nur geglückt Leons große Liebe war eigentlich das Tanzen und so absolvierte er zunächst eine Ausbildung als Choreograph. Auf die Idee, irgendwann einmal selbst Musik zu machen, wäre er damals nie gekommen. Seine eigene Musikerkarriere begann Leon Bridges mit dem Schreiben einfacher Songs und trat bei "Open Mic"-Abenden im Großraum seiner Heimatstadt auf. Im Laufe der Zeit entwickelte der junge Texaner dann ein Faible für perfekt nuancierten Retro-Soul und -Gospel, der ihm Vergleiche mit seinen Helden Sam Cooke, Percy Sledge und Otis Redding bescherte.

Hailing from Berlin, but spiritually from Chi-town, Snuff Crew are back in your area with some freshly served up basement goodies once again. Following on from Basement Jams #1, from all the way back in 2011, the boys bring us tracks with the same playful nature as before but, dare I say it, they go even harder this time. Stalwart fans of the first release can stop reading now because it will almost certainly be a blind-buy for you; four tracks obviously engineered for use in the club, whether its the massive kick in 'What It Is' or the ravey acid lead in '88cents'. The jams on the B-side may do the most damage. 'Remember' holds absolutely nothing back, with its arpeggiated bassline lead and crisper than crisp 909 drum programming. Analog is a term that gets bandied about all the time nowadays, ever since so many young producers became enamoured with tape compression and hiss delay plug-ins. I know Snuff Crew are real analog guys though, in sound and mentality, so hearing Basement Jams #2 for the first time had me so excited once again.

Speedy Ortiz is proud to announce their sophomore album, Foil Deer, which will be released via Carpark Records on April 20th.

'Major Arcana' released in 2013 won them glowing reviews , features and several UK tours (highlights below):

- 4 PAGE NME FEATURE

- 9/10 LEAD REVIEW IN NME: 'One of the reasons 'Major Arcana' works so well is because it's addictive and fun. The guitars and bass sound incredible, like the last Deerhunter album without the Yankee Doodle Dandy'

8/10 Drowned In Sound : ' Speedy Ortiz are way too euphoric and glorious to suffer for their artfulness. Stripping away the frills, at heart Major Arcana is a mournful treasure that asks to be celebrated.'

*NME RADAR FEATURE: 'What's miraculous, though, is that Major Arcana doesn't sound at all self-pitying; it's torrid Slint-meets-Pavement rattle bolsters Sadie's relished words so that yelling along is an exercise in gleefully exorcising your own demons'

8.4 ON PITCHFORK: : 'There's the squalling, guitar-on-guitar carnage of Archers of Loaf, the grungy mysticism of Helium (Dupuis lifted the title Major Arcana from a book she was reading on black magic), and of course the deadpan wit of vintage Liz Phair ('I was never the witch that you made me to be,' Dupuis tells a burnt-out old flame on 'Plough', 'Still you picked a virgin over me').

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
Deluxe LP Is as above but with metallic gold coloured vinyl, and sticker.(200 ONLY FOR UK)
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!

When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.

The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.

Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."

And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Requiem for a dreamstate. It's possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins' world, not so much joining the dots as colouring the whole damn picture in.

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he's gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar's 'Hold Me Down'. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute 'Requiem For The Static King Part I'. Sigur Ros offshoot Jónsi & Alex's heroic 'Daniell In The Sea' sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling 'Yr Love' by Holy Other or the pair of Black Country acts Bibio and Letherette, whose 'After Dawn' is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane's wistful 'Lady Divine' or even Four Tet's mesmerising 'Gillie Amma I Love You', with its enchanting kids' choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer's 'I Remember'.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

