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Gustaaf and S&W present: - It's More Fun To Commute

GustaafandS&Wpresent:

It's More Fun To Commute

12inchPNG002
Prongof 108
25.05.2020

S&W and Gustaaf make up three fifths of Prongof108 which started out as a radio show on Berlin based Cashmere Radio in 2015 and turned into a record label a few years down the road. After some solo records and the release of a split EP on Turnland Records, they are now teaming up for their upcoming “It’s More Fun to Commute” EP on Prongof108. Combining the forces of three guys seems like a natural fit, or to put it differently: it just happened. They’ve been DJing together and sharing a mutual passion for UFOs and palm trees since quite a while. Expect a mix of 80s boogie and proto house vibes sending kisses to tropical and pacific sounds and taking you on a journey from proper house club crowd bouncing to teenage heartache downtempo electronica - always smart and with a smirk, definitely never too intelligent to dance to.

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10,71

Last In: 2 years ago
Various - Various Artists 4

Vinyl Only

Underground Town is back with our 4th release straight from the heart of the Swiss Alps.

For this one we serve 4 great cuts from 4 great producers. On the A-side we have young Italian producer and Underground Town resident artist Alex Zola with a very groovy and positive dreamy track for every situation. Completing this A-side we have label owner and rising talent in the industry Giorgio Maulini with another great cut with a very groovy athmosphere and rolling rhythms demonstrating why this Venezuelan artist is making waves in the industry.

On the B-side we have Cosmjn, who needs no introduction. One of the Romanian talents with more future projection and a bag full of interesting releases under his arm. On his track "Vanilla" you can feel the characteristic Romanian drums and an evolving synth that traps your senses. Last but not least we have a producer coming all the way from Honduras, Loht Vostok. He is doing an amazing job with his productions changing the game in the Central American region with a new futuristic minimal wave of quality music. "Sivar" is a track with a powerful hip breaking baseline and with a perfect combination of elements and a sweet vocal making it suitable for any dancefloor.

From the Underground Town Team we want to thank you for supporting us and showing us all this love this last year. A lot more to come in our Various Artist series soon and in our new label which will be released at the beginning of 2020 with only singular artists EPs.

Stick around with us for more quality releases and spreading the love for the underground music.

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9,54

Last In: 6 months ago
Korre - Cathexis Sessions Vol. 1

Korre

Cathexis Sessions Vol. 1

12inch030EP015
030303
22.05.2020

Part inspired by the prose of his favourite author James Baldwin, South Brooklyn's Korre 's experience of being a black man in America forms an integral part of his work, even if it's largely instrumental. "I always make sure my music has elements of pain, beauty, and darkness," says Korre in his bio. That vibe is certainly felt across his stunning debut EP for Utrecht's 030303 Records. 'End of Time' is a deep, dystopian piece of club music, as much suited for the floor as it is for the introverted mind. With virtually no intro, the listener gets sucked into the intenseness of the track right away. 'Crimson' is equally dark, filled with spooky vocal snippets and washed out acid sounds. 'Don't Wanna Wait' is a heartfelt ambient spacer, not unlike the eeriest work of Burial. 'Silver Exo' then is probably the best track on the record even if it's hard to pick a favourite. Korr? slowly brings the dancefloor back with this beautifully crafted builder, again filled with abstract vocal snippets. Closing this beast of a debut record is 'St Blues', consisting of a male monologue, captivating droney melodies and acid bubbles in the background. It's the conclusion of the first chapter by this artist we will no doubt hear more of in the future.

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10,29

Last In: 5 years ago
Tenniscoats - Music Exists Box

Now finally, the great "Music Exists"-series by Tokyo-based duo the Tenniscoats is completed. Apart from the regular 4 volumes, there is a heavy cardboard box, beautifully screenprinted and hand-numbered by senorburns, in 12 different color-combinations. Inside you'll find an extra-LP of bonus-tracks and alternative versions, "Music Exists disc 5", which only comes exclusively with this box. Like on the other LPs, you’ll hear heartbreaking songs, beautifully arranged with acoustic guitar, melodica, psychedelic keyboards and soundexperiments. Also included is a A3-Poster with a drawing by Ueno not used within the previous album-artworks.

Limited one-time pressing of only 500 copies worldwide. There is a small amount of full boxes with all 5 LPs and Poster available, for those, who don‘t have any of the albums so far.

