Last Days debut, 'Sea' told the story of one man's journey. Now with his 5th album, 'Seafaring', Graham Richardson returns to the sea to examine a range of vocations and exploits adrift.
Drawing inspiration from shipping routes, to Ernest Shackleton and his crew's ill-fated voyage on the Endurance, to families being disjointed and reunited, Seafaring goes some way to hint at what the oceans present to us. Seafaring reflects on it's subject matter by coherently linking moments that are minimal and still, to those that are compelling and cinematic.
Seafaring will be the first Last Days album pressed on vinyl and will be available in white or clear as well as digipak compact disc
Suche:h man
A very expected release is finally unveiled, cold colors new ep 'leave this world behind'. this one-man project is without any kind of doubt one of the leading synthwave acts of france, frédérick barbe proved himself as a truly master into create hypnotic soundscapes on his fully analog recordings. 'leave this world behind' represents his fourth ep and again shows us what 'minimal melodic synth' music should be; perfect bass sequences, clear drum stems and that catchy cold colors pads. all tracks mastered and remastered specially for vinyl by eric van wonterghem at prodam studio (berlin).
- A1: Metled Mirror - Subway Moonlight
- A2: So What - Enter The Batcave (And Dance)
- A3: Iamtheshadow - Everything In This Nothingness
- B1: This Cold Night - Circuits
- B2: Spleen Xxx - The Possessed
- B3: Factice Factory - Extinguisher
- C1: Jean Balan - Broken Eyes
- C2: Frio Y Vacio - Perdidos
- C3: Imiafan - Legy A Falon (Alien Skull Paint Remix)
- D1: E.i.s.h.a. - Cold Reflections (Version Ii)
- D2: The Parameters - 121221
A very expected release is finally unveiled, cold colors new ep 'leave this world behind'. this one-man project is without any kind of doubt one of the leading synthwave acts of france, frédérick barbe proved himself as a truly master into create hypnotic soundscapes on his fully analog recordings. 'leave this world behind' represents his fourth ep and again shows us what 'minimal melodic synth' music should be; perfect bass sequences, clear drum stems and that catchy cold colors pads. all tracks mastered and remastered specially for vinyl by eric van wonterghem at prodam studio (berlin).
Following a number of exciting tunes released on the renowned Quintessentials, here comes Mat Chiavaroli's first long-player 'No Stranger To Madness". Warm Fostex tape hisses and MPC swings, the guy from the Pescara hills delivers 10 tracks for both your dancing and listening pleasure. The A- and B-side tracks are drenched in dusty funk samples, gritty chords and syncopated rhythms. In 'Aroma De Mi Vida' Mat chops obscure Rhodes riffs and layering them with more elements, just like in 'Whoja Vu", a heavy-sampled disco juggler very close to his previous Quintessentials releases. On the flip we find some deep chords melting with powerful gospel vocals, giving life to a track that annihilates boring dancefloors. There's a similar vibe in 'Jeep Ridaz' that reminisces about seminal Atavisme classics with broken detuned bits and agitated cut and pastes give a sense of randomness. The second part of this album shows Mat Chiavaroli's deeper side. 'Double Pain' is a tune that progressively brings you to many aspects of what Mat loves: saturated female vocals stick out while gloomy chords gently develop. 'Storia Losca' has a slightly different attitude with a huge synth presence, live percussion and dreamy pianos. The D side opens with 'The Quiet Bobobo", a distorted floor delight and ends with something closer to Mat's early music, disclosing a fresh collaboration with the young studio fellow P.Lok. 'No Stranger To Madness' fits many bills and is an impressive proof of what Mat's musical ability is.
Disco Fruit's sister label is coming. Please welcome to "Hellcat Tunes" ! Label will be dedicated to release quality house tunes in many styles. Tonbe (label owner) has reserved first release for the well known Canadian DJ, producer and labels owner (Kinjo Music and Editorial) Dave Allison. Montreal maestro brings 4 wonderful jazzy, slo mo, deepy, housy tunes for the start of new label. These tunes are already released in digital on Dave's Kinjo Music on several EP's.
For our second release we brought back to life African movie soundtrack "Ceddo" - composed by one of our favourite African artists, Manu Dibango. 6 tracks full of Funk. With a great story behind.... now it's getting a full vinyl re-issue!
"The film takes place during the 17th century : period of slave-trading and of the introduction of Christianity and Islam in West Africa. The adherents of these religions all desired and hoped to pack their buildings, mosques or churches,by whatever means necessary. Arms and alcohol began to appear, as well as shoddy godds --- gadgets from another era. Anyone with a rifle tracked down and trated men, women and children. Man became money. After having converted the royal family and government dignitaries, the Imam encounters the refusal of the "Ceddo". For the Ceddo, adhering to Islam or to Catholicism would mean renouncing African spiritualism, giving up being themselves. To accomplish his goals, the Imam usurps the throne with the complicity of the dignitaries --- similar to the coups d'Etat of our days. Combining spiritual and temporal power, the Imam reduces the recalcitrant to slavery in exchange for rifles. He obliges the others by force of arms to accept Islam. Ceddo is a film of reflexion, birnging together bits and pieces of facts and authentic events that took place in a period spanning the centuries up to the present day."
Something special: Frenchman Sebastien Bouchet is launching his brand-new Sebastopol project. New name, same deliciously deviant electronica: his debut is compiled with serious detail and a cool coherency of humanised textures, trippiness and barbed, shadowy soul.
'Assassin' shoots to kill with its pranged-out toplines, gloriously wonked-out bass hooked and slurred vocal elements while
'Manethon' trips out on a broken note and melts into one of Sebastien's most magically far-out breakdowns to date.
The remixers echo his unique creativity with two suberb versions: Alessandro Adriani whips up dense layers of psychedelic tech on 'Assassin', while Privacy adds a gritty physical crunch to 'Manethon'. Bringing the whole package together with a range that will resonate with all corners, this signs the start of a whole new chapter for Sebastopol. We can't wait to hear what he brings next.
- A1: New Sunshine
- A2: Otims War
- A3: Like A Football
- B1: Killing Ghosts
- B2: Happy Birthday Wonder (Acholi)
- B3: Abbanna Kange (Children Of My Father)
- B4: Essembi (Money)
- C1: All This Blue
- C2: Amadinda Eyeball
- C3: Kampala Auto Chase
- D1: All This Blue
- D2: Amadinda Eyeball
- D3: Kampala Auto Chase
2x Colored Vinyl[27,19 €]
Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision.
This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.
Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few.
Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more
- A1: New Sunshine
- A2: Otims War
- A3: Like A Football
- B1: Killing Ghosts
- B2: Happy Birthday Wonder (Acholi)
- B3: Abbanna Kange (Children Of My Father)
- B4: Essembi (Money)
- C1: All This Blue
- C2: Amadinda Eyeball
- C3: Kampala Auto Chase
- D1: All This Blue
- D2: Amadinda Eyeball
- D3: Kampala Auto Chase
2x Black Vinyl[21,81 €]
Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision. This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.
Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few. Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more
Horse Follows Darkness is the second record by Delia Gonzalez, her follow up to the album In Remembrance'.
The title is taken from a werewolf genre film her 8 year old son Wolfgang had created. At this time, Wolfgang also turned Delia onto a genre of cinema she had always resisted - the American Western.
Delia explains that what she observed was all relevant - the album is based on our personal experience of moving back to America (from Berlin) and the journey that followed. The record is a manifestation of that, and what one creates for themselves under the given circumstances. Coming back to America, I felt like a foreigner and NYC / America felt like the Wild West. Most Westerns from the 1960s to the present have revisionist themes. Many were made by emerging major filmmakers who saw the Western as an opportunity to expand their criticism of American society and values into
a new genre.'
The narrative of the record is one of re-encountering the frontier mentality that shaped the country but somehow never faded. This time as a foreigner. The genre of the Western remains pertinent, many of the same stories of that brutally deromanticised era are still relevant today. America hasn't changed - the cast, times and settings have, but we still hold onto the same ideal.
Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western. Even the idea for the record cover is inspired by one of the most well known modern Westerns, Robert Altman's McCabe & Mrs Miller.
The album was recorded with Abe Seiferth at Transmitter Park studios, which Delia likens to going to the finest tailor'. Abe became an integral part of the recording, playing guitar and helping to suggest experimenting with different synthesizers, something Delia was keen to do. Delia refers to Abe as a magical and incredibly intuitive collaborator' regarding the sound of the record.
The music that emerged from these recording sessions combines a range of influences - from the compositions of Erik Satie to 'Salon De Musique', the solo piano record by Su Tissue (of the L.A. punk band Suburban Lawns). The record also took on a much different shape and sound with the introduction of the Sequential Circuits Prophet VS, as well as a vintage Korg Poly synth and the Roland SH-101. The golden era Krautrock recordings of bands like Neu!, Cluster & Harmonia were touchstones as well, the repetition, swirling soundscapes and locked-in rhythm tracks.
Following a killer debut on Optimo Trax Michele Mininni debuts on R&S with the heavy hitting psych detonation of 'Rave Oscillations'
Hailing from Southern Italy, Mininni's influences run to kraut, post rock, new wave and electronic amongst others, a long time DJ he manages to condense his influences into beguiling productions that come as a welcome breath of originality.
Taking a heavy dose of inspiration from seminal kraut groovers Silver Apples, 'Rave Oscillations' builds from the hypnotic motorik groove and off kilter bass into a pulsing peak time anthem.
On the flip, 'Vortex Stasi' takes things into a more psychedelic direction - dubbed out piano, jittery rhythms and spiralling swathes of guitar blossom into a truly tripped out, squalling, breakneck concoction.
Mininni's kaleidoscopic musical vision is a truly unique proposition, a myriad of different styles and genres deformed under his oblique lens to create sun-drenched space music.
- A1: Domenique Dumont - 371
- A2: Stéphane Laporte - Timbuktu
- A3: Raphael Top-Secret - Maurilia
- B1: Antoine Kogut & Nico Motte - Jungle Dweller
- B2: Inoue Shirabe - Warm & Easy
- B3: Nico Motte - Cap De Creus
- C1: Iueke - Giza
- C2: Tolouse Low Trax - Raut
- C3: Leonardo Martelli - 03 23 (Notte)
- D1: Geena - Metromind
- D2: Natsukashii
- D3: The Simplists - Ambiance 9
- D4: Alek Lee Featuring Or Edry & Yovav - Plastic
5th Birthday comp featuring a host of artistst who've graced the label over the perioid.. Exclusives from Tolouse Lowtrax, Geena, Iueke, Domenique Dumont, . Inoue Shirabe, Raphael Top-Secret and more... Gatefold Sleeve. TIP!
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Made of 14 sketches - each reflecting one of the many shades of the label's catalogue - Five years of Loving Notes features new names as well as those of artists who have been involved with the label since it's very beginning, like Geena or Iueke - responsible for the first 12' released on Antinote.
The music on this compilation covers a wide spectrum of moods and atmospheres, from the dark and raw excursions from Tolouse Low Trax or Iueke to the lush instrumental crafted by Nico Motte and Syracuse's Antoine Kogut; however as the listener gets deeper into the compilation, the whole of the tunes, sitting side by side on the records, start to make sense as they all seem to point towards the same direction. If one should try isolating a common trait from all these songs, one might come to the conclusion that it lies in the way they all speak directly to the listener's emotional receptors, unvarnished and without abusing of producer's 'tricks'.
We'll let the tricky question mentioned before in your hands once you will have been through this 63-minute long testimony of exclusive music by the artists who have been shaping Antinote's sound for five years; from the opening Latvian arabesques from Domenique Dumont to the Pink-Floyd-ian ending from the latest addition to the label, Alek Lee, via Leonardo Martelli's smoggy electro and Raphael Top Secret's ominous talk-over.
Ikonika's third album 'Distractions' builds on 2013's 'Aerotropolis', and the title answers the question Why has the album taken so long' In the last few years she's been building up a strong CV of remixes, from Chvurches to Dawn Richard, Austra and Junior Boys, as well as DJing and working on this album. 'Distractions' distils the character of Ikonika's music productions across a wider set of styles than previous albums, and she subtly fuses and switches elements from contrasting genres, giving the whole set a uniqueness and consistency that puts it in its own lane. Furthermore what sits at the centre of 'Distractions' more than ever is her love of R&B and hip hop, in all its forms, which has opened the door to bring in a selection of guests in a way she's not fully explored before. From the full throttle blend of grime and 80s synth soul 'Noblest' with Andrea Galaxy, to the reflective 'Sacrifice' with up and coming MC Jammz, a slowjam that merges dubstep with hip house drums. The final vocal track is the languid 'Hazefield' co-produced with Sweyn J and featuring Jessy Lanza on vocals. Its mix of mechanic clunk and minimalist, lulling funk could only happen in 2017. The LP artwork takes its inspiration from West London's Golden Mile, a stretch of the Great West Road where the A4 meets the M4, and the road takes on the character of the arcade game Poll Position, with art deco factories and illuminated, hi-tech signage selling lifestyle products. It's this kind of mix of futuristic and industrious with a touch of gentle glamour that the album exudes.
Welcome to Nightlife. Johannes Klingebiel's debut on RSS Disco's Mireia Records. An atmospheric journey. Melancholic, yet euphoria-inducing. Johannes' five tracks cast their shadows into the darkness, mirroring patches of light that can be found if you wander out far enough. It's simultaneously the soundtrack of sweaty dancers losing their sense of time and place and the hopeful feeling of a new day during a drive into the first light in the hazy morning hours. Johannes is a studied drummer. He released music on labels like Mule Musiq, Ancient Future Now and Feines Tier. He's also one half of Alma & Mater and travels constantly with the bands C.A.R. and Vimes. Oh and he's a great DJ as well. He probably never sleeps. That's how he manages to capture the magic of Nightlife. The vinyl comes in a screen printed sleeve with hand stamped labels and is limited to 300 pieces. Vital Sales Points: - Nightlife EP is a very good record - You might know Johannes from earlier great releases on Mule Musiq, Ancient Future Now, Feines Tier - Johannes is a good boy - songs from this EP have been featured on the last four Laut & Luise podcasts (~25 000 plays each) with lots of interest for the tracks - people on ecstasy really like it - Johannes recently put out an edit of 'Born Slippy' which is being played a lot by Dixon, John Talabot, Ame, Axel Boman etc.
Brendon Moeller has essentially spent almost everyday of his life since 1994 in a home recording studio. Through research and practice he has evolved into a prolific producer with 10 full length albums under his belt and dozens of singles and remixes. He has performed live and DJ'ed at Fabric, Berghain and Cielo and then some. His love of a hybrid of hardware and digital resources for production shines through. His music has been championed by the likes of Francois K, Speedy J, Danny Howells, amongst others. An eclectic sensibility stemming from a love of many genres of music is always evident in Brendon's work. - - - SSX represents the Silent Season 10 Year Anniversary Compilation, a series of 12"s celebrating a decade of deeper electronic music. The series features artists whose music continues to inspire the Silent Season journey.
Aficionado enjoyed a storming start to 2017, serving up a pair of sell out EPs from either end of the Balearic shoreline - now they're back with one more for Good Measure.
Teaming up with the Mancunian fashion house for a second season, this sonic selection pack is softer than velvet, smoother than silk and more durable than Moonboots' P.E. kit.
Pour yourself a spritz, slip into something stylish and bask in the brilliance of 'Good MeasurePt.2' Bird song blends into synth swell as 'Ottimismo' shakes our hand, pulling back a deckchair and inviting us to relax and recline with its simmering percussion, swaying bassline and delicate fretwork.
London's Simon Peter is the man behind the music, following a gorgeous 12" on Claremont 56 with another sun kissed soother perfect for a coastal drive, morning swim or lazy siesta.
We take a small step towards the fiesta on the A2, rolling our shoulders and nodding our heads to the infectious rhythms of Simon Cotter's 'Pianta Road'.Though the claves, woodblocks and guiro may dart like dragonflies over a midsummer drum pattern, the Australian conjures a calming breeze via Casiotone keys, spheric bass and sublime strings.
If that weren't enough to make your ice cube melt, the exquisite cascade of well-tinkled ivories could bring a tear to a glass eye and a smile to a cliff-face.The sultry sounds continue on the B1 as France's Murena charters a yacht from Saint Tropez to Es Canar, cutting through the dazzling azure with 'Un Prueba De Amor'. DX7 chimes and digital pan pipes glisten in the spray while a lilting groove rises from the deep, picking up snatches of distant conversations and the rise of tidal sine waves as it goes.
Drifting, dreamy and more debonair than Boardman's cravat, this is as Balearic as it gets. From here we go sublime, waltzing beyond the sunset to the baroque soul of B&B's 'Read Me'.
Waves crash and strings screech, a roaring storm kept at bay by warm double bass, pizzicato melody and spirit lifting poetry. Hints of hip hop and dub colour the immersive groove, while those neo-classical flourishes favour the cinematic diversions of PCO or Monsieur Tellier. Officially Aficionado.
Irish label Fatty Fatty spreads its wings with their 'International Disco Mafia' EP.
Extending from Dublin out to Drogheda and Galway and onward overseas, the EP provides something peak-time for all tastes.
The lead off track sees label top dog Pablo going off on a solo tip, delivering an end of nighter take on an eternal UK street Soul classic. Chopping together many different mixes to create an epic whole, this one has been road-tested thoroughly, and always brings the house down.
While Pablo was fiddling around endlessly with that one, usual production partner Shoey slithered off with newcomer Kellser to produce a dreamy, stretched out take on a late 70's staple , another guaranteed winner, and possibly the most bliss inducing song ever to run at 130BPM
The international part of the EP comes from Italian edit king Belabouche, who delivers a lovely take on 'Willie and The Hand Jive'.
Last but not least, Galway boy Island Time makes his bow with a straight up, brassy slice of soulful Disco aimed straight at the dancefloor...
Never before reissued, this legendary 1968 EMI recording is a revered Indian jazz rarity, a collectors' holy grail. Raga Jazz Style is an original Indian excursion into Indo-jazz fusion. A one-away recording from the almost unknown Bombay jazz scene, it is among the few jazz LPs to hail from the subcontinent.Closely contemporary with the UK-based explorations of Amancio D'Silva, John Mayer and Joe Harriott, Raga Jazz Style takes the melodic, scale-based raga system of Indian classical music and marries it with a swinging jazz rhythm section assembled by Bollywood's most highly acclaimed musical directors, the soundtrack composing duo Shankar Singh and Jaikishan Panchal.Singh and Panchal were a dominant force in Hindi film music from the late 1940s onwards. Shankar had been trained in classical tabla, while Jaikishan was an expert harmonium player. They worked together on well over a hundred films, and their innovative compositions and orchestral scoring revolutionised the music of the nascent Bollywood industry. Central to their sound was regular collaborator Sebastian D'Souza. From 1952 onwards, D'Souza would work on every Shankar Jaikishan soundtrack, eventually becoming Bollywood's most coveted musical arranger.
Originally from Goa, D'Souza had cut his teeth in the dance-band era, arranging and playing with his uncle's jazz bands in Lahore and Quetta. After Partition, he had moved to Bombay to follow the reliable work provided by the film industry, where Goan musicians had become the mainstay of Bollywood's film studio orchestras. Goans were also the core of Bombay's thriving dance-hall and hotel-based jazz scene, with artists including saxophonist Braz Gonsalves, guitarist Amancio D'Silva and trumpeter Chic Chocolate all working in the city during the post-war years.
The team assembled for Raga Jazz Style were drawn from this inventive and forward-thinking milieu. Pianist Lucilla Pacheco, saxophonist Manohari Singh and guitarist Anibal Castro were all fixtures on the Bombay jazz circuit, while drummer Leslie Godinho is reputed to have taught Joe Morello the 5/4 'Take Five' beat when they jammed together during Dave Brubeck's State Department tour of India. To this jazz backbone was added the sitar of Ustad Rais Khan, scion of long line of classical instrumentalists, and nephew of the renowned sitarist Ustad Vilayat Khan. Bombay's jazz modernists had been experimenting with the fusion of ragas and jazz since the 1950s, long before American or British jazz musicians had tuned in to Indian classical music. But very little of this exciting scene was ever captured on record. Raga Jazz Style offers a rare chance to hear the innovative sounds of the Indian jazz scene, as peerless composers Shankar Jaikishan and arranging supremo D'Souza join with veteran Bombay jazzers to explore classical themes in a jazz setting — eleven ragas to a swinging beat!This is a highly impressive inaugural salvo by Outernational Sounds, using original masters and beautifully rendered facsimile artwork, with 180g vinyl pressed at Pallas, in Germany.
- A1: Ambientsecondlife
- A2: Yellowbrockihilfigerjacketpianostyles
- A3: Postzhicago
- B1: 4G In Space Third Eye Opener
- B2: 1000Eons
- B3: Angrymarxistinhell
- C1: Keeeeeegeldspooky2
- C2: X: X = X, = ( ), La Lune
- C3: Nce Vøid Lëft 716
- D1: Drones For Virtual Dj Sets
- D2: 2 Girls And One Idm Bleep Vol.3
- D3: Happyorganicglutants
- D4: Hanifastbrüelletakaialmostcried
We eroded pre-existent structures constructing an open heterotopic space, a horizontal and vertical thinking found its way through physical- and cyberspace, Here, nothing manifested instantly - flippancy left space for any kind of interaction and appropriation. Within (or well beyond) economic pressure points which diluted production, this was our opportunity to try out different potentials with no restrictions to the public, while simultaneously scrutinising the general framework of institutions and human behaviours.
