Label boss Paul steps up with a new but not surprising moniker "DinSync". No stranger to the label as one half of Helltown Acid Milita, the DinSync project is Paul's first solo outing in over a decade. The title track "FUTUREACID" is deep, moody and represents the sound of Helsingborg style electro infused acid. Following up is "THE REMAINS" which is more futureacid but on a dubbed out tip. On the flip we have "BLACK HOLE HEART" with one of Paul's signature style baselines (think "We are Here" from RE30301) infused with tribal percussion and dark overtones. This one is is for the late night heavyweight selection. Finally we end the set with the minimal vibes of "USE". Mastered by 6BIT Deep in Copenhagen and pressed on heavy-weight vinyl, what is FUTUREACID have a listen.
In September 2016 Chouk Bwa met the Brussels-based duo The Ångstromers. A traditional Haitian Mizik Rasin — roots music — band, Chouk Bwa, formerly Chouk Bwa Libète, realizes the source of a drum and dance style using percussion and call-and-response vocals that are infused with Haitian Vodou.
'Chouk Bwa' means 'Root' in Haitian Creole. Three percussionists and two dancers are led by composer Jean Claude 'Sambaton' Dorvil on vocals and the fer, an iron bar/bell that announces different rhythms employed to call up the spirits, assisted by Gomez 'Djopipi' Henris.
Chouk Bwa display the deep African heritage of Haiti, torn from Africa and secretly re-planted in a new land. The band members speak for Haiti, a nation that has seen the hardest of times and maintains a relentless spirit and strength through its culture.
The two tracks were selected from the first meeting with the Ångstromers at Café Central, Brussels, recorded live in September 2016. Modular synths and other vintage electronic instruments bring another dimension to Chouk Bwa's music.
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Mutima is the debut album led by bassist Cecil McBee recorded in 1974 and first released on the Strata-East label. In his review for Michael G. Nastos called it "A landmark recording in early creative improvised modern music" and states "McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era... Mutima (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player". Dustygroove now calls it: 'A great bit of spiritual soul jazz - and one of the few albums as a leader recorded by the legendary bassist Cecil McBee! Cecil's joined here by a large group of players that includes Billy Hart on drums, George Adams on tenor, Onaje Allen Gumbs on piano, Jimmy Hopps on percussion, Art Webb on flute and Dee Dee Bridgewater on vocals - adding in just a touch of soulful color to the record as she did on a few other 70s sides like this.' Plus: 'The music's got that essential Strata East sound, with a rich and spiritual vibe on all tracks, and slight bits of funk hiding somewhere in the mix! Tracks are long and freely expressive - but never too outside, either.' A long lost classic we call it. And this latest reissue is the best vinyl version ever since it first appeared almost 45 years ago!
'Best electronic live set i've seen in two years!' CHRIS CUSACK (BOOKER, BLOC GLASGOW)
Fresh and heady slice of cerebral techno and out-there electro flavours.
EXTERIOR is the artist moniker of Edinburgh producer Doug MacDonald. Exterior represents his transition to electronic music and an embrace of the dancefloor. Doug played hardcore and noise-rock for a long time before eventually abandoning collaboration, nostalgia and formulaic rebellion in favour of synthesis. What he gained on the way was an understanding of the power of live drumming and years of finely honed performance-skills, something of an aberration in dance music.
Exterior thus represents a convergence of disparate personal and musical pleasures. Accordingly Exterior draws on rhythmic mavericks as divergent as Fugazi//Battles//Swans as well as DJ Spoko//Clark//Hieroglyphic Being. In addition, there is a deep undercurrent of melody and texture, drawing on the likes of Burial//Miles Davis//Bjork. Eschewing the modern home computer in favour of an exclusively hardware based approach, Exterior espouses a physical relationship to what is at heart an abstract practice, composing electronic dance music.
Perhaps it's unsurprising, then, that one of the things which really sets Exterior apart is his intoxicating live show. He gets the crowd going every single time he performs, so infectious is his energy, as he throws shapes and struts his stuff behind the gear, clearly 100% in the moment and his element.
His debut EP 'Public Transport' was released on London/Barcelona-based Land Recordings earlier in 2018. Having made his international headlining debut in Berlin in September, more continental sorties are currently being arranged (see below).
This record represents a significant move forward in sophistication and club-readiness.
On remix duties, anonymous analogue techno lover DALI returns on the back of four slices of extended club gear released via two Hobbes Music 12"s (2017-18), boasting colour-themed, screen-printed sleeves and an uber-simple design for that evergreen minimal aesthetic with a hint of mystique. These gained excited support/plays from the likes of Ben UFO, Nina Kraviz, Daniel Avery, DJ Deep, Laurent Garnier, Avalon Emerson, Twitch, XDB, Bill Brewster, Bawrut, Tom Findlay (Groove Armada) and many more... Clocking in (again) at just over 9 minutes, her 'Collapsing Star' remix is another marathon-length effort and does exactly what it says on the tin. Setting the beats to classic electro, everything's pushed hard until it all seems ready to fall rapidly apart (and it very nearly does), before dissolving in a fiery sizzle: a more visceral, dance floor accompaniment to Exterior's heady affair.
"As members of one of New Orleans' most esteemed soul/funk groups of the 60's and 70's (The Delltones) Roland Treaudo & Manuel Herrera Jr. made a name for themselves recording iconic albums and sharing the stage with the likes of Lou Rawls, The Commodores, Dorothy Moore, Etta James, Bobby Womack and Jackie Wilson.