Tenniscoats have devoted followers allover the world, but their releases were always hard to find outside of Japan. Except for their album "Tokinouta", which saw a very limited run on vinyl, and the seminal "Two Sunsets", their collaboration with the Pastels (and a small handfull of 7"s), there were never any vinyl-releases, and also the CDs were hard to get for any-one, who doesn't speak or read japanese.

So, this is the chance to dive deep into the beautiful, unique world of the Tenniscoats and their opus magnum "music exists".

"It may even be their greatest ever music, essential plus" Monorail Music, Glasgow

"Whatever's ailing you, Tokyo's Tenniscoats have got something for that" Boomkat, Manchester

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28,19

Last In: 5 years ago
Muriel Grossmann - Elevation

Muriel Grossmann

Elevation

12inchJMANLP119
Jazzman
19.05.2020

Born in Paris, raised in Vienna, resident in Ibiza, saxophonist and composer Muriel Grossmann embodies the borderless, pan-continental energies of contemporary European jazz. Her music emerges from the lineage of European jazz that's absorbed the progressive music of Coltrane, Dolphy and Sanders. Today, she cites players such as Illinois Jacquet and Lester Young in the same breath as the masters of the avant-garde, and her playing marries the directness and eloquence of the older generation with the questing, spiritualised playing epitomised by Coltrane. The roster of musicians she has played with is long, and includes veteran European avant-gardists including Joachim and Rolf Kühn, Wolfgang Reisinger and Thomas Heidepriem, and she works tirelessly with contemporary groups and big bands across the continent.

Since her first recordings in the early 2000s, Grossmann has released a dozen albums as leader, featuring sounds ranging from hard-swinging modernist jams to free improvisation, expansive spiritual work to rhythm-focussed Afrocentrism. But at the centre of her work is a thread of pure and heartfelt spiritual music in the modal tradition defined by Coltrane and close collaborators like Pharoah Sanders and Alice Coltrane. You can't play this music successfully if you don't mean it – like the music of her contemporary Nat Birchall, Grossmann's engagement with the Coltrane tradition is sincere and deep. Her music resonates within the tradition – more than just a style, it adds a new chapter to the story of modal and spiritual jazz in Europe.

This Jazzman set draws a selection from her 2016 album Natural Time ('Your Pace', 'Peace For All') and from 2017's Momentum ('Elevation', 'Chant' and 'Rising'). Featuring her regular quartet of Radomir Milojkovic (guitar) Uros Stamenkovic (drums) and Gina Schwarz (bass), the music on Elevation is pure sound, soul and spirit!

- LP only with thick tip on sleeve- Download card included inside

"Timeless and innovative... a musical genius" Mike Gates, UK Vibe

"A listening experience akin to transcendence" Andrew Jones, Down Beat

"Vibrant, passionate, exhilarating. A monument of spiritual jazz" Mark Sarazzy, Impro Jazz

"A journey that takes off like missile, passes through meditation, reaches nirvana and ends with thanksgiving" Elliot Simon, NYC jazz records

"Timelessly beautiful" Christian Bakonyi, Concerto

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20,71

Last In: 5 years ago
Dj Pippi & Willie Graff - Lunares EP

If you’ve visited Ibiza in the last few years, there’s a fair chance you’ll have encountered DJ Pippi and Willie Graff. The experienced duo has been DJing together on the White Isle for years, finding time between sundown sets to make music together in Italian veteran Pippi’s home studio. The pair’s first collaborative EP dropped on Drumpoet Community way back in 2007, with the belated follow-up appearing a decade later on Compost Disco. Here they make their bow on Leng with the “Lunares EP”, a typically warm and woozy collection of cuts named after the Spanish word for “polka dots” (a fashionable item in Spain and the Balearic islands throughout the 1980s).

They begin with the slow-burn sunrise bliss of “Lunares”, a shuffling and glassy-eyed affair in which evocative, emotion-rich strings, heady vocal samples, echoing sitars and lilting guitars slowly rise above a thickset backing track rich in dubby bass, swelling pads, starry electronics and snappy drums. Capable of tugging at the heartstrings, it’s a sublime slab of mood-enhancing bliss perfect for both weary dancing and sofa-bound relaxation. “Saxolicious” lives up to the premise of the title, with Pippi and Willie wrapping snaking, effects-laden saxophone solos around a languid, slow motion groove bristling with hazy intent. Expect chiming electric piano chords, dreamy pads, rolling grooves and another fine bassline that will worm its way into your subconscious, spark up a spliff and stay there for days.

