Search:gri

The mighty Brassfoot (Apron) going overseas with a devestating ep on the Dutch Bio Rhythm imprint, delivering five grim yet hedonistic & intense post-modern voodoo jack tracks, kickstarting what appears to be the labels' second phase.

Die in Genf lebende, in Lyon, mit Vorfahren aus Kamerun, geborene Emilie Nana ist ein Wunderkind. 'The Meeting Legacy' beinhaltet eine eklektische Selektion, die Vieles von dem beinhaltet, was Emilie ausmacht.

'The Meeting Legacy' umfasst 11 Stücke, inclusive Like You, welches bereits Anfang 2013 auf Compost Black Label als Maxi veröffentlicht wurde. Die Black Label # 61 wurde digital veröffentlicht und die Black Label # 95 gibt es auf Vinyl. 2013 war das eine von fünf EPs, die Emilie Nana bis dato herausgebracht hatte. I'm Childish, So What!, was erstmals im Sommer 2015 als Teil der COMPOST 500 - Compilation zu hören. Dieses Juwel ist von Emilie's Neffen inspiriert und basiert auf der Idee, dass wir, egal in welcher Lebensphase, stets zu uns selbst stehen sollen. Es ist der einzige Track auf dem Album mit französischen Vocals und vermittelt ein getragenes, leicht verrücktes, regelloses Gefühl, ein absolut fantasievolles Glanzstück. Drei Stücke des Albums: Tolstoy' Changes, Music und The Meeting Legacy, werden 2016 als Compost Black Label - Remix - Maxi erscheinen, mit Remixen von Manoo, Beanfield & Thomas Herb, Floyd Lavine.

The Meeting Legacy, der Titeltrack des Albums, ist purer Musik-Aktivismus. Der Text stammt von Elaine Brown, eine schwarze amerikanische Aktivistin und Künstlerin, Vorsitzende der Black Panther Partei. Der Bass dieses gemächlich stolzierenden Kampfsymbols ist Nana-esk und die Vocals heben sich mit Leichtigkeit ab und positionieren diesen Track auf ergreifende Weise.

Black Like Me erhebt einen fortwährenden Anspruch auf Fiktion und Non-Fiktion und verkörpert die gelebten und kenntnisreichen Erfahrungen Emilie Nanas. Eine warme, melodiöse Kreation, mit einfachsten Lyrics und im Hintergrund dümpelnden Marimbas. Es ist die musikalische Interpretation des Buches 'Black Like Me' von John Howard Griffin. Er erzählt hier die Geschichte des weissen Journalisten, der sich einer Hautverdunkelung unterzog, um sich im schwarzen Leben des separierten Südens der U.S.A. zu engagieren. Emilie's musikalische Interpretation erfasst die bunten kulturellen Äußerungen, welchen der weisse Journalist im gelebten schwarzen Alltag begegnet.

Track Fünf des Albums, dem inoffiziellen 'letzten Track von Teil 1' heist Confessions Of No Language. Während Emilie Nana hier ihre innersten Erfahrungen transponiert, oder transportiert, zielt sie auf eine 'gewisse' Körperzone. Welche Das muss man hören.

Das Album beginnt mit Off The Street, die wilden Begleiterscheinungen einer durchfeierten Nacht von Party-Girls, geht weiter mit dem, durch die frühen 90er Jahre von Janet Jackson und Prince beeinflussten Music, bei dem wir Emilie Nana sehr warm und cool erleben. Schliesslich entdecken wir sie in Inward Path, wenn sie resümiert, dass es mehr Glücklichkeit als Traurigkeit gibt, da immer Hoffnung in uns selbst existiert.

Dieses Werk erfreut sich an dem Erguss aus Nana's grazilem und dennoch lebhaftem Wesen und trachtet erfolgreich nach dem Brechen der Regeln, mit denen Kunst oft behaftet ist. Indem sie ihr Leben vergegenwärtigt, führt sie uns gekonnt, mit Kindesaugen, Teenage-Erfahrungen bis erwachsenen Sehnsüchten und ausgereif-ten Konversationen, durch Subkultur, Kampf und verschiedenen sozialen Einflüsse. Nach vier Jahren Produktionszeit, liefert Emilie Nana ein Album, das ihr verspielten, aber reifen Geist widerspiegelt und ihre Seele miteinbezieht, The Meeting Legacy.

This special release revisits classic Brothers' Vibe tunes, edits and a never before released on vinyl track. Kicking off proceedings is the 1989 gem "I Ain't Gonna Wait". An early Brothers' Vibe piece and massive underground anthem! Brothers' Vibe distinctive gritty style of groovy house takes us on a hypnotic journey into uncharted territory. Melody and percussion interchange amongst a framework of zippy synths and sinuous kicks. Released under the moniker Silent Rodgerz, the second track "Infractions" saw the light of day back in 2008 solely in digital format on a MixxRecords compilation. Low slung with an acid influence, the cut reveals a distinctly natural groove lead by the classic bassline. The final track is the definition of a house classic!! Featuring echoing words of the great Maya Angelou, "Words To a Nation" exudes a timeless quality, unveiling a masterpiece which stays firmly in your head...

The analog beat-grinder from Japan, Miclodiet, is back on Genesa Records with his distinctive, gnarly
sound. Yasunobu usually releases his material on his own cassette-only label, Sludge -Tapes, but during the last 2 years, you were able to see him appear on GENESA005V alongside JoeFarr, VSK & the label boss Scalameriya or on our digital only division with a complete EP, remixed by Martyn Hare, Alhek & Forest People. For his debut vinyl EP, he prepared some stripped down, ultra minimalistic techno stompers infused with recognizable hooks and drones. An absolute must-have for dj's who are searching for refreshments to add to their crate!