As a duo, Roland & Manwell went on to produce some of the best electronic funk tracks of the time and this record is our effort to shine a light on these underappreciated masters.
The tracks on this new 12" are some of their home recordings from 1980-1985 which showcase their massive talent as composers, instrumentalists and vocalists. Truly a must-have record for anyone interested in obscure 80's Synth Funk."
This is the first release of Original tracks from 12tree's new label, Hot Piroski. Produced and recorded by 12Tree at his studio in Barcelona.
The label is a boisterous mix of Space Disco, Deep Funk edits and Balearic Beats.
Hot Piroski Hp001features :
'Lazers' - A warm melodic electronic opening layered with with analogue Delay morphs into a deep house bassline driven groover.
'Gamma Ray' - A Deep dark Disco workout for fans of Todd Terje and Disco Bloodbath..
'Swamp Love' - Cajun Voodoo vibes on a Ninja Tune tip
With support from
* Pete herbert,
* Chris Todd/Crazy P
* Ursula 1000
* Agoria
After mixing and releasing tracks with disco dons Pete Herbert, Payfone, Tim 'Love' Lee, Phil Mison, Richard Fearless, and Balearic legends Jose Padilla and Bubble Club, this is the first Original release on 12Tree's own imprint. Enjoy!
"In 2013, the For Those That Knoe imprint burst into record shops with a release from one of the UK's unsung heroes, Jaime Read under his LHAS alias. 5 years later, we're proud to present a reissue of a selection of Jaime's music from his 1997 album ""The End of the Beginning"".
Jaime's take on futuristic chi-town influenced house is present across the selections. Written 21 years ago, the music is more relevant that ever. Serene galactic themes and time travel optimism permeate the collection: the music tells tales of optimism rather than the bleak images carved by other similar compositions of the time. Originally pressed in finite numbers, this is an opportunity to get a copy of the key material on vinyl again, split across two 180g 12"" EPs with a free digitial download code.
"
Als in den Neunzigern Punk durch Bands wie Green Day und The Offspring sein großes melodisches Revival
erlebte, bedeutete das auch den endgültigen Durchbruch für NOFX. Das kalifornische Trio hatte sich schon
1983 gegründet, schuf 1994 mit "Punk In Drublic" einen bis heute unvergesslichen Skatepunk-Klassiker und
avancierte spätestens mit seinem siebten Studioalbum, "So Long And Thanks For All The Shoes", zum
Punkrock-Schwergewicht. Im Gegensatz zu vielen anderen Formationen weigerten sich NOFX jedoch
resolut, Kapital aus dem wieder erwachten Interesse an Punk zu schlagen. Angebote von Majorlabels wurden
daher konsequent ausgeschlagen. Bis "Pump Up The Valuum" im Jahr 2000 auf den Markt kam, standen
NOFX bei Epitaph unter Vertrag, dann wechselten die Kalifornier zu Fat Wreck Chords, dem Label von
Bassist und Sänger Fat Mike. Zum Ausstand veröffentlichte Epitaph 2004 die Kompilation "The Greatest
Songs Ever Written (By Us)". Die Zusammenstellung enthielt Evergreens wie "Linoleum", "Reeko", "All Outta
Angst", "Bob", "Leave It Alone", "180 Degrees", "Kill All The White Man" oder "The Longest Line" in neu
gemasterten Fassungen. Epitaph bringt die Sammlung nun erstmals auf Vinyl heraus.
The first edition of a two part series, Heritage finds Mark de Clive-Lowe in the process of grand introspection about his Japanese heritage, with specific tracks as memories from the past illustrating the right history of Japan. The albums have a sweeping, almost majestic feel with signature electronic soundscapes throughout.
Gratitude's rare Canadian disco 12" is well know to the heads, there is also a VERY rare 7" with a slightly alternate mix that is almost entirely unknown (not even listed on Discogs).
'We Are Here To Party' is a driving Deepfunk disco banger in the vein of King Tut. On the flip 'Loving You' is a Chic influenced disco production as strong as the A-side, always good when its a solid flip as well. We have taken the 12" Versions and put it on to 45, the forthcoming David Haffner compilation will have the even rarer 7" Version on it. Back into disco turf, loads more on the way.
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On People of the Sun, Strickland blazes down that trail fully at the helm of his music—performing, writing, and producing with his outrageously able Twi-Life band on deck—even as he sonically and socially traces the African diaspora from present to past in an effort to unpack his identity. "I'm thinking about where we came from," says Strickland, "and how that clashes and goes hand in hand with what we've created here as Black Americans." The result is an album that's busy and beautiful, inventive and contemplative, an amalgam of influences from West Africa (griot culture, Afrobeat, percussion) and America (post-bop, funk-soul, beat music) performed in the key of revelation. Another facet that sets the album part is Strickland's lesser-known woodwind obsession with the bass clarinet, which adds its noirish hues to so many of these songs.
96 Back, aka Evan Majumdar-Swift, returns to CPU with his debut album 'Excitable, Girl'. Bringing his thoroughbred Sheffield electronic heritage back into the spotlight, this album raises the bar in terms of quality and diversity. DJs and discerning home listeners will find plenty of favourites on this long player with dance floor igniters jostling alongside ambitious ambient moments. Lush Plaid-like melodies throughout will keep you hooked.
Evan firmly established himself in 2018 and is one of the hardest working artists on the scene, this album will only strengthen his presence on the electro grid.