Lunar Disko presents...
Time marches on with two Various Artist EPs to celebrate the 20th release on Lunar Disko Records. Eight tracks encompassing the modus operandi of the label since the beginnings
Part 2 features another selection of Lunar Disko favourites, with the return of DJ Overdose and Raiders of the Lost ARP, while two of Ireland's finest in Tr One and Automatic Tasty complete this stellar line-up.
..and time is still marching on
The Toy Tonics crew is known for being addicted to two things: vintage music machines and old vinyl. 100% music aficionados. On the Tonic Edit series the crew shares some of their favorite old tracks - in a reworked version. This time COEO get back in time. They destroyed a couple of 1970ies disco jams. Recut & repasted them. And gave them their special COEO touch. Of course it's irresistible! This release comes on vinyl only first. Later maybe could be out on selected Digital sellers.. not sure yet.
Berlin's own Marco Haas aka T.RAUMSCHMIERE made an irreparable impression globally in the 00's as a sawtoothed, ANTI-rave radical thanks to his immense stage antics and larger-than-life releases on Novamute. Since then, Haas has established himself as a contemporary with emotive, dark ambient tales on his own imprints Shitkatapult/Albumlabel.
KOMPAKT's love affair with Haas goes back to our earliest days. Some of his first tracks were released on KOMPAKT in the form of two raw EP's entitled "Bolzplatz" (KOM021 - 2000) and "Musick" (KOM037 2001). These two formative releases elevated the "Schaffel" sound to raw and shameless places we never could have imagined. The results set a tidal wave in motion that to this day remains one of KOMPAKT's most infamous legacies.
In an off-chance reunion with Haas in his studio, we learnt about what he'd been doing since the "Monstertruckdriver" days. It turned out he's been ever so busy outside of the mainstream working with the likes of Dieter Meier of Yello, Caspar Brötzmann, Andreas Dorau, Fraktus, Ofrin or Barbara Morgenstern and his recent work with Ulli Bomans aka Schieres under the SHRUBBN!! monicker.
On the way out, he passed over his 2015 self-titled album - which proceeded to blow our minds. It was mutually decided that it's time for him to return home.
May 19, 2017, will see KOMPAKT releasing T.RAUMSCHMIERE's new, epic solo full-length HEIMAT. It presents another side of his work which was always there, but never got that much airtime: the artist, the author, the composer with the crystal-clear sound. HEIMAT is a stunning techno album that neither excludes Ambient, nor gets reduced to constant ass kicking. It's perhaps the best recording so far from this man who asks so deeply, so extensively, so much. And at some point even answers.
- A1: Vincent Feit - X04
- A2: Chinaski - Half Life
- B1: Lauer - Okinase
- B2: Massimiliano Pagliara - Forever What
- C1: Benjamin Milz - Electric Current
- C2: Felix Strahd - Puppies
- D1: Orson Wells & Benjamin Milz - Transient Field
- D2: Roman Flügel - Good News From Another Planet
- E2: 10 Rolande Garros - Nickpack
- F1: Bendedikt Frey - Bells
- F2: Fort Romeau - Lost, Again
Some try it with mouth-to-mouth insufflation and cardiac massage. Others with
psychopharmaceuticals or group therapy. Still others with divorce. By going cold turkey. With a new profile pic and a matching hairstyle. Seen it all at Robert Johnson, already endorsed everything - at least as long as it helps: as a lifesaving measure.
But since the year dot, the Offenbach-based club with its affiliated label recommends to all which are undecided or have doubts particularly one thing: Music. And dance.
Every two years, when life newly blossoms during spring, Live At Robert Johnson opens its windows widely, lets new music out and fresh air into the house. The beguiling scent of nature and aviation fuel blends with the scent of sweat and dry ice fog - and causes sundry healing confusion. As soon as the first tone of the Lifesaver Compilation 3 is heard, the swelling grunt of Vincent Feit's 'X04', the scenery of the dancefloor right at the Main river appears before one's eyes.
On Saint Monday Iconoclasts rebel against the age of self-optimization. A crack goes through the parquet of the dance floor (or the dancing party itself). The post-unambiguities era is beginning. The images become blurred. Bass case. Alternative facts. Resonance hole. No reception. And then it's only the queue answering the club emergency hotline. Finally there is a buzz on the line. 'Just drop the images!', it says.
'It's all not that tragic.' This helps.
The Lifesaver 3 Compilation, the yet most comprehensive package of the lifesaver history, sounds like electro, sharp-edged like the vault in a Hague bunker (Lauer), provides data pop with piano crescendo (Fort Romeau), brings the style characteristics of German Schlager music to the breakdance mat (Rolande Garros), lets the bulky lily-of-the-valley bells clang and sends the reverb tails away with the wind (Benedikt Frey). There are several new names to discover: Felix Strahd, Benjamin Milz, Vincent Feit; and of course there a many old acquaintances: Massimiliano Pagliara, Orson Wells, TCB, Chinaski. Roman Flügel brings us 'Good News', however: 'From Another Planet.' And Fort Romeau feels 'Lost, Again', but in such somnambulistically beautiful manner that you want to get lost with him instantly and jointly find the great joy.
Again and again there are mysterious chants. It's not required to decipher the specific words in order to get the message: Salvation is near. Salvation is here:
[)] e1 | Roman Fügel - Chang
It is already possible to find works signed by Post Scriptum in discographies of well respected labels for quite a sometime. This undoubtedly confirms it's value. "Year Zero" is a first release on Post Scriptum's own label and in a sense it is a manifesto defining it's musical identity. No space here for a sound targeting the current techno mainstream. There is dirt, and the pinch of imperfections, very characteristic of avant-garde electronics and industrial well known for the quite nearby past.
On the A side, there are compositions appearing like shutters from experiments conducted in the secret laboratory.
The rhythm is giving the appropriate weight, while the rest is a musical conglomerate of sounds and synthesis building up a feeling of anxiety.A swarming energy, a modulation, an uncertainty and lurking somewhere danger are surrounding us.
On the flip side are remixes constituting the lighter counterpunch. Motor eurhythmics bringing to life the old good Detroit techno definitely of a dance-floor character, making this material ideal for an interesting set.
SUMS is the collaborative project of French electronic producer Kangding Ray and Mogwai multi-instrumentalist Barry Burns.
develop a new group that brought together different elements of both Kangding Ray and Barry Burns' musical traditions. Adding drumming savant Merlin Ettore, the pair devised a musical world that crafts post-rock soundscapes and structures using the sound-language of contemporary techno and experimental electronic music.
After a grand debut performance during the 2013 edition of the festival, the group decided take the project into the studio. Over a two-year period, working with a range of range of instruments, SUMS began to produce tracks that achieved an organic fusion of spatial electronics and rousing post-rock sounds that manages to seamlessly blends the best of the musical legacies of Mogwai and Kangding Ray.
The first action of this new phase of the project comes in the form of a 3 track EP on Berlin Atonal Recordings. A new live show will be shown first at Rewire festival on April 2nd.
* Includes a DIN A2long poster inside the 12" sleeve with edition number and music download code
* Rogue Style 1 EP is an international homage to b-boy culture, where the worlds of breakbeat music and breakdance collide. Sinistarr (USA), Kiat (Singapore), Kabuki (Germany) and HomeSick (Canada) are connected in many ways, now they lay bare their hip-hop roots and give something back with a fresh take through the eyes of drum & bass and juke/footwork. Here is what they have to say:
Sinistarr: "As a teenager I grew up as a b-boy, dancing anywhere I could: schools, parks, festivals, you name it, my crew was there with cardboard and a speaker. I eventually got deeper into DJing and making music and learned to bring a sound that's not just for the crowds and the purists, but also for all the dancers!"
Kiat: "Hip Hop has taught me to keep evolving, to explore new forms in all my art. Progression is the key to evolution. -- I met Sinistarr online thru myspace and we had a musical connection which led to our first collaboration 'Black Diamonds' which is still one of my personal favourite tunes I've been fortunate to be part of it's creation. With Kabuki, i've always been a fan of his work since his 'Makai' alias on No U-Turn, despite meeting him only recently thru the label.I've always known him to be constantly progressing his ideas in his music which I respect alot."
Kabuki: "B-boy culture has always been a strong influence on how I pursued my art, mainly because of its DIY ethos and attitude of perfecting your craft. Incidentally these were also the aspects that drew me to Jungle when I first discovered it in the nineties. -- I'm happy to rub shoulders with Kiat, Sinistarr and HomeSick on this release, as I'm a fan of their music foremost, but also because we became friends through the music."
HomeSick: "I was only a child in the 90s and as a result I feel like my understanding of b-boy culture was experienced second hand thanks to 90s/early 2000s hip hop music. I appreciate the parallels I can see with footwork culture, particularly the similarities to the community mentality of break dancing. -- I know Sinistarr through booking him for our local party night in Alberta, Canada called Percolate. Our city must have left an impression on him because a year later he made the move here from Detroit. Had the pleasure of hosting him as a room mate for a little over half a year, the home was a very potent creative space during this time. Kabuki hit me up a few years ago and we very quickly got to sharing tracks and collaborating together. Mans a master of production and a super important part of the global scene."
The idea for a reminiscence of b-boy culture stem from label owner Booga:
"Why am I interested in this so much I grew up in East Germany and as the movie "Beat Street" premiered in 1985 over here I was age 13 and blown away by the energy, the music, the wit, the style - everything in this movie was better than everyday life in Leipzig. So I started saving for a cassette recorder and taped music shows from West German radio and prepared tapes for school disco gigs to the hope somebody would do the "robot" to Arthur Baker "Breaker's Revenge". Unfortunately that never worked out hahaha. But I was hooked since then and as the wall came down in 1989 I travelled to West Berlin just to buy the Beats, Breaks and Scratches 1-4 vinyl box by Simon Harris. The fascination for breakbeats never stopped and before I discovered Jungle around '94 I was down with the British cut up house thing from the likes of Marrs, Krush and Coldcut as another form of breakbeat music. The "do it yourself" spirit from hip hop culture inspired me to start a local website called breaks.org in 2000 to locally promote the drum and bass scene with emerging producers, djs and mcs for a wider audience and I threw in some interviews with Storm, Kabuki, Rob Playford, Klute and John B. That turnt into a multi author blog called itsyours.info in 2004 which still exists - that is where I had the pleasure to introduce Kiat and Ash in 2007. All these years I was listening and playing drum and bass tunes when the occasional "bboy tune" came up, some were obvious like Alex Reece "B-Boy Flavour", Lemon D "B Boyz", Commix "Change" and some were not so much self-explanatory like Digital & Spirits "Phantom Force" and the remixes by T-Power & Codeine or Fracture's Astrophonica Edit - but I felt the hidden force of breakdancing nevertheless. With the Rogue Style series I have the first class opportunity to ask established and new Defrostatica artists to present a current interpretation of b-boy culture. This is a dream coming true."
Re-issue of the seminal 'Dust On Common' LP, from Led Er Est (Sam De La osa, Shawn O'Sullivan and Owen Hutchinson) was originally released in 2009 by the seminal Brooklyn based record label Wierd Records.
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The band's first full-length release showed the three piece clearly breaking out of the minimal synth underground they have been a vitally integral part of since its inception in Brooklyn to create an undeniably contemporary set of highly crafted and restrained, icily psychedelic pop songs.
Synthesizing countless disparate musical influences from first wave British industrial music to house, disco, and the largely unknown cold wave (aka 'La Vague Froide') tradition in Northern Europe, the trax on Dust fly by, straight out of the frozen hot, lonely cold plains of vocalist Samuel Kklovenhoof's native central Texas. After digesting a few songs of this rich dust, the listener can do no other than lie down in the wild weird Laredo bunker to revel in the refreshingly brisk blast of hedonistic analogue pleasure dancing through the airwaves in the sky above...
Originally from Detroit, born and raised, this Atlanta transplant, has been a DJ since his youth. From backyard and basement parites as a youth, to the small club scene of metro Detroit, Reggie Dokes eventually became a sought after DJ in the city. Fast forwarding to 2001, is when he created his label Psychostasia Recordings. His sound is eclectic and soulful, and over the years as a producer of deep house, techno, tech house and downtempo, he has managed to release singles and EPs with various underground labels from the U.S. to Europe and Asia. Stay tuned for inspired and positivie vibrations from the DJ, producer and label head, Reggie Dokes.
LAATE returns with the mysterious Jack Keo! Our man was Born and raised in the southwest of England, he got his first pair of decks at 9 years old and started producing at 19. For this fourth release, Jack Keo delivers 3 originals tracks. On A side, "Module-e1 " is a heavy house tool with a groovy bassline and its organics sounds, catchy!!! On B1, Jack show his deep face with "Fondue", he make us travel a little bit more by using space synth, cosmic sound and voices cut. To finish " Apron " is a pure minimal track, strong bassline and female vocal increase the freaky atmosphere!
Bushcraft; the knowledge of survival in the wilderness.
A young man leaves the safe harbour of his home town, only to find himself lost and lacking the soul.He was always able to trust his ears, but are they really true to him. Or is he merely not listening. Distant echoes of bass and the melancholia that was always present seem far away. With Bushcraft EP Jor-El finds himself in touch with the elements.The elements of the hard hitting futuristic music that once took his heart and formed his life. Rumbling bass lines controlled by lazer sharp hi-hats driving forward. Eerie sounds coming in and drifting out again. Always driving forward. The influence of his early years in drum & bass is there. Still this is pure techno music from an artist discovering new things in the universe within himself.
True Rotary Recordings is run by Joel Alter and Ena Cosovic out of Copenhagen.Stemming from a mutual appreciation of the combination of raw techno and seductive sounds, the label is a natural development of their musical and personal partnership.
True Rotary Recordings represent their musical vision and the vibe that they love. Keeping it raw and genuine.
Until he was about 20, Texas-born Melvin Sparks was a rhythm & blues guitarist, backing Jackie Wilson, Curtis Mayfield and Marvin Gaye as a member of The Upsetters. But Sparks gave up his seat on The Upsetters' bus in New York City, where a chance introduction to George Benson led him to a place in soul jazz history. Melvin played and recorded with Lou Donaldson, Leon Spencer, Bernard Purdie, Jack McDuff, Jimmy McGriff, Idris Muhammad, Dr. Lonnie Smith, Charles Earland, Grover Washington Jr., Reuben Wilson and so many more. Even during the quietest years of soul-jazz Melvin stayed relevant through hip-hop and r&b, a quick search at WhoSampled turns up more than 150 samples of his funky chicken scratch. And Melvin's legacy is heard in contemporary soul/funk bands like The New Mastersounds, Soulive and The Greyboy Allstars, all of whom he also guested with several times before his early departure from this realm in 2011.
This release documents Melvin's final band just months before his death. Organist Beau Sasser and drummer Bill Carbone had been working with Sparks for several years, and, despite the power dynamic - they were in their early 30s, Melvin an elder-statesmen of the genre - the unit was sharp, relaxed and performed Melvin's music with a jovial spirit. The trio played the Burlington, VT club Nectar's regularly, but this night featured two "onlys." Per the recommendation of Nectar's agent they used the "Grippo Horns," the only time Sparks used a horn section in the last several years of his life, and they allowed a multitrack recording of the show. Both were strong decisions.
The tracks on this album, lovingly mixed by guitarist, producer and Melvin Sparks fan Eddie Roberts, demonstrate that Melvin played as well in the final months of his life as at any time. Sparks counts "Whip! Whop!" off at what he said The Upsetters called a "showtime tempo," and peppers it, as well as most of the album, with quotes from jazz standards, pop songs and cartoon themes, all woven effortlessly into the bebop-funk dialect he helped create. He unfolds amiable melodies, patiently and methodically, through his several-minute lead on "Breezin'." And Sparks is audibly uplifted by the Grippo Horns helping him perform his 1973 arrangement of "Ain't No Woman" for the first time in decades.
- 1: Chapters Of Torment
- 2: Scaphist Waste
- 3: Coffin Birth
- 4: Post Mortal Fetal Extrusion
- 5: Pit Of Morbidity
- 6: Internal Organ Feast
The debut seances from Crypt Rot drag the listener to depths of morbidity. For sick fiends of Deicide, Dismember, Death, and Dissection.
Southern Lord unleash a torrent of tumultuous filth, having signed Ohio-based CRYPT ROT - formed by several current/former members of Homewrecker — for the release of their Embryonic Devils debut in early 2017. The album's 'Chapters Of Torment' has been issued for early streaming, as the band announces new live dates, including a set at The Power Of The Riff.
Having written and recorded five original songs within a months' time, CRYPT ROT captured these terrorizing, filth-laden death anthems on their Embryonic Devils debut, with each track led by a death-aura segue. For the recording sessions, the band enlisted Bill Korecky at the Mars Compound (Integrity, Ringworm, Homewrecker); the collaboration with Korecky lead to a well-polished, high-gain sound that grasps elements of many genres and crushes its listeners with its ferocity. Upon completion, the album was passed along, ultimately leading to the signing with Southern Lord.
Vanta 004 comes from Alex Cortex, an artist who has been producing music for over 20 years now and who has been featured on many Killekill releases already.
For this release he delivers two monumental tracks in his very own aesthetics: although both tracks are straight at first sight, their complex beat structure makes them shift and drift. And also their sound is distinctive: crystal clear and without any of the reverbs that you hear so often in modern techno they still have an incredible depth and sound more psychedelic than most of the other stuff that you hear nowadays. Killer!
Wild jams on the classic Linndrum, a driving bassline and a gated, almost out of control North African sounding leadsynth form the basic ingredients of this exceptional new record by Thee J Johanz
Wild jams on the classic Linndrum, a driving bassline and a gated, almost out of control North African sounding leadsynth form the basic ingredients of this exceptional new record by Thee J Johanz. The Fire in The Disco version adds more spices, like moody FM pads and an infectious disco vibe, ready to put many floors on fire. The record is garnished by the 'market version' of Bafrique, which is more like a dub/ambient excursion with environmental samples taken on the Vagator market in India. Artwork by Afrobot.
"Daito" The Temple
Sub filtered kick delays deliver heart pounding bass, followed by spacious overhead sounds of nature, leaving the tubular synthesis builds up the tension. Featuring a melodic buildup, to get any dance floor calm, quickly to be filled with warm sub bass & soft percussion, ending with a clean mixable outro.
"Balas" Molecules (J. Manuel Destruction Mix)
A mechanically arranged techno slammer, with creatively delayed sci-fi elements, pounding broken beats & subtle, clean percussion, all coming together to dominate any dance-floor!
Starting with a slowly resonating acid line, medieval sounding pads add depth & progression, followed by a sharp snare & tribal tom, all ending in a galactic buildup, with the acid line adding the energy & the pads giving the track an ancient sound.
"Projekt Gestalten" The Fight, The Victory, The Death
Starting with a slowly resonating acid line, medieval sounding pads add depth & progression, followed by a sharp snare & tribal tom, all ending in a galactic buildup, with the acid line adding the energy & the pads giving the track an ancient sound.
"Cristian Marras" Project to Escape
Hypnotic but also energetic, this is peak time techno!
The first hook gets your attention as the overdrive percussion builds you up to the breakdown. As the frequencies slowly change, the buildup arises, building up the energy levels ahead of the discreet drop, filled with high frequencies to put you into a state of trance.
Cologne's electronic music community keeps on giving, drawing on a dense plethora of fresh talent ready to shake up our little big grassroots industry. The latest ace up the city's sleeve must be Tim Engelhardt, part of a new breed of incredibly versatile young producers that get their cues from all sorts of genres and listening situations, combining profound musical knowledge with intuitive playfulness and multiple perspectives on sound. In Tim's case, we're dealing with a solid pianist background - which becomes rather obvious in the great care he takes over harmonies and an expanded melodic structure. However, that's just one side of the story, as the organic fluidity and atmospheric dexterity of his music most certainly hark back to an upbringing among the rolling hills and sprawling forests of Germany's Westerwald - one of the country's best known mountain ranges that has already inspired artists such as Dominik Eulberg or Gabriel Ananda. Having released your first recordings at the tender age of 14 - as Tim did in 2012 - might put you in a 'wunderkind' category - a flattering, but ultimately risky proposition, finding many a prodigy overwhelmed with the dubious honour. Not so much our hero, who chose to put his skills to work: in only four years, he grew his portfolio with plenty outings on labels such as Traum Schallplatten, WIR, Babiczstyle, Amuse Gueule, Ostwind Records, Popart Music, Playmusic Productions, Parquet Recordings, Manual Music and more - but his breakthrough release was hands-down the 2015 EP 'Everything Is All You Have' on Steve Bug's iconic Poker Flat imprint, followed by 'Enigmatism' on the same label.
UNKR enslave dust-coated synthesizers, dilapidated drum machines and rusty FX boxes to craft 4/4 tunes for their impatient overlords. Their vision is clear - they will make techno, they will make house, they will make electronica, and you will listen and dance. It's not yet clear if BUNKR is the work of one frenzied human or many lazy individuals but we do know one thing - the ringleader is one James Dean, who previously released as Lost Idol on labels such as Pork Recordings, Nature, Final Frontier and Cookshop. Following a prolonged spell of writing music at slow tempos, Dean initiated BUNKR as a reactionary desire to speed things up. Too much time had been spent just sitting around - it was time to stop sitting and start dancing. True to their vision, here we have 'Cloud Chaser', a bubbling jam backed with a huge remix from Shan, who flips the mix with dramatic strings, sprinkles of magic dust and massive amen breaks. No less impressive is 'Juno's Revenge', a track you'd turn up on your headphones while taking a nice afternoon stroll on the moon, on a sunny morning after a long interplanetary rave. Igor Tipura delivers the rework, complete with a marching percussion workout and acid chemtrails that will send you right back to 1993.