Canadian based label Eternal Drive Recordings is proud to present it's first vinyl release by Jay Zoney titled "Workhorse" with remixes by Audio Injection & Axkan.

This is the label's eleventh digital release and first to be cut on vinyl featuring two original tracks from label boss Jay Zoney. Jay's productions have picked up previous support from artists including Ben Sims, D.A.V.E. the drummer, Bas Mooy, Speedy J, Sam Paganini, Joseph Capriati and Gary Beck.

On remix duty is Los Angeles native David Flores, who takes on the EP's title track under his Audio Injection alias, where many people will also know him as Truncate. Between his two aliases this heavyweight producer has racked up an impressive back catalogue of labels including CLR, Mote-Evolver, Affin, 50 Weapons, Figure and Gynoid Audio to mention only a handful.

Also featured as a remix artist is Federico Sánchez aka Axkan originally from Mexico, now calls California his home. His dark, experimental and edgy sounds have landed his tracks on the likes of Morgan Tomas' Reloading Records to Israel Toledo's Assassin Soldier and many more.

First on the EP is the title track 'Workhorse,' which true to its name is steady and relentless. A kick drum that stamps like heavy hooves on concrete gives it a powerful sound. The fast flowing percussion is brought to life with startling rips and synth stabs that grunt with determination and grit. This industrial workhorse delivers the goods every time with expert precision and perfect timing.

The second track is titled 'Mr. Ed' shows Jay Zoney's acid roots. Industrial like the first track, it's hard hitting with a rolling acid line that wriggles and twists as the track progresses. It has an intensely powerful clap with sharp hi-hats and a shuddering bass sound that when combined give it an infectious throwback groove.

Third on the release is the Audio Injection remix of Workhorse, and although dark like the original, it's less industrial overall. Opting for his own spacey percussion and bassline David (Audio Injection) creates a rolling groove packed with forward momentum. With the addition of a half bar synth hook and rising pad sound, this remix is powered by a prominent off beat hi-hat which makes it both hypnotic, euphoric and menacing.

Finishing off the release is a rework of Workhorse by Axkan whose rippling remix is both eerie and mysterious. Loaded by a grinding synth sound which echoes round the mix to create the feeling of open space, his remix starts off four to the floor, but with an unexpected shift morphs into a more broken rhythm. Building in intensity, this pulsating masterpiece has mechanical qualities and a truly individual sound.

Our friend Carli Löf - true musical genius, master producer of everything from rugged & raw grime scorchers to straight up Eurovision goodness - finally debuts on Barnhus, with nothing less than a timeless, laser-soaked rave hymn. On the flip we have our very own Pedrodollar Nordkvist flexin some serious remix muscle with your choice of contemplative comedown house and/or solemn ode to ancient trance gods. In the words of a friend-of-a-Scottish-friend: Oh aye - that's a fuckin 3am punch yer mate in the face with joy effort. Well intae this! Just out of jail after 20 years and first night out with the old crew. Take a few eccies and that tune comes on and you turn to your pal, put your arm round him all sweaty and say it's just like a remembered it. I'm gonnae be awrite.

Utterly magnificent, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty TK Records at the height of the Miami Sound. Beautifully presented... the LPs with a 12"-square, full-colour, sixteen-page album of photos and original artwork. Check!!
A&R was co-ordinated by Gospel legends Ira Tucker — from the Dixie Hummingbirds — and Ralph Bass, veteran producer with Savoy, King and Chess. The label was run by Timmy Thomas, who had recently smashed with Why Can't We Live Together, for another TK spin-off, Glades. Operations were overseen by Henry Stone himself, unlikely King of Disco, who had recorded a young Ray Charles, and pushed forward James Brown. They drew in artists from all over the US, from St. Louis, Columbus, Memphis, Brooklyn, Cabrini Green in Chicago: unknowns like Camille Doughty, reluctant to jeopardise her job at GM ('Generous Motors') in Detroit, and huge-sellers like the revered Brooklyn All Stars, who started out on Peacock in 1958.

Choral belters, deep ballads, harmony quartets, epic city-blues, gritty funk, powerhouse female soul... Killer-diller Philly like a scorching version of Harold Melvin & The Blue Notes' Wake Up Everybody, and Jean Austin's raw Spirit Free, co-written by Ronnie Dyson, produced by Jesse James at Future Gold. Chicago Sound like The Fantastic Family Aires — named after the family's furniture store on North Cicero, but reminiscent of the Staple Singers at their best — through to the full-blown glory of The Fountain Of Life Joy Choir, led by Marvin Yancy from The Independents, and featuring Natalie Cole... Singers like Versie Mae Gibson, from the Jordans, by rights up there with Irma, Etta and Ree... Bangers 100%-guaranteed to find their way into Theo Parrish sets, and mortal delirium for the prissiest of soul and gospel purists.

Turning into the home stretch, Figure hands the penultimate release of its SPC-series to an anonymous yet auspicious talent.On his first output under the UBX127 guise, the producer reveals his wares, combining classic bleep techno with just the right dose of acid. The four driving tracks thrive on their distinct synth-modulations, each scurrying atop a firm groundwork of brooding basses. Apparent analogue sequencing pervades the whole EP, infusing it with a feeling of constant motion and liveliness.

