Suche:group a group a ep

Group is a project with its own sound and a gradually expanding style, and Seedman perfectly reflects these attributes. With 160925_1145, the first cut on side A, the ritualism he has previously exhibited on other albums such as Esoteric Free Afrika, or more recently with Broken Faces, is somewhat apparent, due to the slow cadence, steady rhythm and tribal arguments. 160205_1066 is created from another perspective, however, it is not what it seems because from the first bars there is a syncopated and constant rhythmic pattern that places you in an industrial scenario, and gradually a simple two-tone melody appears that completely changes its initial musical context. 170218_1475 moves between an industrial and dark ambient concept, as it mixes gloomy atmospheres with deep breaks.

The sonic properties of 160131_0683, the cut that opens the B-side, connect with an unexplored environment, with a new, recently discovered and inhospitable scenario, since among other things we can appreciate sounds of machines, radio signals, filtered and choppy voices, combined with disturbing acoustic phenomena. 170213_1455 is a track that describes quite concisely the creative sense of Group, and for this we must take into account that it could be catalogued as a techno production, with groove and aimed at the dancefloor, however, he manages to minimise all these factors by giving it a volatile and atmospheric aspect. 170105_1398 closes the B-side of the vinyl, returning once again to the tribalism and ritualism that characterises many of Group’s productions, given that on this occasion his rhythm is not diluted, it has much more presence and manages to generate a hypnotic state.

In addition to these six tracks that make up the entire vinyl tracklist, Seedman also presents a couple of bonus tracks in digital format. And the first of them, The beast11, already arouses curiosity because its title is not due to a sequence of numbers, as is usual in this project. Musically, it once again shows Group’s ability to adapt any environment to a sonic degradation very much in keeping with his style. 150407_0166, the last track on the album, is an ode to chaos, a hodgepodge of frequencies devoid of rhythm that appropriately serves as an outro.

Kulku return to Phase Group with the release of their new album ‘Reset To Be’.

Formed in Berlin at the turn of the millennium, Kulku have evolved as a highly unique and free-formed collective of musicians that make trance-inducing, jazz-entwined, percussive and soulful (mostly) acoustic music that takes cues from the rhythmic propulsion of Jaki Leibezeit’s Can, the street-folk of Moondog, the minimalism of Steve Reich, and the droning rock n’ roll of the Velvet Underground, forming a sound that they themselves have coined ‘No-Age Krautrock’.

Following on from last year’s sold out debut LP ‘Fahren’, ‘Reset To Be’ offers 5 new songs across 2 sides of vinyl. This is a record that perfectly showcases the unique identity the band have been developing over the past 20 years, a sound crafted through experimentation and innovation with primarily acoustic instruments; droning harmoniums, repetitive and phasing xylophones, timpani, cello, scrap metal and woodwind reeds, all sitting alongside soulful saxophone and the voice of frontman Andreas Riska, singing in both German and English.

‘Reset To Be’ is a truly special offering that we’re proud to be able to share with you on Phase Group. The album will be available on April 30th 2024 on vinyl and digital, with distribution via Bordello A Parigi.

The early-mid "80s had their share of insane combos -- The Birthday Party, Black Flag and Minor Threat had the raw power to melt your mind in seconds. SWANS, Einsturzende Neubauten and Big Black created enough overwhelming sonic pressure their sounds might actually flatten you. And Sonic Youth displayed such a dizzyingly unpredictable mix of art, pop culture and violence you"d sometimes leave their shows drooling. The Buttholes shared elements with all of these groups, but added an insane psychedelic edge and a propensity for bizarre spectacle. "PCPPEP" was the first to feature the power of the band"s classic two drummer line-up (King Coffey and Teresa Taylor). The synchronized percussive brutarianism of this pair (falsely rumored to be siblings) provided the perfect base for the unhinged blurt of the guitars and vocals then being shared by Gibby Haynes and Paul Leary.