The EP’s final musical moment is, if anything, even more spaced-out and intoxicating. Employing extra-slow beats and a prominent jazzy bass guitar part, the pair invites us to get locked in to a chuggy rhythm. Throw in druggy synth lines, tactile electric piano stabs and some suitably cosmic effects and you have a hallucinatory treat that would no doubt have gained the approval of the late, great Andrew Weatherall.

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13,24

Last In: 5 years ago
Romaal Kultan - Everlasting Romance

Romaal Kultan first caught the attention of listeners with his warm and heavily syncopated contribution to Touching Bass' Afro Chronicles: Volume One compilation back in 2017. Since then, the south London based artist has gone on to remix tracks for the likes of Chicago legend Javonntte and Profusion (K15 and Emerson), as well as releasing a debut solo offering in the form of last year's Off Grid EP on YAM Records. Not allowing himself to be confined to the usual "DJ/Producer" tag, his creative output also encapsulates his endeavours as a visual artist, instrumentalist and vocalist. While his DJ sets draw heavily on fierce bottom end and diced breaks, his own compositions range from frenetic club heaters to lilting breezy lullabies.

Having already received early support from the likes of Gilles Peterson, Bradley Zero and Volcov, Everlasting Romance kicks off with 'Step Inside', a driving acid march delicately accentuated with supple synth chords and a lilting digi-flute. Romaal Kultan keeps the focus on the floor with 'Why Not?', a heavily swung dusty piano house number with a fat sub and a sprinkling of vocal chops throughout. Closing out the EP is the title track, 'Everlasting Romance'. Dropping the tempo considerably, a loose dembow rhythm powers heartwarming chords and skygazing synth fills.

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9,20

Last In: 2 years ago
Nocow - Avalon

Nocow

Avalon

12inchTURBO206
Turbo Recordings
18.05.2020

Russia's Nocow refuses to mourn the failed experiment of human contact on his Turbo debut EP, delivering cathartic anthems alongside giant warehouse jams you are free to call "deep" and "cavernous" with full knowledge of the risks involved. ??

On lead track "Never Leave Me," the Saint Petersburg-based creator of "Cloud Techno" runs emotive vocals through a hazmat filter and into the emo-globin contained within your fluorescent-green blood cells. Meanwhile, after-hours love-weapons "Back On," "Avalon," and "Soder" each take different routes to activating the phantom arousal mechanisms of your soul. Finally, some people have been calling closer "Starfall" a "magical ticket to Vocal Sample Heaven" and "a timeless all-inclusive ravecation from the cares of this workaday world." While we would never choose to word it that way, we concede that both descriptions are generally pretty accurate.??

In these times of social isolation and uncertainty, we remind you that it's vital your Restless Heart Syndrome not turn into Reckless Heart Syndrome. Instead of frequenting illicit "Droplet Transmission Parties," why not peep the vast network of Landline Raves we've been hearing about via our vast network of peeper-drones? Also, please try to keep in mind that all of this is simply selection pressure forcing you to evolve new and viable ways of connecting with the hottest singles in your area. So stay inside for now and stay inside our hearts forever.

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10,04

Last In: 3 years ago
Dee Edwards - Put The World On Hold/ Put Your Love On The Line

Dee Edwards is a 70s soul singer who has impacted on the modern, rare and two step scenes. She is particularly well known for “(I Can) Deal With That” for the Detroit De-To label before her spell at Cotillion Records. Here she recorded two albums “Heavy Love” and “Two Hearts Are Better Than One” from which the A and B side or our 7” are taken. “Put The World On Hold” has previously been only a go to modern dancer track on an album. “Put Your Love On The Line” is a disco/boogie pleaser produced by Michael Zager, an early 7” issue of this being an edit. Enjoy it now in all its glory

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10,71

Last In: 5 years ago
Kleerup - 2

Kleerup

2

12inchUOK027
U OK?
14.05.2020

Zweites Album von Andreas Kleerup, einem der besten Produzenten Schwedens, der mit Roxette und Cardigans arbeitete und zusammen mit Robyn eine UK #1 landen konnte ("With Every Heartbeat"). Während Lykke Li und Neneh Cherry zu den Gästen seines selbstbetitelten Debütalbums (2009) zählten, sind es auf "2" UK-Electro-Pop-Stars AlunaGeorge, das schwedische Powerhouse Rebecca & Fiona sowie Neuseelands Indie-Helden Yumi Zouma. Entstanden ist ein ausgezeichnetes Electro-Pop-Meisterwerk mit skandinavischem Ohrwurm-Potential.