Gut zwei Jahrzehnte sind vergangen, seit Mary J. Blige mit ihrem Debütalbum die R&B- und Popwelt revolutioniert hat, und noch immer schlägt die Erfinderin des Hiphop-Soul aus New York mit jedem Album neue Wege ein und erfindet sich neu: Für ihr kommendes Studioalbum The London Sessions ist die Königin des R&B wochenlang ins Reich der Queen eingetaucht und präsentiert nun ihre ausgelassenen Session-Recordings mit UK-Senkrechtstartern wie Sam Smith, Disclosure, Naughty Boy und Emeli Sandé.
Auslöser für ihren verlängerten Aufenthalt in London waren gleich zwei inspirierende Kollaborationen: Zunächst veredelte Mary mit ihrem Feature-Auftritt bei - F For You' den Track des jungen UK-Duos Disclosure, und wenig später stand sie auch noch für einen Remix des Rekord-Hits - Stay With Me' mit Sam Smith im Studio. Da sie von der Energie und der musikalischen Vielfalt, die in der britischen Metropole auf sie wartete, regelrecht umgehauen war, fasste die neunfache Grammy-Gewinnerin kurzerhand den Entschluss, für einen ganzen Monat in diese Szene einzutauchen und ihr neues Album in den legendären RAK Studios aufzunehmen...
- Ich wollte mich hier nicht nur wie ein Gast, sondern wirklich heimisch fühlen für diese Zeit', so Blige über die Arbeit an The London Sessions, zu der sie neben Disclosure und Sam Smith auch Emeli Sandé, Naughty Boy, Jimmy Napes, Eg White und Sam Romans als Gäste begrüßen konnte, wobei der Produzent Rodney Jerkins als Executive Producer hinter den Reglern stand. Nachdem mit - Right Now' ein erster Vorgeschmack erschienen war - in diesem Fall machen Sam Smith, Disclosure und Mary gemeinsame Sache -, schrieb MTV bereits: - so innovativ wie schon lange nicht mehr.' Kein Wunder, denn man merkt sofort, wie sehr die 43-Jährige von der neuen Umgebung inspiriert wurde: - Das gesamte Album klingt ausgelassen, nach guter Laune. Es war eine wirklich grandiose Erfahrung, in die Londoner Szene einzutauchen.'

Listen to this if you like: anything that we've put out last year, wrapped together in a lovely double pack of a 12 and 10. The Roundup part 1 is the first part of an annual recurring event: the big Heist family remix EP, where all artist names get put in a big bowl, and by luck of the draw, find themselves remixing (and remixed by) another Heist artist. We've got Max Graef remixing Detroit Swindle and turning the break up into a full on Graef-affair. The label heads themselves take 'The Organ Grinder"'s 'Change all the time' and turn into a deep Chicago-esque tune and completing the 12, there's Frits Wentink's take on Bluebottle, experimenting with his trademark shuffle. On the 10, Standout track of the first year of Heist 'Jungle' gets a lovely rework by Nachtbraker, giving it a more 4x4 feel than the original and The Organ Grinder who turns Frits Wentink's Schrewd into a full on Filter house cut. The artwork is handmade and photographed by Baster. Sincerely yours, Lars & Maarten

No sleep for those guys at Shabby Doll Records.

Not long since Nail's Lost Trax 1997 sold out shortly after going on sale, and they are already about to drop SHB014...
This time Shabby Doll bring a killer package from two of the most highly respected men in house music today - South West Seven. South West Seven are Montel and Sean Grieve. These guys have a track record to die for.

Their collab label 'Seven Music' has released tracks from the likes of COEO, Rhythm Operator, Giovanni Damico, Death On The Balcony and of course the man Montel himself. As a production duo, they’ve released on labels Kolour Ltd, On The Prowl, Sccucci Manucci, Carry On, and Solardisco.

But when Shabby Doll came calling, shit got serious. The result was three shimmering new cuts, on yellow vinyl no less.

It's a vibrant thing! The EP is BT1. Strong. P.S. And just when you thought it couldn't get any better, along comes Shabby Doll favourite, 'Quell' on the remix.
Angelic.