TPG long term friend and homeboy Ben Oyefeso pulls out a trio of double-jointed cuts for the club and not, the German producer's debut EP ‘Lagerfeuer’ packs that left-of-centre house punch that’s come to define the label throughout the previous ten releases and certainly more than just that. Cutting his lane at the junction of oddball party music and deconstructionist boogie, Oyefeso’s maiden sortie floats like a butterfly and stings like a bee. A weird, buzzing slab of body-jacking electronics that doesn’t play by the book.

An off-road bouncer of a track, the opening number ‘Matt’ has us nodding our heads to a high-in-vitamin mix of jacking house programming and erratic acid patterns gone astray. Knee deep in 303-marinated puddles of psychedelic squelch, Oyefeso keeps swinging the pendulum between a proper syncopated 4x4 motif’d framework and frantic digressions into an abstract-leaning headspace.

A2 ‘Kool’ opts for a further sliced-and-diced rhythmic line of action, generously infused with twisted Rephlexian phrases and sustained waves of micro-house clicking. Topping off that strange journey, the title-track ‘Lagerfeuer’ merges polyrhythmic intricacies with a forward-moving, earwormy kind of linear groove, all laced with a spooky baseline that stretches out into a purgatory of frankly eerie dissonances. Enough with the words, just jump on board Ben Oyefeso’s ghost train for a seriously tortuous, nonconformist ride across dance music’s jagged ridges and most secret crevasses.

Cumgirl8 met in a sex chat 8000 years ago in another metaverse. Made up of Lida Fox (bass), Veronika Vilim (guitar), Chase Lombardo (drums) and Avishag Rodrigues (guitar), the band render the immersive and chaotic energy from cyberspace into our world, coming together to make a boundary-less sound that brilliantly stretches across the likes of ESG, Cocteau Twins, Suicide, CSS, B-52s, The Shangri-Las, Chris & Cosey, Madonna, and many more.

For their ninth iteration, Hamburg's The Press Group punches back in with the sizzling hot debut to a VA series bound to scout and shed a broader light on exciting artists from various territories and backgrounds.
Pulsating to the bone, "Future Prospects vol.1" showcases a quartet of heaters courtesy of Germany-based Robert Dietz and Aii PS on the A-side and Kyiv-based Vlad Stuparenko & Ghetto Sunrise plus Sasha Zlykh on the flip. Either sides of the
disc inbound for optimal and non-pareil impact on the dance floor. Dietz's "Salbung" paves the way old-school style, grinding everything from lethal breaks to rowdy drums, via lysergic synth flights straight out a wild sci-fi scenario.
Aii PS' bouncy and oneiric contribution "Donteven" is more of a low-slung affair with its mischievous fusion of filtered synths and acid-informed bass spurts painting the sky all shades of radioactive green.
Flip it over and Stuparenko/Ghetto Sunrise's stealth, aqueous weapon "Pine Water" ushers us in a corridor of groove-enslaved echolocation, delayed stabs and propulsive bleepin' n bloopin' from the depths. A further dusty, shuffling affair
blazing with clanky hats on a Chicagoan tip and futuristic electroid inflections, Zlykh's "Pidozepam" tops it all off in implacable fashion, casting a spell of exquisitely thrilling menace upon the ravers.

'Universal Deluge' marks a significant shift for Ethan P. Flynn and is the by-product of an intensely fruitful creative few years. His unique songwriting craft, ear for production, and versatility have already seen him work with a diverse host of familiar names, including David Byrne, Celeste, and Black Country, New Road. He also co-wrote several songs and performed on FKA twigs' hugely acclaimed album 'Magdalene' and most recently collaborated with esteemed experimental producer Vegyn on the single 'Superstition'. Created over a three-year period, 'Universal Deluge' showcases the depth and breadth of Ethan P. Flynn's distinctive, multi-faceted production methods. Building on the success of his debut album B. Sides & Rarities Vol. 1, the Universal Deluge EP plunges into the darker side of experimental pop. Combining electronic experimentation with stripped-back acoustics, it is a further example of the swirling, psychedelic lo-fi masterpieces Flynn conjures. A sound which has seen him described "as great as Bowie, I'm just waiting for the world to see it... he's a legend in the making" by UK rapper Slowthai. Speaking on the newly released single 'Father of Nine', Ethan P. Flynn says "This song is about complex family relationships between people who haven't met each other. It isn't necessarily a love song at all. There's an urge to feel a kind of affinity with your ancestors but a lot of them were probably really terrible people. I was also thinking about how many weddings had to happen in the past for a person to exist- like an incomprehensible amount of weddings led to your birth."