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25,00

Last In: 6 years ago
Various - Pubblicazione Privata
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11,13

Last In: 6 years ago
Group A - anOther

Group A

anOther

12inchMNQ126
Mannequin Records
12.05.2020

Japanese industrial / avant-garde synth duo group A partner with choreographer/performer Dana Gingras and Montréal media artist Sonya Stefan as well as Finnish lighting designer Mikko Hynninen for 'anOther', the multimedia project developed and premiered at Agora de la danse, Montréal, April 2018.

Performance, installation of televisions, sound, light and image converging to create an exhilarating event placing a living, breathing and transmuting body at the heart of the experience.

“A hybrid of art installation and electroacoustic performance, anOther transports us into a post-feminine fourth dimension, whose atmosphere is as enticing as it is paradoxically unsettling. This jewel of experimental choreography will thrill visual art and underground music aficionados.” - Mélanie Carpentier, Le Devoir

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13,74

Last In: 6 years ago
Stephen Paul Taylor - Synthpop Is Dead

ALBUM: I came up with the album title after watching a YouTube video by the channel "Watch Mojo" entitled "The Top Ten Dead Music Genres". In this video, they claimed that Synthpop is dead. Since everybody said I was a Synthpop artist, I was astonished to discover that the genre I play is considered "dead". It's relatively tongue in cheek because I don't believe any musical genre is dead and everything can be revisited and everything evolves. That being said, this is an album in which, at least musically, I am working within the boundaries of this genre, while at the same time starting to experiment with other, more modern sounds and concepts. Thematically, I tackle various topics: dysfunctional childhoods (Shortcut), heroic love in a dystopian nightmare (Billions of Years), self-destructive behaviour (Drink and Drive), unrequited, criminal love (House Arrest) and many others.

BIOGRAPHY: Glitter, glam and good vibes from the heart of Berlin! Stephen Paul Taylor (SPT) is a Canadian artist who went viral in David Bowie's old stomping grounds and has played hundreds of concerts, festivals and weddings all over Europe. He makes Synthpop-Art-Punk with undertones of New Order and Talking Heads.
Taylor was in Post-Art Synth-Folk duo, Trike, for five years before branching off into his solo project in 2014. Trike won a $20K award from "The Gong Show" (in Vancouver) in 2011, toured 22 countries, recorded an album in Denmark and Belgium and played hundreds of shows. Taylor then went solo and began playing all over Europe, from Denmark rooftops to weddings in East Germany. He gained a name for himself after achieving viral status and has continued to play all over Europe ever since. Well known for being a street musician, he essentially quit playing in the street in 2018 and focused exclusively on playing on the stage
His music is a blend of both old and new. A strong beat pulses beneath the catchy melodies and captivating lyrics float atop the whole ensemble. His bittersweet words often contrast the happy melodies within the music. He tackles unique subjects that reflect the 'ennui' our our current cultural climate. His newest album "Synthpop is Dead" is an ironic interpretation of the notion of musical genres actually "dying". Did Synthpop actually die or did it evolve? His new album also touches on other themes, from our dependance on fossil fuels to our addiction to self-destructive activities, like drinking and driving. The album uses healthy doses of humour to hammer down its themes
A year after going solo, SPT went viral with his song "Shi*t's F*cked" (His channel has 7.5 million views on YouTube) and appeared on many TV shows and well-known media outlets, from RBB to Arte to Comedy Central. He was also featured on Germany's "Das Supertalent" in 2016. He has 1.5 million listens on Spotify. He's been on the radio in Italy, Latvia, Canada and Australia, to name a few. He was also signed with Budde publishing and his racord label, "SPT Records" is a subsidiary of "Shitkatapult Records"
Dieter Bolle said his "80's influenced" music was "sehr geile" (very beautiful). Electric Six frontman, Dick Valentine, said he's "a firecracker".

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17,44

Last In: 6 years ago
Various - Fieldwave Vol. 1

Fieldwave is the new compilation from Nonclassical that unearths new compositions with field recording at their heart. Curated by DJ and sonic adventurer Nick Luscombe (Late Junction, Musicity), it highlights a new wave of sonic artists incorporating natural sound into their work.