FUSE bosses Enzo Siragusa and Seb Zito have been invited by the highly respected Rawax to bring a taste of their beloved London rave culture roots to the labels first release of 2017.
Since their launch in 2011, Rawax's catalogue has beamed with nothing less than the finest, and Enzo and Seb are a welcomed addition to their already colourful and diverse roster. Barac, Boo Williams, Fred P, Paul Johnson, Ricardo Villalobos, Ron Trent and Unbroken Dub are just a small portion of an incredible list of artists that have released via the labels original monarch and many offshoots thus far.
With 'Woonie Trax' Enzo and Seb perfectly resurrect the sounds of early UK rave culture into the present by digging out the early gems of their record boxes as inspiration.
'Barring the kicks, I think almost everything came from sampling old garage, hardcore and jungle records from the 90's. For those in the know, the clues are in the names of the tracks'. - Enzo Siragusa
Whilst 'Shades of Riddim, 'Lil Ley', and 'Blue Notes' all lend themselves to the early UK sound, each track has its own individual quirk making the EP a diverse representation of the days Enzo and Seb fell in love with rave.
Fresh off the back of his debut as Cucumb45, Bjarki presents another outstanding release. 'Slysó EP5 Cyclops í poka' is a 5-track, vinyl only EP on bbbbbb records, the label he runs alongside Johnny Chrome Silver.
Whilst the recent 'Something Weirdcore' challenged our understanding of genre, the latest release takes things further, playing with our perception of acousticspace.
Immersive textures are introduced without warning, just as quickly as they are withdrawn, never to be heard again. From the nostalgic harmonies of 'Cyxlobblobs5' to the unnerving glitches of the title track, high velocity drums of 'Aqua Elba' and mangled juke patterns of 'CATpitchd5', the EP darts its way through a range of new territories without hesitation.
Never one to conform, Cucumb45 rejects familiar structures, rapidly jumping between ideas whilst manipulating the physical properties of his sound.
"Tiff's Joints returns for its second release with two hefty bubblers bursting with life from Deoke. Deoke is South London's Dave Koor, an esteemed DJ, producer and killer on the keys. He also co-runs the label Albert's Favourites, is one half of Modified Man and plays with his band the Expansions, regularly backing up acts like Andrew Ashong and Connie Constance.""Kamby Version"" was premiered by Stamp the Wax and both tracks have received early support from the likes of Alexander Nut, Brame & Hamo, Jimpster & more."
The first release of Alienata's label is coming from Artificiero, which is the alias of Alfonso Alfonso (Murcia, Spain), an experienced musician who has released nine records with his psychedelic rock band Schwarz. 'Masa Negra' will be his first album with this new project.
In it, Artificiero delivers a sort of 'electronic esoterica', an inner ritual where repetitive beats and drones have an important roll. A ceremony where textures are more prominent than melody.
Following his acclaimed collaboration on Strut with The Heliocentrics, the Father of Ethio jazz presents his brand new studio album, 'Mulatu Steps Ahead' for 2010! The album explores new directions in fusions of Western jazz with Ethiopian modes, moving forward the pioneering sound Mulatu developed during the '60s and '70s, showcased on the recent Strut compilation 'New York * Addis * London'.
For the new album, tracks were recorded with members of Either/Orchestra in Boston, with contributions by traditional Ethiopian musicians in Addis, members of The Heliocentrics and some of the UK's leading jazz and African players during the final sessions in London in November 2009.
Each track on the album tells its own story. The reflective, opener, Radcliffe, was composed specifically for the Radcliffe Institute during Mulatu's time lecturing at Harvard in Boston - the original score is now framed on the wall there. The Way To Nice was written and arranged on the tour bus during Mulatu's recent French dates - "with this track, you are travelling on a long journey, talking and thinking" explains Mulatu. "It was inspired by the many beautiful places on the coast road around Nice." Assosa adapts traditional music from the Assosa tribes in North-Western Ethiopia and Mulatu's Mood re-works a Mulatu jazz fusion composition from the early '90s into a new swinging Afro highlife arrangement. "I wanted to use West African styles within this version and try new ways of using the beautiful sound of the kora." Boogaloo and I Faram Gami I Faram reprise Mulatu classics with new, fuller scores and bonus digital track Derashe highlights the traditional diminishing scales of the Derashe people of Southern Ethiopia, a musical technique that would later feature in the classical compositions of Debussy and the jazz of Charlie Parker. "Many debate how this music developed but the Derashe have played these scales for centuries. It is an untold story."
- A1: Bring It Up (Original Mix)
- A2: Bring It Up (Up Mix)
- A4: Bring It Up (Acapella)
- B1: Just Get Up And Dance (Acapella)
- B2: Pupunanny (Acapella)
- B3: Mind Control^(Acapella)
- B4: Funky Heroes (Funkapella)
- B5: Happy (Acapella)
- B6: Bell-E 2 Bell-E (Acapella)
- B7: You Ask For The Moon (Acapella)
- B8: Move Ya Body (Acapella)
Afrika Bambaataa, rapper, producer, DJ from the South Bronx, New York. Afrika Bambaataa is one of the originators of breakbeat djing and is respectfully known as "The Godfather of Zulu Nation" and "Amen Ra of Hip Hop Culture'. In 2007 has been nominated for induction into The Rock Hall Of Fame and in 2008 he has been honored by the Bronx Museum of Arts. Afrika Bambaataa's long career is pointed by many hits and masterpieces such as Reckless, Unity, Just Get Up and Dance and Pupunanny.
Countless collaborations with artists such as UB40, James Brown, Boy George, Leftfield just to name few of them. Afrika Bambaataa has recorded with many labels from Tommy Boy to Capitol Records and Profile but it is with the Italian Label DFC (Expanded Music) that he has releases most of his recordings.
Bring It Up is the new release on DFC LABEL produced by dj/producer Paul Carpenter. This release includes three versions in big room/EDM style along with a mega-mix and a full acapella collection of all previous recordings released by Bambaataa on DFC label. Two lyrics videos come to support the release.
[C}] a3 | Bring It Up (Down Mix)
Robin De Wolf is a man of many talents (and identities). Almost two years ago, he co-produced a groundbreaking debut EP on our label, as one half of SHIN. At the moment, he's making a name for himself as 'Phara' with uncompromising hard techno on labels such as Black Sun and Stockholm LTD. And now he delivered us three solid tracks under his new alter ego 'Robert D'. While 'Un Ni Yo is a house track with a wavy sound and affective synths, the second A-sided track 'Dommel' is a banger that begins with a smooth intro that changes over into hard kicks and raw bass chords. On the B-side, you can find a more melancholic uptempo track that goes by the name of White's Wisdom. Interstellar Funk' tops it all off with a remix of 'Un Ni Yo' that combines the wavy sound of the original with synth-heavy electronics. An absolutly killer EP!
Al Massrieen: Disco, Funk and modernized Arabic Pop from Egypt
In the beginning of Habibi Funk, our search was focussed on vinyl records. Around a year ago though, we got to the point where we realized that it became substantially harder to discover music, that we enjoyed and hadn't heard before. It became apparent that it was time to start looking for other formats. Cassette tapes were the obvious alternative. These were introduced in the arabic world around the late 1970s. In some countries they took over a bit earlier, in others a bit later, but eventually they pushed the vinyl format out of the market in the 1980s. In Egypt this trend already even started in the late 1970s.
Al Massrieen was one of the first bands I learned about once I discovered the tape format for myself. They were really popular in Egypt in the 1970s and the more of their music I found on either tapes or Arabic pirate mp3 sites, the more I was becoming a fan. Only very few bands from the region can match the band's versatility as well as their strive for innovation. Hany Shenoda is the man behind the Al Massrieen band. He is a reknown figure of the Egyptian music scene and has worked with everyone from Abdel Halim Hafez to Mohamed Mounir. Al Massrieen was his attempt to introduce his ideas of modernizing Egyptian music, heavily encouraged by Naguib Mahfouz (Egypt's only winner of the Nobel Price for literature) after discussing his ideas with him.
Al Massrieen's sound goes from lush disco like 'Sah' to psych rock like 'Horreya' or incredible jazz fused pop on songs such as 'Edba Mn Gded'. I was shocked to realize the band seemed to be hardly known outside Egypt, even though I feel they're at least on the same level as Ahmed Fakroun. An relative obscurity which I largely attribute to the fact that their releases never have been pressed on vinyl (apart from a Greece best of LP which wasn't a strong compilation of the group's songs). One way or another it felt like this band and especially their composer, band leader and overall brain Hany Shenoda was in need to get some recognition outside of Egypt. The release is fully licensed from the band and comes with an extensive booklet with liner notes, interviews and unseen photos.
After kicking off the year with Body Reflections pt.1 on Tresor, Berlin-based, Bournemouth-born Ben Thomas aka BNJMN is back with new label Tiercel. As an outlet for floor focused tracks he kicks off the imprint with "Paean" - 2 slabs of atmospheric, hypnotic, sci-fi Techno plus an ambient excursion in true otherworldly BNJMN fashion.
The A1 track "Mass Conductor" solidifies BNJMN as a producer who can take the mood in any direction, creating layer upon layer of dense sonics which build to a pulverising climax. "The Greater Void" is a jarring beatless soundscape which takes you to the edge of the earth and finally the title track "Paean" is a song of worship - smooth yet hard, manic yet playful; taking you on a journey of paradoxes and sonic mysteries.
Top Drawer 90's selection from the Boombastic Crew aka Nick Raphael (Manasseh. Riz Records, Roots Garden) and Gil Gang (Tuff Scout, Riz Records) with a tune that does what it says in the tin. Sound murderation!
A hardcore instrumental sound system bullet which has hints of King Jammy, Jah Tubbys and Unity Sounds.
This originally came on the back of a Riz 12' back in the early 1990's which is now a costly record to secure.
Joining the Unknown Precept forces are C.G.I. Records' label head Matthew Wei- ner teaming up with Christopher Daresta as Pyramid Club. Being known for their T.W.I.N.S. and Anticipation solo activities, Cyclic Obsession comes as the debut re- lease of the four-handed formation taking its name from the eponymous venue which helped define the counterculture and queer sound of lower Manhattan in the late 70's. Recorded in their stronghold of Atlanta following a handful of tracks released via the jointly-operated D.K.A. Records, it shows the duo taking over primitive body music in its most physical and psychedelic dimension. Thick as a brick bass lines for the basement turmoil — reflecting the hazy vortex smoldering out of an ill-lighted nightclub. Think of spasmodic synth-driven tunes interspersed by convulsive vocals and throbbing snares, in which one could see the whites of the dancers' eyes right before the lights turn back on.
In April Booka Shade will return with their new album GALVANY STREET. A new beginning in many ways. "We're very proud to have reached a lot with instrumental music. With MOVEMENTS 10 we closed a chapter last year. 2017 is the perfect time for a new start and to mix things up." (Walter Merziger) GALVANY STREET marks the return to their pop roots in collaboration with former Archive singer Craig Walker and a few additional guests like Urdur (GusGus), Australian Yates and Daniel Spencer from London. I was aware of the band before we started working together and really liked everything I had heard. I was introduced to the guys by Martin Eyerer one of the Riverside owners. Martin was really enthusiastic about us meeting as he felt we would have a lot in common musically and he was right. We met up in Riverside and we discussed music we liked past and present and we had very similar tastes. I listened to their back catalogue and was really impressed with how great everything was produced and I loved howmelodically driven everything they did was. (Craig Walker)
The second single from the album is - Numb The Pain , a disco inspired feel good pop song. For the single format Booka Shade created 2 special versions of the song. A much shorter, more instant Single Version and a longer, club friendly Extended Mix, inspired by classic 80s 12inch releases.
Every single from the album will also feature an unreleased exclusive song, again inspired by the traditional idea of a B-Side. In this case it´s the instrumental tech house tune - Fade Away , a hint at Booka Shade´s past. Booka Shade will embark on a European Tour in April to support the release of the new album. For the first time in their career, Booka Shade will be joined on stage by singer Craig Walker. GALVANY STREET is the album we wanted to write for a long time. The collaboration with Craig Walker brings in the perfect kind of vocals to complete the music." (Arno Kammermeier).
Blinding tracks from Joey Anderson, Qu, Nicuri and new artist Art Gallery.
Exchange Place is the DJ collective that includes Nicuri himself alongside Joey Anderson, DJ Qu and a producer by the name of Art Gallery. The name makes reference to a district in Downtown Jersey City, just across the river from Manhattan, which is where the crew is primarily based. They released a 12-inch under the name Exchange Place with DJ Qu's Strength Music label back in 2010, and have DJ'd occasionally as a group around New York City. The new EP, Immaculate Inception, includes one track from each of the four contributors.
3xLP+CD Artbook
(en) - Nearly two decades after the last official GAS album release, Wolfgang Voigt returns to his iconic Ambient project with a brandnew full-length.
- NARKOPOP continues the classic GAS aesthetic of symphonic scope and subtle variation, taking the listener on an otherworldly journey to the depths of rapture and reverie.
- Available as luxurious hardcover CD incl. 24 pages booklet.
In the body of work of Cologne artist Wolfgang Voigt - who, like few others, has informed, shaped and influenced the world of electronic music with countless different projects since the early 1990s -, GAS stands out in particular as a saturnine sound cosmos based on heavily condensed classic sequences. Even after nearly 20 years, the sound of GAS doesn't seem to have lost any of its luster, as shown by the commanding success of Kompakt's fall 2016 re-release of the essential back catalogue as a 10xLP/4xCD box set.
The overwhelming feedback from a loyal international fan community and worldwide media outlets attests once again to the sheer timelessness of GAS. Which is why it will feel like hardly a day has passed since the release of the last official album 'Pop' nearly two decades ago, when Wolfgang Voigt resumes this specific creative path with the upcoming new full-length NARKOPOP.
Even in the here and now, the unmistakable vibe of GAS immediately hits home, taking the listener on an otherworldly journey with the very first sounds, drawing him or her into an impervious sonic thicket, down to the depths of rapture and reverie. From wafts of dense symphonic mist emerges a floating and whirling feeling of weightlessness, before the listener steps into an eerily beautiful forest of fantasy, pulled in by the allure of a narcotic bass drum.
While earlier GAS tracks were often based on the hypnotic effects of looping techniques, the 10 new pieces on NARKOPOP unfold their magic in a more entwined manner, sometimes with the sonic might of an entire philharmonic orchestra, sometimes as subtle and fragile as the most delicate branch of a tree with many. A main characteristic of Voigt's oeuvre, the coalescence of seemingly contradictory stylistic aspects such as harmonious and atonal, concrete and abstract, light and heavy, near and far is also a decisive feature of NARKOPOP.
In accordance with the transgressive spirit of his collective work, Voigt carries the aesthetic conceptions of his music over to the realm of the visual. Based on his abstract forest pictures, the GAS artwork addresses Voigt's artistic affinity to romanticism and the forest as a place of yearning. For the first time, a closer look at the cover of NARKOPOP reveals signs of architectural fragments which hint at another, maybe parallel world behind Voigt's forest. Truth is the prettiest illusion.
(de) - Fast zwei Jahrzehnte nach dem letzten offiziellen GAS-Albumrelease kehrt Wolfgang Voigt mit einem brandneuen Langspieler zu seinem legendären Ambientprojekt zurück.
- NARKOPOP setzt die klassische GAS-Ästhetik zwischen symphonischer Grösse und subtiler Variation fort, eine Reise zu den Untiefen von Rausch und Entrücktheit.
- Erhältlich als luxuriöse Hardcover CD- Erhältlich als luxuriöse Hardcover CD inkl. 24-seitigem Booklet.
Aus dem Gesamtwerk des Kölner Künstlers Wolfgang Voigt, der mit seinen unzähligen unterschiedlichen musikalischen Projekten seit den frühen 1990er Jahren wie kaum ein Zweiter die elektronische Musikwelt geprägt, gestaltet und beinflusst hat, ragt sein Projekt GAS, ein auf stark verdichteten Klassiksequenzen basierendes, düsteres Klangkunstwerk, in ganz besonderem Maße heraus. Dass der Sound von GAS auch nach fast 20 Jahren scheinbar nichts von seinem Zauber und seiner Kraft verloren hat, zeigte eindrucksvoll der große Erfolg des im Herbst 2016 als 10xVinyl/4xCD Box auf Kompakt wieder veröffentlichten Backkatalogs.
Die überwältigende Resonanz, sowohl seitens der treuen internationalen Fangemeinde als auch der weltweiten Presse, bezeugte einmal mehr die schiere Zeitlosigkeit von GAS. Daher fühlt es sich auch an, als sei kaum ein Tag vergangen, wenn Wolfgang Voigt nun mit NARKOPOP genau da den künstlerischen Faden wieder aufnimmt, wo das letzte offizielle Album »Pop« ihn vor fast zwei Jahrzehnten hat fallen lassen.
Auch hier und heute verfängt der unverwechselbare Geist von GAS unmittelbar und nimmt den Hörer bereits mit den ersten Tönen mit in eine andere Welt, zieht ihn hinein in ein undurchdringliches Dickicht aus Klang, hinunter in die Untiefen von Rausch und Entrücktheit.
Aus dichten sinfonischen Nebelschwaden entsteht ein Schweben und Taumeln, ein Gefühl der Schwerelosigkeit, bevor der Zuhörer von der Anziehungskraft einer narkotischen Bassdrum wieder hinunter in den schaurig-schönen Fantasie-Wald gelockt wird.
Während frühere GAS Tracks oft auf der hypnotischen Wirkung des Loops basierten, entfalten die 10 neuen Stücke auf NARKOPOP ihre Magie auf verschlungeneren Pfaden, mal mit der klanglichen Wucht eines ganzen Philharmonieorchesters, dann wieder so zart und zerbrechlich wie der feinste Ast eines weit verzweigten Baumes. Das für Voigts Arbeiten so typische Ineinanderfließen scheinbar widersprüchlicher stilistischer Aspekte wie harmonisch und atonal, konkret und abstrakt, leicht und schwer, nah und fern ist auch auf NARKOPOP essenziell.
Im Sinne seines grenzüberschreitenden Schaffens, überträgt Voigt die ästhetischen Konzeptionen seiner Musik auch auf die Ebene des Visuellen. Das auf seinen abstrakten Waldbildern basierende GAS Artwork thematisiert Voigts künstlerischen Nähe zur Romantik und dem Wald als Sehnsuchtsort. Wer einen genaueren Blick auf das Cover von NARKOPOP wirft, der wird erstmalig Andeutungen architektonischer Fragmente entdecken, die eine andere, vielleicht parallele Welt hinter dem voigt'schen Wald erahnen lassen. Wahrheit ist der schönste Schein.
For all of his life Berlin based musician Drei Farben House has been thrilled by the artistic concepts of repetition and modifying resemblances. Small but precise and perceptible variations of (musical) themes have been fascinating him throughout his life as a lover of dance-infused Pop. The artistic concept of handwriting has been questioned in the world of fine arts with some justification, but Michael Siegle aka Drei Farben House has remained a strong advocate of this artistic principle which in his view has resulted in so many impressive musical expressions in the history of Soul and Disco --reference points which have been particularly important to Siegle's creative work. The album's sleeve shows the 'Doris and Norman Fisher House' in Hatboro (a suburb of Philadelphia) designed by Louis I. Kahn from 1960-1967. Kahn, based in Philadelphia and one of the most influential architects of the twentieth century, was already in his sixties and progressively getting famous around this time for his sensitive combination of concrete and brick in larger scales. The almost spiritual sensibility of his buildings and his poetry of light created deep, fundamental connections between the spaces and their inhabitants. New Release Information "Every building must have . . . its own soul", this famous quote of Kahn can easily be seen in the modest and wonderfully warm Fisher house which consits of two intersecting cubic volumes created from cedar wood - finished at the same time when only twenty miles away the newly founded Sigma Sound Studio recorded the Delfonics first record, installing the basements of Philadelphia Soul which was later leading to Phillysound, Disco and House.
- A1: Smith & Mudd - Mhor (Lexx Mix)
- A2: Freshro! - Pacifc State (Phil Mison Mix)
- B1: Okinawa Delays Feat. Satoko Ishimine - Nariyama Ayagu (Max Essa Dub)
- B2: Mudd & Pollard - Far Away (Ron Trent Mix)
- C1: Paraíso -Teu Sorriso (Jex Opolis Remix)
- C2: Bison - Familiar Stranger (Baldelli & Dionigi Remix)
- D1: Jack Cutter (Feat. David Harks) - Serpent Strut (Fingers Deep Mix)
- E1: Paqua - Ruby Running Faker (Emperor Machine Extended Vocal)
- F1: Smith & Mudd - The Surveyor (40 Thieves Remix)
- F2: Bison - Salmon Spungcake
- G1: Smith & Mudd - Nether (Bjørn Torske Extended Mix)
- H1: Paqua - Late Train (Mushrooms Project Remix)
- H2: Zee Erf - Southern Freeez (Sean P's India Navigation Mix)
- I1: Holger Czukay - Music To Be Murdered By
- I2: Leo 'Almunia' Ceccanti - Andromeda Bound
- J1: U-She - Blue Sky (Mudd Mix)
- J2: Statues - River Darkness
10 Years Boxset
In the spring of 2007, musician and producer Paul 'Mudd'
Murphy decided to launch his own label. Named after the house
he grew up in, Claremont 56 would release beautiful music by
friends, associates, collaborators and like-minded musicians.