REPRESSED !!
Contort Yourself has once again gathered the best and boldest from past and present for its fourth EP. To begin with we have the grimacing visage of Volition Immanent, an intense live act made up of Parrish Smith and Mark Van de Maat (Knekelhuis). Behind rawkish distortion, splintered beats and acrid bars screams a boiled anger; a track spitting on the divides of punk and electronics. Nastiness is taken up a notch as noise ne'er-do-wells Zombies Under Stress take over. Static is bent and doubled across thick chords and collapsed clap in the 1986 "Maan Zal Zijn" before the raw and raging battery of "In Onze Tijd." L.I.E.S. regular Svengalisghost grapples with "Maan Zal Zijn, channelling the original's rage into a mechanical monster. The 12" is bookended with bite as Mark Forshaw (Tabernacle/Berceuse Heroique) closes with the tortured and torrential thump of "Submission." A callous, caustic and fervently cruel EP.

Deep Purple are Proud to announce the reissue of their 1970 classic album 'Deep Purple in Rock', which sees all tracks fully remastered by Andy Pearce and Matt Wortham and released on a 1LP vinyl. The Album is the first in which every song is credited to the five Deep Purple band members, whilst it is still to this day credited as the prime essence of deep rock music. The title includes singles such as 'Child in Time' and notably the full length version of 'Speed King'. This album has been cut at half speed by Barry Grint at Alchemy, please be aware this is a key point over the other available editions

Reaching the milestone of its 100th single/EP release, Circus Company welcomes back Aquarius Heaven with a new EP of poignant, uplifting house music loaded with a meaningful message for these transient times. It's nearly three years since Brian Brewster delivered the Parallela Mundi 12', and in that time he has been on a relentless mission to spread his unique blend of house music, Caribbean roots and psychedelic magic across the globe in a whirlwind of live performances and collaborations. In a manifestation of his well-travelled soul, these new pieces call upon traditional influences in amongst the modern motifs that Aquarius Heaven has been built on, while lyrically dealing with the pressing issue of refugees escaping conflict, poverty and famine. The proud drum throwdown and carnival bleeps of 'Bato Chargé' conceal the seriousness of its theme. In Brewster's native tongue Creole, bato chargé translates as overloaded boat. With the Caribbean as equally rooted in the history of displaced humanity at the hands of sinister powers, the groove of 'Bato Chargé' takes on a defiant, hopeful tone directly inspired by the traditional percussive music style Gow Ka. '50 Drops' by way of contrast takes on a noirish tone with its gritty, street-weary tale and nocturnal melodics played out through enchanting arpeggios and warbling leads. Cooling off the tempo and heading into a digi-dub skank that plays off Brewster's roots in reggae and dancehall, 'Marie Galante' takes those same warm synths and runs them through a low-but-heavy stepping landscape; the perfect backdrop to the vocalist's dexterous ramblings on the mic. It's not often you hear Creole New Release Information delivered in contemporary electronic music, with a rare exception being the legendary work of Tikiman et al with Rhythm & Sound in the 90s.

RAAM is back with a killer EP where he moves deeper into his gritty and heavy soundscape.  
RAAM 004 is solid release with influences from both Detroit and Chicago. Alvar is a straight up chord driven banger, with classic 909 drum patterns.
On the flip you will find Unfold, which is a warm, spaced out Chicago track, reminiscent of Boo Williams.
Brink has that magic disco flair; woofing basses and sparkling pads create a shimmering atmosphere. This track is perfect to play whenever, wherever.

* Returning to Dispatch LTD after a string of successful and hard hitting releases, DBR UK are back to present their debut album, entitled 'Rough Edges', comprised of sixteen original productions from the UK trio.

* 'Rough Edges' is an ethos by which DBR UK live by in the studio, an ethos and distinctive style which has been developed over the years and throughout their own influences. Made up of varying elements, styles and attitudes within drum & bass, the album covers the trio's full spectrum, carried out with their own unique flair. * Certified masters of crafting their basslines and low ends to perfection, the pulse keeps every track pumping with soul, carefully mapped out and delivered to a tee, whatever the chosen direction. Eloquently arranged, but purposely gritty, dynamic but not over-complicated and never straightforward, glossy or predictable, it's an ideology the group stand by, whether it's a melodic vocal swathe or a murderous minimal mod. * Equipped with murky steppers for the shadowy back rooms such as 'Demolition' (ft. Slippy Skills), the album journeys through old skool & dub focused influences, like reece thronged 'Dark Alley' and hypnotic stroller 'Man Hunt'.

* Alongside their solo productions, the album also sees guest collaborators from the past and present combining efforts, with Skeptical, Structured, Gremlinz & Ahmad helping craft the gullied landscapes, the poignant and piercing vocals of MC Fokus striking at the jugular in 'Blood Water and the smooth, dulcet tones of Amanda Seal perfectly contrasting to the darkness and hysteria, before leading the listener back up the garden path.

* Back on the scene with a vengeance, having blown us away with an astounding quality and output, DBR UK deliver their first long player, 'Rough Edges', utilizing their subtly edged weaponry to maximum effect.

New York City's grittiest returns from the underground with a new batch of polluted grooves. Gut Nose follows 2014's acclaimed Vicetopia 12" and Filthy City album / mixtape with Escape The Matrix, a five track EP showcasing yet again how versatile in this city's styles the man can be.