Every record includes a downloadcode to get the whole digital
release for free via Facebook !! Grain Audio welcomes Panik Pop from Leipzig, Germany. The nice duo present their new single "Gefühl" (german: Feeling) which shows the more soulful side from Max and Marcus (besides their love for straighter, technoid music). The remix is coming from Traumfabrik in exchange of the mix Panik Pop did for their current "Every Weekend EP" on Cometomusic. Another more progressive digital only bonus is coming from Bjoern Nafe (Mangue Records, Damm). Jede Vinyl enthält einen gratis Downloadcode für das gesamte digitale Release (einzulösen via Facebook) !! Grain Audio begrüßt Panik Pop aus Leipzig. Das sympathische Duo präsentiert seine neue Single "Gefühl"und zeigt sich von der gefühlvolleren Seite (abseits der Liebe zu eher technoideren Klängen). Geremixt wurde von Traumfabrik als Dank für Panik Pop´s Remix zur
aktuellen "Every Weekend EP" auf Cometomusic. Zudem gibt es noch einen eher progressiven digitalen Bonusremix von Bjoern Nafe

KRAKE is an annual Berlin based festival for challenging electronic music. Krake means - octo- pus' and the festival is organised in a comparable way: reaching out to selected locations during one week presenting the best in electronic music whatever style it is. The festival is not huge, not expensive, does not have big sponsoring deals or four different colour are passes. It's just a good and so far successful try to bring back the focus on artists who dare to step off the beaten tracks.
KRAKE 002 contains mostly exclusive tracks of artists who played at the Krake festival in 2013. The A-side starts with a dark ambient drone by DÄMMERN, followed by a pop-fueled two-step hit by PHON.O. Next in line is Irishman EOMAC with a warm and deep IDM track already char- ted by none less than Thom Yorke of Radiohead, followed by - Resolution', a little melancholic stepper by BILL YOUNGMAN.
The B-side is being opened with a techno track by grandmaster MONOLAKE in his most typical dubby percussive style. For the next track FRANK BRETSCHNEIDER reduces the sounds to the max again to deliver a percussive track as minimalistic as can be. Legendary techno producer CRISTIAN VOGEL, known for his constant search for new values, closes the compilation with an avantgarde piece of noise and drones.
Outstanding, we'd say!

2024 Repress

Apart from the obvious love for his musical talents, both as a producer and as a DJ, one of the reasons why we love Theo Parrish so damn much is his repressing policy. Unlike some of his peers, the man has no problem in repressing in-demand Sound Signatures from the past, and this time it's number 32 that receives a much-welcomed resurrection. The EP features singer Dummine Depores, first on the utterly hummable and soulful "Chemistry" track, and then on "Untitled One", a classically off-kilter Parrish number filled to the brim with sampling goodness and even a distant set of guitar riffs! Killers.

Struments Records starts 2013 launching Nuevo Dia EP, second release of the label from Barcelona. In this occasion the reference is signed by the Catalan duo Aster, which counts with high quality remixers such as Benjamin Damage and Dexter. Nuevo Dia, the homonymous topic that starts and gives name to this second reference Struments Records, backs seven minutes in which multiple and varied melodies of different natures mix up with rhythmic patterns coming from a dynamic bass and evoking feminine vocal samples. A cut treated with strong dynamism in which the allusion of movement is constant. In Placido Domingo an acid bass line goes along the minutes transforming into the main character. The theme goes on for five minutes at a slower pace responding to the classical patterns of acid-house, introducing initially percussive rhythms, followed by dynamic involving notes and ending with a fantastic melodic take-off. The remix brought by Dexter increases and decreases during seven minutes, converting the original melody into an easily adapting scale to the first hours of the night. Using vocal samples it gives a surrounding perspective and introduces a powerful bass perfectly suitable for this newer clubber version of Nuevo Dia. Benjamin Damage bends Nuevo Dia with frequencies and filters, darkening brief melodic spaces to introduce a powerful and raw drum which reveals a postindustrial background through the late hours of the night. The monotonic rhythms of this reconstruction include in itself a progression of a surrounding physical and mental dance.