In the 10 years that have passed since, Claremont 56 has more
than surpassed Murphy's modest expectations. It has built up
a cult following around the world, with listeners responding
positively to the label's combination of magical music, beautiful
artwork, and impeccable packaging.
To mark the label's frst decade, Murphy has put together
a sumptuous vinyl box set of previously unheard material,
produced and presented with the same attention to detail that
listeners have come to expect.
Each copy of Claremont 56: 10 Years contains fve weighty slabs
of wax and a bespoke info sheet, housed in a specially designed,
hand-numbered box with debossed logos on the front and rear.
However impressive the packaging, it's the music that makes
Claremont 56: 10 Years stand out. Featuring a mixture of
unreleased tracks and brand new remixes of vintage label
releases, the highlights come thick and fast.
As you'd expect, some of the most impressive contributions
come from those artists you could describe as legendary',
including Chicago deep house originators Larry Heard and Ron
Trent. Can legend Holger Czukay kindly contributes one of the
standout moments, the eccentric 'Music To Be Murdered By',
from his own unreleased catalogue, while Afro-cosmic pioneer
Daniele Baldelli joins forces with Marco Dionigi to deliver a
typically spacey remix of Bison's 'Familiar Stranger'. There's also
an epic, Afro-tinged dub disco remix of Smith & Mudd's 'Nether'
by Norwegian scene founder Bjorn Torske.
Elsewhere, Good Timin' man Jex Opolis turns an overlooked
track by Paraiso into a samba-boogie killer, Sean P dubs out
Zee Erf's beautiful cover of 'Southern Freeez', and Phil Mison
turns FreshRo's laidback electrofunk cut 'Pacifc State' into a
breezy, Balearic gem. Look out too, for the emotion-rich beauty
of Statues' 'River Darkness' - a track arguably worth the cost
of the box set on its own - and the deep space explorations of
Almunia's Leo Ceccanti.
We could go on, but we're running out of space. Sufce to say,
Claremont 56: 10 Years is a lovingly compiled, curated and
presented celebration of the label's frst decade.
Adding on to his extensive discography, Reboot has curated a fresh journey through his world with the aLIVE LP on Get Physical Music. A diverse selection worthy of the international dancefloor, the LP contains the culmination of the artist's long career and the many experiences, stories and inspirations that come with that.The LP includes a free download code for the full digital album + remixes from Ricardo Villalobos, Kölsch, ANNA & Nakadia.
Fabio Borgazzi - aka Fabio Fabor - played literally every known style of music, from baroque to 'satanic' electronic, in his library music albums released during his career which lasted almost seven decades. Born in Milan in 1920, Fabor was one of the great artisans of post-war Italian popular music. Author, arranger and conductor with a classical background, he started writing songs (in the 1950's and 1960's) for popstars such as Nilla Pizzi, Johnny Dorelli and Milva; he then turned to music for theatre, cinema and tv, to which he dedicated the rest of his career. In 1981, when he released 'Galassia M81, Fabor was a veteran in the scene of library music, both as an author and an editor. It was the so-called golden age for the genre, just a moment before the advent of MIDI - which made everything easier, but flatter too, putting an end to the 'Italian Touch". The tracks featured here (credited to the fictional combo The Astral Dimension: Fabor together with his friend Antonio Arena) still have a definite Seventies taste, reminding the wave of German kosmische musik (especially the Darmstad school), but they also reflect the Moog-mania raging in pop music after the big success of Walter/Wendy Carlos with the 'Switched On' series. Avant-garde and kitsch hand in hand, ambient for documentaries and background music for horoscopes... all in sequence, with the only purpose of being used and generating royalties.
Schmer-007 "Smoking is Still Bad for You - Volume 1" is here and contains old school and new cool tracks from all the original Schmer culprits plus some loops from our new friends. Dietrich Schoenemann and Prototype 909 dug their tracks out of their vast archives of unreleased originals. DJ RX-5 and BPMF delivered some hot new Schmers to get us moving again.
For the last 20 years we've all been tormented by the great issues facing mankind and most vexing among them of course was "When will the next Schmer record finally come out" I am happy to say that the answer, my record distributing friend, is NOW!
Prototype 909 demands that you ( redacted ) ... "The Volume"! A track recorded in 1997 and finally getting released for the first time here. Prototype 909 was a "group" from "New York" that made "techno" in the "90s". Since then, the three members of this group all went on to do things. #TrueFacts
Dietrich Schoenemann has been so busy being one of the last men cutting all the records in the world that he hasn't had time to organize his catalog of unreleased gems. I distracted him with the old "look over there" trick and stole "8 Feet" from him while he wasn't looking. ( Hopefully he didn't recognize it while he was mastering it )
The last Schmer vinyl was DJ RX-5 "A Taste for Crap EP" from the then Moscow based very underground DJ Compass Vrubell. Nina Kraviz thought it was so crappy she put a track from it on fabric 91: Nina Kraviz; so I asked Alexey to make some more crap. He did it His Shway and this is the result. ( PS He still has all the patterns for the RX-5 from the original release so remaster, remixes and rereleases are in Schmer's future, HUZZAH!)
BPMF - The original Schmer artist had nothing better to do so he kommt back and gave us this track.
We love to torture the engineer so we just had to include some loops:
Rhizome is the alter-ego of Moscow wunderkind Nikita Zabelin.
Philly based Hero/Victim has been victimizing soundsystems up and down the East Coast with his mad live performances.
The Wise Caucasian is a pseudonym for some super famous London based producer and label owner, or at least that's what he claimed when I picked up his bar tab.
Work Them Records producer P. Leone kick-starts his new Brooklyn-based imprint E-MISSIONS with three animated techno tracks featuring a twisted remix from label co-founder Caiazzo.
Beginning his journey through electronic music upon coming into contact with Sonic Groove record store in New York, P. Leone subsequently discovered the legendary Storm Rave parties run by Frankie Bones and Adam X before quickly immersing himself in underground rave culture. DJing house and experimental music in the Lower East Side of Manhattan before producing his own techno, it wasn't long until Spencer Parker signed two of his releases to Work Them Records label which garnered support from the likes of Slam, Roman Fluegel, The Black Madonna, Rolando, Midland and Axel Boman.
Crunchy kicks and ethereal atmospherics set the mood in 'Coast Atlantic' as echoing stabs heighten in intensity. 'Boil Until Pure' is more of a rolling percussive affair containing a medley of metallic nuances whilst 'Tears' demonstrates infectious chords, claps and vocal coos whilst ghostly pads add to an air of melancholy. Fellow Work Them Records artist Caiazzo then steps up to remix 'Tears' - completely reimagining it into a trippy shadowy cut.
Amsterdam based Leyla records presents part two of it's various artists compilation, this time bringing together a host of international artists, as well as a contribution from label boss Chafik Chennouf.
The four tracker commences with Insufferable People from label regular Manni Dee. Following his spectacular EP on Perc Trax, Dee delivers a dancefloor roller containing punctilious sound design integral to his work, with vocals from the artist superimposed over crunchy drums, riding the waves of submerged synths.
Track two from France's Von Grall offers a similar treat for DJs, this time with more introspective elements working in harmony with with propulsive polyrhythms. As the track creeps forward the revelation of drones and synth lines further involves the listener and contributes to a musical landscape populated by rhythmically independent segments, coalescing to form a cogent whole.
Head honcho Chafik Chennouf injects light in to the darkness on the B1 with Kosmai, redolent of EBM style funk rhythms. The stolid arpeggios function as the foundation for percussive interplay which propel the track in to new territory as it progresses. The 90s rave influence becomes apparent as the automations mould and shape the multidimensional lead.
The closer, Useless Landscape, from Japan's Katsunori Sawa immediately immerses the listener as the concrete groove is quickly overtaken by field recordings and a unique tonality emerging through layered drones and warped artefacts. Reminiscent of his work with Yuji Kondo as Steven Porter, the track unveils an intimacy through detail, while maintaing distance through evolving layers of sound creating mystery and magic.
On the label that got him back in the game, Brian Harden returns to D3 Elements, this time with a remix EP of Chicago To Detroit, that featured on the Black 3 EP. This EP features 3 remixes, one By Brian himself and the others by Detroit's Patrice Scott and Atlanta's Byron The Aquarius.First up is man of the moment, Byron The Aquarius, riding high after his releases on Sound Signature and Wild Oates, with his ethereal take on the original. With it's cosmic sounds weaving in and out, Byron manages to infuse his soulful sound on the track to take it to a otherworldly territory. Brian is up next with his 'Chicago Sur Seine Mix', introducing a steel drum and some beautiful pads that are reminiscent of 808 State's, Pacific 202. While still keeping with the original's pace, this remix has more of a down tempo feel, and would fit perfectly in those late night/early morning sets. Finally Patrice Scott delivers a more beat driven Detroit take on the original, with an emphasis on the hi hats and clap that really gives the track that driven feel. While still paying respect to the original, half way through Patrice takes it to another level with his atmospheric keys that round off a great remix EP.
DJ Haus (the hardest working man in show business!) teams up with Mak & Pasteman for our landmark quarter century release!!! How the hell did that happen we only expected to manage about 4 releases tops We are really proud to welcome these guys to the ever expanding DABJ family, and they have not let us down with this first release... The title track and "Bang It" are room shaking heavy bass numbers, which we have been rinsing for almost a year now... Drive MF sounds like Paul Johnson and Daniel Bell "stuck in an elevator" (or some other bullshit analogy like that...). All 3 tracks = essential. period. "Buy on sight" etc etc...
Carefully hand stamped by the two slackest men in show business (or at least one of them anyway...)
Shout out once again to Lindsay Todd of Firecracker for the sick stamp designs!
(180 gr) Talamanca System are the unlikely trio of Gerd Janson, Phillip Lauer of Tuff City Kids and Mark Barrott. Their sole release in late 2014 became one of the best selling on the International Feel imprint. My Past Is Your Future brings them back together for a trio of magical productions that cumulate the power of their production skills and winks at a forthcoming album coming on the imprint this summer.
Talamanca System are the unlikely trio of Gerd Janson, Phillip Lauer of Tuff City Kids and Mark Barrott. Their sole release in late 2014 became one of the best selling on the International Feel imprint. My Past Is Your Future brings them back together for a trio of magical productions that cumulate the power of their production skills and winks at a forthcoming album coming on the imprint this summer.
Talamanca System's debut set them alight across the dance music press and the follow up catapults their distinctive take on modern dance music back into the current consciousness. The EP delivers a nirvanic state, with My Past Is Your Future's use of delicate chords, cascading keys and effortless groove. This is a divine record, paired with a Beatless Stars Is Space mix that strips it back to its core and the Chukka Chukka Dance mix squares up to the dancefloor with an end of night classic.
Best known for his burgeoning Running Back imprint, Gerd Janson is a DJ's DJ, a connoisseur of dance music with an inimitable style that cross genres. His production partner Phillip Lauer forms part of Tuff City Kids and Black Spuma, who have also released on International Feel, with a style that fuses the rhythms of house music with bold melodies to form structured songs. The result is music that can sit comfortably in many worlds.
Mark Barrott started out in the mid 90's as Future Loop Foundation and since has composed music for numerous films & TV shows and founded one of the world's leading music consultancies. His highly-respected International Feel label has featured albums from the likes of DJ Harvey and Jose Padilla, with a huge portion of the releases dedicated to Barrott's own anonymous pseudonyms. Barrott's Sketches from an Island project has gained support from Pitchfork, the Fader, the Guardian and even the Financial Times for its bold and quirky take on Balearic music.
The three of them form an exhilarating partnership in Talamanca System and this EP gives a snapshot into their forthcoming album due to be released on International Feel in May 2017.
Acclaimed Russian producer, DJ and live musician Kito Jempere is back with a stunning second album, this time on Italian label Hell Yeah. Entitled Sea Monster and due for release in early 2017, the nine track album is a fantastic fusion of live instrumentation and electronic production.
Kito Jempere is a musical polymath. The Russian artist, producer, multi-instrumentalist and band leader has been involved in many projects over the last ten years plus. These range from rock to acid jazz to electronic bands and often call upon a rotating cast of other members who are all equally talented.
From playing in small bars to headlining big shows for thousands of people in Saint Petersburg, he has put out a number of albums and singles on labels like Freerange, Room With A View and Hell Yeah and DJs around Europe.
Jempere plays live as the Kito Jempere Band, and here he calls upon his bandmates for their many skills to lend the album a richly musical feel.
Mixed and co-produced by band member Roman Urazov, the album features Artemiy Gunbin aka Noteless, the voice of the Kito Jempere Band and front man of his own rock band Videatape, as well as Ruslan Gadzhimuradov, a long time drummer on many projects, plus Matvey Averin, the bassist but also co-producer for cult group Manizha and finally Sergey Lipsky who here plays guitar and is also half of Simple Symmetry as well as having played for Kito's other project Saint Petersburg Disco Spin Club group.
Sea Monster kicks off with Lifetime Theme, a heavenly groove with loose drums and percussion and gorgeous keys. Form there, Artemiy Gunbin's ethereal and crystal clear vocals take centre stage amongst balearic guitars on album single 'Ampa', and then 'To Talk' is a deeper cut with bumpy drums, long tailed pads and shiny synths all making for a curious and whimsical atmosphere.
'Grid Cells' is a lush instrumental track with clever revel and echo adding a sense of grandeur to the freeform jazz drums and frazzled synths, 'Uohha' is as sunny and laid back as an afternoon on the beach and 'Puzzled' then layers up scuzzy basslines, popping hits and suspenseful synths into something smooth and seductive.
The final third of the album closes out with blissful guitar licks, lazy broken beats and brilliant drum playing that all have you wishing it was summer again.
This is an album with elements of jazz, house, disco, balearic and many more sounds all smoothly blended into one coherent and captivating album full of soul and musical skill.
Four Thirty Two, the new record label directed and curated by Richy Ahmed, reveals its second release this Spring with a fantastic new single from Luca Cazal. Out on vinyl & digital in April, 'Be Alone' is backed with collaboration with Italian producer, Andrea Fiorito.
Cazal has previously released music on Crosstown Rebels, Classic Music Company and his own See Double label, and once again displays his house music credentials on this Four Thirty Two release.
His understanding of club music runs deep; knowing what makes a dancefloor tick is an essential skill for any producer, and Cazal's DJ residency at the Paradise DC10 club nights and regular gigs at Circoloco keep him firmly in tune and adept at carving out modern and fresh party moments.
'Be Alone' is an inspiriting, rolling house track that builds steadily over its tenure. A filtered vocal hook unfurls over tension building strings and nimble keys, the hi-hats assuredly rattling over rolling snare fills and with the energy levels never dropping, Cazal serves up a cracking club cut with all the hallmarks of a filtered house classic in the making.
The infectious house grooves keep coming with 'Manali', with Cazal partnering up with Andrea Fiorito (Cynosure) for a no-nonsense, heads down, acidic basement moment. An urgent bassline bounces around the locked groove whilst choppy vocals, haunting synths and energetic percussion all hustle for prime position in this lively and effective track.
we are very much excited to support this re-issue, credited by jacob f. desvarieux, a composer and also well known as the guitarist of kassav - the only-one band which continually embodies the word 'zouk" for last few decades.
a1 is the tune showing us psychedelic guitar phrases fused together with wobbling heavy synthesizer. you'd better hurry to get the copy for this song, since this is just simply a killer. besides it, a2 is also a tropical danceable tune with moving bass and impressive vocoder chorus, makes everyone literally "emotional" on the floor.
kuniyuki joins with more deep spacey re-edit on the b side, probably we need few words to describe this man in our bio because of his right craftsmanship.
following re-issue could be expected from us in near future. grab one and find yourself in caribbean exotica!
Side A: Indochina, people, nature, instruments - this is "My Trips". It's a story about far places and smiley people.
The other 3 positions on the release are booked for "Musical Gili" - Hindu temples and incenses which let us to zone out.
The second track on the side A is an atmospheric remix from Jacek Sienkiewicz's hands, the owner of Recognition and one of the oldest Cocoon Recordings players.
On the Side B we find "Musical Gili" in original version and Michael Wolski's remix with a strong technical accent at the end. Wolski is our man from International Day Off and TECHNOSOUL
Amsterdam's cult producer and DJ Steven van Hulle a.k.a. Awanto 3 likes his samples vibrant, his drums wobbly and his synths sweaty as a Detroit summer breeze. The MPC wizard returns to Dekmantel delivering his second, full-length album. Gargamel is arguably his most compelling piece of work. Spread over the course of nine tracks, van Hulle shows he's capable of serving up many different styles and genres in his ever-expanding arsenal.
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The Rednose Distrikt affiliate kicks things off with his friend and co-producer Darling. 'Azrael' builds over shuffling, infectious rhythms, a cluster of vocal stabs and heartfelt keys.
'This Is When We Met', 'Why Don't You' and 'Gargamelancholia' on the other hand, are aggressive, batty-jackin peak-time tracks embracing classic acid aesthetics, while 'Positive Negative' is a stretched-out house jam incorporating the tussle of wonky boogie and tribal bumps.
Van Hulle drops the tempo on 'Hooli Goose', taking slow release hypnosis turns while making a marching band sound cool. The dry drum machines, melted bass and schizo sounds of 'Ride The Dragon' will appeal to the freaks, and the dreamy 'Happy Bird' is a tripped-out set of ambient and lo-fi themes. Last but not least, Dexter enters the stage to do what he does best with 'Thick': showing who's boss of the 808 with a straight-up electro essential.
* Following the completely sold out Imagine - A - Nation reissue, Anotherday is very excited to announce a series of releases from the enigma that is Spencer Kincy, AKA Gemini - we are very proud to present Gemini's first 5 releases, lovingly re-mastered and pressed back onto vinyl! First up is Le Fusion.
* Originally released on Cajual in 1995, Le Fusion pairs Gemini's signature edgy techno tinged house bump with live instrumentation and frantic vocals over 3 untitled tracks in one of his most interesting releases.
* As one of Chicago's most mysterious and revered characters, the story of Gemini, aka Spencer Kincy has become something of a myth in recent years - blazing a trail throughout the 90's, prolifically releasing over 200 tracks from 1994 to 1999, Spencer's music had shades innovation and soul few of his peers could match. Then, suddenly, at the peak of his career, he disappeared.
* As before, this release has been licensed directly from the man himself, so unlike some other reissues out there, the money made from its exploitation will go directly to him.
* Imagine - A - Nation sold out almost instantly, and this is set to go the same way, so get your orders in early to avoid disappointment.
Remixers getting remixed! The first batch of interpretations for TCK's 2016 debut album 'Adoldesscent' arrives with a trio of artists above the ordinary. While Tensnake and Joe Goddard take care of 'Tell Me' (the former delivers one of his peaking trademark tearjerkers, while the later one is basically meditating on himself), gifted &blessed Roman Flügel turns the proto-rave of 'R-Mancer' into a joyful ride through post-house that not only will make Gerdy happy. One record for every turntable.
Born on Chicago's southside 1970, Robert has an expansive Musical career that started at the age of 14 with Djing and remixing from the age of 18. In his cellar Robert started organising parties that became very popular in his neigbourhood. Some of the diehard visitors of Robert besement parties were inspired by him and became also DJs, amongst them was DJ Rush others became Rapstars like R Kelly. Robert was going to become a police officer up untill he spun abroad in Italy and realized his true passion. It was actually in Italy where his female fans named him Armani because of his designer clothes he loved to wear. Robert's Influences include Armando, Mike Dunn and Frankie Knuckles. He sees his music sticking with old styles and doing whatever comes to mind'. Producing with labels including Dance Mania, Pushpac, AVC, BML, High Octane and many more Armani has captured the ears of fans and promotors all over the world . He has played many international parties givig people his hard Techno fell. You name the place Armani has played there from Chicago to Japan.
Totes Preesh make tracks for your ears. Sean Marquand and Patrick Wood of New York City have created these sounds for you and your friends and tooled them to perfection, for your pleasure. Whether you're at home, or in the club, or driving around in your car, looking for drugs, you can count on these guys to soundtrack your day correctly. They were featured on 2015's 'Mangiami - La Compilation' on Golf Channel Recordings, but this is their first 12'. They are here to make you bump to a cosmic sound that is sexy and pristine, and yet, also feels exactly like two buffalo boys going round the outside, round the outside. Double A-side alert. First up 'Head Shop Boys', a kicky, kinky, neon affair, perfect for late-night debauchery, on the flip, 'Haole' is a straight up trip with some serious old school New York flavour, and will undoubtedly prove to be the world's first crossover drive-time club banger.
After sending out these tracks last summer and getting great reactions from DJs and dancers alike, Hell Yeah is pleased to finally officially release virtuoso musician Verdo's Little Blue EP, complete with a remix from Lauer. Fully remastered for vinyl, the likes of Lexx, Chris Coco, Soft Rocks, Leo Mas and many more have all be playing these tunes with great results.