170 to 180 BPM tribe and Hardfloor EP. The Montpellier Tribe crew comes here with a good surprise : the return of Sagaloop ! But the best tune here is probably the Alextrem track in the vein of his best realeses : a wise dry kick spiraling stuff.. Coit brings an Acid tribe Top tune as well... Kreat drops into DSP style with a nice open-air rolling tune. A good EP.
Arcola is proud to present Ascetic, the debut EP from acclaimed artist and DJ Anastasia Kristensen. Having delivered killer remixes and notable productions for various compilations - Anastasia further refines her craft with this debut, continuing to justify her reputation as a leading light within techno.
Proving herself to be equally strong a producer as she is a selector, Ascetic presents four tracks that exemplify the broad spectral soundscapes of Anastasia Kristensen's style. While it may have its roots in techno, Ascetic offers a multitude of audio dimensions to explore.
From the skeletal noise techno of 'LXR Jam', the brazen hardcore flex of 'Ascetic' and its breakbeat counterpart 'Ascetic (In Breaks)' and the industrial/dub tech-noir of 'Donni', Ascetic EP is the perfect accompaniment to the whirlwind of emboldened intensity witnessed at Anastasia's international DJ sets every week.
Set to be one of 2019's strongest debuts, Ascetic's four tracks show that when it comes to genre and composition, Anastasia Kristensen has no intention of staying in one lane.
With a full replayed tune from a classic over the classic we can feel here the musician enjoyed making music with a dmn precision that rocks !! LIMITITED 150 with printed sleeve !
No Concession on this one... the uncomon rare oldschool sound pushed at its extreme pleasure : that particular sound we heard a lot here in France with XMF (formerly now The Hacker), Bunker (NL) and to be more precise with Agro (UK) and Power Plant (Germany) but of course... Drop Bass Network (USA) ! Respect to the original Acid Hardcore caves ! BIG UP The Untitled !
vtgnike is danil avramov, born in Vladimir,russia. started actively
making music in 2010 after moving to moscow. after releasing couple of
eps under different monikers, got a few vtgnike d.i.y. cds(one of
those probably got into nico's ears in NY) i've got beautifull DUBNA
LP on other people(yes really still think its a great record) and few
month after its release got in jail because of drug charges dated
2009. long story here. im 100% on weed legalization and
decriminalization of other drugs in a logically gentle and mentally
stable sociaty(and the world is not equal, its diversed and i respect
all non violent cultures :-). got free in 2016(THANKS TO EVERYONE
INVOLVED AND NICO) and got another album with a gostzvuk fam.
i am a proud resident of NII club.
in producing i've been switching music genres all my life ) electronic
music that has a flow in it, dosnt need to be glued to any specific
range of bpm, etc.
Schmer has tried to stop, we've all gone into therapy, but there's no hope, short of setting the world ablaze: we can't stop smoking! 2019 see's Schmer pressing TECHNO records in the EU and PRICED in Europe as a domestic release. As if the continent didn't already have enough problems, here we come with our latest COMPILATION!
First to drop a match is Amber Shoshona aka Bastet. She is a live electronic music performer and DJ based in Baltimore, MD USA. Her live set is coarse-grained and atmospheric, developing a slow-burning, hypnotic groove. In the studio she creates genre bending electronic experiments. For Schmer she made 'Torn', which sneaks right up to you and lights you up.
Delivering oil to the blaze from deep in the Russian arctic is Maxim Makarenko aka 777minus111. The unknown hero from the Russian Techno label he remains in the shade and keeps it real! He runs underground parties in Moscow and is a member of Vinyl Ambulance project in India. He keeps our compilation 'Getting Dirty Quick' with his Dan Bell inspired MINIMALISM.
On the flip the fires start with Vague Audio Tapes label head Dominic Martin aka Hero/Victim. Hero/Victim is a sonic attempt at translating unanswered and unheard emotions. Visceral and physical; so as to both, engage and purge the evolving dissonance. Never content. With sound as a context-sensitive metaphor, stories are heard. He also makes weird electronic music and then Schmers all over us with a 'New Stress'.
Schmerhead BPMF hides a track from another release in this inferno. Its super short as in it goes on FOREVER with a LOCKED GROOVE at the end. If you're gonna be an emcee, do it in a Wormhole on a LOCKED GROOVE so that the rock will never stop.
Liza Weinstein, Zach Vietze and Jason Szostek were Jack Move. In 1994 they may have made two tracks together, but this is the only one we found lying around in the basement floor. Long before the skinny jean hipsters were rocking beats deliberately designed to confuse the dance floor with their lack of flow, The Jack Movers were experimenting with cryptic funk... It was a Jack Move on their part and they immediately ran out of town to escape retribution, leaving behind their 'Krippy Shit'.
We Can't Stop Smoking so you'll always be able to find us because where there's smoke, there's fire... and where there's TECHNO there's SCHMER!
