Cerca:goliath

Spandau20, an imprint named after the Western Berlin district and focused on artists from the area, delivers techno in all diverse forms - from warehouse and electronic peak time beats to breaks and IDM, balancing the old and new school sounds flawlessly. With a focus on vinyl releases, for the collectors, Spandau20 has lately also focused on its label nights, with showcases at Fabric, Bassiani and many others. The label's 10th release features 10 tracks that epitomise the musical diversity of Spandau20 and the progressive musical mindset of its roster, calling on the label favourites and Spandau natives to deliver brand new and exciting music. This special release even features one track that all artists have worked on together: 'Come Closer', a swarming, slithering beginning featured as the VA's opener. Its barely coherent female vocal echoing amidst a cacophony of demon-like effects. The chilling ambience captured at the offset transcends into the first full length track by Elli Acula, 'Floating Eyes', a cur characterised by an authoritative, pounding bass featuring calculated percussive rolls and metallic overtones to make for a face-scrunching opener to this devilish collection of works. FJAAK follow for the first of twin cameo appearances, partnering up with fellow live supremo and hardware aficionado KiNK. On 'Overbridge' the trio deliver a cavernous, rolling number driven by a deep thrumming bass in addition to a razor-edged lead synth, and pulsating technopattern. Dajusch is known for incorporating his years of classical study in with his immersive musical style - and with his VA effort the Berlin native neatly showcases this. Easing the energy slightly, 'Move' escalates from its warm, melodic intro into rumbling goliath of a beat comprising a looping, slew of gassy harmonics. The momentum of the release shifts considerably with the introduction of acutely versatile producer, DJ and sound artist Claus. The artist from Spandau leans his track 'Bloomscroll' towards sparse, dubby sonics in which he intricately ties together to form churning, burgeoning soundscape. FJAAK jolt proceedings back into the techno groove with their signature blend of arresting sub-bass and reverberating rhythms, which come thick, fast and heavy on 'Jackfruit'. The abstract wonder of Anna Z's broken-beat like stylings is fully explored on 'Icy Liq'. It's outlandish and amorphous in its execution, causing a clattering percussive chaos that's choicely pieced together by the modular-extraordinaire. Nikk stealthy moves into breaks territory with his track 'Down In The Shadows', packing a trap-like snare with an acid-flecked melody and dawn-breaking, dream-like textures. The penultimate track on the VA is 'Tufted'. J.Manuel expertly employs a chorus of robot-like sonics that course through a short-circuiting low-end to produce a pacy, inescapable journey via a whirling, merciless beat. He is joined by the legendary producer Tobi Neumann for their menacingly ambient number titled 'Fennec.' In parts a nod to UK dubstep, the duo concocts a fierce admixture of styles bolstering tribal-like components with industrialised overtones and methodically crafted drum-fills.

The mighty U Roy is the originator, the man who put the DJ phenomenon on the map and made it an artform. From Kingston Jamaica to the corners of all the Dancefloors, Clubs and Sound Systems across the world. U Roy (B. Ewart Beckford, 1942, Kingston, Jamaica) began his musical career spinning records for Doctor Dickies Sound System way back in 1961. The mid sixties saw him working for Sir George The Atomic before moving in 1967 to the man who best shaped his sound King Tubby on his Home Town HI - FI. Tubbys work in the dub field, dropping out vocals on his versions for the Sound Systems allowed U Roy to voice over these spaces adding to the excitment of the Dance!!!

U Roy moved into the recording arena firstly cutting two disc's for Producer Lee Perry 'Earths Rightful Ruler' and 'OK Corral' and then following this with 'Dynamic Fashion Way' and 'Riot' for Producer Keith Hudson. Producer Duke Reid seeing the protential in this new found form brought U Roy to his Treasure Isle Studios to voice over his back catalogue of Rocksteady Hits. His first three releases for Duke Reid 'Wake The Town', 'Rule The Nation' and 'Wear You To The Ball' held the Top 3 positions for 12 weeks in early 1970's.