The talented Verdo runs the famous Gratis Club in Senigallia on the Italian east coast. It is a place he calls home, and that has really allowed him to hone and sharpen his DJ skills so that now he is a slick, unpredictable and singular DJ with many tricks up his sleeve. Bjorn Torske, DJ Fettburger, Prins Thomas, Kenji Takimi, Glenn Underground and more have all played there in the last decade and Verdo himself is a skilled pianist who has played for Zero7 singer Mozez in the past. He has worked with Hell Yeah before now, as well as releasing on Danny Was A Drag King, and here serves up his biggest bit of dance floor dynamite to date, including his previously digital only cut 'Big Fish' (mixed by DJ Rocca).
Opener 'Little Blue' is a perfectly sunny track with hip swinging claps, bobbling bass and boat party vibes that soothe your soul. Rich with instrumentals and golden synth lines, it's a perfect beat that gets followed up by the retro disco pump of 'Sazerac', another tropical cut with loose drums and rubbery bass to get you up on your toes.
The massive 'Big Fish' then hits hard with its tin pot percussion and wild synths all making you flail your arms like you just don't care. Jumbled jungle vibes and big chords all swell your heart as your feet skip about down low.
Closing out the package is Phillip Lauer (Tuff City Kids), one of the most in demand stars of the day, and his version is a direct house jam with percolating and rugged synths and slapping hits, all demanding you ditch your cocktail and get up and groove.
"all good stuff here! OG for early / mornings and Lauer for peak. really nice release! " Piers - Soft Rocks
"Big fan of Verdo! great tunes here as expected. Sezarac fav at first listen." - Dream Chimney
"Little blue is super nice!!" - Phil South (Golf Channel)
"Yes, some great stuff here. Sezerac and the Lauer mix are really great, perfect sunshine session material." - Chris Coco
"I love Big Fish's keyboards! strong!!! Arigato!!!" - Chida
"Little Blue and Big Fish are fun for sure, def will play em on a rooftop sooooon" - Jacques Renault
"Yeah, feeling Little Blue, heavy rotation this Summer! " - Jason Boardman (Aficionado)
"Little Blue, i like." - Lexx
"This is tremendous. Driving peak time track that you can imagine Joe Claussell really working the dancefloor with." - Andrew Pirie
"killer ep guys!!!" - Discodromo
Versatility has got to be Iron Curtis' second name. There are only few other producers on the electronic scene who are able to display such a variety of musical facets as this talented man from Berlin. With his 'Maple EP' he underlines his reputation of an artist with many faces as his new release is quite a box of surprises: rarley have we heard Iron Curtis in such a dubby mood.
Beginning with the straight and bass centered title track 'Maple' Iron Curtis moves on to the almost beatless and moody 'Collision' and the chord driven Dub House of 'Entago Entery' and finishes the EP with the delicate, Ambient encore 'Reset Me' on B2. With its impressive display of variety this record is a celebration of reduced, understated Dub Techno performed with a distinct musical flair and a clear artistic vision which perfectly fits label owner Baaz' direction of his Office imprint so far. What's surprising is how effortless and 'natural' Iron Curtis' appearance on his long-time friend's record label feels. In such good shape his 'Maple EP' is a definitve tip for the lovers of sophisticated and detailed Dub Techno full of suspense.
- A1: Our Understanding
- A2: Ngc1277
- A3: Captured Rotation
- B1: Approaching Lights
- B2: Gravity Zone
- B3: Goldene Spirale
- C1: Beyond Language
- C2: Standard Model
- C3: Future Teller
- D1: Superstring Theory
- D2: Stadt Des Orion
- D3: The Mirror
- E1: Goldene Spirale (Substance Remix)
- E2: Ngc1277 (Architectural Remix)
- F1: Stadt Des Orion (Rivet Remix)
- F2: Superstring Theory (Zero Mass Remix) S
3x12"
I did not know what achievements, what mockery, even what tortures awaited me. I knew nothing, and I persisted in the faith that the time of cruel miracles was not past .
Stanislaw Lem (Solaris, 1961).
This paragraph from Solaris, the novel written in 1961 by Stanislav Lem, is the starting point for the concept this 30drop album has been built upon. Science fiction masters like Lem are one of the greatest influences for the artist, who devised this album after the mental challenges that humans should overcome in a future: encounter with beings from other civilizations: capable of interacting with us in a totally unthinkable way so far.
Away from what many a sci-fi blockbuster depicts, this work revolves around the idea that such meeting with alien species will be eminently a mental experience that will shock not only our cultural values but also our very own perceptions about what space/time/reality is a mindbending experience where everything we knew before dissolves around us and propels us to uncharted grounds. Terra incognita so far.
Bypassing the random track collection syndrome that plagues many of today s so-called techno albums this LP was conceived and devised from it s very beginning as a full, complete work in itself, best enjoyed in it s totality. A story-telling journey (very much in the tradition of seminal / genre-defining albums as UR s X-102) were tracks lead you to one another. Tracks can be enjoyed on their own, being all suited for dancefloor and dj-sets alike, but take a complete different meaning when put in the right context within the album.
Musically this long-player combines stripped-down rhythms, sweeping pads and hypnotical bleeping sequences woven together in an intrincate but subtle way, a fashion that harks back to the classic minimalist yet complex mid-90 s sound of Hood, Mills and T.Dixon sounds appealing both the mind and the feet.
Classic and futuristic at the same time, this is a compelling journey that opens with the eerie atmospheres of Our Understanding before really taking off with the cadential NGC1277. The hypnotic Captured Rotation sets the pace for the rest of album which oscillates between the exhilarating cosmic groove of Beyond Language and the contemplative stasis of The Mirror. Other highlights include the entrancing Goldene Spirale or the furiously busy Approaching Light.
The whole package is further rounded up by a set of remixes which showcase the different directions taken by techno producers this days: from Substance s solid Berlin-style to Architectural s spaced-out visions via Rivet s hard-hitting club bangers and Zero Mass abrassive experiments.
Text by: Dj Zero.
Following the recent reissues of Pop Impressions, Super America,
Soul Impressions, and Chorus, Underdog Records label follows
up to the series with another brilliant album by French underrated
composer and producer, JANKO NILOVIC.
JANKO NILOVIC certainly was one of the greatest studio talents of Europe in the 70s!
He is a musician who devotes himself to music, which resulted in a great number of published works, but most of them made for library music labels and also not available for sale. His oeuvre stretches from classical, jazz and funk to pop, psyche
and easy listening. And has been sampled many times by hip-hop
artists such as JAY-Z, DRE, DAFUNIKS or GUTS...
If Aphex Twin and Mike Dred had a kid, they would have called him Analogue Bipolar Boy for sure. Colin Q Smith belongs to the old guard of ravers who grew up to the U.K. and Belgium sound in the early 90's.
Follow up to his must have Tales From An Analogue Graveyard EP' on Acid Night label last year, Into Darkness EP' sees the London based don finding again another french im-print, New Flesh Records, to serve up six wild, untouchable, brutal, old school-acid-industrial songs of his trademark. From the sinister overture of the beat less Into Dark-ness Theme', to the analog madness of Entangled', passing through the evil vision of Sad Robot', ABB blends an obsessive use of analogue synths textures, fusing with his un-limited talent horrific sororities to merciless rhythm constructions.
Many tracks were buried deep in a safe located on a secret analogue graveyard a long long time ago only to be recently unearthed onto the world... The recordings using only old analogue synths and you will probably notice the difference! Not for the fainted hearts, Into Darkness EP' is no doubt one of New Flesh most savages and intense EP's to date. In the AFX vein! Hear it and fear it.
After debuting on Mr. G's Phoenix G imprint in 2016 with the Unfamiliar Territory EP, Jayson Wynters makes an appearance on DBA for this, his second release, backed by a Kowton remix.
Jayson Wynters is a DJ that is able to combine many genres in one set and make it work. Wynters was first known as a garage MC in Birmingham, before rising to prominence in the city's underground radio and club scene, where he showcased an impressive knowledge of rare groove and house music. As he got older his taste for music began to mature, his collection began to grow, and he soon began to DJ. Using music as an outlet for expression, whether in the form of DJing or having fun on some drum machines and synths, is one of the most defining features to Wynters. He continues to fuel his passion by keeping an eye on the future rather than the past and striving to remain different.
End of February will see Luciano continue his newly launched Basaec imprint with 'Saved & Slaved', a two-track release featuring collaboration with Argenis Brito. Swiss-Chilean producer and DJ Luciano has been at the forefront of underground electronic music for quite some time now, heading up the infamous Cadenza imprint and releasing material for some of the industry's leading labels such as Perlon, Desolat, Cocoon and Poker Flat amongst many others. Here we see Luciano back on his recently launched Basaec label, delivering some of his signature stripped-back, dynamic and emotive material 'Lost In Lymbo' takes the lead and sees Luciano offer up a typically intricate twelve-minute excursion with subtly modulating and evolving percussion, spiralling synth swells, sporadic vocal chants and a smoothly unfolding aesthetic resulting in an archetypal and intriguing production from this forever forward-thinking artist. The latter half sees Luciano paired with fellow Cadenza artist Argenis for 'Pato's Track', stripping back the vibe to a raw cowbell and rim shot percussive-led state whilst lumpy subs, vocal murmurs and subtly unfolding flute like melodies ebb and flow throughout the composition.
We're back from hibernation after releasing the third Roundup at the end of 2016 and we're starting off with a new signing. Milan based Parker Madicine joins Heist with some high tech funk with a serious nod to the 'D' and we've got Byron the Aquarius delivering a great jazzy remix. You'll be more likely to find Parker Madicine browsing through boxes of old jazz and soul records than you'll see him showcasing his social media skills. He's a real vinyl junky and moreover a hip hop fanatic and probably loves his synthesizers more than his mother. Apart from promoting funk and soul oriented parties in Milan, he founded CT-HI records, short for 'Contemporary Theories of Hip Hop Influences". A few years back he teamed up a.o. with his buddies Veez-O and Turbojazz to create some Dilla and early 90's inspired hip hop and these influences are clearly present in his EP for Heist. With Heartbreaker, he lays down a dreamy but heavy groove for the first minute or so, arpeggiating its way to the moment where the airy pads make room for a looser than loose groove where synth stabs and bass line dance around each other creating a killer vibe. Zawinul starts in the same manner, rough kick, loose and degraded hi-hats and dreamy Rhodes chords. The tracks build further with some lovely brassy hits and arps, whereas Placebo is the most stripped back but high tempo track, where an airy and delayed bassline does most of the work to set the mood. We're really happy to have Byron the Aquarius reworking one of PM's tracks.
Ltd. Repress !
Nummer's long awaited debut LP marks the 10th release on the Going Good label.
Needless to say this one's been in the pipeline for a while and we're super happy to announce it's imminent arrival.
Comprised of the duo of Emmanuel Corre and Silvere Letelier, Nummer have surprised and impressed many with their fresh take on the last 20+ years of dance music. Inspired by the deepest strains of Detroit, Chicago, New York and their native France the pair have tapped into something that few artists manage these days - an original style. This sprawling 2 x 12" touches on many of these cornerstones but never apes anyone's sound or vibe, forging their own path into the cosmos and beyond. Machine music with a beating heart is central to the 'Second Sight' atmosphere and Nummer's character as producers. This is the deepness.
Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and depth of style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.
And full-length it is:
The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period by record label, HippieDance.
We are thrilled to bring you the third chapter of The Golden Ravedays saga, released in March 2017.
Number 3 of the series introduces two further tracks of the haunting sound adventure that Superpitcher is taking his fans on during 2017.
Side A features 1984.
It has nothing to do with George Orwell's magnificent book but it could remind some of how the apocalypse might sound one day.
1984 is as sweet as the very first track, Little Raver, of The Golden Ravedays album but it stresses the fact that even though Superpitcher produces music mainly intended for the dance floor, he creates sound that is bordering on the shamanic.
1984 might as well be the meeting of a group of supersonic bottlenose whales that are overly excited to see each other after being separated by many an ocean and moon.
Side B of this edition brings us Pocket Love.
Or shall we rather say, Side B gifts us Pocket Love
Because we believe this is nothing other than a gift to us all.
Imagine looking into a kaleidoscope and turning the dial and experiencing all those colors as pockets of love rushing your way and exploding in satin wonderment the moment they past your eyes and ears. Imagine how it must sound like if all the e mails, tweets, facebook posts, instagrams, pinterests, grandma's postcards, text messages, letters on rice paper, hearts scratched into trees, declarations of eternal loyalty written in sand, phone calls and videos of the whole universe were all messages of love stuffed into pockets and sent to you.
Imagine the treasure you will receive!
Imagine being one big ear drum and listening to the very energy that this love exists of - imagine it and you will find yourself inside Pocket Love.
The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.
''Metamorfosi LP'' is Bichord's first full length offering for the Planet Rhythm imprint after their Quadrivium EP (2016) was met with critically acclaim by techno aficionado's and lovers of adventurous soundscapes alike.
The new LP is a split two with the A-side showcasing the more Techno oriented works and the B-side showing the duo's set of ambiences and lush tone. This lenghty effort is the duo's first full artist album out of many to come.
''Metamorfosi LP'' will be released through Planet Rhythm in the first half of 2017.
Newly launced Samo Records is setting out to explore the depths of the dancefloor by celebrating the darker, moodier facets of electronic music.The NYC label's first release comes from Pixelife (Sean Dack), a highly accomplished visual artist and veteran of NYC's underground. In addition to releasing on such respected labels as Throne of Blood, Horn Wax, and Let's Play House, he also makes up half of GHOST COP, a band known for its textured synths, iconic vocals, dissonant beats, and captivating live sets. Incorporating the same expert sonic-layering techniques he employs in his live analog sets, he's created a dynamic EP that's both intimate in feel and broad in scope.'Omega Block' stomps out of the gate, all driving rhythms and throbbing basslines with an underlying element of frenetic foreboding — aptly reflecting these geopolitically tense times, while still remaining suitable for losing yourself on the dancefloor. The track gets the remix treatment by Bristol, U.K.-born, Berlin-based Antoni Maiovvi, a self-described 'electrodisco horror mindmelt DJ/live performer/film composer' who heads up Giallo Disco Records with Vercetti Technicolor. Here, he trades his trademark horror elements for successions of staccato beats and a stripped-down sensibility that successfully translates to perfect late-night-at-a-warehouse vibes.Chimeras in the Matrix' soars with gorgeous dystopian melodies overlaying squelchy undertones, revealing labyrinthine layers and anxious crescendos before building to a full-on acid frenzy. Producer/remixer/DJ Tronik Youth (who, like Maiovvi, also hails from the U.K. and currently lives in Berlin) is co-head of the prolific (averaging nearly a release a week in 2016) NEIN Records, which he founded five years ago with Ian Considine; the label has released music from the likes of Rodion, Curses, In Flagranti, Heretic, Man Power, Daniele Baldelli, The Emperor Machine, and Moscoman, to name but a few. He is also a member of Permanent Wave, a spooky, pitched-down, dark-wave-inspired disco project with French singer Justine. He brings a chuggy, bleepy edge to his take on 'Chimeras in the Matrix' with bouncy rhythms, multiple breakdowns, and echoing robo-vocals, taking the original's intensity down while upping the dancefloor quotient.
Taking charge of the first release is Lucy, who has evolved his distinct sound signature by reconciling the deeply personal with the esoteric, and by harmonizing the spheres of technology and biology. Whether he is acting in the role of producer, DJ, performer, or Stroboscopic Artefacts' curator, Lucy's clear passion for creative evolution and mutation is something that continues to attract new listeners, and keeps giving his current supporters new reasons to continue tuning in. EP opener 'The Hermit' is eight minutes of spacious and cerebral techno. Rolling drums are buried deep as little flecks of sound design peel off the groove. Occasional bell hits bring a sombre and languid feel despite the drive of the drums, and it is the sort of perfectly absorbing track that will suck you down a 5am rabbit hole. On the flip, 'The High Priestess' is a similarly mental work out that is empty and eerie, with distant drones and yawning pads outlining a vast underground space. The drums here are again rubbery and rolling, but a little more prominent, and the whole thing manages to be both soothing and unsettling. After this fine EP starts the label in style, a remix EP from Blawan will follow.
Inspired by the likes of Raresh, Zip, and Villalobos, the artist known as Kepler has something special in store for your local area dance floor. "Making Chords" is an exciting new release that's guaranteed to please.
The title track "Making Chords" can be appropriately described as nothing less than an addictive, bona fide banger that will instantaneously hook its end user after one listen. From the beginning Kepler. sets the pace with a smooth, sexy bass line that will command your attention and aggressively compel any crowd to start dancing. This passionate production pushes its agenda with a rumbling tempo, dynamic drums, and intriguing vocals that are well worth repeating. Laced with clever sounding samples and purposeful piano licks, "Making Chords" is made for anyone and everyone.
The second offering, "Wire" is a quirky, fun departure that gives insight to Kepler's wide range. This spooky sounding track is characterized by its off-beat rhythm, saturating bass tones and curious sounding signals that slide up and down while continually building momentum. As the "Wire" progresses, one can't help but to take note of how its unpredictable nature is dictated in such a well-organized manner. Very, very interesting.
A handful of cables, laptops and a few dusty machines are all it takes to make music. On Stiff Little Spinners Vol. 8 this is proven once again with seven exclusive tracks by Thomas Atzmann, Rampue, Kalipo, Krink, Paradise Hippies, Gimmix and Monopohl. The eighth edition of the Stiff Little Spinners compilation is ready for the next demolition party with a mix of modern deep house, slow jams & dreamy techno future classics. 01 Thomas Atzmann - Skagerrak After a longer release break, Thomas Atzmann delivers the first sure shot of this record. Skaggerrak convinces from the beginning with spheric ambience and tom-tom grooves, dissolving in a wash of big synth emotions. 02 Rampue - Der König und der Vogel King Rampue dishes out an A+ Slow Jam. Minimalistic in the beginning, this track leadsyou directly via screwed vocals to a cosmic breakdown of intoxicating emotions. All of it with a beautifully relaxed bpm. 03 Kalipo - Gernkraftwerk The manifold producer is on the ticket as per ususal - this time with a detroit-y neo trance attack. With the appropriate volume this tune can lead to loss of gravity. 04 Krink - Dazed This track is tuning feedback into filters and synth stabs in your face as if there was no tomorrow. Some tunes will always instill hope that's it's possible to dance forever and never go home. 05 Paradise Hippies - Prosecco Mate The last hippies of Hamburg bring proof that two rad dudes together make an extremely rad pair.
Peter Hunnigale aka Mr Honeyvibes was born in South London on December 12th, 1960. Peter Hunnigale was to develop into one of Britain's most formidable reggae 'Lovers Rock' artist of our time. It was clear at a tender age Peter's main interest was in music and being born of Jamaican parentage, he was exposed and influenced by music of West Indian culture.
Untamed Love is an UFO in Peter Hunnigale's career, recorded at Omega studio (London) and originally released on the Cosmic label in 1986. Some people have no words to describe it. You can call it brit-boogie, rare funk, sick jam, musical bomb, or god jam, whatever it's a typical mid 80's tune with a rhythmic background sound that is captivating and memorable, thanks to heavyweight synth and awesome vocals. The original 12'' vinyl record is still very hard to find and expensive nowadays. If you are about to discover this song, make sure you are sit down when you listen to it because this song will blow you down hey girl I like the way you smile'.
Growing up in Britain meant that Peter Hunnigale was also open to other genres of music and with seeing the popular acts of the day perform on television and hearing the songs on the radio Peter knew what he wanted to be. Peter is also a great musician and did live work with reggae legends such as The Chosen Few, The Pioneers, B.B. Seaton and many others, while earning the respect of their peers as a competent bassist and qualified engineer. He won a Best Newcomer award at the Celebrity Awards in 1987, and won Best British Reggae Album at the British Reggae Industry Awards the same year.
For our 57th release we're stoked to be bringing you some heavy new biz from the one and only Ron Basejam. This man is responsible for some of the classiest disco-influenced House music dating back to '05 when his anthemic For The People blew our minds and soundtracked many an after-party so perfectly. Recent EP's on Eskimo, Wolf Music, Futureboogie and top notch remixes for the likes of People Must Jam, Brownswood and Classic have all delivered in spades.
Here on The Sound Of A Feeling EP we have three brilliant raw, stripped and chopped analogue jams plus the first ever remix from Tee Mango who comes hot off his stunning debut LP Imperfections on Millionhands.
Excerpt from the tome:
"I could feel the mana running warm under my skin as the cold dessert breeze swept through the valley. The black cloaks of my brethren fluttered like whips in the wind as our caravan slithered on through the desolate fields that had pulled us so far away from our crypt. The sun was setting and with a cry, I ordered us into a halt.
We were very close now, we could all feel it. Our dragons had been silent for nearly three days and the tension inside of our horde was growing increasingly fierce. I looked down into my hands and saw no trace of the strong fists that had once tamed these giant scaulding creatures. A lifetime flashed before my eyes as I read the scars and wrinkles that ran endlessly across my palms like runes. Then, my eyes jolted toward the horizon as a clap of thunder broke the silence. We all watched as the sun swelled rapidly and we knew that the time had finally come.
By the pounding fists of Ba'al.
To the roars of our burning children.
Death was coming to release us all."
Early support from Claudio PRC, Slam, Oscar Mulero, Patrick Siech, Antonio de Angelis, Arnaud le Texier, Kwartz, MTD, Antonio Ruscito, Retina.IT, Samuli Kemppi, Takaaki Itoh, Rasmus Hedlund, DJ Sandrien, Brando Lupi, Dadub, David Att, NX1, Sam KDC, BLNDR, Luigi Tozzi, Periskop and more.
