Suche:i tones

Following a masterful release from SWOY, Sounds of Sirius Music presents their first Various Artist Compilation SOSNZ007 – “Harmony of the Spheres”. Wrapping up 2023 with top notch underground music, joins the musical dots between talented and free-spirited artists working across the globe.

In this edition we have close friends and supportive artists from Sounds Of Sirius, including none other than Mihai Pol (Romania), rising Chilean talent Nibaaldo (Chile), brotherly duo Clay and Heath Ostrer aka Last Pines (UK) and Sevillian talent Alvaro Lamet aka Enzo Leep (Spain).

Harmony of the spheres is a philosophical concept highlighting proportions of the celestial bodies and their movements– the Sun, Moon and planets – as a form of music. These comic mathematical relationships express qualities or "tones" of energy which manifest in numbers, visual angles, shapes and sounds.

Early Support: Mihai Pol, userUNKNWN, Silat Beksi and Herman Saiz.

Florentino announces Kilometro Quinze, a brand-new EP out 20 October. The five-song project will be Florentino’s debut EP on XL Recordings as part of the iconic house bag series. It includes the celebrated single “Constrictor (feat. BAMBII and KD One)” and a newly released single “Pressure” featuring the Mercury Prize-shortlisted multi-hyphenate, Shygirl.

Created over a three-year period between Manchester, London, Bogotá, New York, and LA, Kilometro Quinze features bold solo productions from Florentino (aka Yeshe Bahamon Beesley) alongside additional collaborations with Venezuelan-native Baby Cocada and fellow Sangre Nueva bandmate, DJ Python.

A direct reference to his grandfather’s farm near Villavicencio - a city in central Colombia where the Andes meet the plains of Los Llanos - Kilometro Quinze is a total realisation of the riveting, cross-culture club sound that Florentino has carefully constructed over the last few years. By drawing on the vast musical influences of his British-Colombian heritage, Florentino presents a unique sonic world where the darker acid tones central to Manchester’s underground club scene meet the irresistible swing of Latin American dance sounds. Kilometro Quinze is Florentino at the height of his powers as he releases some of his most captivating, innovative music to date.

Kompakt unveils the third volume of Jörg Burger’s Velvet Desert Music compilation series, dedicated to music that hits the sweet spot between the cinematic, the (pop) ambient, and the psychedelic. With Velvet Desert Music Vol. 3, Burger and his friends wander afar, taking trips away from, or adjacent to, the dancefloor that’s acted so long as the crucible for the Kompakt aesthetic. Like its predecessors, it’s a gorgeous, lambent collection of late-night mood music.

Because it’s such a broad church, Velvet Desert Music admits all kinds of new experiences, as well, with Burger looking for music that "leads out of the desert into the velvet universe". Indeed, of all the volumes in the series, this third instalment feels closest to an album made by a true collective. The roster has changed, with new contributors Flug 8 and Seb Martel, both with his trio Las Ondas Marteles and with Chocolate Genius and Zsela as La Finca, joining regulars The Novotones, Mount Obsidian, The Golden Bug, Paulor and Sascha Funke.

Burger himself reappears, too, alongside Fritz Ackermann (of The Novotones), Max Würden and Thore Pfeiffer, in The Velvet Circle. Their contributions are pure lush life electronica: “Our Tribe” hitches a ride with a low-slung groove, flickering psychedelic reels of acoustic guitar traipsing across moody bass and taffeta layers of drone; their opening remix of Flug 8’s “Puerto Rico” gently introduces the album with softly tangling electronic tones, while guitars, drenched in reverb, pirouette in the background. A Mount Obsidian remix of “Sacrosanct” by Burger’s The Black Frame -project is a swirling treat for the ears.

La Finca’s electronics and voice miniature, “What Clouds Say”, is a masterclass in poetic restraint; Martel’s “Dark Mambo”, remixed by Burger, is one of the collection’s big surprises, for it indeed does what the title says, a drifting, surrealist take on the mambo form, full of pensive chords, rich with unrequited longing, a breathy saxophone whispering under the song’s sly rhythmic carriage.

Elsewhere, The Novotones chime in with a slyly propulsive, Krautrock-esque charmer, “Liberty Bell”, and the guitar-led tone-drift of “Valley of Oblivion”; Paulor’s “The Last Coke in the Desert” is a chiming, lilting dreamscape; Mount Obsidian are joined by vocalist Charlotte Jestaedt for two modern takes on early-hours art song, “Marole” and “Fade”; Sascha Funke’s “Mathias Rust” is a lavish dancefloor dream, vocal samples drifting through the song as it slowly envelops the listener in its opulent radiance.

This is just a taste of the rich pleasures of Velvet Desert Music Vol. 3, a triumph of a compilation that takes the psychedelic visions of its predecessors and looks for the desert within, a dusty kiss, a road-movie hallucination flickering on the listener’s eyelids, a cinematic projection from deep inside the mind.