We have compiled some of U Roy's best loved cuts from his mid 70's period when all were still looking at him for guidence.  The opening cut Call On Me sees him working over Delroy Wilson's 'Got To Be There'.  You Never Get Away gets U Roy answering Delroy Wison's 'Keep On Rocking'. Johnny Clarke's 'Time Gonna Tell' with rootsy bassline turns into Every Knee Shall Bow. Cornell Campbell the Gorgon himself gets his 'Check Mr Morgon' turned into Gorgon Wise. Johnny Clarke's Hold On gets reworked. Jeff Barnes 'Blowing In The Wind' tuned into Number 1 and alongside King of The Road which sees Lennox Brown blow his saxophone over the instrumental 'In The Swing of Things', was one of U Roys first releases. Linval Thompson's 'Let Jah Arise' is versioned to Joyful Locks. I Originate which lends us to the title of this compilation, says it as it is, a classic built over Dave Barker's 'Shocks of Mighty'. Linval Thompson again provides the backbone with his Cool Down Your Temper cut for U Roys version. The mighty Burning Spear's Creation Rebel although providing our next track, it is Johnny Clarke's version that gets worked over. Leo Graham's 'Birds of A Feather' turns into Stick Together. Soul Syndicates instrumental 'Goliath' grows into Riot. A big hit for Max Romeo Wet Dream sounds great under U Roy's new rendition.

Two extra tracks for the CD release of this album sees the great voice of Slim Smith on his 'Let's Stick Together' becomes ‘Ain’t To Proud To Beg’ and Cornell Campbell's 'Stand Firm' works with
U Roy to sign us off with ‘I Shall Not Remove’.  A fine collection i hope you agree to the Daddy of all DJ's who in his own words ''I Originate, so you must appreciate, while the others got to imitate'' says it all really……

It may have been 13 years since the last record, but Crime In Stereo are back with the announcement of its forthcoming album House & Trance, set for release on 27th October 2023 on Pure Noise Records. Lead single Hypernormalisation analyses the apathy of people in the face of their imminent demise,"The wildfires gathered themselves together, advancing enough petition signatures to force a vote on rerouting subterranean magma ducts directly into any east/west commuter corridors. Cities of water rushed in from the sea only to circle the neighbourhood for hours, stymied by alternate side parking." House & Trance feels like the natural next step for Crime In Stereo. It was entirely self-produced by the band (outside of it, both Romnes and Cioni are acclaimed and accomplished producers), and flows on so well from their past that it’s almost like the intervening decade and a bit hasn’t happened.

For their next venture, Infernal Sounds brings together two titans in the scene marking #IFS026 with a collaborative EP from returning family member Chad Dubz, and debutant Somah. The Business EP is a goliath, featuring full-throttle sounds on the title track 'The Business' to kick things off properly. 'Naraka' follows in the same vein, producing a rough and rugged low end which you can feel deep in your chest, whilst 'Amplify' provides a stripped back, bass heavy affair. 'Unresolved' closes the EP, rounding things off with a more melodic skanker.

The release has already received some strong support in the scene from the likes of Truth, J:Kenzo, Sicaria Sound, N-Type and many more, making it a must own 12".

“Enter a path few can follow, but many can appreciate. A studio or sound’s dub-plates are like a Shaolin monk’s sacred teachings. London-based Alpha & Omega take us into their world of mesmerising roots and divulge their exclusive ‘specials’.”
MUZIK

“Through minimal manipulation, (Alpha and Omega) deliver the listener to a place of great sonic peace.” OPTION MAGAZINE

“The compelling presences at the heart of these airy sonic worlds have a harder edge than some of their ancestors.”
WIRE

“Massively thunderous bass lines, galloping drum tracks and a willingness to tastefully adorn dubs with digital flutes and various electronic sounding washes.”

Applaus für GRAVEYARD, die mit „Lights Out“ nicht nur die Erwartungen erfüllt, sondern diese sogar noch übertroffen haben, denn auch wenn man sich für „Goliath“ als Single-Auskoppelung entschieden hat, auch jede andere Nummer hätte sich diesen Status verdient. Kurzum: Mit „Lights Out“ machen die Burschen klar, dass alle Spots auf sie gerichtet werden müssen! Zweifarbige Neuauflage!

Pig&Dan and Gregor Tresher come together for a powerful 10-track album ‘Soulcatcher’, now released on vinyl after a successful digital release in 2021.

‘Soulcatcher’ marks only the seventh album release on Truesoul in the label’s 19-year history, the little brother imprint to Drumcode helmed by Adam Beyer. It’s a space for boundary-less experimentation, where the finest in house and techno explore the groovier and more melodic side of their musical personas.