Body. Mind. Spirit
The always wonderful BEGIN returns after a very Balearic absence ! And what a return !
'Let's Talk' eases us in with some trademark Begin style mid-tempo mellowness, as undulating melodic elements are carried straight to the beach on gently lolloping beats
'Aight' adds a little more anticipation, with a syncopated backbone and some mesmerising Carl Craig style synth cycles...
On the B, the 'Cut The Paste' is a burly, New Beat inspired chugger, which manages to sound exactly like an early morning, strobe-lit Boccaccio moment, while simultaneously basking in the midday sun
Danilo Braca (danyb) arrived in Brooklyn from his native Rome in 2012. Playing around town, running sound at local venues and slowly allowing these edits--informed by many years working the floors across Europe--to evolve on and off the dancefloors of New York City. Check his web radio TSoNYC - The Sound of New York City.
Busted Vol. 1 kicks off with something very special - a lovingly reworked, top secret, late 70's jam favoured recently by none other than DJ demi-god Harvey
Anyone who's heard him play in the last couple of years will be familiar with the original version of this truly magical 13 minute slo-mo Disco jam - it's a genuine holy grail moment !
Having established that quality is of the upmost importance, Busted continues with a beautiful duo of amended cuts on the flip. The uptempo, playful 'Play Me Hard' works the groove, hard !
while 'Have A Cake' is a gloriously sleazy mid-tempo workout
One hell of a 12" ladies & gentlemen !
Shelter is one Alan Briand, a young Parisian producer with a strong melodic centre producing a sound that pulls on the Zouk, the Afro, the Balearic and the Ambient palette. Zon Zon Zon is only his fifth release and his first mini album, following the series on International Feel that has brought us material from Len Leise, Wolf Muller and CFCF.
International Feel first met Shelter on a trip to Paris a few years back. It sounds like a story from a Nick Hornby novel, but there's a record shop in Paris called L'International Records, run by a guy called Dave who has a group of young French DJs, producers and promoters that visit the store, hang out and buy and listen to music - a story no doubt currently being repeated throughout the world as new generations immerse themselves in the culture. Shelter is a producer who has sucked up all that he has been hearing around him for a number of years and is now producing a quality sound, pulling on the exotic.
The seven tracks on this mini-album are taken from an extensive pool of Shelter's melodic magic. Some people lead on the beats, some on the production, but Alan focuses on the melody, with the beat closely tied in as support. Señor Zalla starts the album with an afro vibe, closely followed by the Zouk-style of Zon Zon Zon and Port-au-Cœur's mellow Balearic tones, as Shelter twists nature's sounds into his own sonic world. Bucolica, an upbeat wonder of a track, turns to the ambient mantra of Courant Rouge and it's distant cousin Courant Bleu, a classic rhythmic balearic piece with syncopated melody and delayed drums. La Volière (the French can make even bird cage sound beautiful) brings the album to a close with a smile in the mind's eye.
Zon Zon Zon is universal. It could easily have been created in Ibiza or Canada, Australia or Africa. It was in fact recorded at Paris 11, where Shelter forged beauty through the sounds of nature and uncovers a wisdom in its simplicity. We can expect good things from Alan. Here's the first chapter.
Maurizio Martinucci (aka TeZ) is being warmly welcomed back into the Frigio fold. Following his work with Most Significant Beat, a partnership with Saverio Evangelista of Esplendor Geometrico, this Italian artist, and member of Clock DVA since 2010, is flying solo on new wings: Pragma.Martinucci examines, scrutinises and magnifies mechanics. And under such inspection all things change. Drums blossom into serrating melodies. Snares, hi hats, toms blur into one as they are distilled into a heady brew. At times this reduction is sour and sharp, as in the cruel cud of 'Ospel', at others its strangely smooth like in 'Dusk.' The lines that divide electronics and techno all but disappear, dissolved into insignificance under Pragma ´s barren palette. 'Espex' is stripped. Percussion is dipped in distortion, bass bleached by hiss as the reductionist manifesto is applied. An artist cut from the same caustic clothe closes.Arturo Lanz of Esplendor Geometrico amplifies the fuzz and static of 'Espex', shaving away all decoration to leave all but a harrowing husk of cables, wires and pain.
Making his Tortured debut is Liverpool based Techno DJ and producer, Binny with his 'Devil's Orchestra EP'.
Binny's journey as a solo artist started with a release on Orbis Records in 2012. Since then he's gone on to release a further three EPs for Orbis as well as additional releases for Monnom Black, Symbolism, CLFT, Suburban Avenue, Forte Techno, Scenery, Demarcation and Flatlife Deep plus remixes for Endlec and Fundamental Interaction. Drawn to the music of Jeff Mills, Robert Hood, Surgeon, Regis, Steve Rachmad and many others, his DJ sets and production sound is tough, hypnotic, old school and most of all, uncompromising. As a founding member of the Phantom Planet Outlaws with John Heckle and Mark Forshaw, they have produced EPs on Tabernacle and Apartment Records as well as starting the Boss Tracks label exclusively dedicated to releasing Phantom Planet Outlaws material.
Taking another solo turn, this time for Billy Nasty's Tortured label, Binny delivers a refined EP from the striking and demonic strings of the aptly titled opener, 'Devil's Orchestra' via the multihued tough groove of 'Alternative Methods', before the Tech-funk of 'Roll With It' and on to the Sci-Fi tones of 'Untitled' which closes the vinyl 12"
Nach unzähligen Releases auf Labels wie Sub Pop, Troubleman Unlimited oder Jack Whites Third Man und zahlreichen Kollabos mit Acts wie Sonic Youth, Anthony Braxton, Andrew W.K., Hieroglyphic Being oder Morton Subotnick, veröffentlicht das Detroiter Post-Industrial/Noise-Trio Wolf Eyes sein neues Album "Undertow" auf dem eigenen Imprint namens Lower Floor Music. Auf den fünf neuen, teils überlangen Tracks graben sie weiter in den Untiefen ihrer ureigenen, durch Electronica und Free Jazz infizierten Noise-Welt. Die LP erscheint mit Download-Code und doppelseitig bedrucktem A2 Poster.
Cosmic Club 17's in the house, and for this one Skylax have delved deep into the mystic universe of the ultra prolific photonz with a four track EP quite simply out of this dimension ! Photonz is the artist name of Marco Rodrigues, a London-based DJ and producer who's been championing the new sound of Portuguese house and techno worldwide since the early 2000s. He has done tracks for various labels such as crème organization, unknown to the unknown, hot haus, the "cult" dissident and many more. His first cut "memories of burma" that gave the title to the ep is an infinite groove that builds and builds with arabic synths, a perfect crossover between balearic & old school jackin house. "Baronrevxp" & "agape" moves into the same territories with some sharp clap, hi hats and some big retro vintage sounds. While "stealth predator" catches him at his most experimental, upping the tempo and unleashing an ambitious techno juke roller, think about drexcya, 1990s techno, Plink Plonk and you're not even close ! Photonz music sounds extremely big for the big rooms, and still very large indeed for the smaller ones.His music is praised by The Chemical Brothers, Jackmaster, Optimo, Ivan Smagghe, Daniel Avery, James Holden, Ewan Pearson, Auntie Flo, Tim Sweeney, just to name a few. 'Memories of Burma' EP is not just a cosmic experience, but a voyage into the realms of a producer in a world of his own. Must have. Essential item. SKYLAX RECORDS 4 EVER !
Here we go again! Puas Puas is back with 2 pumpin house tracks by Dj Soch! Dark Dub Techno Remix from Nick Antony Simoncino. Hot Stuff!
Aus welcome back label favourite Shenoda for his third release on the label, 'Burn' backed with a remix from Juxta Position. Previous releases on Hypercolour & Electric Minds have seen Shenoda firmly on the ascent but it's in his recent outings on Aus that his bold, rugged club music has really reached its zenith. 'Burn' follows suit with its predecessors with its power being rooted in seismic, analogue drums that are balanced against soft, allaying melodies.
The muscular 'Vista' then rolls out punching stabs and tight, shuffling drums before label mate Marquis Hawkes dusts off his Juxta Position alias and delivers a pacey and forthright take on 'Burn'. Melodies are softly mangled and given a spectral quality that recalls his 'Mazury' on DVS1's Mistress wrapping another solid addition to the catalogue as the Aus Music family continue to deliver the goods.
- A1: Notre Renaissance
- A2: Un Amour À La Serge Gainsbourg
- A3: Sans Bruit Et Sans Parler
- A4: Kalekoukou, Soleil De Boue
- B1: Parle Moi
- B2: Je Ferais Tout Pour Toi
- B3: Tu Cherches Quoi
- B4: Une Fin De Quelque Chose
- C1: C'est Bon C'est Bon
- C2: La Chatte
- C3: I Am The King Bee, My Baby
- C4: C'est La Guerre Des Langues
- C5: You Light Me On
- D1: Catastrophe À Ressort
- D2: Le Train
- D3: Europe
2 black LPs in gatefold sleeve with CD included T
A relentless vinyl collector and a fervent connoisseur of Anglo-American culture, the founding painter of the Figuration Libre movement (with Di Rosa, Blanchart and Boisrond) in the early 80's, Robert Combas has always connected his art with rock music. The two are always intertwined and fuel his inspiration. During his exhibition Sans Filet, Robert Combas made an essential encounter: the artist and video maker Lucas Mancione, also from the town of Sete, and decided to make the leap. Together, at the start of the decade, they created the band Les Sans Pattes. Notre Renaissance is a dazzling discharge, a geyser of cold and searing emotions, a conscious search for a unique and extreme experience. The tension in each track is palpable, as constant as it is pregnant. This band is full of character. Sometimes electronic, often a bit punk, always particularly rock'n'roll. Raw and physical tracks, compact and heady. Les Sans Pattes always lean towards psychedelics and repetition.
Fresh off of a pair of well-received EPs on his recently-launched Manhigh imprint, Berlin's highly respected techno auteur Henning Baer makes his first appearance on Nonplus with 4 excellently crafted, saturated machine techno tracks on The Idea of Instinct. Following on feelings suggested in the title, the EP opens with a pair of more contemplative pieces: the title track's spare arrangement puts mechanical rhythmic drive behind its exploration of dusky electronic atmospheres, while the feeling of 'DNA' is both brighter and slightly pacier, its hypnosis deriving from the pads and synthesizer sequences that circle the drums. 'CCC II' takes a darker approach to a similar idea, this time with the suggestion of polyrhythms in the distant and heavily-treated percussive elements circling in the background behind uneasy ambience. It builds to the closer 'Spiritual Quest', where overlaid rhythms in 3 and 4 are not easily reducible and create the tension at the track's centre driving it to its conclusion.
Limited to 500 copies with artwork
While unveiling the 'Mutant Tournament' Quartet last year, label boss Nachtbraker was quietly hunting for new music behind the scenes. Being the fine huntsman he is, he came out of the woods with sonic bits and bobs so delectable he had no choice but to spread them out over two brand new quartets. That's right, eight records in total, to be released over the course of the next 18 months. We're delighted to introduce you to Scott Franka, who's at the helm of the first missive. This creative head from Amsterdam has been making music since the tender age of 11, but it wasn't until he adopted his Scott Franka moniker that he really found his groove. His music encompasses influences from dub and dark techno to classic drumpcomputer and synth-heavy house. Franka's style takes cues from Detroit, Chicago and the UK, and yet is also very personal and forward thinking at the same time. 'The Gym' might be his solo debut, but a smattering of releases from the man is on the horizon. The best way to introduce you to Scott Franka's musicality is 'The Gym' on A1. Starting of with sweet, melancholic chords and 808 hats Scott turns your world upside down after the first break. Try to keep your head steady, and get that dirty look of your face.. doesn't work right It's just too good. 'Toenail' is up next, and its undeniable groove and incredible amalgamation of synths and strings make for an absolute early hours melter. Flip over for 'Sorry' to hear Franka knock it out of the ballpark with its heavy breakbeat and UK-style bass. Finally, there's 'Street', a mesmerising groover, rounding things off nicely. The release doesn't only mark its first artist EP, it also marks a new look for the label. Building on the muscular,pheromone-rich theme of the first Quartet, Elsemarijn Bruys developed a fresh concept for both new Quartets with a little help from Scott Franka,
Standart LP[17,02 €]
Palto Flats & WRWTFWW Records are ecstatic to announce the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan.
Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.
The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.
Wata Igarashi's Ciphers Ep (MDG006) out in March 2016 is getting reworked. The artist involved were carefully chosen together with Wata Igarashi after some friendly exchanges during his last visit in Europe. We want to deeply thank Nuel, Yves De Mey, Orphx, Shawn O'Sullivan, r²p and Ruff Cherry for taking part to this project and giving their amazing contribute! As happened for the original Ciphers Ep, which included 2 free download only digital tracks, we decided also this time to give away two tracks: 'Cocytus' remixed by r2p, newborn collaboration of Ruhig, Retina.it and PRG/M and 'Displacement' remixed by the Ruff Cherry.
The fourth participant in the GOST INSTRUMENT series is Ivan Erofeev hailing from Siberia's Omsk. Ivan was producing and releasing music as Aleph for the last five years and this is the first ever record issued under his birth name. The author's distinctive, monotonus yet liquid sound emerges in these two tracks - deep "H Island" and polyrhythmic "Sahiba". Framed with field recordings made by the man himself, this two-tracker is a hypnotic and atmospheric journey into Ivan's very own creative universe.
Espen Beranek Holm is a Norwegian musician and comedian, born 1960 and began his music career as a clarinetist. Inspired by early synthesizer bands Kraftwerk and The Residents, he began making experimental pop music. His debut single Dra te' hælvete' was released in 1981 and was immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.
Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, Sound of Danger', was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single's fun, kitsch pop, the album is cool and static, driven by thin rhythm boxes, cold synths, and glacial guitars. Taking heavy cues from David Bowie, all of the songs are sung in a nasally English accent, a rare occurrence in Norway at the time. The lyrics are melancholic, but tinged with paranoia. There are also upbeat tracks that evoke a prog or glam sensibility a la King Crimson, Alan Parsons, or Roxy Music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black, and white lines that evoke a visualized Richter Scale designed by Monica Moltzau. Each copy includes a 2-sided 8x11' insert with lyrics and an autographed press photo of Beranek.
Following up on the long awaited 'Melody' / 'Stop Fantasy' reissue from 2016, Mothball Record returns with a lesser known, but no less brilliant, double-sided disco bomb from Plustwo.
Lighthearted and infectious melodies on both sides are matched with superb production and unmistakably beautiful vocals: this is no fast food but elegant music to enjoy for years to come.For many years a favorite in the Mothball Record offices, yet strangely unknown by many, 'Mad Radio' and 'New Sensation' will put some unexpected spark in your next disco set.
- A1: A Train Is Coming
- A2: One Device, One Method, One Thing
- A3: Rocking From Beginning To End (Feat. Kenny Keys)
- A4: This One Is For The Ladies And Gents (Feat. Miles Bonny)
- A5: The Kids Are Listening Interlude
- A6: Don't Box Me In (Feat. 80S Babies)
- A7: Beware Of The Groove (Feat. Mario Sweet)
- B1: Come With Me And Fly (Feat. Yusef Rumperfield)
- B2: Is There More To Life (Feat. Diggs Duke)
- B3: I Will Never Know (Feat. Moonchild)
- B4: Mario Smith Speaks On (Feat. Daniel Crawford)
- B5: Things Deeper Than My Skin (Feat. Ozay Moore)
- B6: Peace And Love (Feat. Masego & Rommel Donald)
'This is a journey into sound...,' These familiar words, accompanied by the rumble of a distant train, signal the opening of 'Let's Take A Trip', the sophomore album from Terrel Wallace aka Tall Black Guy. Since 2013's '8 Miles To Moenart' TBG has cemented his position as a standard bearer for the current hip-hop / beats scene. Born in Detroit and now residing in the UK, Wallace's signature style of incredibly clever sample flips and deft production chops has won fans across the globe including Gilles Peterson, Lefto, Jazzy Jeff and House Shoes.
Since his debut release in 2011 (a daring and addictive flip of Fela Kuti), TBG has become revered for his unique take on soulful hip-hop production. The swing of the drums, the textures of the instrumentation as well as a fearlessness in taking on the classics (his Soundcloud page includes flips and chops of tracks from James Brown, De La Soul and Michael Jackson) have marked him out from the crowd. One of the best-kept secrets in the scene, his singular talent is now beginning to get the recognition it deserves. In the last 12 months he has remixed Little Dragon and been invited to take part in Jazzy Jeff's Playlist Retreat alongside the likes of Eric Lau, James Poyser, Ali Shaheed Muhammed, Questlove and countless others.
For this album Wallace had a simple inspiration: 'This album is all about taking a journey. As simple as that. Be it physical, emotional or spiritual. It's asking and answering personal questions from myself within some of the tracks and also touching on social issues i.e. racism, inequality and privilege...that have been at the forefront of my mind over last three years.' Sonically there is also a shift: 'Jazz has definitely been more of an influence in this project, as I have been really inspired by so many up and coming musicians who I've been blessed to connect with'. Some of these musicians, including Kenny Keys, Miles Bonny, Diggs Duke and Dee Jackson feature on the project as well as regular collaborators Ozay Moore and Mario Sweet and fellow Playlist alumni Daniel Crawford and Masego. But this is one man's vision, and for Tall Black Guy this trip is just the beginning...,.
Omar has a totally unique, individual style and sound still marks him out as a future thinking and utterly unrivaled artist, who has collaborated with so many legendary names that it would be foolish to deny his worldwide reputation - who would dare contradict the likes of Stevie Wonder, Erykah Badu, Carleen Anderson, Angie Stone, Common and fellow fans and followers like Maxwell and Jarrod Lawson
Following on from 2013's album The Man, 2016 sees his new long player further cement this undeniable reputation. Love In Beats is Omars' 8th studio album of his long, illustrious career and may just be the most eclectic & varied to date. Somewhat more electronic in it's conception and sound than it's predecessor, Love In Beats incorporates soul, Caribbean rhythms, an undercurrent of funk, with touches of zouk, a jazzy waltz, spoken word and also features collaborations with Us soul legend Leon Ware, Blue Note pianist Robert Glasper, grime MC Ty, Guadeloupe born singer Jean-Michele Rotin, and Uk soultress Natasha Watts, The Floacist and Mayra Andrade, the Cape Verdean born singer who lives and records in Paris.
Co produced by Scratch Professer, Omars Grammy winning brother,this collection should create excitement worldwide, the sounds are varied - but all have Omars' unique fingerprint on them, style and substance beautifully merged!
The album was produced by John Congleton (Blondie, Sigur Ros), Greg Saunier of Deerhoof and Xiu Xiu's own Angela Seo.
It features guest appearances by fabled minimalist composer Charlemagne Palestine, L.A. Banjee Ball superstar commentator Enyce Smith, Swans guitar virtuoso Kristof Hahn and legendary drag artist and personal hero of Xiu Xiu, Vaginal Davis.
FORGET was recorded during a period of epic productivity for Xiu Xiu. While writing FORGET, they released the lauded Plays the Music of Twin Peaks, collaborated with Mitski on a song for an upcoming John Cameron Mitchell film, composed music for art installations by Danh Vo, recorded an album with Merzbow and scored an experimental reworking of the Mozart opera, The Magic Flute. All of this frantic, external activity lead to a softly damaged dreaminess and broadened intent that has not been heard before in other Xiu Xiu works.
Standout track, Wondering' is one of the catchiest boogie pop gems in the Xiu Xiu catalog, but like much of FORGET, it still bears an underlying tension that manifests differently in each piece. From the haunted guitar duet of "Petite", the hilariously fraught lyrics of "Get Up," the advanced industrial boxing match of "Jenny GoGo," or the experimental goth explosion of "Faith, Torn Apart", all the songs, in their own ways, build to a roiling boil of a fate in vanishing.
The calligraphy on the cover translates literally to "we forget." It bows to the universality of everything and everyone's inevitable decline and foggy disappearance. Regarding the album title, Xiu Xiu singer Jamie Stewart said, To forget uncontrollably embraces the duality of human frailty. It is a rebirth in blanked out renewal but it also drowns and mutilates our attempt to hold on to what is dear.' FORGET is both the palliative fade out of a traumatic's past but also the trampling pain of a beautiful one's decay.
Xiu Xiu is Shayna Dunkelman, Angela Seo and Jamie "Butch Jenny" Stewart.
For the past four decades, a growing cult of soul music collectors have sought two obscure LPs and a handful of extremely rare 45s released on the vanity record label LAD Productions, Inc. between the late seventies and the mid eighties by the mysterious South Side Chicago singer/song writer Larry Dixon.
Larry's raw songs capture the transition from R&B to boogie-down as disco was rapidly becoming extinct.
They also perfectly illustrate Larry's ability to overcome his environment and discrimination, transcended by his determination to write and produce music. With the support of his faithful musicians, Larry's success was only hindered by lack of airplay and promotion, but his talent shines through.
This is the story of Larry Dixon, his label LAD Productions, Inc., and his friends and family throughout four decades of music in Chicago's toughest neighborhoods.
Jerome Derradji is proud to reactivate Past Due Records - the boogie funk division of Still Music to release this fantastic archive - what many consider to be the Holy Grail - of Chicago Funk, Boogie and Soul.
Inwave is pleased to present its 8th vinyl only release, made up of the production by the Villalobos-Luciano boys Felipe Valenzuela, Felipe Venegas, Dani Casarano and the eclectic Inwave homeboy producer Niimm.