It's been a minute since we heard last from Montreal's CLARIAN on KOMPAKT (KOM 356 - ANKH EP ) but by no means has his universe stopped expanding as he released the 2017 full length SYNTH WAVE (BALANCED) and collaborated with TIGA on STAY CLOSE and THEY JUST WANT 2 B U (w/ JAMIE PRINCIPE and FELIX DA HOUSECAT) singles. We welcome back CLARIAN with TIME SAFARI. The majority of the EP was a 2 year long process from recordings made in South Africa as a team effort ofRICHARD MARSHALL, BLANE VENTER and of course CLARIAN (along with many locals along the way) with the 'ambient aspect' of the EP finished in India in summer 2018. By no means is this EP to be perceived as experimental recordings as each club track has a theme that is loyal to the dance floor with a goal of incorporated ambient recordings to create an immersive environment. The aim CLARIAN has with TIME SAFARI is to attempt to empower the idea that club music can go beyond simply being labeled as a genre and club motif but can also explore alternative, creative and most of all be a conduit to bring unity through all variations of art mediums into the night life scene. The ambient aspect of TIME SAFARI is CLARIAN's homage to his heroes. Think if TUXEDOMOON collaborated with CARL SAGAN to create a weirdo version of COSMOS. In the case of this EP - a mega brief journey of human evolution through South Africa.
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The 'Insights' EP is Spinscott's second release on the US based Elm Imprint label, as a highly anticipated follow up to the internationally successful 'Make It Funky / Lovelight' single. 'Insights' features 3 tracks that represent a progression of styles, and satisfies the demand for Classic Jungle sounds, fresh Drum And Bass, and deep '160' flavors.
Side A: 'Phaseout' - This forward-thinking Drum And Bass tune starts out with a moody & mixable intro, staccato drums and bass hits, before dropping into a precisely arranged dancefloor rhythm. Impact exceeds maximum threshold after the break, with the injection of an unexpected layered kick pattern, which has proven to leave no one standing still! But don't mix out too soon... the final phase features an exclusive drum break sourced from a family 45 pressing, circa 1968, sliced and reworked for it's debut appearance here. Phaseout has moved audiences during pre-release plays at Spinscott performances in the US, UK, and beyond.
Side B1: 'Rocker' - This 160 BPM tune was meticulously crafted using drums, effects, and other sounds from multiple genres of dance music, and engineered to make people move! Starting out on a jazzy tip with 808s, sax notes and various fx elements, it doesn't waste time getting to an onslaught of swinging drums and vocal artifacts. Rounding out with some classy Rhodes melodies, strings & short-cut Amens, 'Rocker' delivers an audible message for people to rock, swing, and move to the music! DJs will enjoy cutting in and out of this one, with many changes and elements to mix & blend with.
Side B2: (vinyl exclusive): '#7' - This oldschool style Jungle track FINALLY appears on the vinyl version of this release to satisfy over 5 years of relentless demand! Originally filmed as one of Spinscott's Real-Time Jungle videos, '#7' is the one that opened the floodgates to international recognition and performances worldwide. (see link below) Previously only available in video or performed live at shows, Spinscott has produced a full length 'dj friendly' version, featuring all the original elements of the original performance. '#7' was created and produced 100% on the MPC 1000 (as seen in the video), and features classic drum chops and layers, reverse bass, raw pads, and more.
The second album from SpaceArk. More brilliant self-released, private-press jazz/soul from 1976 Los Angeles.
'SpaceArk Is' came out on Color World records in 1976, on a limited run of about 5,000 copies. It followed their self-titled debut (also available now on Mr Bongo) on the same original label, the year before.
For a handful of years in the Seventies, SpaceArk was one of the most promising and electrifying bands in Southern California. Although their music was far greater than the sum of its parts, those parts made for a very original style. R&b, soul, rock, pop, jazz, classical ... it all came together in blissful stream of intricate compositions that swept up crowds from US military bases to Northern Soul clubs around the UK.
SpaceArk wrote and performed more than 100 songs during their time together. Most of them were not recorded and are now either lost or forgotten.
Official Mr Bongo reissue with liner notes by Amar Patel. Licensed direct from Peter Silberg.
It's that time again. The skies are calling and its time to board our trusty jet for the 5th outing of Africa Seven's premiere class compilation Africa Airways. For volume 5 its time to brace yourselves for 10 slices of Afro boogie goodness.
We up the boogie time groove with The Black Bells Group (the first band of lead singer Sidney 'Patrick Duteil' who went on to become the godfather of French hip-hop and a well know TV presenter. Here the groove is swinging... the perfect opener. Next up is German-based Cameroonian musician and cousin of Manu Dibango, Charly Kingson with this bass-synth boogie stomper. Big brass and jazzy trumpets add layers of sparkle too.
Next its time for some highlife inspired boogie from Ghanian Gyedu Blay Amboley. Highlife fused with reggae, disco, boogie and jazz just as the lyrics say.
Next we pair up with Africa Seven friend Eko once more under his Dikalo guise. The Cameroonian master musician is on fine form with his heavy brass and deep percussion with a driving afro boogie groove. To round off Side A its off to Cameroon again to groove with Jean 'Mekongo President'. Think Bernard 'Chic' Edwards on the bass with some African style and you can see it's the bottom end groove and afrobeat drums that power this gem along.
We open the second side slowly and purposefully with the highly sought after 'French Girl' from Fotso. Drippy bass synth grooves and a wondrous percussion and drum shuffle pair with piano riffs to make this a unique sounding track. Our friend Tala AM is next with the foot-stomping 'Sugar Lump'. JK Mandengue is next with most definitely the catchiest chorus you will hear today. Nigerian Jide Obe gets synth and clavinet rich with his doe to sensible dating advice 'Too Young'. We close off the album with a track from label good friend Jo Bisso under his Mulamba guise. Sounding like a long lost TV theme from a late night TV show circa 1977. Let's get down and boogie with the brand new dance in town folks... the Dashiki.