Newly established Berlin-based vinyl-only label Dreiklang dive straight into the physical world with First Contact. The label's distinctive triangular concept is reflected in its name with Dreiklang pursuing a three-fold approach to electronic music. Each release presents three contrasting takes on the same source material, juxtaposing and unifying three particular electronic music sub-currents. For their first outing, Dreiklang call upon an international team of producers with OCH, Hydergine and Kelovolt dropping in for their respective shots of tech-house, dub techno, and dark drone techno. The tight three-tracker will see the light of day on a 500 limited edition run of 180gr high-quality wax with the beautiful hand-drawn designs of Berlin artist Nils Altland gracing each sleeve, transforming the covers into individual works of arts. First up on Dreiklang001 is Londoner OCH (Autoreply / Stuga Musik), who takes a simple keyboard line into menacing territory, steering the dancefloor towards the grittier ends of tech-house. A funky bassline leads the way as distant synths exhale in glossy metalic fashion and the road is adequately paved for the reinterpretations that follow. Second up, comes Hydergine. The Italian producer lives up to his brain enhancement drug name by dropping a smart dub-techno rework where mind-numbing kicks bring the listener on an atmospheric joyride through the deeper ends of narcosis. Kelovolt complete the triangle with an immersive remix where drone-heavy soundscapes take center stage for a delicately hypnotic finale. First Contact is out December 16th on Dreiklang.

Sheffield DJ/Producer Louis 'Taiko' Robson has consistently agitated the boundaries of dubstep music, manipulating eclectic influences in to his productions with bold, original arrangements, intricate percussion, experimental instrumentation and unforgettable subs, and he's not held back with ALBION002.

Title track Splinted dons the A Side of the release and sets the standard high with its heavy sub, percussive melody, and string lead. Robson has taken inspiration from contemporary orchestral composers such as Terry Riley and Steve Reich initiating the creation of the drums and percussion, which add a rich analogue sound to the track, and with that an almighty atmosphere. Folk-like scratchy strings take the lead which is a theme set for the EP and highlights Taiko's tenacity for sound design and disregard for convention. Each eclectic element of the track compliments the next resulting in a guttural, energetic dance floor cut, with dark undertones making the listener feel agitated or anxious. A pulse raiser strictly for sound system use.

Over on the flip side, starting with the outer, Taiko offers a much warmer vibe throughout Fractal, flexing another experimental set of instrumentation, this time round building rhythm with an accordion sample. An enormous rolling sub bass instantly becomes dominant after the short intro and meticulous percussion exaggerates the astounding impact from the drums. In the break expect a much murkier tone with a grimey string sample leading to the second drop. Robson achieves a certain level of feel-good whilst maintaining a dark and aggressive tone in his unmistakably raw track.

Nickel takes the inner side on the flip, following form to the prior with its accordion sample adding a distorted guitar drone for the melodic intro. The acoustic instrumentation couples up with irregular drum work solidifying the EP's 'live' aesthetic, whilst maintaining a dance floor orientation. Tonnes of energy meets masses of bass, Nickel is a recommended set opener and a great close to the EP.

With our first release of 2016, we welcome one of South London's _nest, Dullah Beatz, with his EP "Ballys On". Known to the label for a while, Dullah has been around since Grime started but the availability of a lot of his beats has been sparse. So after a guest appearance on our first album, JT The Goon's "King Triton," we're proud to present Dullah's most substantial release yet. On the A side for the 12th release on Oil Gang, the orchestral minimalism of the title track gives way to the Indian scales of "Time," both of them full of sub and menace. Then on the B side, there's a track called... "Oil Gang". This was Dullah's choice, we're not just going on an ego trip. The echoes of the label's recent styles are there though, a JT style flute riding gunshot hats and amsfeedback. The last track, Floating, rounds up the EP with a bit of tribal space and steel drums riding Dullah's inimitable style. This is the first time theres been a proper Dullah Beatz statement on vinyl and we're really happy it gets to be us at Oil Gang that got to do it.

In August 2000, Damon Albarn travelled to Mali for Oxfam's On The Line project (about people living along the Greenwich Meridian), intent on getting together with his favourite musicians there. In the capital Bamako and its surrounding villages, he sat in on club and private jam sessions, playing concerts and streetcorners, bars and boats.

Back home in London, more than forty hours of tapes were opened to other influences - reggae, dance, rock - and then the work in progress was returned to Mali, for further contributions from the musicians there: immersive and open, back and forth.

Miami ex-patriate Alexander Suàrez debuts on Unknown Precept with A Los Mártires. Conceived as an ode to those who spilt their blood in vane for political ideologies that failed them and countries that were never their homes, the five tracks that make up the release show the Brooklyn-based producer sinking into odd techno hybrids manipulation; shooting down unrestrained grooves and rusty samples while excavating lush sound exploration tinged by local folklore and grievous metallic tones. In his own words, Suárez discloses that the embodiment of this strange intermingling sound like an organic and humming invitation to an uninhibited meditation on our inevitable assimilation into modern industrial society; an overarching rhythmic theme built on the idea that the resistance to and the seduction of these systems might trap us in a push and pull limbo from which the only escape is rage or submission.

Earlier this year, an email dropped into the Claremont 56 inbox. It was from a producer in the early stages of his musical career called Simon Peter, and contained a joyous slice of languid, organic Balearica entitled 'Arc of Lark'. Suitably impressed, Claremont 56 boss Paul Murphy had no hesitation in snapping up the track right away.It marks a new stage in Simon Peter's career. He made his debut in February 2014 with the Double Up EP on Silhouette Music, which contained the shimmering nu-Balearic disco of 'Espacio Temporal'. While that was laden with sun-kissed synthesizers, 'Arc of Lark' is a much more organic affair. Blissful electric piano keys, hazy guitars and fluttering flutes cascade over an undulating live bassline and shuffling, bongo-laden beats. Warm and humid, it's a slice of audible
sunshine to brighten up the grim winter months.Long-time friends of the family 40 Thieves handle remix duties, turning Simon Peter's picturesque original into an effects-laden chunk of slo-mo dub disco goodness. 40 Thieves member Layne Fox loved the track so much that he's also contributed an additional remix that focues the action around a loose, languid, dub reggae influenced groove, spiralling electronics and Peter's mesmerizing flute line. It's a fitting conclusion to a magical label debut.