The idea for this new compilation series is to reflect a burgeoning area of sonic creativity that has gone from very niche to something much more commonplace. As a DJ at BBC Radio 3's Late Junction, Nick would receive music every day that contained some element of field recording. Many of the artists contained within have received airplay on Late Junction as well as on Late Junction and other experimental programmes. The release features sound artists Kate Carr, Mark Vernon and Hojo+Kraft, singer-songwriter Daren Hayman (Hefner), and accordionist Tuulikki Bartosik.

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9,12

Last In: 6 years ago
Rheinzand - Rheinzand

Rheinzand

Rheinzand

2x12inchZZZV20002
Music for Dreams
11.05.2020

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi-instrumentalist Reinhard Vanbergen. It’s both an exploration ofdance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album bythis recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

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26,01

Last In: 5 years ago
Ital Tek - OUTLAND (BLACK VINYL REPRESS)

Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘. The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.

Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.

The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel.

Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’.

The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect.

This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

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23,49

Last In: 5 years ago
Syntax Error - Energy Fraud

Inspired by the nocturnal city life, Syntax Error emerges from the dark and lights up your ears with a bunch of new techno shooting stars. Clearly, it is time for a night rave – of course all Syntax Error style.
For all vinyl lovers, he pushes four full-flavored techno tracks through the turntables. Already the first beats of A1 “Finnisage” hit right in the middle of the dusty underground heart. Starting with a pure beat, he builds up level by level and creates his signature sound – an energizing drive, wobbly bass lines all wrapped in spherical sounds. The following tracks “Powder”, “Vegan Monster” and “DT Style” continue this exciting symbiosis of dramaturgy and driving beats.
In the digital version, Syntax Error adds four tracks and enlarges his vinyl ep to a digital album. “Deep Saw” clearly keeps its promise, “Elakt” and “Future” go with full steam ahead through the night, whereas “Test1” finally hijacks you into an experimental sound conglomerate just ready for dawn.

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9,20

Last In: 21 months ago
Nils Frahm - Wintermusik

Nils Frahm

Wintermusik

12inchERATP018LP
Erased Tapes
30.04.2020

Nils Frahm, born in 1982, had an early introduction to music. During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again.

The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes. As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new Nils Frahm, born in 1982, had an early introduction to music.

During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.

The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again. The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes.

As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new album of piano improvisations the result is 'The Bells', which will now be released on Erased Tapes in the UK, Ireland and North America. Perhaps the most stunning aspect of what on the surface appears to be an entirely pre-planned and composed body of work comes with the discovery that these pieces were in fact improvised.

These two friends share a common affinity in that they both possess an absolute mastery of melody, composition and performance able to deliver with devastating effect. The modest Mr. Broderick states 'I remember thinking to myself as I lay there stunned, that I could spend ten years trying to write an amazing piece of piano music, and still it would never be half as good as these improvisations!'

Recorded in a rented, beautiful old church in the heart of Berlin over two nights, Nils 'just played' with the occasional instruction from Peter 'I spouted "Make a song using only the notes C, E, and G", or "Make a song that you could imagine me rapping over the top of" (Track 8 'My Things'). At one point I was even inside the piano, laying on the strings, asking him to make a song called 'Peter Is Dead In The Piano'. The resultant work 'The Bells' shares the same excitement and air of playfulness.

For a musician this early in his career, Frahm displays an incredibly developed sense of control and restraint in his work. As the recognition continues to grow for both, 'Wintermusik' and 'The Bells', we are pleased to announce that 2010 will also see his next album release on Erased Tapes.

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22,06

Last In: 8 years ago
Telfort - As Though It Were

Telfort

As Though It Were

12inchTLFT004
Telfort
28.04.2020

Telfort’s seductive sound returns with three new cruise missiles from the faultless producer. Deep house done with a dazzling expanse, his imaginative and charismatic influence on the genre have previously piqued the attention of the more creative DJs and diggers who’ve dug the producer’s umami-esque palette: intangibly savoury, hard to define but unequivocally tasty.

On his fourth release via the sporadic yet impactful TLFT imprint, the producer retains his playful touch as he delivers three bright, optimistic dancefloor vistas that shimmer and shine like sunbeams off a dappled ocean. “As Though It Were” immediately injects energy and light into our minds and bodies with its candescent bass riff and catchy three note melodies. Synth-strings are arranged with perfection, hinting at a brave New World full of compassion, love and unity; while its driving and buoyant beats urge us into a hips’ n ’shoulders workout comparable to a high-octane gym session.

“It’s A Phase” is as finely crafted a piece of Telfortian house as one can hope for. With a direct and rugged B-line, peppered with light perx and decorated beautifully by one of Telfort’s trademark, textural synth patches. It’s further garnished by a dreamy, weaving lead solo that should draw heartfelt feelings of desire and nostalgia out of all who experience it.