ARIA & BET nominated rapper and artist Tkay Maidza has announced the highly anticipated follow-up to 2020's Last Year Was Weird, Vol. 2 (The Needle Drop's #1 EP of the Year). Last Year Was Weird, Vol. 3 is the final act of Tkay's EP trilogy. Featuring eight new songs produced by long-time collaborator Dan Farber. To coincide, Tkay has dropped the new single 'Cashmere' and its dreamy, pollen-filled video directed by Jasper Soloff (Tinashe, DJ Khaled) today. 'Cashmere' and its smooth R&B is a satisfying counterbalance to its bombastic predecessors 'Kim' and 'Syrup'.

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to ist collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a fi rm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World. And with this new master, it’s never sounded better too.

A Knight On A Horse,
Riding A Rocky Path,
His Dog Next To Him,
Meets Death On His Way,
In The Background A City.

Last year's On the Corner underground smash release, the 12' EP Santuri's Embaire Umeme, introduced Uganda's Mugwisa International Xylophone Group (M.I.X.G) to the world.
The recordings center on the Embaire, a giant xylophone native to Ugandan folk music, which is dug into a pit for a natural, earthy bass resonance as gargantuous as the instrument itself. The instrument performs a key role in village life, with ceremonial playing sessions lasting for hours on end.
These recordings may be esoteric in nature but they add important context to the Santuri's Embaire Umeme 12' and are a vital documentation of the Iganga village's culture, as well as that of Uganda. Jones has artfully chopped the epic session into a series of short evocative chapters to create a pioneering masterpiece. Remix duties are led by Griot House innovators, The Diabolcal Liberties, who have raved-up some Sun Ra frequencies for the cosmic junglist crew.
Last but never least, Victoria Topping has created beautiful artwork using the session photography taken by Jones during the recordings

12" with transparent sleeve, 180g Vinyl The Press Group's new issue is a tale of lost love and broken hearts. 'Blaine Mcconchie' is a con-stantly evolving minimal-heyday-inspired trip through bleeping artifacts driven by an organ chord, while on the flipside 'Dog Park' is a classic groover for lush summer evenings. On B2 Frankfurt's Phil Evans gives 'Blaine Mcconchie' his treatment taking the central melody and building a sparse rhythm workout around it.
Third 12" from The Press Group co founder Rupert Marnie including a remix by Phil Evans (Pager Records/GOSU)

12" with transparent sleeve, 180g Vinyl First 12 from The Press Group from co founder Rupert Marnie
Hamburg based label The Press Group spreads 300 copies of fine, raw and modern house cuts. 'Masala EP' is not only the labels first release, but also the debut of Press Groups co founder Rupert Marnie. The record brings three tracks for the dancefloor. Starting with some dubbed out 115bpm, followed by more peak time friendly material to a melodious track for after hours.

Perc Trax is proud to unveil the 2nd 12' to be taken from Forward Strategy Group's debut album 'Labour Division'. Since its release at the end of May the album has received across the board DJ support and press coverage with a 4/5 review from Resident Advisor and even a full page in the Guardian about FSG and Perc Trax. The album has also had launch parties in Amsterdam and London and has seen the FSG guy's crossover outside of techno to be featured in the wider music press including The Quietus and Stool Pigeon.