French heavy weight producer and long time friend of the label, Rocco, is now back on Colourful Recordings! Going back to his techno roots sporting a gritty Lyon sound, A-side Viana, is building around a funky hook and housy beats. B-side sees Rocco picking it up a notch with a techno groover Basic Channel-esque style. On remix duty, romanian Marcman steps up to deliver an almost toolish remix of Viana that's been hammering the dance floors during the summer. Mastering by Andreas at Schnittstelle.

Two raw extended trips from the mind of STL in a rare foray beyond his self-run Something imprint. Stephan Laubner applies his usual auteur principles to these groove experiments, whose sounds circle round each other cagily, rough meeting smooth, organic meeting synthetic, all combining in a propulsive form that's classic STL. Shifty hats on 'Crank Notion' provide an insistent shuffle through which nauseous pads plot a dissonant course. 'Neat Buzzl' is a grimier excursion in the undergrowth, little creatures scurrying left and right while the kick maintains its forward stomp. Join STL and Assemble Music in these off-map excursions and see where you emerge.

On his first release for Droid Recordings, master sound technician Brian Sanhaji drops two hard, gritty tracks. A1, Macronomena,' is an unmissable, surprising thrill. A filthy, grainy bass synth gets mangled by filters and LFO, pushed out of time, and forced back into a perfect, funky lock with the pummeling beat. Nearly five minutes in, the machine breaks down and falls apart, only to slam back into groove with new, jack-oriented elements. B2, Synphone,' plays things straighter, manipulating the optimal gears and levers of the techno toolkit for an undeniable dance floor mover.

Nach den ersten Release-Grosstaten von erfahrenen Produzenten und angehenden Stars feiert unser exklusives Versandlabel KX seine zehnte Veröffentlichung mit einer actiongeladenen Auswahl an Flurhymnen, Geheimwaffen und zukünftigen Klassikern. Von REINHARD VOIGTs minimalistischem Schieber "RV 01 / RV 02" (KX 01) zu GUY MANTZUR & ROY ROSENFELDs massivem Überraschungshit "EPIKA / DEEYO" (KX 02), JONAS RATHSMANs programmatischem "NEW GENERATION" (KX 09) oder LUIS JUNIORs wunderbarem "PLAYING TONIGHT" (KX 06) ist der Talentpool seit der Labelgründung im Januar 2015 beständig angewachsen, dank hochpassionierter Künstler aus allen Ecken der globalen elektronischen Gemeinschaft - so etwa aus Israel, Griechenland, Deutschland, Ungarn, Schweden, UK und Zypern. Nun ist die Zeit gekommen, ehrgeizigen Fluraktivisten eine grössere Dosis zu verpassen, mit einer umfassenden Sammlung von DJ-tauglichen Tracks die vergangene Leistungen genauso würdigt wie brandneues, exklusives Material von CHRISTERK, KELLY SYLVIA, TERMOMENT oder KRISZTIAN DOBROCSI - eine Lehrstunde in Peaktime-Ausschweifungen

It is certainly not a small feat to have an ambient compilation series running for over a decade and keep it fresh and interesting - especially when the core aesthetic idea is as well-defined as POP AMBIENT's. However, this didn't keep last year's instalment (KOMPAKT 315 CD 120) from finding a compelling balance between veteran contributors like JENS-UWE BEYER or LEANDRO FRESCO and new, idiosyncratic voices like MAX WÜRDEN or THORE PFEIFFER. They all return for POP AMBIENT 2016, joining a captivating cast that also includes heavy-weight soundsmiths, experimental composers and ambient confidants like THE ORB, ANTON KUBIKOV of SCSI-9 fame, MIKKEL METAL, GREGOR SCHWELLENBACH or STEPHAN MATHIEU.

Starting off with a surprise guest, POP AMBIENT 2016 presents electroacoustic composer and installation artist STEPHAN MATHIEU, whose highly textured opening drone APRIL IM OKTOBER bears all the hallmarks of a pop ambient classic, stealthily weaving in layers of sound and moving fluidly between territories. The man clearly knows what he's doing - after all, he has worked with luminaries like Taylor Dupree, Ekkehard Ehlers, Janek Schaefer or Sylvain Chauveau (see also Pop Ambient 2009). Meanwhile, THE ORB show off the full extent of their experience in the field and have their own little ambient collage opera going on in ALPINE DAWN - a slight detour from their beat-laden full-length MOONBUILDING 2703 AD (KOMPAKT 330 CD 124), but just on that same level of masterful sonic dexterity.

Moving forward, SCSI-9's ANTON KUBIKOV builds momentum with a sweet melody slowly evolving to the atmospheric backdrop of a light synth rain, while MAX WÜRDEN imagines a dreamy, yet twisted underwater world with lots of space to get lost in. He later returns for a collaboration with THORE PFEIFFER (not on vinyl), the other newcomer hero from Pop Ambient 2015, and the result is a fascinating amalgamation of both producer's distinct sonic sensibilities - the grittier, drone-based approach from Würden and Pfeiffer's penchant for roaming samples and skewed loops. Another dedicated collab comes from SICKER MAN & GREGOR SCHWELLENBACH who team up for string-infused, cinematic epic TURNS.