Until Volume Six takes flight it is time to unbuckle those seat belts folks.
Shirley Wahls is known as one of the young pioneers of Gospel music. Singing in the church since the age of three, she began her singing career in the junior choir of the Mt Pleasant Baptist Church under the direction of Ruth Jones. Her professional career began with such legendary groups as "The Argo Singers", "The Ward Gospel Singers" and "The Dorothy Norwood Singers" before trying her hand on secular music around the mid 1960s. Between 1967 and 1976 she had released eight 45RPM singles on different labels such as King, Calla, Smash, Blue Rock, and Giant. The two songs featured on this 45 are probably her funkiest recordings and were long overdue for an official reissue. We'd like to say "Thank You" to Ms. Wahls for giving us the permission to re-release these wonderful songs. This is an essential double-sider which certainly fills any dance floor.
The Seeds of Fulfillment by David Drazin (November 2018)
Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.
Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.
Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!
Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.
Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.
In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.
Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.
We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.
From four individual parts, with distinct musical pasts but also
overlapping histories, a new unified chapter begins with Piroshka and
the quartet's thrilling debut album 'Brickbat'.
The album is named after the word for a missile, which nails the
record's heavyweight lyrics if not the music's gorgeous, bittersweet
and euphoric pop. Think of 'Brickbat' as a wolf in sheep's clothing -
which suits the name Piroshka, the Hungarian take on the wolf
terrorised fairytale hero Little Red Riding Hood - a subtle nod, too, to
a certain red hairdo that stood out in the 1990s Brit-guitar-pop
scene...
The four band members are former Lush vocalist / guitarist (and
former redhead) Miki Berenyi, former Moose guitarist KJ 'Moose'
McKillop, Modern English bassist Mick Conroy and former Elastica
drummer Justin Welch. The connections between them are a
veritably tangled family tree. Before they lived together and raised a
family, Miki and Moose were notable figures on the so-called
shoegaze scene, while Elastica were Britpop peers. After post-punk
pioneers Modern English split for a second time, Mick became a
latterday member of Moose, while Justin joined the reformed Lush in
2015. And when Lush required a bassist for what proved to be their
final show (in Manchester) in November 2016, Mick stepped in.
It was the rehearsals for that Manchester show that laid the
foundations for Piroshka. 'We sounded great!' says Justin. 'Like a
proper punk band. Mick brings a huge amount of enthusiasm and
livens up the room, and I thought, this is the kind of band I want to
be in again.' Mick agreed. 'I'd seen Lush so many times, it was like
playing with old friends. Miki agreed it was good fun too. And with
Moose available, we thought, let's all have a bash, see what
happens.'
Though 'Brickbat' kicks off with a squeal of feedback, the album is far
from a proper punk record, with as much sublime delicacy as physical
force, with guitars to the fore but also electronic flourishes in all
manner of spaces. Combined, they drive the nuggety melodic bombs
long associated with Miki's songwriting
LP format includes digital download code.
Four tracks sure to get some antifreeze in your veins, prevent you from turning to a brick of ice during this brutal winter.
Philip Budny is a Berlin-based producer who's making his LPH debut here with Somnambulism, an easy, buoyant grip of tracks that'll lift your heart to the heavens as they keep your feet shuffling. Starry-eyed house.
Tarawangsawelas are a musical duo from Bandung, mainly performing a contemporary version of Tarawangsa, the sacred music from Sundanese West Java. Here they are joined by their teacher and maestro, Pak Pupung Supena, together with, Pak Jaja, on Sekalipon. Wanci is a minimalist, cosmic album composed with a careful modern interpretation of one of the most mystical and spiritual genres in Indonesia. A gorgeous and infectious six track album. TIP!
.
Producer Rabih Beaini says "Last year, Europalia Festival commissioned me to work on a musical project with local musicians from Indonesia and develop a performance to tour during Europalia 2017. I chose to work with Tarawangsa, the sacred music from Sundanese West Java. Tarawangsa is played on two string instruments: a rababa-like two-stringed bowed instrument itself called Tarawangsa, and the Jentreng, a seven-stringed kecapi-like instrument. Typically from Rancakalong village in Sumedang, West Java, Tarawangsa is played as part of a ritual consisting of almost eight hours of music and dance, complete with offerings and prayers. During a performance, a selection from the forty two known Tarawangsa pieces slowly build up from a cosmic slow groove to more repetitive and hypnotic rhythms, inevitably bringing the listener and dancer to a trance state. During the residency I had the great honor to be able to develop new structures and pieces together with Tarawangsawelas, recording them in Bandung, and ultimately having them joined by their teacher and Tarawangsa maestro Pak Pupung Supena together with Pak Jaja on jentreng. This album is a modern description for one of the local Indonesian music scene, but mainly it is an offering for the Tarawangsa ritual, like the food and incense and the prayers, and the messages of the ancestors to the people of Rancakalong."
Composed and performed by Teguh Permana, Wisnu Ridwana and Rabih Beaini, except Sekalipun (traditional) performed by Pupung Supena, Jaja Rohmat, Teguh Permana & Wisnu Ridwana.
Recorded in Bandung, march 2017
Produced, mixed and arranged by Rabih Beaini.
Mastered by Neel at Enisslab.
Cover design by George Sowden, curated by M-L-XL,
Three 1982 disco classics from boogie trio Plush formed under the guidance of Angela Winbush, René Moore and Bobby Watson get the official, remastered reissue treatment from the original tapes.