This 2nd 12' rounds up some of the most popular tracks from the album giving them the vinyl release they truly deserve. First up is the most popular club track from the album; 'Elegant Mistakes' where raw industrial sounds meet with broken beats that hint back at classic UK hardcore. Completing the a-side is album opener 'Ident', one of the LP's most melodic moments and proof, if it was ever needed of Patrick and Al's wide ranging influences and production skills.

The b-side opens with 'Nihil Novi', an album favourite that appeared on the first Labour Division 12' as remixed by Factory Floor. Now the original mix appears on vinyl and it's echoing, slow-morphing stabs sound as cutting as ever. A DJ favourite since it was initially promo'd, it now sounds even better on vinyl. Closing the EP is a re-edit (sarcastically called a 'radio mix') of 'Metal Image', where a world of atmospherics opens up on top of a slow droning kick drum. A perfect set-opener or mid-set Dj tool it is demonstrates the variety that is on show across 'Labour Division' and is one of many reasons for the albums excellent reception.

"In 2021, we started the Mdou Moctar mixtape series. These releases compiled field recordings, cell phone voice memos, interview clips, conversations captured in the tour van, and blown-out board recordings from shows all over the world. As a continuation of those mixtapes, we present the Niger EPs, which examine the roots of the Mdou Moctar band. Early Mdou recordings were contained on cassettes, though the humble tape was soon replaced by the quick and easy facilityof cell phone technology. Long bus rides are common in West Africa. On one of these rides, you might be seated next to a stranger and ask "what are you listening to?", then a song exchange would begin over Bluetooth. This is a very real way artists found their music distributed far from home. In that vein, the Niger EP series features solely recordings taped in Mdou Moctar"s home country of Niger. Volume 1 begins the series with a mix of recordings from 2017- 2020, documenting the band at weddings, picnics, rehearsals, and even impromptu house concerts. A must have for any Mdou Moctar fan!" - Mdou Moctar bassist Mikey Coltun

"In 2021, we started the Mdou Moctar mixtape series. These releases compiled field recordings, cell phone voice memos, interview clips, conversations captured in the tour van, and blown-out board recordings from shows all over the world. As a continuation of those mixtapes, we present the Niger EPs, which examine the roots of the Mdou Moctar band. Early Mdou recordings were contained on cassettes, though the humble tape was soon replaced by the quick and easy facilityof cell phone technology. Long bus rides are common in West Africa. On one of these rides, you might be seated next to a stranger and ask "what are you listening to?", then a song exchange would begin over Bluetooth. This is a very real way artists found their music distributed far from home. In that vein, the Niger EP series features solely recordings taped in Mdou Moctar"s home country of Niger. Volume 1 begins the series with a mix of recordings from 2017- 2020, documenting the band at weddings, picnics, rehearsals, and even impromptu house concerts. A must have for any Mdou Moctar fan!" - Mdou Moctar bassist Mikey Coltun

Monaqee are multi instrumentalist / pianist Bencze Molnar and producer Jules Hiero.
Vanis is a bassist based in Budapest, deeply rooted in the city’s vibrant underground culture.
Bencze and Vanis are members of the jazz fusion group Jazzbois.
Being rooted in the underground hip hop and jazz scenes,the artists started this project to create a distinct sound, blending jazz, hip hop and lofi elements in a sophisticated way, that stands out from the crowd.
The only feature on the Album is from Domenico Lancellotti, a pioneer of Brazilian beat culture.

Robo Wars is a project born from three years of spontaneous sessions in Budapest. Over this time, the trio captured their best moments, weaving them into a smooth tapestry that blends jazztronica, hip-hop, and lofi beats into an analogue experience. Driven by electric bass, drum machines, and an arsenal of synthesizers including the Prophet, Juno, Moog, and the new UDO designs, Robo Wars feels alive, raw, and deeply musical.
Each track breathes improvisation:
Most of the material was captured live during jam sessions, with only minimal overdubs. The result is a project that preserves the spirit of freestyle creativity, much like a true jazz performance, later sculpted into structured songs by Jules Hiero.

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.