Journey through unique brand of melodious and elegant techno, minimal-house sounds delivered in a totaly underground and manner style, open to diverse sounds from around the globe- this Wax is full of grooves.
From Italy to Chile, to Europe and beyond, this four tracker is going to win the hearts of open-minded DJs and dancers alike...
Warm, trippy percussions and joyful, hypnotic vocal samples sure to bring smiles to every dancefloor.
London/Lisbon label Release/Sustain start the year as they mean to go on. Presenting a 4 track various artists 12'' titled _Nightfall and Other Stories_. The record is comprised of 4 artists the Label regard as legends of that deeper dance floor sound. Opening proceedings on A1 is *Dekmantel* mainstay *Vakula*. A regular at the Release/Sustain 'Conclave' parties and part of the RS family His offering, _809,_ is a percussive drum tool trip of a track, with sporadic raw percussion shooting shining across a positively minimalist backing. For A2, we see Italian stalwart of underground dance music, *L.I.E.S* & *Crème Organization* regular, *Simoncino*. Obscure sample work, and a repeating line 'i can use a friend', twist and turn over rugged, thumping, functional drums and bass. Simoncino at his best! Furthering the quality of this standout 12'' is Chicago house music pioneer, and *Dance Mania* alumini *Vincent Floyd*. Rich in melody and familiar classic house sounds, Reggie's soft jacking house sound bring a silky smooth, North American touch to a previously rugged, European 12 slab of wax. Rounding things off we have *Clone*, *Prime Numbers* & *Deep Explorer* badman, *Reggie Dokes*. A cut riddled with percussive and quirky undertones Enjoy!
SYSTEM boss Mike Gervais releases the Drift EP for round five of the US based label.
Drift - Loopy synth sets the pace while airy tones and verbed out hats move in and out of the mix.
Breaking Point - Heaving muscular hits chugging along to slinky synth stabs
Resonate - Just what you think a b-side track is. Pulled back, deep resonating basslines with sprinkled hats in the reverb.
Future Tool - Loopy, delayed vocal tool with subtle changes and rhythmic swirls. Highly useful as a straight layer or as a pulse in your delay / reverb pedal.
And and Voices Tool - mangled mess of audio clips and loops
'Sometimes life can kick you in the nads,' says Dominick Martin (aka Calibre). 'When life does do that, I need to make music like this. With its tones of hope and gospel-level layers of self-recorded vocals. Raw, uplifting, soulfull... Even to the most ardent of Calibre follower, ' Grow' sounds like nothing else he's done before. Yet it's not actually on the album it gave a name to. Partly because its ultimately positive veneer (even though it was written in the midst of two toxic relationships - one personal, one with the bottle) doesn't quite complement the deeper, more contemplative aesthetic of the album. But also because this is the start of a whole new story for Calibre...
'A part of Dominick is a poet and a part of him is a man who's lived through Northern Ireland at its worst,' observes Craig Richards . 'There's a gentleness and a tension to him and his past and his experiences. Somewhere in that middle ground is his music.'
Taken from a interview by Dave Jenkins for DJ Magazine.
Muyei Power or Orchestre Muyei (muyei means 'our country') was one of the top dance bands of the1970s in Sierra Leone. Soundway Records' first collection of music from this West African country ('Muyei Power: Sierra Leone in 1970s USA') is an album of rock-infused, 'afro' music from a group that traveled the world throughout the mid 1970s. Fusing elements of electric Congolese and Nigerian music with fast, syncopated, uptempo modernised arrangements of traditional music, Muyei Power produced a series of unique single-only releases that have been unavailable for 35 years. The rare recordings featured here are a glimpse of a dynamic and powerful band at the very height of its powers.
Even though lyrically Orchestre Muyei focused on traditional themes and songs, the arrangements and formulation of the instrumental side of things still very much reflected the mixed nature of urban Sierra Leone music, exemplified by a small collection of bands that also included Afro National, Sabanoh 75 and Super Combo.
For the early part of 1970s the band toured extensively throughout Sierra Leone, Liberia and Côte d'Ivoire before making a handful of 45s in local TV and radio studios. The recordings featured here however come from a period of touring the college circuit in California during late 1975 and early 1976. Later that year, as they played the colleges of the east coast, they gave the tracks to the owner of the African Record Centre in Brooklyn, New York. He initially released two of them on his in-house Makossa Records label as 7-inch 45rpm singles in 1976. The tracks from 1975/6 were then not heard of again until 1979/80 when the African Record Centre released many of them on a series of Makossa Records 12's that sounded far superior than the records that had been released a few years earlier.
Orchestre Muyei Power finally split up in 1979 leaving no proper album releases and only a handful of recordings for us to enjoy all these years later.
This release - a collaboration between Ali X (Alphonse from Azari & III) and Mexico's Theus Mago - turns the heat up all the way to 'ON' and just leaves it there. The lyrical content of the title track would lead many to use descriptors like 'sexy,' 'sleazy,' and 'steamy like you wouldn't even believe,' and while the music also bears that out it's important to remember not to stigmatize something that almost everyone does at least a couple of times a week. 'Vision,' meanwhile, offers the perfect B-side accompaniment, a sci-fi techno workout where you don't even have to think about sex if you don't want to. The EP features dub versions of both tracks for more stripped-down club sets aimed at people who understandably have problems with the sound of the human voice. It also includes a remix by Curses, whom we recently 'bumped into' (he says 'cornered") in Berlin and asked if he'd provide one of his trademark eerie downtempo excursions. Long story short: he said 'yes.
- A1: Bye Bye Session Band - Lily
- A2: Sentimental Hotel - Rie Nakahara
- A3: Bara To Yajyu - Haruomi Hosono
- A4: Why Don't You Move In With Me - Yasuko Agawa
- B1: Jiken Ga Okitara Beru Ga Neru - Pink Lady
- B2: Summer Champion - Yuko Asano
- B3: Dancin' - Junko Ohashi
- B4: Rainbow Paradise - Masayoshi Takanaka
- C1: Uragiri - Mari Natsuki
- C2: Maboroshi No Hito - Miyako Chaki
- C3: Tornado - Minako Yoshida
- C4: Banana - Kay Ishiguro
- D1: Funky Miyo-Chan - Masaaki Hirao
- D2: Yashow Macashow - Ebonee Webb
- D3: Lovin' Mighty Fire - Naoya Matsuoka & Minako Yoshida
Lovin' Mighty Fire' is Howard Williams' third Japanese music compilation for the Ace Records house of labels - this time, for BGP International. Assembled in between his job as a record distributor and his monthly Japan Blues show for NTS radio, the first two have taken a look at the late 50s for a blast of Japanese rockabilly ( Nippon Rock'n'Roll' CDWIKD 313), then the 60s and 70s for a romp in Japanese surf music ( Nippon Guitars CDWIKD 297). Following his retrospective of jazz singer Maki Asakawa for Honest Jon's, this new outing searches for the soul music of Japan, from the early 70s to the early 80s.
Japan has long been known as the final destination for many a collectible soul record. Yet, who suspected that some fine soul grooves were recorded for the domestic market, from ballads, to funk and disco Strangely enough, some of the busiest writers and producers in this field came from a late 60s rock band, Happy End, but on listening to their collaborations, their rhythmic, soulful feel is immediately apparent.
The bluesy funk of Lily, the soul-diva brilliance of Minako Yoshida - represented here in both slow-grind mode and epic disco, the maverick genius of Haruomi Hosono, the lively songstress Yasuko Agawa, and the sultry steaminess of Mari Natsuki, and more. This album finally plants a Japanese flag firmly on the global map of soul.
We are proud to welcome Chasindub to the Phonogramme's familly for his very first solo EP.Member of the Romanian trio 'Lisière Collectif' (previously seen on PHONOGRAMME #17), Chasindub delivers here a real piece of deep-break, a timeless record that should cross the ages and stay in many dj bags for a while!
It was the spring of 2007 when Paul 'Mudd' Murphy and Kevin Pollard announced the arrival of the former's Claremont 56 label with Villa Stavros', a magical frst collaborative 12'. It
seems somewhat ftting, then, that Claremont 56's fnal release of its' frst decade will be N7 Odyssey, the frst collaborative album from Mudd & Pollard. By the time Villa Stavros' came out, the pair had already been regular studio buddies for a couple of years. Initially, Murphy had recruited Pollard - a hugely talented keyboardist and composer - to play on tracks he was working on for Rong Music. One thing naturally led to another, and soon they were joining forces to make music as Murphy's home studio in
Holloway, North London. As the years rolled by, further acclaimed singles followed Villa Stavros' - the bubbly, Rhodes-laden Balearic disco shuffe of Vincent', and the lilting, intergalactic dub disco of Scaffold', most notably - before the duo's other musical commitments began to take precedence. Murphy had his hands full running the Claremont 56 and Leng labels, while Pollard carved out a successful career as a soundtrack composer for both flm and television. Now, the album they set out to make all those years ago is fnally fnished and ready to be
released. N7 Odyssey - titled in tribute to the Holloway studio they recorded in for many years before Murphy moved - draws together freshly re-mastered versions of their previously released singles with a clutch of previously unheard tracks. Built around the duo's own fne musicianship, with Pollard handling synths, keyboards and electric piano, and Murphy guitar, bass and percussion, the album's ten tracks offer a musical journey through their shared love of shuffing grooves, sun-kissed soundscapes and
gentle positivity. Highlights come thick and fast. There's the swirling strings, futtering futes, jammed-out electric pianos and heady female vocals of Far Away', the enchanting new age ambience of December', and the rush-inducing Balearic disco breeze of Mawson's Walk', a former single blessed with sublime horn solos and rising, cinematic strings. Check, too, the head-
nodding beats, fuid electric piano solos and jazzy guitars of Inatin', the gentle Eastern mysticism and vintage ambient house aesthetics of Anura', and the ultra-deep house pulse of N7 Odyssey'. The album fttingly fnishes with a sublime ambient interpretation of Scaffold', arguably the duo's most celebrated track. It may have taken a decade to emerge, fully formed, but Murphy and Pollard have delivered an album that's beguiling, magical, and hugely comforting. Clearly, it's an odyssey worth
taking.
The third release on Ascorbite's own Corseque Records is not for the faint-hearted. Advance the flight and Inadequate Demeanor are clearly twins, delivered from the darkest corners of Ascorbite's mind. The bold, pounding quality of the EP brings Adam X or Grovskopa to mind but Ascorbite has a dystopian touch that's entirely his own. Advance the flight is like a battle track for an intergalactic armada being attacked by an infinite horde of swarming space ants. Inadequate Demeanor, on the other hand, is a grim steampunk fantasy of a black, shining locomotive plainly out of control, raging on red hot rails towards the end of the line. However, while both tracks are rough and unforgiving, Ascorbite manages to invigorate them by the use of subtle melancholic atmospheres - like rainy skies over a concrete desert. A balance between brutalism and vitality. A trademark of Ascorbite and Corseque Records.
Voilaaa is one of the many projects led and produced by Bruno Patchworks' Hovart, who's proven over the past 15 years, his place amongst the finest producers of groove music in all genres.
This time exploring the wide spectrum of the African and Tropical Disco scene, he received a massive international support for Voilaaa's first album, On te l'avait dit, released late 2015 on Favorite Recordings.With a second effort already planned for spring 2017, Voilaaa has not finished to feed international dancefloors with heavy Afro-Disco vibes.Here comes the first single from Voilaaa's upcoming second efforts, made of 3 new killer tunes featuring Lass, Sir Jean, and Pat Kalla.
Stepping up for its landmark tenth release is label honcho Juan Sanchez, who drops four slices of heavy techno funk.. Over the course of nine releases, FORMAT Records have established itself as a very credible source for quality techno. Its tenth release again perfectly captures that frisky FORMAT sound. First up is 'Serpent, a mid-tempo and bass-laden belter that's followed by the darker, minimal-tinged 'Qualia'. 'A Different Place' merges Detroit-esque elements with tones of European techno, after which things close with no-beatsall-fx 'Stubborn Synth'. The tenth FORMAT release is a perfect snapshot of the label's signature sound, while paving the way for many more good things to come..
Outta the shadows and into the strobe-light, Alex Lewis aka Turinn debuts on Modern Love with a highly rinsable debut double-pack of sawn-off brukbeats and anxious, nerve-riding grooves brewed in the ravines of North Manchester. Turinn emerges from a new generation of producers in the city that include longtime spar Willow, and upcoming producer Croww, soon to offer up his own debut recordings.
Crooked and rugged AF, but tempered by an acute emotive sensitivity, 18 1/2 Minute Gaps renders a bleedin' cross-section of mongrel, hybrid style 'n pattern in a breathless, deceptively freehand fashion that comes riddled with an electric blue energy all of its own.
Committing ten trax of fractious, mutant funk and sore feels, 18 1/2 minute Gaps serves to cap Turinn's formative phase of production like a lead lid on a nuclear rave implosion; trapping original 'ardcore 'nuum, Detroit booty and dank post-punk elements in a perpetual flux of in-the-pocket grooves which ravenously attempt to split at the seams, alternately pushing into Muslimgauze-like buffer zones of distortion or resoundingly wide ambient dimensions, and often both at once.
On the first plate, this ambiguous dichotomy is epitomised between the rare surge of quick/slow torque in Ovum, which almost sounds like Chris Carter sparring with Burial Hex, and then in his nod to the Italian new wave with Elba, which seems to find the square root between Lorenzo Senni and some skudgy as heck Kassem Mosse grind, whereas the bittersweet soul of 1625 finds compatible links with his close peer, Workshop's Willow as well as Japan's Shinichi Atobe and scene enabler Move D, while Parratactico swaggers into quantum dancehall meters.
The second disc is no less deadly: the album title track runs at a nexx level Detroit momentum like DJ Stingray flipping Derrick May and Carl Craig's Kaotic Harmonies, before ESO cuts in like a super cranky El-B wearing itchy Primark underwear, and the bone-rattling hardcore jungle of Spawn soon enough gives way to the sweetlad couplet of Petrichor and Ondine, where his elusive, distressed melodic touch really shines thru.
A bit about the artist: Wahono, real name Harsya Wahono is an artist from Indonesia. He graduated from Berklee School of Music studying Jazz Performance. He had a brief stint in NYC working with the good people at Other Records before they unfortunately closed shop in 2016. He is now back in Indonesia where he runs the label Divisi62. This is his first release and we look forward to many more.
Simbad (aka SMBD) is a stalwart of the underground music scene in UK and because of his vast arrays of releases it's very hard to put him into any box or music category. Since his 2007 album Supersonic Revelation & his worldwide acclaimed dancefloor hit Soul Fever, the London based frenchy has been constantly travelling the five continents entertaining delighted clubbers with his super energetic dj skills or producing and recording various artists from many different genres including deeper Dubstep don Mala (DMZ), UK Hip Hop star Roots Manuva, Cuban songstress Dayme Arocena, Detroit House producer Kai Alce, Berlin based deep Techno artist Fred P, Seun Kuti from Afrobeat's most famous family, Brazilian superstar artist/actor Seu Jorge and being production mentor for the king of cool, radio DJ Gilles Peterson (who made him one of the resident at his Worldwide Festivals). With the Moon Theory EP Simbad demonstrates his talent on some deep analog frequencies for the very solid & ever growing label that is Apron Records. As the music wizard puts it himself : 'im just trying to make some timeless shhhhh man, soul in all forms really, trying anyway ! And I guess that the best is yet to come.
Skint Records kündigt mit dem Album "The Invention Of Loneliness" von Sailor & I eine spannende Elektro-Dance-Pop-Veröffentlichung an. Der schwedische Sänger, Produzent und Multiinstrumentalist Alexander Sjödin stellt jedoch nicht den klassischen Archetypen eines Musikschaffenden in der elektronischen Musikwelt dar. Vielmehr begibt sich der Schwede unter dem Namen Sailor & I in das Territorium von Sigur Ros und Bon Iver, die für ihr anspruchsvolles, fein abgestimmtes und melancholisches Songwriting bekannt sind.
Er ist Musiker und Schauspieler - Noch einer. Er bringt den Sound der 90er in modernem 2016er Gewand - Nicht schlecht. Er war bereits auf #17 in den Albumcharts als noch wirklich viel verkauft wurde - So ein Comebackding. Er kann nach 20 Jahren im Rapgame mit einem ewig langen Pressetext beworben werden - aber das ist alles egal! Er ist nämlich einfach der Freak, das Reimemonster, der fertigste der Mongos und ab heute ist er auch noch "Der Phönix aus dem Aschenbecher". Man kann sich einfach freuen das einer der ganz, ganz großen wieder da ist. Einmal Freak, immer Freak. - Ferris MC
In the fourth Modern Cathedrals release, Altstadt Echo crafts three original works with a focus on experimentation with broken beat structures and grainy percussive texture, against a backdrop of austere atmospheres. Varg contributes a remix that emphasizes the despairing tones of "The Descent," contrasted with glistening treble percussion and and stumbling bass. To end the release, Evigt Mörker offers an extended hypnotic version of the track that slowly develops from a functional framework into an atmospheric drift.
The thematic aspects of the release follow the development of Modern Cathedrals as a label, expressing existentialist themes centered around the search for meaning in a life that forbids it. The label art features photographs of the beautiful remains of one of Detroit's many unused churches.
- A1: 52Nd Street Can't Afford
- A2: Section 25 Looking From A Hilltop (Megamix)
- A3: The Beat Club Security (Remix)
- B1: Marcel King Reach For Love
- B2: Quando Quango Love Tempo
- B3: Nyam Nyam Fate/Hate
- C1: A Certain Ratio Bootsy (Swingfire Mix)
- C2: Factory Floor ~(Real Love)
- C3: Marnie The Hunter (Remix)
- D1: The Other Two Inside
- D2: Fujiya & Miyagi Daggers (Remix)
- D3: Tim Burgess Oh Men (02 Mix)
New Order Presents Be Music is a compilation of productions by members of iconic Manchester group New Order, including classic dance and electro tracks released on Factory Records between 1982 and 1985, as well as more recent remixes for current artists such as Factory Floor, Marnie, Tim Burgess and Fujiya & Miyagi.
The generic tag Be Music was first used in 1981 and covered studio production work by all four members of New Order: Bernard Sumner, Peter Hook, Stephen Morris and Gillian Gilbert. Sumner often teamed with Donald 'Dojo' Johnson of A Certain Ratio, including the pioneering electro cuts featured here by Quando Quango, 52nd Street, Marcel King, Paul Haig and Surprize. Morris and Gilbert worked with Thick Pigeon, Life, Red Turns To and also 52nd Street. Although more rock orientated, Hook proved he was no slouch on the dancefloor either with the mighty Fate/Hate by Nyam Nyam.
'Producing was a really important sideline,' recalls Bernard Sumner of the Factory era. 'It's OK doing it because although all the groups are skint, you learn a lot and you're helping somebody.'
After 1985 the band focused more on producing their own records, both as New Order and solo projects such as Electronic, Revenge, The Other Two, Monaco and Bad Lieutenant. However in recent years Stephen Morris in particular has remixed several newer artists, notably London industrialists Factory Floor, as well as former Factory workers A Certain Ratio and Section 25.
Bonus tracks on the 3xCD box set include Knew Noise by Section 25, produced by Ian Curtis and Rob Gretton of Joy Division way back in 1979, and the complete 22 minute version of Video 586, recorded by New Order themselves in 1982.
All tracks (12 on vinyl, 36 on the CD) are newly remastered. The liner notes feature commentary on the tracks by the artists and the members of New Order. Design and packaging are by Matt Robertson/Peter Saville Studio.
Few artists have created a body of work as rich and varied as Prince. During the '80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of ground breaking albums, he toured frequently, produced albums and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince has shown remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music can be maddeningly inconsistent because of this eclecticism, but his experiments frequently succeed, no other contemporary artist can blend so many diverse styles into a cohesive whole.
'Nãnã Imborô' is a deep rootsy samba masterpiece that may have influenced Jorge Ben's 'Mas Que Nada. The song appears on the much-revered and highly influential 'Tam... Tam... Tam...!' LP originally released way back in 1958. Gilles Peterson spent many years trying to track down an original and recently reinterpreted it with remixed and reworks. Wróblewski Jazz Quintet's version from 1960's Poland is a wonderful mellow, atmospheric jazz version. A soaring main brass line with vibes and drums bubbling underneath. Originally released on a 4-track EP, we thought it needed a full side!
"Black Earth" ist ein Album der Meisterklasse. Ein Soundtrack für den Film im Kopf, der beim Hören entsteht. Doch am besten passt wohl das Bild einer Stadt in der Nacht. Man fährt langsam durch die Straßen und schaut sich die Bars, die Menschen und die Häuserfassaden an. Es sind surrealistische Bilder, die im Kopf entstehen. Bilder, in denen sich die Protagonisten über die Gefahr klar sind, so klar und kalt wie die schneidende Nachtluft im Winter, jedoch nichts unternehmen. Die Gefahr ist immer vorhanden, unterstützt durch das Schlagzeug und das Mellotron. Es gibt keine Band, die nur vergleichsweise so konsequente Musik macht. "Black Earth" ist ein Re-release aus dem Jahre 2002 und erschien bis dato nur auf CD und als limitierte LP.