Pig&Dan are techno treasures, with one of the deepest discographies in the genre. They remain one of the most reliable contributors to Beyer’s labels over recent years, with ‘Soulcatcher’ marking their third release on Truesoul alone in 2021. Gregor Tresher has soundtracked the development of the European techno sound over a 25 years period, gifting the scene tried and true genre favourites such as ‘Goliath’ and ‘A Thousand Nights’.

As a collective they are master hands in the studio and ‘Soulcatcher’ encapsulates their crisp yet stirring sound palette. The album spans bright airy house, progressive and melodic techno textures, and cuts from the darker end of their sonic spectrum. It’s hints at the freedom that awaits us and better days ahead.

Als die Hippie-Bewegung auf ihr Ende zusteuerte, wurde die Rockwelt von schlechten Schwingungen heimgesucht. Verdorbenes LSD, laute Motorräder und eine Reihe brutaler Todesfälle inspirierten gitarrenschwingende Teenager auf der ganzen Welt. Mit ohrenbetäubendem Fuzz und satanischem Geschrei schufen sie ihre proto-metallischen Monstrositäten, und kurzlebige Stoner-Bands pressten ihre lysergischen Experimente in mikroskopisch kleinen Vinyl-Mengen aus, bevor sie völlig in Ohnmacht fielen. Aus der Asche des Acid-Rock-Höllenfeuers erheben sich 18 verzerrte Geschichten von Drogensüchtigen, Pillenschluckern und den schlimmsten Trips.

Als die Hippie-Bewegung auf ihr Ende zusteuerte, wurde die Rockwelt von schlechten Schwingungen heimgesucht. Verdorbenes LSD, laute Motorräder und eine Reihe brutaler Todesfälle inspirierten gitarrenschwingende Teenager auf der ganzen Welt. Mit ohrenbetäubendem Fuzz und satanischem Geschrei schufen sie ihre proto-metallischen Monstrositäten, und kurzlebige Stoner-Bands pressten ihre lysergischen Experimente in mikroskopisch kleinen Vinyl-Mengen aus, bevor sie völlig in Ohnmacht fielen. Aus der Asche des Acid-Rock-Höllenfeuers erheben sich 18 verzerrte Geschichten von Drogensüchtigen, Pillenschluckern und den schlimmsten Trips.

Red Vinyl

It has been exactly ten years since Finders Keepers first intrepidly entered Andrzej Korzyński’s cavernous musical vault, but it is only today that we are able to proudly announce the safe retrieval on what we consider the true heavy psych holy grail of the Polish composer’s mind-bending oeuvre. By cruel coincidence this welcome event has sadly come during the same year as the composer’s tragic passing. However, in true Korzyński style, alongside his previous Finders Keepers releases, the legacy he has left behind in this one final lost soundtrack project alone has come with musical riches beyond anyone’s wildest expectations.

The comprehensive elusive archive of the deeply psychedelic soundtrack to Andrzej Żuławski’s forbidden film Diabeł (The Devil) is perhaps the most detailed dossier one could wish to find – including audio sketches, rejected proposals and pre-butchered variations that play out like an intense and veritable creative conversation between the director and the maestro, both of whom are widely recognised as true mavericks of socialist-era Poland’s fertile artistic landscape. Never intended for anything as conventional as a straightforward movie tie-in promotional disc (state owned Eastern European record labels rarely did this), the music in this archive has required special forensic inspection. Let’s say the devil is in the detail. The 7” record you are now holding is more than just a companion piece, and it is far from a selection of the (non-existent) poppy title themes to promote a full feature-length album. This standalone release is wholly unique in its own right, giving Finders Keepers listeners a final access all areas snoop into the mind of one of the pillars of our alternative musical community.

As those familiar with Żuławski and Korzyński’s long-running relationship will understand (a methodology best exemplified in the schizoid soundtrack to the film Possession), their exchanges were deeply nuanced and often complicated, with lots of artistic “tennis” thrown into the mix. The key plot in this behind-the-scene fable is that after delivering his original off-kilter psychedelic score to the director, maestro Korzyński was asked to make the music “totally unique, like something from another planet”, to which Korzyński took his tapes, pulled down the vari-speed to a guttural grind and continued to recompose over the top using avant-garde electro-acoustic techniques while deploying psychedelic skills of guitarist Winicjusz Chróst. This limited record release proudly boasts Korzyński’s original uptempo awkward psychedelic pop music prior to the doom laden growls that make the official films soundtrack a true Goliath of Eastern European soundtrack composition. Which, when recontextualised, will stand as a veritable face-melter for stoner rock fans. As one of Finders Keepers deepest conquests, we are delighted to share The Devil Tapes… What is a grail without the wine.