Up and away / To your journey to the sun / Drink your rocket juice / Fly away (Hey, Shooter).
High up in the skies, amongst the clouds, Rocket Juice & The Moon was born. Literally. It happened back in 2008, when Damon Albarn, Flea and Tony Allen convened on the same Lagos flight, to play and exchange musical ideas in that city as part of the Africa Express collective. Relishing a shared enthusiasm for one another's work, and bonding immediately, there and then the triumvirate laid down the blueprint for Rocket Juice.
Still, more than a year passed before conditions were set for three weeks together at Albarn's West London studio, recording and refining two-dozen startlingly out and deeply funky instrumental grooves. The next stage was to invite onboard some extremely talented friends, with further sessions in Dallas, New York, Chicago and Paris... Erykah Badu, no less, queen of contemporary soul. Three companions from Africa Express: Malian singer Fatoumata Diawara, whose debut album has topped World Music charts since its release last Autumn; her multi-talented compatriot Cheick Tidiane Seck, whose prodigious keyboardism has lit up releases by artists ranging from Youssou N'Dour to Hank Jones; the young, Ghanaian rapper M.anifest, quizzically existential, switching seamlessly between Twi and English. And the Hypnotic Brass Ensemble, long-time stalwarts in the Honest Jon's set-up — since one of the team discovered them busking near the shop in Portobello Road, on his lunchbreak — with a second album for the label due in May... Finally, the tracks were dispatched for mixing to Berlin, to be meticulously honed, polished and envenomed by Mark Ernestus, one half of the legendary Basic Channel and Rhythm & Sound partnerships.
The result is Rocket Juice & The Moon — out March 26, 2012, on Honest Jon's Records — a triumphant exploration and proliferation of kinetic Afro-funk rhythms: organic, exuberant, communal music-making, evidenced by the project's live debut on stage as part of the Honest Jon's Chop Up in late 2011, which hit London, Marseille, Dublin, and Cork to such great acclaim (witness the flurry of smart-phone film-clips uploaded in the days thereafter).
From the inaugural bars — that absurdly funky slice of instructional timekeeping, 1-2-3-4-5-6 — the liquid pulse of Fela Kuti's classic recordings drives the action through a suite of 18 shape-shifting compositions. The greatest drummer in the world has never sounded so good as he does here. His intricate cross-patterns jostle and lock with Flea's nimble, rumbling bass riffs. Joined by Seck on There and Extinguished — 'when you dispose of something burning, be sure it's out' — Albarn's keyboards spray synth fusillades up top, over, and under... splicing into the mess of wires running between the freaked Afro-disco of William Onyeabor and the space-jazz-moog of Sun Ra. The HBE brings extra intensity and drama to Leave-Taking — likewise Flea's trumpet to Rotary Connection — teasing out the haunting melody coiled in the mix.
Where the best of vintage Afrobeat sides sustained their concentrated energies over the course of sprawling, marathon jams, RJ & TM manages something altogether different: the group bottles the idiom into capsules of funk... and real songs. Beautifully buoyed by Erykah Badu's unmistakable vocals, Hey, Shooter brilliantly traverses metaphysical spaceways sans any semblance of noodling. Lolo and Follow-Fashion — featuring the open-hearted sensuality of Diawara's singing, M.anifest's quick, brawny science, and more brass blasts — play like its musical cousins or codas. Indeed, the album's shrewd sequencing creates the composite effect of tracks working both individually or within the context of an extended song-cycle.
The lovely ballad, Poison, is bittersweet and ruminative: 'If you're looking for love, beware the signs / They will paralyze you one by one / Poison, it will only break your heart.' Down-tempo and dubby, Check Out and Worries amplify the range of styles and moods. And by the time of Fatherless — a chugging Afro blues that evokes John Lee Hooker lost in Lagos, one gets the sneaking suspicion there's very little outside the reach of this collective's inventive musical grasp.
There is, in fact, a palpable openness pervading Rocket Juice & The Moon — the sense of a limber willingness to follow creative impulse — right down to how the group acquired its name. When Ogunajo Ademola — the Lagotian commissioned to do the album's cover artwork — dubbed his submission 'Rocket Juice & The Moon', it quickly morphed into the formal name of the project, like trying to hold onto mercury.
Surely, the stars above also approved.