Longstanding Kompakt ally MIKKEL METAL presents the surging TITAN, followed by LEANDRO FRESCO's magistral rework of DAVE DK's VEIRA from his VAL MAIRA album (KOMPAKT 326 CD 121). A very special bonus adventure can be found in THORE PFEIFFER's "megamix" of WOLFGANG VOIGT's RÜCKVERZAUBERUNG (not on vinyl) - an entire concept series succesfully reimagined as one sweeping cut. JENS-UWE BEYER continues his expeditions into hypnotic, semi-acoustic soundscapes on THE BREMEN, transitioning into the windy mountaintops of LEANDRO FRESCO's mysterious, multi-layered CONFIGURACION DE ATAQUE (not on vinyl). THORE PFEIFFER has the honour to conclude POP AMBIENT 2016 with the appropriately titled IDYLL, a soothing, swirling synth study giving the listener ample opportunity to return to mundane reality at his own pace.

Chris Alexander: Musician, Director and former editor of Fangoria presents this, his first album in quite some time, remastered and rejigged for vinyl by us here at GDHQ. The soundtrack for your bleak midwinter. Dark as space, drugged-out helltracks for paranoid dreamers and night-fantastists. Spooktactular art by Eric Lee, Mastered by Alek Stark.

Drew McDowall's back story reads like a primer of psychedelic fiction woven into statements of the unbelievable, superhuman and outright insane. Somewhere in the chaotic madness, comes an artist such as McDowall with total control and absolute calm within his songs and artistic method.

Growing up in the gangs of 1970's Scotland, Drew McDowall started to shy away from the daily violence once punk took hold of the counterculture youth. Drew McDowall quickly scrambled to form his own punk band in 1978 with his then wife, Rose McDowall, called The Poems. Shortly lived, the Poems released a single and various tracks but more importantly, the band allowed McDowall to network with other local musicians in Glasgow, such as Orange Juice, and allowed him to travel down to London thus forming friendships with Genesis P-Orridge, David Tibet and countless others, bringing Drew into the fold of the experimental revolution happening in the UK brought upon by Throbbing Gristle and executed by bands such as Psychic TV and Current 93.

During the 1980's, McDowall found himself in the ranks of P-Orridge's Psychic TV and collaborating with the mysterious duo comprised of former Throbbing Gristle creator Peter 'Sleazy' Christopherson and the enigmatic John Balance who had been creating esoteric and progressive electronic music under the title of Coil. It was during his formative collaborations with Coil that McDowall saw himself shift from occasional contributor to austere full-time member of the arcane outfit. McDowall's impact on the band's sound was apparent as the releases transformed from their previous avant pop signature to a more complex and methodic electronic imprint accompanied by even more abstruse subject matter than previous years. McDowall would continue honing his compositional skills with Coil until the release of the band's two most broad-minded albums, Astral Disaster and Musick to Play in the Dark.

The past decade, Drew McDowall found himself living in New York City and re-appropriating himself within the local music scenes he found himself contributing to. In 2011, alongside his friend and collaborator, Tres Warren (Psychic Ills), McDowall found himself exploring his passion of meditative drone and abstract sound patterns in their project Compound Eye. In recent times, McDowall's production work has provided the music world with some of the most outstanding remixes for bands such as Nine Inch Nails, Azar Swan and Long Distance Poison as well as his well-received scores he composed alongside artist Tamaryn for the works of Bret Easton Ellis. Outside of his collaborative duties, McDowall formed an audience as a solo artist, playing countless performances and showcases around New York's electronic music haunts.

Dais Records approached Drew to solidify his standing as a leading electronic musician with the recording of new material neatly wrapped up in his debut album entitled 'Collapse'. Recorded in 2015 in Brooklyn, NY, McDowall's synonymous modular synthesizer compositions are augmented by obtuse sampling cut-ups and contributions from Nicky Mao (Hiro Kone / Effi Briest) rounding out the lumbering sequential knot work that has become synonymous with McDowall and craft.

Born 31 years ago in Geneva (CH), Pascal brings his gritty mellow tones and extra shuffled patterns to the Traxx Underground familly. Strongly routed into jazzy vinyl samples, black speaches and spatial atmosphers, the 3 tracks composing « Wise Man's Decision EP » take inspiration from the past to showcase a true vision of what Slow-Deep-House should be in 2015. At last but not least, the great Fred P came to make his hands dirty, delivering a true reshape of "Wise Man's Decision", offring us a tunnel from where it aint easy to escape.

One half of Scottish duo Clouds, Perth Drug Legend tear off a solo EP of rugged, apocalyptic bloke-techno. Stunners, all of them. Freak genius at work.
What more can be said about Clouds, young prodigies who have put out as much innovative techno in the past few years than anyone. The story takes a twist with a wealth of material being released by PDL, hot off a remix of Tiga's Bugatti and releases on Resin and Westend Communications. The sound is reminiscent of Ghost Systems Rave, but there's the feeling that things have gotten even more refined, something that smacks of a real subcultural movement.