Craig McWhinney returns to Southern Lights under his Vohkinne alias, delivering a dystopian vision of the world with the Set Theory EP.

The A-side features the abrasive original of Infinite Space together with a searing remix from Denise Rabe, while the B-side delivers the might of Goliath and a classic B2 cut in the form of Traversing the Messier.

Leeds art-rock group Mush (Dan Hyndman vocals / guitar, Phil Porter drums,
Nick Grant bass, Myles Kirk guitar) are set to return with album ‘Down Tools’
via Memphis Industries. The new record marks the prolific band’s third album
in as many years, following hype-building early singles ‘Alternative Facts’
and ‘Gig Economy’, 2020’s debut album ‘3D Routine’ and 2021’s acclaimed
‘Lines Redacted’, which pushed their sound further and, as Uncut wrote, saw
them become “kindred spirits to Wand and King Gizzard & The Lizard
Wizard, two other bands prolifically honing their sound and approach,
steadily developing their voice.”
 On ‘Down Tools’, this voice grows again into a more brilliantly singular
sound. It sees Mush getting loose, moving away from the defined moods and
textures of ‘Lines Redacted’ with a musical openness, straddling genres
while avoiding pastiche. Hyndman says of the lyrics on ‘Down Tools’ that
“there was a conscious decision to retreat further from an observational
approach” with vocals being ad-libbed lending the record a more abstract
feel. Hyndman continues: “this album is less dark than the previous one. The
Armageddon obsession has eased, or at least the symptoms have become
milder due to saturation. Musically there’s a lot more chill on the record -
there’s a few more mellow tracks out there and the most astute listener may
even be able to decipher some of the words, fingers crossed.”
 While grief and work balance form themes on the record, Hyndman’s
approach is largely made up of abstract, disconnected streams of
consciousness and lines liberally taken from books, paintings, films and
beyond. On ‘Human Resources’, Hyndman dramatically retells a battle he
had with an HR department at a job in a David and Goliath style. The song
‘Group Of Death’, a phrase chillingly familiar to any football fan, is
emblematic of the turn towards softer, more considered sounds. Hyndman
says: “In my warped imagination it just sounds like a Paul McCartney song,
but it won’t to others. I initially had the idea of doing a World Cup song called
‘Group of Death’, but by the time it was written nothing beyond the title had
any relevance to football. Anyway, the next World Cup is in Qatar so fuck
that shit.”
 ‘Northern Safari’, meanwhile, is a song about the way the North of England
has been portrayed in the media and used as a mirror to reflect some of the
nastier elements of what’s going on in society, in particular vox pops around
Doncaster, portraying a particular narrative of the collapse of the red wall and
the disgruntled ex-miners.
 ‘Down Tools’ sees Mush idiosyncratically ping-pong from finger picked
looseners to noise-rock bangers to brilliantly entertaining effect, avoiding
post punk saturation with an easy style and wit.

A simple idea in an over complicated moment. Strip away aesthetics and be artist centric, sharing and explore collisions, sounds and genres. Step out of comfort zones to release a series of EPs of broad, challenging and deep music.

Starting with The Proposal by A Strange Wedding, this Lyon based producer from the Worst label, builds on their "modern style" slow trance to create a label anthem, a template. Stretched Arp, hypnotic bass and searing melody, underpinned by ocean wide kick. Merci for the perfect beginning.

Datasal are next, as this Gothenburg's trio's debut arrives. Acoustics (Miyazawa flute / Fender bass) and electronics (Roland RS-09 / Korg Mono) collide; prog rock meets post punk meets dance; outside organised compositions to improvise to the beat.

Side two leads back to the origin. 84PC, the dormant Tel Aviv collective that developed out of the city's Michatronix Crew (featuring Katzele, Naduve, Asaf and Yovav), return with a previously unreleased remix from Khidja. Their "Welcome To The Pleasuredome" moment is peak time perfection.

To close Barcelona's Iro Aka arrive with another debut. Having dispatched edits on Hard Fist and 44,100Hz Social Club, their bubbling 303 is a tender dreamtime finale that points ahead.