Opening up the EP, an Angela & Rene original 'Free & Easy' is taken on by the Plush troupe, with the legendary Tee Scott providing a trademark extended mix. It kicks off with cosmic synths that dissipate into heavy funk, electric bass riffs, whilst scorching top lines and choice guitar licks trade off over the top. Scott's magic is clear to see in the composition of this extended mix. A man who clearly knew how to work a dancefloor, his use of breakdowns especially, extending the anticipation and power the track commands on its dancers. From the bass breaks that weave in modulated synths, to those that utilise the glorious sustained piano chords, cutting to just vocals and percussion before everything is added back in for ultimate dancefloor elation.
First up on the B side, 'We Got The Love', a more soulful, slowed down tip where staccato guitar plucks and chunky slap bass marries with warm Rhodes chords, and lush vocal harmonies blend with the power of Siedah Garrett commanding the lead vocals. A passion ingrained in their voices that cannot be taught, hanging in the air, as they hang onto their phrases.
Lastly, 'Livin For Your Love' a boogie-based serenade written by Herman Chainey and Tony L. Phillips, intertwines Phillips' deep dulcet tones with Plush's backing. Add in a dose of pure '80s bass synth, twanging funk flashes and juicy bass guitar ripples and you've got a recipe sure to woo any wandering hearts out there.
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Lowell Dunbar and Robert Shakespeare are the renowned Jamaican rhythm section that has worked with a range of international stars, including Bob Dylan, Mick Jagger, Joan Armatrading, Garland Jeffries and countless others. They first came to know each other in the early 1970s, when both were based in rival bands playing in clubs on Kingston's Red Hills Road and started working together at Channel One studio in the mid-1970s, when Sly was musical arranger for the Revolutionaries house band and Robbie the main bassist for Bunny Lee's Aggrovators. After a stint of international touring in Peter Tosh's Word, Sound and Power band, which exposed them to the tastes and markets of overseas audiences, the pair joined forces more concertedly with their Taxi label, producing hits with Gregory Isaacs, Dennis Brown, Sugar Minott and the Wailing Souls. At the same time, as the driving force behind the Compass Point All Stars, they brought Grace Jones to prominence worldwide and made Gwen Guthrie a star through reggaefied disco, and then brought Black Uhuru into the top spot in the wake of Bob Marley's passing. Then, when Jamaican music went digital with the 'Sleng Teng' craze of the mid-1980s, Sly and Robbie made the shift in that direction too, becoming among the most prominent producers as the 80s gave way to the 90s. Dubs For Tubs: A Tribute To King Tubby is a digital dub salute to the King issued shortly after his terrible murder; it is mostly comprised of synthesizer re-cuts of classic Jamaican rhythms, with 'Dub For Joy' being a tough re-working of the Heptones' 'Love Me Girl' and 'Dub To Make You Move And Groove' a take on their 'Party Time'; Dennis Brown's 'Here I Come' is here mutated to 'Dub For Roots People' and his 'Here I Come' anthem shifted into the spongy 'Dub For All Seasons.' An intriguing offshoot of 'Sleng Teng' is among the other highlights.
A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.
Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like 'acid folk' and 'soft rock', it's difficult to imagine a time when the legendary Susan Christie album didn't exist. When Finders Keepers Records first shared the unheard 60's songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan's new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an 'instant classic'. Which is why it's hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.
The oft over used term mythical applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960's copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where's My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase 'unbelievable' as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market... No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday... could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it's future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender - at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60's America simply wasn't ready for. It is just over 12 years since champion record rustler Keith D'Arcy (who you'll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it's almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.
Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you'll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.
The OUER guys just live down the road from us in Berlin and we have been crossing paths many times these past years so it is with great joy we can finally present a full EP with their unique approach to electronic music on Dirt Crew Recordings. Since their debut on 'HEIST' in 2016 Xaver and Oliver have consistently pushed their sound and production, on their own OUER imprint they released four EP's up till now and the latest called 'E' is just a few weeks old as we speak. The A side opens with the title track 'Stingray Nebula', a bliss composition of layered arpeggios underlined by a deep sub bass, building steadily towards etheric strings setting in and descending again with a break beat ending that builds perfect grounds for the following dance floor stomper 'Undine'. That second A side track is a great mix of Deep House and Electronica and is what makes OUER's music so special, almost entering trance territories here but keeping those Chicago and Detroit references alive. When we head over to the B side we encounter some new tracks that really made us want to release this EP in the first place. The beautiful 'Thales' contains live bass and percussive instrumentation and is a crossover indie-tronica gem. Following that is the deep 'Inside' where an 'emo' piano themed House jam meets clever vocal sampling and filtered synth stabs to produce a great going groove. Closing out we have some real ambience electronica for you in 'Train Ride to Bratsk', again played mostly live and using acoustic instruments recorded in their Berlin studio the OUER guys are crossing borders again and turned out this piece of goodness. Enter the world of OUER, we hope you like it as much as we do!
James Place returns with his new LP "Still Waves To A Whisper" (the fourth release on Umor Rex). Flitting between the dreamworld of hauntological synth music and hypnotic techno functionality, Still Waves To Whisper showcases James Place's continuing development of dramatic (and varied) sound worlds.