“MSR Dub” completes the session and deep bass plumes and breathy flute melodies give us Big feelings as we floor the speedboat’s accelerator and splash across the rollers and swells at max speed. Achieving a tranquil and calming terminal velocity, time appears to stand still as gorgeous scenery rushes past our eyes. It’s a picturesque and evocative end to the trip which should etch itself into one’s memory hole, full of jubilant and joyous sentiments and overwhelming positivity throughout.

Evoking ambrosial notes and feels throughout, reminiscent of spending life affirming time with top friends in exotic locations and holiday house music splashing in corals. You only live once; ensure it’s spent enjoying tunes like these loaded with carefree abandon. Telfort’s In A Good Place right now…

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9,62

Last In: 5 years ago
52nd Street - Look Into My Eyes / Express

Who put the dance into Factory Records?”

Be With would like to refer you to FAC 59.

Working with founding member Tony Henry, we’re honoured to present the reissue of 52nd Street’s crucial debut single “Look Into My Eyes”, backed with “Express”. Originally released on Factory Records in Summer 1982, this ultra-rare 12" is a double-sider in the truest sense. Unrivalled Manchester jazz-funk-boogie-soul.

Both “Look Into My Eyes” and “Express” came out of a five day recording session in the spring of 1982 at Revolution Studios in Cheadle Hulme, just outside Manchester. Rob Gretton had just signed the band to Factory, snatching them from under the noses of RCA and WEA Records who had been sniffing around and seemingly ignoring Tony Wilson’s concerns that Factory might not be the right home for a black soul act. Rob clearly thought different.

The band of Tony Henry on guitar and vocals, bass player Derek Johnson, drummer Tony Thompson, lead vocalist Beverley McDonald and John Dennison on keyboards were put in the studio with A Certain Ratio’s drummer Donald Johnson producing the sessions. The band also found themselves with an interesting new member.

The back cover of the finished record credits synth F/X to a mysterious “Be Music”. Turns out that’s Bernard Sumner. Yes, that one. Tony Henry explains that bringing Bernard in was another part of Rob Gretton’s plan, “Barney was a real soul boy at heart and had always wanted to produce and work with black artists… with 52nd Street, he was an honorary member”. The results suggest he fit right in.

“Look Into My Eyes” squeezes so much aural pleasure into one side of a 12" single. A strutting, rich, soul-gliding funk with bass and guitar high in the mix above twisted, bubbling synths. Like Nile and Barney drenched outside the Haçienda that first summer. How can something be this liquid loose whilst sounding so, so tight? The hypnotic, naïve-cum-insouciant vocals from McDonald, backed by her fellas, only add to the track’s charm. Put simply, it sounds like nothing else.

On the flip, “Express” is sheer drama on wax. Tony’s opening lesson in good manners (“Excuse me miss, is this seat taken?”) sees us strapped in for a wild, chaotic, rhythmic ride. All bold keys, synth brass blasts, insistent bells and a galloping groove giving *that rush* atop a bassline to die for. No surprise it was a Frankie Knuckles favourite. Blistering heat.

The 12" was Paul Morley’s single of the week in the NME but his approval did little to get daytime radio play or to sell the record when it was released. It probably didn’t help that, in Tony Henry’s words, Factory were a label “notorious for not promoting their bands, not wanting any communications with the written press and not answering their office phones.” It came and went with none of the fuss that music this good deserved.

But in the near-40 years since they were released, these two tracks have gone on to become cult underground hits for those in the know. Of course that means those original 12"s have gotten rare and pricey. So here’s your chance to own this particular piece of post punk Factory Records funk.

But this record isn’t just a vital slice of Manchester soul history. Tony’s not shy about just how important he thinks the collaboration between 52nd Street and Bernard Sumner was: “this worked out quite well for us in the band but even better for New Order and Factory Records as Sumner studied grooves, rhythms and how to write and construct funk and dance music from 52nd Street and producer Donald Johnson”. You just have to listen to Blue Monday to hear what Bernard did when he started putting what he’d learnt into practice.

“Look Into My Eyes” and “Express” come from a chapter of the history of Factory Records that no-one seems to have gotten around to writing. Working with Tony to reissue the original 12" is the start of putting that right. The story of 52nd Street is more than just a footnote.

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12,06

Last In: 3 years ago
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