A simple idea in an over complicated moment. Strip away aesthetics and be artist centric, sharing and explore collisions, sounds and genres. Step out of comfort zones to release a series of EPs of broad, challenging and deep music.

Starting with The Proposal by A Strange Wedding, this Lyon based producer from the Worst label, builds on their "modern style" slow trance to create a label anthem, a template. Stretched Arp, hypnotic bass and searing melody, underpinned by ocean wide kick. Merci for the perfect beginning.

Datasal are next, as this Gothenburg's trio's debut arrives. Acoustics (Miyazawa flute / Fender bass) and electronics (Roland RS-09 / Korg Mono) collide; prog rock meets post punk meets dance; outside organised compositions to improvise to the beat.

Side two leads back to the origin. 84PC, the dormant Tel Aviv collective that developed out of the city's Michatronix Crew (featuring Katzele, Naduve, Asaf and Yovav), return with a previously unreleased remix from Khidja. Their "Welcome To The Pleasuredome" moment is peak time perfection.

To close Barcelona's Iro Aka arrive with another debut. Having dispatched edits on Hard Fist and 44,100Hz Social Club, their bubbling 303 is a tender dreamtime finale that points ahead.

ARCHITECTS’ new album captures a historic live stream performance
event at the iconic Abbey Road studios: spiritual home to legends like
The Beatles and Pink Floyd

Dubbed For Those That Wish To Exist at Abbey Road, the album features a reimagined orchestral version of their masterpiece album For Those That Wish To Exist, backed by their friends in the Parallax Orchestra, the well- respected UK based orchestra made up of some of England’s best and most versatile classical musicians, arranged and written by Simon Dobson, Parallax Orchestra’s conductor and a three times British Composer award (BASCA) winner for his
compositions.Vocalist Sam Carter speaks to the cultural importance of Abbey Road Studios, “It’s such an important part of music in not only the U.K. but all across the world. Some of the biggest and most important records of all time were recorded there. It’s such a joy to even be allowed into the building, let alone to record there. It’s a very special place; I still can’t quite believe we were able to create there.”

ARCHITECTS’ new album captures a historic live stream performance event at the iconic Abbey Road studios: spiritual home to legends like The Beatles and Pink Floyd. Dubbed For Those That Wish To Exist at Abbey Road, the album features a reimagined orchestral version of their masterpiece album For Those That Wish To Exist, backed by their friends in the Parallax Orchestra, the wellrespected UK based orchestra made up of some of England’s best and most versatile classical musicians, arranged and written by Simon Dobson, Parallax
Orchestra’s conductor and a three times British Composer award (BASCA) winner for his compositions. Vocalist Sam Carter speaks to the cultural importance of Abbey Road Studios, “It’s such an important part of music in not only the U.K. but all across the world. Some of the biggest and most important records of all time were recorded there. It’s such a joy to even be allowed into the building, let alone to record there. It’s a very special place; I still can’t quite believe we were able to create there.”

Octahedron Each of the Mars Volta albums that preceded Octahedron had pushed the envelope further, their music growing larger, more intense, more complex.

Each had delivered an implied, unspoken challenge to its makers within milliseconds of its final notes: “top this”. And with each subsequent album, Omar and Cedric had turned their creative dials up one more notch, a further step past “eleven”.

With the addition of new drummer Thomas Pridgen, and their ranks swollen by extra guitarists, more percussion and a sax-player, the intensity of The Mars Volta’s sound had increased. Octahedron, however, would follow The Bedlam In Goliath’s brilliant excesses with a sideways step few were expecting, even though the group had telegraphed their intentions to take this new direction for years.

“This one didn’t have multi-layered sub-texts or any sinister spirits,” says Omar, referencing predecessor Goliath’s traumatic birth. “Octahedron was like an expression of will into reality. Like, ‘This one will be easy, this one will be fun’. Everything had a different process.” “Octahedron was a rebellion,” adds Cedric. “Us saying, ‘This isn’t like anything we’ve done before. This is our “pop” album.’ We’d always promised we’d do a ‘pop’ album.’ This was it.”

We welcome Leo Cap for our 16th Navy Cut with a generous helping of punch, weight and energy. Hailing from Russia.. Leo Cap is the alter ego of Drum and Bass badman Black Barrel. This 4 track EP packs his signature energy and sound design while exploring the 140 universe.

Bonus track “ Something Scary” for Vinyl purchasers.