Musically, Still Waves To A Whisper contains both some of the most immediately danceable and straight up beautiful tracks of James Place's career. Utilising voice samples from the same source as his last album, Voices Bloom, opener 'Known Cry' is a heavenly coda of sunlight bursting through clouds, warm synths drifting across restrained pulses. 'Timing and Lighting' went through countless live iterations before the current version was tracked for this album, a tunneling exploration of rhythm with a dose of sardonic humor. 'Move In Blue (Homeward Mix)' is James Places' rework of a track from 2017's Voices Bloom, obsessively remixed and revisited, here littered with additional melodies and populated by newly sampled voices. Closing track 'Names' is perhaps the most outright beautiful James Place recording to date. A stripped back rework of a live version of Living On Superstition's 'Another Mourning In America', the tune is based on a melodic line written after the studio recorded version. Interwoven with a sampled vocal, and rinsed of all of the original song, 'Names' is left behind a stark and compelling descendant. The digital release includes a remix of 'Move In Blue' by Persuasion aka Devon Hansen.
The title, Still Waves To A Whisper, stems from a conversation between Place and another artist on methods to ease anxieties and the benefits of a focused practice. The hope's for this music to continue that conversation on a larger scale.
All songs written, produced and recorded by Phil Tortoroli between 2015 — 2018 in Brooklyn, NY. Vocals by Sam Sally and an unknown guest.
Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos & Design by Daniel Castrejón.
YANGA brings a new dimension to the rapidly growing scene of Afro-Latin independent music taking shape in Los Angeles and concentrated in the fertile enclave known as the Inland Empire. Intertwined with other intrepid musical explorers who call the IE home, YANGA has sprouted their own distinct branch on the tree of Caribbean music and culture.
Much like their cousins and Names You Can Trust label mates of the same Southern California region (QUITAPENAS, EL SANTO GOLPE and BUYEPONGO), YANGA creates new recipes based on a traditionalbouillabaisseof Afro-Carib rhythm, sharing a few ingredients and musicians to develop a deeper chemistry and cohesiveness but cohering into their own piquant flavor.
YANGA's singular focus and strength is their inspiration from and adherence to the beloved rhythms found throughout the Caribbean coast of Colombia — rhythms like cumbia,garabato, tambora and zambapalo. These rhythms form a touchstone and a proud statement of purpose for their debut on Names You Can Trust.
Led by John D'Alessandro's accordion and the fiery female voice of Eddika Organista (El Haru Kuroi), this new recording is an intense ode to the band's fundamental influences, conceptually crystallized in the studio of Chicano Batman bassist Eduardo Arenas with veteran Marcos Garcia (Antibalas, Chico Mann, Here Lies Man) crafting the mix. It's a realized and impeccably executed scene of dark, gritty and saturated drums and bass, the entire sonic landscape dosed with subtle psychedelia and studio wizardry that never overshadows the band's natural performance or their reverence for the classic sounds of the tropical '70s. The finished product is a perfect juxtaposition between vintage and modern. This special edition, double-issue single packed with deep dancefloor grooves are a sure-shot entry into the timeless canon of Afro-Caribbean recordings.
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YANGA brings a new dimension to the rapidly growing scene of Afro-Latin independent music taking shape in Los Angeles and concentrated in the fertile enclave known as the Inland Empire. Intertwined with other intrepid musical explorers who call the IE home, YANGA has sprouted their own distinct branch on the tree of Caribbean music and culture.
Much like their cousins and Names You Can Trust label mates of the same Southern California region (QUITAPENAS, EL SANTO GOLPE and BUYEPONGO), YANGA creates new recipes based on a traditionalbouillabaisseof Afro-Carib rhythm, sharing a few ingredients and musicians to develop a deeper chemistry and cohesiveness but cohering into their own piquant flavor.
YANGA's singular focus and strength is their inspiration from and adherence to the beloved rhythms found throughout the Caribbean coast of Colombia — rhythms like cumbia,garabato, tambora and zambapalo. These rhythms form a touchstone and a proud statement of purpose for their debut on Names You Can Trust.
Led by John D'Alessandro's accordion and the fiery female voice of Eddika Organista (El Haru Kuroi), this new recording is an intense ode to the band's fundamental influences, conceptually crystallized in the studio of Chicano Batman bassist Eduardo Arenas with veteran Marcos Garcia (Antibalas, Chico Mann, Here Lies Man) crafting the mix. It's a realized and impeccably executed scene of dark, gritty and saturated drums and bass, the entire sonic landscape dosed with subtle psychedelia and studio wizardry that never overshadows the band's natural performance or their reverence for the classic sounds of the tropical '70s. The finished product is a perfect juxtaposition between vintage and modern. This special edition, double-issue single packed with deep dancefloor grooves are a sure-shot entry into the timeless canon of Afro-Caribbean recordings.
European music culture has never been closed, on the contrary - it has always integrated influences from all other parts of the world. Two Tribes makes an effort to give insight in how musicians living in Europe today incorporate and transfer musical traditions particularly from the African continent into their own oeuvre.
Featured on Two Tribes are a broad range of constellations, ranging from musicians with roots in African countries who reside in Europe to collaborations between European and African artists. Musically our compilation tries to capture at least a part of the enormous diversity that contemporary music from Europe of this kind has to offer. The spectrum ranges from classical - songs' using traditional instruments from both continents to electronic productions that combine musical heritage with current club culture. Our selection can only be a musical snapshot since there is so much movement in this genre at the moment.