Opener Balquhidder Ruins is a stomping gate-crasher, the tempo pulled back just enough to feel the grit of industrial funk, everything restrained to it's bare essentials. Monzievaird swings heavily around a few twinkling bleeps, sparse, chunky kicks that thunder through the greased hats. Pushing things even more into the dark corners with overdriven, haunting resonance is Clackmannanshire Crusaderz, which sounds like the soundtrack to being blacked out on the ground in a Berghain tunnel. Thisistullohnottibetpal adds a mystical, multi culti dimension with some mountain flute inexplicably soaring through the air before a bell breakdown zens things into a forceful yet tranquil climax.

If that madness weren't enough, there's a digital bonus track which is an absolute bomb if you're into lower tempos and hip hop inflected bangers.

Stunners, all of them. Freak genius at work.

Das Debütalbum - TRUE steht weltweit bei über 1,7 Mio. Units (davon über 200.000/Platin in
Deutschland)Der Singlehit - WAKE ME UP steht bei 13 Mio. Downloads + 900 Mio. Streams weltweit
Über 3,7 Milliarden Audio- und Video-Streams gesamt. 15 Tracks inkl. der Hitsingle - Waiting For Love
und den neuen Singles - For A Better Day / - Pure Grinding .Topliner u.a.: Chris Martin von Coldplay
Wyclef Jean & Matisyahu, Mike Posner
Musikrichtung: Dance-Pop

Repress!

As Sure As Night Follows Day is Russell Haswell's landmark second album for London's Diagonal Records. Consolidating a quarter-century at the coal face of extreme computer music, techno and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date — zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor.

The album was extracted over a fast-working period in late 2014, and is best perceived as a sort
of fractured regression to his formative influences: you can hear the picnoleptic recollections of
grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse,
the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of
Mills and Hood in that early 90s phase.

Fortunately for the ravers, this album includes some of Haswell's most direct dance floor attacks to
date. 'Hardwax Flashback', for instance, finds him in pure tekno panik mode — a four-to-the-floor
wrecking ball groove that someone, somewhere, may even be able to mix. 'Gas Attack' distils his
penchant for all things Belgium into a vicious strain of New Beat lactic acid. Haswell then doffs his
cap to Detroit electro legends Drecxiya on 'Underwater Electronic

Struggle' — a story goes that he once thrashed a jet-ski all over the Mediterranean while listening
to 'Wave Jumper' in his 'phones — before he does the salty freestyle electro flex 'ting on 'Industry
Knowledge (For Oscar)' while reminding his trusty apprentice, Powell, that he still has a lot to
learn. In between these 'floor-flexers, we find more freakish disturbances and intrusive drum-box
improvisations: the modular mind-floss of 'Rave Splurge Noise' or 'Noise Rave', for instance, or the
self-explanatory 'Improvisation #1'. 'In The Air

Today' investigates warehouse-ready electro-acoustic percussion, while the chaotic clusters
of 'Interlude' swarm and invade your senses with psychoacoustic incision. This is Diagonal and
Russell at their most f**ked up and fizzy, and an important reminder of the artist's stream-of-
consciousness genius — and the pressing need for more chaos and unpredictability in electronic
music today.

Finale Sessions is really pleased to launch new series Finale Sessions Limited with Berlin up and coming act Arcarsenal. Duo comprised of Alan Mathias and Etienne Dauta, both founders of Bass Cadet Records and its dedicated vinyl store located in the heart of the german capital, they are also active members of the large Underground Quality family. Arcarsenal have already started to establish themselves as proponent of a crossover sound, mixing many influences from jazz, house, ambient to dub and techno. They are always giving a prominence to jam, improvisation and textures work in their studio routine. This EP called « Dark Skies & Wetlands », even if slightly grittier than usual, is no stranger to the rules of the duo. The opening track « Different Planet » is an epic dark deep house cut which develops itself over a course of 8:40. Starting with a stamping ground bassline and hazy atmosphere, the track opens up with synth attacks, dub echoes and slowly brings in a blissful melody that ends up linking all the elements. « Substance Of Arjuna », the following track on the A-side, is a-contrario a short but intense ambient work. Shot in one take, this subtle cut showcases the kind experimentations that Mathias and Dauta can end up doing late at night in front of their machines. The b-side of the EP leaves all the space to « Racoons », one of the weirdest and yet most powerful work of the duo to date. Tribal techno could be a short try to define what they achieved here, but the track goes far more than this. Built on a gritty mental acidic bass and a huge drum kick, the frenchmen bring over aggressive synth work that could sound like an orchestra on rehearsal, pachydermic screams or an overdriven guitar larsen. Underlined by a complex percussion pattern recorded live in their nest and chopped up to the best effect, the track ends up in a looping transe from which the listener might not leave in a normal state.