Rune Lindbaek joins Bastedos on this new edition featuring two tracks from polar oposites of the BPM spectrum. Side A from Bastedos features a pacey electronic number with flavours of both rock and disco and a singer making the asertion that ' I Just Wanna Dance, I Just Wanna Boogie', surely any listener will be left with a similar desire when they hear this at their favourite discotetheque. Rune slows it down a gear or two for the flip with his version of Supermann, this is a perfect end of the night track that would melt the hips of even the man of steel.
Not Waving takes 2017 by the scruff with his Populist EP, consolidating the myriad stripes of his acclaimed Animals album in four extended peaktime hammers forged for darkrooms, basements and warehouses alike.
If last year's LP saw you thru from day-into-night, or vice-versa, this one is aimed squarely at the gurny hours of abandon in between, with ferocious acid lines and jabbing drums stripped down and strapped up to prompt reckless behaviour on the 'floor.
Containing his first material written in the wake of Animals, the Populist EP is Alessio Natalizia a.k.a. Not Waving's strongest dancefloor statement since the one-sided Get Serious (2015) bullet.
It finds him taking the opportunity to make straight-up bangers, rather than 'songs', which were thoroughly tried and tested over successive tours of the USA and ountless shows in Europe too in
the last 9 months.
Too Many Freaks is an anthem in waiting, harnessing a barely-hinged sense of chaos between its careening synth lead, acid squabble and velvet-clad kicks, before the dry-rutting jag and plaintive vox of Vibe Killer takes a dog-grip like This Heat meeting Tuning Circuits.
Top marks go to the check-your-stylus intro for Control Myself on the B-side, which holds its fizzy line into a fetid crevice of what sounds Russell Haswell ramping with Powell, whereas the
crooked clampjaw groove of Ur Lucky Ur Still Alive pivots around a sample a lone raver at Atonal, Berlin 'who had no idea how she got there and what she did the night before'. A ruddy good night
all-round, then
Not Waving co-owns the Ecstatic label alongside Sam Willis. Not Waving is widely regarded a connoisseur of Italian new wave and post-punk music - he compiled the Mutazione (Italian
Electronic & New Wave Underground 1980-1988) set for Strut - and has issued a series of acclaimed, sought-after, playfully anachronistic twists on that sound since 2013.
The first vinyl release of Absolute Records is characterized by trippy, mental, melodic, techno modern sound. The first side is massive: two modern techno tracks characterized by the aggressive drums and groovy bass. The second side is characterized by spatial atmosphere accompanied by soft and groovy batteries.
With this record, New York Trax furthers its mission of presenting to the world the upcoming talents hailing from the New York scene. New York Trax 03 is the first release of the talented Manhattan-based producer Alex Alben. The A side has 'Irin' and 'Chimera', two very mean prime time techno bombs. 'Kamikiri' rounds up the EP with its relentless tribal beat and arpeggio that will cheer up even the darkest souls. ONLY on vinyl!
Returning to Hypercolour with a second volume of his Sugar Cane Chronicles, Gary Gritness lays down more devastating funk and classy riffing over his trusty Roland 606. After the first volume, released last April, sold out its vinyl run, Gritness delivers more explorations and adventures into his unique and soulful world. Having elusively built his reputation as an outstanding session player, live producer and fantastically dressed Funkateer, Gritness has delivered a handful of releases on labels like Clone Crown Ltd, Nyami Nyami and his own DIY and cassette-only Slikk Tapes. "Steady Choosin" gets downright fusion-jazz and Gritness fires out seductive melodies and latin piano playing of the highest order whilst "Countin Up With Starr" delves into a darker well of synth mania, with a sexual groove reminiscing of Rick James, all the while retaining Gary's signature licks and riffs. "Runner Joe's Revenge" on the flip ramps up the hysteria for a gritty and colossal production that typifies his love of cyberpunk soundtracks and the drama and narrative to be found in this style. "The Sugar Cane Chronicles Vol. 2 closes with the low-slung "Pool Shark Loot", wrapping up on a mysterious and captivating tone; its wandering bassline and melodic touches carrying all the signature Gritness sounds, with the P-Funk sleaziness on top.
Dez Williams, Umwelt, Fleck E.S.C, Dmitry Distant and Igors Vorobjovs line up for MTRON002 with a set of diverse electro and acid cuts, shifting forward in similar, energetic manner of Mechatronica's debut 12".
Umwelt and Dez Williams, following recent releases on Boidae and Vanta Series, make up the A side with two booming productions; Only Way I Know, an ever-intensifying 100 BPM eyes-down roller and Mankind Origin, a heavy, melodic trip in signature Umwelt form.
On the flip, Dmitry Distant and Igors Vorobjovs team up on the stinging, rapid electro cut Cold Scape, and Fleck E.S.C rounds off MTRON002 with Dimmer Set Up, another bubbly electro track from the Tokyo-based producer's vault of dramatic, buzzed-out alien sounds.
Fans donated €25,000 to Emika for the project
Fans paid for the album before hearing any music
Electronic & Neo Classical. Fits 2 genres / Cross over
The composition is inspired by electronic music
Emika hired double the amount of bass players in a normal orchestra
Emika created a new seating plan for the orchestra, to sound more like a wide stereo pop album
Echo concepts (electronic music)
Romantic piece, lyrical piece, universal themes of love and sadness, huge beautiful melodies
50 piece symphony orchestra
Silver-toned soprano Michaela Srumova
Composed in Berlin
Recorded in Prague at Czech Radio Studios.
* The crossover between electronic music and classical composition has never been in more vibrant and dynamic health. Multifarious musician Emika explores this fertile ground on her ambitious new opus 'Melanfonie': her first orchestral composition, some four years in the making.
* Funded by a hugely successful Kickstarter campaign that exceeded its target by an impressive €25,000.
* While many rebel from their classical training never to return to it explicitly, Emika has always been attracted to the potential and freedoms offered by the symphony form.
* As well as taking inspiration from her electronic music background in composing the music itself, Emika also applied some of production and playback principles from that realm to create a piece whose every element has been carefully considered.
* Emika is on a quest to try and change what we mean when we talk about 'classical music'. For her, the magic of the 'genre' is about the instruments themselves and more importantly the people who play them; not the restricting traditions and conventions of the classical world itself.
* I want to change the face of classical music and give it a more honest and real image. It is time we had something other than pomp and circumstance and avant-garde squeaks and pops..
Supported by
Chilly Gonzales, Zola Jezus, Ellen Alien, Nina Kraviz, Mala, Christian Kellersmann, The Barbican, Francesco Tristano.
Stirred up from deep within, from an abstract spiral of sound and movement, from a sensation of time and space absolving and converging at once, the Black Flower musicians have molded a tangible matter: the album Artifacts. Their second full album sounds international and ageless. Eastern influences, Ethiodub and jazz effortlessly merge. Fantasy and reality seem to fuse. In a word: nourishment for body and soul.
"Psyche-delicious and accessible 20th century Ethiodubjazz. As if John Zorn put on Fela Kuti's shoes and imbibed Mulatu Astatke's whirls."
Piloted by saxophonist /flutist /composer Nathan Daems (Ragini Trio, Dijf Sanders, Antwerp Gipsy-Ska Orkestra), this instrumental band aims for originality. Fellow musicians and 'brothers down the road' are Jon Birdsong (dEUS, Beck, Calexico) on cornet, Simon Segers (Absynthe Minded, De Beren Gieren, Stadt) at the drums, Filip Vandebril (Lady Linn, The Valerie Solanas, Antwerp Gipsy-Ska Orkestra) at the bass and Wouter Haest (Los Callejeros, Voodoo Boogie) playing keys.
For many of us, the Ethiopian aspect once made known to the world by Mulatu Astatke will stand out. Still, Black Flower further adds oriental scales, Afrobeat à la Fela Kuti, jazz in a John Zorn way and varied western music traditions such as rock and dub. The resulting melting pot is undoubtedly inspired by Nathan's distant travels and the multifariously colorful city of Brussels.
...Pretty legit if you ask me - LeFto, Studio Brussel
After their well-received debut album Abyssinia Afterlife (2014, W.E.R.F. / Zephyrus Records) that created an atmosphere of mythical figures and psychedelia, Black Flower now reflects on ancient and modern cultures. The album title Artifacts refers to centuries-old fragile objects or tools that empowered the development of human culture. The world today would look entirely different without those artifacts. The seemingly brittle suddenly becomes a powerful welding cornerstone. Add the musicians' personal musical backgrounds and the result is an album with an ageless mystique. Artifacts is the synthesis of different cultures, of the past and present, and personal and collective memories. It is the soundtrack to modern reality, based on the elements that connect us.
Brilliant - Gilles Peterson, BBC Radio 6
One of Belgium's Best Bands of these past years (...) Black Flower does not simply play a tune, they always groove! - Kurt Overbergh, Ancienne Belgique
Uncomplicated originality, plenty of space for fantasy and an organic tone: those are the ingredients for Black Flower to lay claim to an age-old human ritual: dancing! Still, Black Flower also stands out in various other settings. Their audience at a jazz club will have felt exalted, their audience at a late-night show will not have resisted dancing. The band wields influence over their surroundings in a way only heart-and-soul musicians can. This mastery has repeatedly taken them to United Kingdom, France, the Netherlands and Germany.
There's a myth about music critics that says we are frustrated, wannabe performers. Evidence to the contrary: Vivien Goldman. Ever since she migrated from pitching editors on the little-known music of Robert Nesta Marley to becoming one of the foremost chroniclers of the perfect storm of reggae, punk, hiphop and Afro-Beat, the London-born, New York-based Goldman has made documenting music her primary life work. But between 1979-82, Goldman was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, courtesy of Staubgold Records.
Resolutionary takes us through Vivien's first three musical formations: first as a member of experimental British New Wavers The Flying Lizards; next as a solo artist, with her single 'Launderette,' featuring postpunk luminaries; and then as half of the Parisian duo Chantage, with Afro-Parisian chanteuse Eve Blouin. Goldman's synthesis of post-colonial rhythms and experimental sounds are threaded together by her canary vocal tones and womanist themes. Her eclectic musical crew included PiL's John Lydon, Keith Levene and Bruce Smith; avant- gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; and Viv Albertine, then of her good friends, the Slits. The majority of the tracks were produced by dubmaster Adrian Sherwood, and Resolutionary channels the history of a time when the bon-vivant voice of music was in the air, and Vivien Goldman was its eyes, ears, and mouth.
Frans de Waard (born 1965) has been producing music since 1984. First as Kapotte Muziek (a group that fully concentrates on recycling through musique concrete), but throughout the years, he also worked as Beequeen (with Freek Kinkelaar), Goem (with Roel Meelkop & Peter Duimelinks), Zebra (with Roel Meelkop) and various solo projects. Frans de Waard also founded Korm Plastics, Bake Records, My Own Little Label and co-founded Audio.nl and Plinkity Plonk Records. He worked for Staalplaat from 1992 to 2003 and in 2016 published his auto-biography on that subject.
He performed concerts in Europe, UK, USA, Canada, Japan, Russia and also played improvised music with artists like Steven Wilson, Sindre Bjerga, Jos Smolders, Giuseppe Ielasi, Howard Stelzer, Radboud Mens and many others.
Ekambi Brillant was born in the village of Dibombari in Cameroon in 1948. In 1962 he attended school in Yaounde and learned his musical craft. In 1971 he heads off to the big city lights of Douala. Here he finds himself in a French TV, music competition hosted at "Le Domino" nightclub. It is here where he brushes shoulders with other Cameroonian music legends such Manu Dibango and Francis Bebey.
The music contest win gives him the break he needs and in 1972 and with the support of fellow troubadour JK Mandengue he finds himself with a record deal with Phonogram and his first hits in France.
Its in 1975 where we pick up this merry tale. Because it is in 1975 when things start to get a bit funky. Which is just how we like it here at Africa Seven. In partnership with French producer, guitarist and all around hero, Slim Pezin he creates the "Africa Oumba" album. He goes on in the two subsequent years to record the Soul Castle and Djambo's Djambo's albums also with Slim.
Our compilation focuses on the funkier end of Ekambi's music drawn mainly from the 1975 to 1978 period. Things open up with our theme tune "Africa Africa" (of course). It's tribal twisted psych funk is the perfect start to any album. We then move to "Aboki" possibly Ekambi's finest dance floor filler. Next it's the choppy disco strings and slap bass of "Nyambe" and the swirling African swing of "N'Kondo" and the pulsing chop-funk "Ekila".
The flip side starts off with "Soul Castle" an ordinary day tale for our hero. "Massoma" and its funk boogie get things bopping next up before "Machine Ma Bwindea" gives us some punchy brass and low slung funk grooves. "Mother Africa" shows us the songwriting power of Ekambi while also managing to have one of the funkiest flange basslines we have heard in a good while. Things close off with swing-time of "Lambo Lena".
Ekambi Brillant would go on to become one of the big name legends of Cameroonian music with nearly 20 albums to his name. He has contributed to the emergence of several Cameroonian artists such as Marthe Zambo, Valery Lobe, Aladji Toure and Africans. He now spends his time in Cameroon and Washington DC. Ekambi, we salute you sir.
Japan's Sauce81 follows up on his modern boogie/funk gem 'Natural Thing', with the equally infectious 'Dance Tonight'. It may sound like it's been hiding in a dusty crate of unheard records all these years, but it was actually recorded last year in Tokyo, all vocals, instruments and production handled by the man himself. Forthcoming on 7inch in Feb 2017. Includes Dub version on the B-Side. Put some weight on it!
Hot on the heels of the co-release between Especial and Cocktails d'Amore Music of the Sfire Remixes EP (EES023/CDA013) comes an accompanying release with a pair of deeper, stripped back remixes from the inimitable Timothy J Fairplay and Willie Burns. Well known as producers, DJs and label managers with their Crimes Of The Future and WT Records respectively, as well as appearing on a who's who of electronic labels including Pinkman, Unknown To The Unknown and L.I.E.S, they have appeared in various guises on both Emotional Response and Especial. Here then are 4 remixes - 2 each per side - that take the unique original to new dance floor extremes. Timothy steps up first with his take on Sfire 2 via differing vocal and instrumental versions. His trademark, echo laden rolling percussion and "Carpenter" key lines take the original Synth-pop homage to the dark room. Adding Arps, a lifting, hedonistic breakdown and the scatter-stepper drums and claps found on the Instrumental version and this is pure COTF territory and the better for it. Willie meanwhile has long followed his own path for his take on Sfire 3, offering one of his deepest remixes to date. Thudding kick, brooding pads and dark strings force the vocals to go down, way down for examination. The distorted vocals of Remix 1 are countered by Remix 2 letting the track shine via a seemingly endless 4/4 beat. Psychedelic, trance inducing, pulsating, this is an ever growing mind expanse.Presented in sparse Hand Stamped sleeves, this one off Limited Edition pressing is a unique EP, taking Sfire to a different sphere that warrants investigation. It was only
Bruno Patchworks' Hovart is one of the top producers of today's groove music scene. After playing as a bassist and guitarist for various bands, he started producing in the mid-nineties and has kept on mixing today's technologies with the raw spirits of House, Electronic, Disco, Funk, Soul, Reggae & Jazz music's golden years since then.
Following the trail of success left by his various projects as Patchworks, and under many aliases, he's proved his musical ubiquity and unexpectedly stroke in various genres. Many House music diggers would indeed remember that before Favorite Recordings was launched in 2006, Patchworks produced many deep-house tracks on various labels.
On this new EP, he's back as Mr President with 2 new banging titles brilliantly mixing House music atmosphere, with Soul and Disco vibes. He's also teaming up again with Sabba MG on vocals, following to their great Give My Love' efforts, released on EDR Records 3 years ago. As Going to a Go Go' is a fully exclusive work reminiscent of the early House music scene from New-Jersey or Chicago, the nice Disco flavors of Night Time' also come to announce Mr President's upcoming new album in 2017.
Dark Violett vinyl
Christian Gerlachís Lanthan.audio features Jeff Derringer in its seventh installment, as well as two remixes from seasoned veterans Shifted and Giorgio Gigli. The concept behind the label is the combination of music with architecture and photography, the consolidation of which creates a highly robust and powerful statement about music and art. This vision was born out of the desire to deliver a diverse product featuring innovative remixes from technoís most respected producers.
Jeff Derringerís ëHuman Moments in WWIIIí is irresistibly fervent. Both ëDepartureí and the EPís title track are driving, acid-imbued, and deeply nostalgic of 90s electronic sensibilities. While Shiftedís remix provides more hypnotic twists to an otherwise straightforward track, Giorgio Gigli lends the EP momentum and vigor, bringing the release to a robust and energetic close.
Human Moments in WWIII adds dimension to an already dynamic and techno-forward discography, and Derringer, Shifted, and Gigli are three amongst many compelling artists that the label has released since its inception last year.
- A1: Mandari
- A2: Causa
- B1: Zurna
- B2: Avaz
Despite a discography that stretches right back to the late noughties, little is known about Turkish producer Ali Kuru. Perhaps he's publicity shy, or simply wants to let his music do the talking; either way, the music he makes is magical, and undoubtedly worthy of wider acclaim. Kuru came to the attention of Leng late last year, releasing the Luna 12' his frst vinyl release for six years - in January 2016. That EP boasted two typically exotic and fragrant tracks, both of which effortlessly joined the dots between dub disco, hazy house, gentle downtempo movements and snaking, Middle Eastern instrumentation.
Here, the Istanbul native further explores his unique musical perspective, serving up a quartet of tracks that eschew easy categorization. Twittering birds, throbbing dub basslines, crisp hip-hop beats, trippy vocal samples, and distant chimes combine on the moody 'Mandari', while 'Causa' peppers a jangling, acoustic guitar-laden loop-groove with futtering futes, deep space electronics and rolling hand percussion.On the fip, his more exotic musical inspirations return to the fore. There's 'Zurna' - the musical equivalent of a panicked dash through a bustling late
night market full of drunken jazz drummers, metronomic groove merchants and snake-charming pungi players - and the low-slung stomp of 'Avaz'. Here, sampled vocal chants and Bollywood-inspired instrumentation wind their way around a rubbery bassline and handclap-heavy rhythm track. If
there was such a thing as Turkish-Hindi jazzdance - and maybe there should be - then this would be a guaranteed foorfller.
All four tracks offer further glimpses into Ali Kuru's fertile imagination. It's the perfect teaser for the Turkish producer's debut album, which will be released by Leng in early 2017.
Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.
Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.
In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.
Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).
La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.
August 2016 saw Running Back release a first volume of live tracks from Redshape, but January 2017 sees the much loved artist return to Delsin, his most regard label, for a second offering of the same. This time the EP has one track made in Paris, and one in London, and both are filled with the sort of beautifully bleak and lo-fi sounds that have made this man such a standout artist over the years. Up first is 'London,' a chugging track that builds in pressurised layers of coarse hi hats, gurgling bass and pinging kick drums. It is a hypnotic groove that teases you as elements drop in and out and hisses of static and broken little guitar riffs add some cheeky funk. On the flip-side, 'Paris' is much more playful, with colourful pixelated melodies dancing about the mix, industrial drums working down low and steppy synths fleshing things out. Overall it sounds like a future disco for inebriated robots and is one of Redshape's more party starting tracks.
Villalegre Recordings is back with his second release after an acclaimed debut ep, which is already found in some 'real deejays' " vinyl cases, namely Dj Garth, Stevie Kotey, Timm Sure, Richard Sen and Massimiliano Pagliara.Discómanos ep consists of 4 edits of unknown gems, masterly revisited by collectors and artists as big as Mike Burns, Rayko , the great Sagittarius and Christian Beetz aka Frwctrl. Once again, Jorge Moreira and Crew dig deep down into many underground scenes around the world, to come up with an ep you'll always want to have in your case.
Listen carefully to Jose Rico's mastering work! A unique sound, which brings back reminiscences of Tom Moulton, Larry Levan, Dany Krivit or the very own Ron Hardy's reel to reel edits. Exotic love (Frwctrl mix) The trip starts with a Christian Beetz opus, which edits and extends a wonderful and unknown antique Spanish disco-funk track, with chorus voices flying like eagles to drive the dance floor to a unique climax. Sweat and pleasure lead by a smashing funky guitar, synths which drive you from the beach to the darkest, most hedonist dance floor. For your Love (Rayko edit)
Rayko is an edit master; he has presented his productions on the biggest disco dance floors on the planet, and this work reconfirms him. 'For your Love' tastes like Paradise Garage and nights of freedom and love. An original track with first class drums and a bass guitar, that reaches straight to the heart. The message comes with violins, which create the perfect emotion to wrap up a disco music masterwork that later becomes house. I want your body (Mike Burns Edit)The original track is a treasure that's hard to get, edited by Mike Burns, one of the strongest artists in the European underground disco scene. Mike selects this cut with a killer bass line, crazy synth effects and organs to turn the original track into an extended cut, which not only shakes the dance floor, but also the cloakroom and toilets. Programa Sintético (Sagittarius 1983 Tribute Edit)Sagittarius edits in a sublime way a mysterious track, loaded with energy, synths and effects. A production work, which transforms the original track into a technoid cut with a frequency in tune with Ron Hardy's proto-techno edits and progressive European music.
































































































































