As you can hopefully see and hear, the leitmotif while compiling Two Tribes was to keep an eye on the ease of handling different cultural influences amongst the featured artists. It was important to us that the included music doesn´t just copy African music styles one to one but has an own handwriting and builds a bridge between the musical legacy of both continents. With all the track included, we have found a number of great examples and decided to showcase twelve of them on this first volume. The music included refers to the musical traditions of Senegal, Kenya, Nigeria, Ivory Coast, Ethiopia, Morocco, Zimbabwe and South Africa amongst others. The involved musicians are spread all over Europe, from Finland to Great Britain, Italy, England, France and Portugal to Germany.
Be it organic or electronic music, we think that all of the tracks really deserve your ear! Tobi Kirsch & Ubbo Gronewold, June 2018
Rich NxT's 'The Brigade' EP was a 2018 cross over highlight. Thematically linked to its predecessor, 'Hard To Be' stands as the unofficial follow up.
Rich's last outing for the influential imprint was large by any standards, spreading far beyond the FUSE dancefloors finding support from many places. Led by EP track 'Serious', which was heralded as one of the tunes of 2018 by Mixmag in their mid-year review, it got love from Seth Troxler and the Martinez Brothers at Circoloco, alongside heavy rinsing of 'Brigade' and 'Eight' by all the FUSE residents.
The 'Hard To Be' EP comes as another on-point three-track work from Rich that channels the same versatile spirit. 'Wah' is an uplifting slice of original house, mirroring the accessibility and fun of 'Serious' with a catchy riff that runs throughout. The track created an enormous buzz on the IOM group with hundreds of comments and I.D requests pouring in throughout the year, and soundtracked parties everywhere from Fuse's raves at Studio 338 terrace in London, Sonus festival and The Martinez Brother's Cuttin' Headz at ADE. 'Interrobang' is head-nodding brilliance as twisted bass and sampled attitude characterise the seven-minute peak time banger. 'On The Rocks' rounds out the EP as punchy kicks and buttery smooth bass mark this work of grooving minimalism, echoing the spirit of Fuse029's 'Eight'.
And so closes this chapter of Rich's impressive body of work. In the process it's proved what we already knew all along; his knack for providing fail-safe dancefloor ammunition for the Fuse faithful and beyond, remains as strong as ever.
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Liška, the Czechoslovakian word for fox. Beguiling in its beauty, cunning in it's charm. Said to be one of the most intelligent animals on the planet its global family consists of thirty-seven varieties; all of them recognised, respected and feared for their persuasive, creative, resourceful and elusive nature. The Liška we will talk about today is no exception to these hereditary rules and within the grooves of this record Finders Keepers present an 'elusive' musical artefact that best exemplifies every facet of this composer's animal namesake.
Had he not been born in the small Bohemian town of Smecno in the early 1920s the story of The Fantastic Mr. Liška might have well taken a different course. Alternatively, fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman and Stanley Myers, nor drop enough phonographic breadcrumbs to track his legacy. But having waited patiently behind the borders of the wider landscapes of international cinema, Liška's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like 'lost', 'rare' and 'unreleased' in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivalled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Luboš Fišer, Zdenek Liska's filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liška is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his 'client' who would in-turn end up working under this composer's creative direction. Not only was Liška a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilising primitive sample techniques by 'looping' a films existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liška would independently develop his own techniques which had simultaneously become known in Paris as musique concre`te. It is a direct extension of these experiments that saw Liška also draw parallels with Walter Branchi (Ennio Morricone's main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liška a relatively untravelled pioneer of early electronic composition and sound design due to his unlikely global environment. Imprisoned, preserved or reserved; time has been kind to Liška's music.
Rounding up five years of Heist also means we're releasing our fifth version of the Round Up. Last year's edition was full of highlights with Fouk remixing Nachtbraker's anthem 'Hamdi' and Alma Negra going all tribal on Nebraska's 'Big plate chicken'. This year, we've seen a lot of new faces on the label, which has brought us a fresh set of combinations and a couple of really nice revisions of the tracks that made our year.
First up is Detroit Swindle's take on Heist's latest signing Hugo Mari. They chose to remix 'Change ur ways', beefing up the dreamy original. They focus on a simple but effective grainy groove and added a twist on the bass to give a more 'warehouse' feel to it and play around with the lovely detuned keys and vocal chops of the original to great effect.
Alma Negra show you just how loose their limbs are with a Rhodes filled version of Kassian's Acid surprise 'Bad Habit', while the full B side is dedicated to Pitto's personal take on Adryiano's classic house track 'Me and you and her'. His version takes the track into a new territory that lies somewhere between balearic and dreamhouse. Whatever it is, it's got a lovely vibe where the vocal is complemented by airy pads and a touch of acid.
Kassian on their turn, have done a great job on taking Pitto's 'Treat me like a fool' into 4x4 house territory. They've opted for a sub heavy club track where reverbed hits and the vocal take turns over a solid house groove. Next up on the C-side is Adryiano. He's picked Detroit Swindle's moody-but-heavy album track 'Cut u loose' and does what he does best: a steady and nicely distorted filtered house groove that packs quite a punch. The final track of this compilation really is a great pair of artists: Hugo Mari and Alma Negra. Hugo takes the tropical warmth of 'This is the place' and adds a subtle punch with a smart percussion loop and some added pressure on the low end.
So there you go. Another year, another Roundup. We hope you'll enjoy listening to these re-interpretations as much as we do. Yours
Sincerely,
Maarten & Lars.
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