Following almost two years of driving bass music promotion, in the form of compilation albums, free download round-ups, reviews, guest mixes & mix series CDs, the time has come to transcend from what first began as an online blog into our very own music label. After working with renowned artists such as El-B, Quest, BunZer0 and Phaeleh, as well as fellow promotional platforms FatKidOnFire & Deeper Vibrations - the Albion community has developed and grown to become recognised across the board of the bass music spectrum. This extension of our brand will help in pushing this music even more, enabling us to curate a fundamentally diverse sound beside the culture that we so passionately enjoy.The launch of Albion Collective Recordings is to be set in motion with In Pieces, a collaborative down-tempo effort conceived between Vaun and Jafu which is radiant in textural soundscapes. This particular piece has been doing the rounds as a clip on Deeper Vibrations' YouTube channel since 2013, inducing longing excitement for the song to finally surface.
Bristol based Daniel Brown, aka Vaun, has prospered into one of the scene's most prolific producers, covering multiple styles and turning out numerous releases for MindStep Music, Redshift-One and Soulstep Records. After recently hinting at the imminent release of an album, Brown can also reap in the keepsake of ALBION001 alongside Canadian artist James Fuller, aka Jafu, who likewise has blossomed astutely alongside his soulful Chord Marauders collective.In Pieces falls somewhere amongst immersive trip-hop and jazzy 2-step, an affectional arrangement that makes wonderful use of Marvin Gaye's a cappella in his classic Sexual Healing. The composition will certainly induce healing of the cerebral kind, with its stripped and delicate percussion work, dubbed out horns and soothing string sections. Encapsulated within Vaun & Jafu's musical offering is our label's statement of intent. That is, to champion unique music that emanates elegance such as this collaboration - and such as J.Sparrow's remix treatment. Ryan Wild aka Jack Sparrow, a Deep Medi Musik signee and one half of dubstep extraordinaire duo Author, has granted the scene with his tenacity to build profoundly stunning electronic music. Wild has the tempo notched up for his In Pieces edit but remains true to Vaun and Jafu's approach in the sense of its lavish spatial touch. The atmospherics breeze over with a soft vibrancy, as the electronic guitar solo recording from the original plays over the initial main section charmingly. This is all resulting in a simply sumptuous mix which goes right up there with his top drawer remix work for Annie Drury and De Niro & Y. To compliment J.Sparrow's sublime contribution and to also complete the package, the Black Butter Records assosciated and Bristol-based outfit Sly-One have whipped up an outright banger of a remix. Joe Cannon, Dave Constant and Oliver Read can already boast an admirable set of releases in the four years since they've joined forces, featuring on Shifting Peaks, Lost In Translation and 877 Records. Add that to a rude collaboration with fellow Bristol head & rasta emcee Buggsy and a remix for Bad Mojo on Meanbucket, Sly-One had clearly meant business from the offset - and have shown absolutely no let up for us at Albion Collective. Served with a side order of the trio's classic subtle cowbell hits, their 2-step/bassline fusion works wonders with the vamped-up vocal sample and is ready and waiting to rumble clubs & festivals for this summer and beyond. Early DJ support for the release has been noted from artists including Phaeleh, Quantum Soul, Thelem, J. Robinson, Walsh, K-Man, Nanobyte, Syte, Trashbat, Majora and D-Operation Drop & Foster. Radio airings to date stand at Sub FM on the BunZer0's legendary FOB Show, BBC Introducing showcased the release and Monki played the Sly One Remix on BBC Radio 1 Extra. The almighty
Dubstep duo Truth added the J.Sparrow Remix to their recent 'Chronicles' mixtape on Soundcloud, which was posted to their 75,000 plus following, Biscuit Factory Records owner and dubstep legend Walsh opened the edit on his latest podcast and J.Sparrow is set to showcase the version in a mix for the iconic Deep Medi label. Support is confirmed from digital publications such as FatKidOnFire,
GetDarker, Trusik and MTV Wrap up, which will involve a number of featuresm reviews, track premieres and artist spotlights. A review will also be printed in November's edition of Mixmag on Tomas Fraser's Grime/Dubstep page

Following up his debut album 'Emergence', Prague based producer, beatmaker and all round good guy Hybris is back on Noisia's Invisible imprint.

A perfect foil of Hybris' trademark quirkiness vs dancefloor this delivers on every level.

4 Track vinyl with download code included to get the full digital album for free including all 11 tracks.

massive support from DJs in the world of Dubstep & Grime including: N-Type, Youngsta, Spyro, Plastician, Coki, Hatcha, Icicle + more.




Digital Tracklist

1. LX One - Fire Signal
2. LX One - Watchers
3. LX One - Roll Out
4. LX One - Oddity
5. LX One - Motions Feat Segilola
6. LX One - Cloud City
7. LX One & SP:MC - Kingsland Dub
8. LX One - Digital Mind
9. LX One - Get Them Hype Feat Illaman
10. LX One - Amnesia
11. LX One - So Gully

Until December last year music was simply a hobby for Alex Crossan, aka Mura Masa. He may have had 7 million plays and 30,000 followers on Soundcloud but the 18 year old Channel Islander had never played his music live, DJ'd or even been to a gig himself. He had just started an English degree at Sussex University and was happy playing guitar and bass in function bands.
It was an email from Jakarta Records that changed everything. The Cologne-based label (previously home to Kaytranada, Iamnobodi and Sango) felt Mura Masa's mixtape 'Soundtrack To A Death' was too good to sit on Soundcloud and persuaded him to release it with them.
The following 3 months were a whirlwind, with 30 spins on Radio 1, a sold out debut show & a top 5 position on the itunes electronic chart in the UK and US. At one point Mura Masa had 4 tracks in the HypeMachine top 50 and remix requests from Ed Sheeran, Ellie Goulding, RL Grime and iLoveMakonnen in his inbox, whilst still juggling his degree.
So as Mura Masa prepares for his first official EP release the stakes are very different and he has upped his game accordingly. As well as the sampling for which he known, Mura Masa plays live piano, guitar, drums and even sings on Someday Somewhere. He is keen to show that he is a musician and songwriter as well as a beat-maker and has called on new friends Nao, Denai Moore and Jay Prince to feature on tracks.
Paul Epworth (Producer for Bloc Party, Adele, Santogold): 'That 18 year old is taking over the world right now and he's just delivering the most deeply textured music around, we have got such a talent on our hands in the form of Mura Masa and i think the UK has finally got our very own Kaytranada and it's not beyond him to overtake that, so good, ridiculous....