Best Record gets right to the heart of true Italo-Disco with this body-poppin' killer from 1983. R.E.M. were made up of Paolo Alfani and Nicola Serena, both based in Florence and well ahead of the curve with their experimental electronic disco sound. Making fantastic use of the Mattel Speak & Spell for their vocal hooks, this enterprising duo cooked up a veritable club bomb with their fusion of sleek drum machine rhythms, throbbing acid basslines and romantic synth tones that would come to be widely used in Detroit techno some years later. There's a full original take of the track on the A side, while the flip features a tweaked "remix" version to give you even more of that robo-vocoder action. In short this is the limited remastered edition of one of the early electro underground Italian releases that became a classic in the Chicago house movement.

LOCUS unveils the lineup for the fourth instalment of its ‘LOCUS Trax’ VA series, Danny Snowden, Job de Jong, ADR and OURMINDZ delivering label debuts across the package.

Blossoming as a label with its own identity, FUSE’s sister imprint LOCUS is continuing to serve up dancefloor heat at an impressive level, with 2023’s releases featuring material from Lauren Lo Sung, Youandewan, Nolga, Okain, Garrett David and more. Returning with another edition of its ongoing ‘LOCUS Trax’ VA, shining a spotlight on emerging talent of note, late October welcomes four new names to the label as UK trio Danny Snowden, ADR, and OURMINDZ join Dutchman Job de Jong.

Danny Snowden kicks things off with the euphoric tones of ‘Essence’ as he combines glossy synths with skippy percussion and a snaking groove, while Job de Jong draws for rumbling low-ends and playful, bouncy electronics Across ‘OOC’. Heading up the b-side, ADR’s ‘Bungee Gum’ brings hazy chords, snaking drums subtle acid-dipped melodies, before OURMINDZ merges resonant organ stabs and elastic synths on the lively ‘Dusty’.

LOCUS Trax Volume 4 drops on 27th October 2023 via digital and physical formats.

Grammy nominated DJ and production mastermind Paul Woolford steps up to deliver a timeless house reworking of Gabriels 'Angels & Queens'.

The title track from the trio's debut album (part 1) that took 2022 by storm. Endeared by the masses and critically acclaimed Gabriels set out a refreshing new take on soul that the world was subconsciously crying out for - an antidote to over produced pop - providing a deeper, more meaningful and heartfelt cause at its centre.

Tantalising from the outset, Woolford steps up to the plate with a hard-hitting remix that drives in straight to your centre. Punchy TR-909 drums combine with thundering bass tones and his archetypal, rising piano hooks. A combination that brings Jacob Lusk's inimitable vocals to new heights.

After a feverish reception to Paul's Instagram tease of the track, we've been itching to release this remix into the wild. It's a big one, don't miss it!

'Three supremely talented artists simply excelling at what they do' - Paul Woolford

Gerd Janson - 'Gabriels!!! - Total madness at Panorama Bar. Like it was made for the room'

DJ Feedback:

Prins Thomas – I’m melting….Amazing

Groove Armada – Love this!

Gorgon City - yessss

Fred P - Dope!!!!

Marco Faraone - Super remix!!!

Sasha – Quality

Bakermat – tasty

Mano Le Tough – Ace

Hector Romero - Gabriels have quickly become my fav new artist. Paul!! You nailed it. Great collaboration.

Horse Meat Disco – Pretty big remix!

Gerd Janson – MEGA

Mind Against launch their eagerly awaited imprint Habitat with a 15-track compilation titled “METAFLORA”, available as a deluxe transparent vinyl 3LP box set including a 24x12” fold-out poster.

Suitably, the compilation features new and emerging artists with whom Mind against have relationships, and recurrent motifs of subtly unsettling melodic house/techno building alternate worlds in soundscapes.

Mind Against & Sideral – ‘Criseide’ heralds this new world with portentous pounding beat/bass, the melodic synth singing beneath like beauty surviving under threat, the vocal/lyrics with an edge of alarm: ‘if you think it couldn’t happen to you…’

‘Talk To Me’ by Dyzen (who also collab’ed with Mind Against on their fabric presents compilation) has stately chords riding a prancing beat while sombre piano and sweet high vocal create a heraldic, post-apocalyptic nu-medieval world, whereas Sam Shure’s ‘Plus Ultra’ has rattling percussion, with melody like a coded message from an abandoned spaceship to which something replies in stark tones…

Marino Canal, whose debut album was released by Nicole Moudaber’s MOOD, and who has support from many big names including fabric’s founder Keith Reilly, features plangent notes veering up, down and off the scale for a disturbing effect in ‘Ample’, while Swiss duo Read The News in ‘A Place’ set a fast, kicking beat against a female voice yearning for ‘a space where I can just be’.

Remcord, often played by Black Coffee, Tale of Us and more besides MA, show us why in ‘Entourage Effect’ while Laroz gives a lively melody and raucous chords in ‘Don’t Touch’ feat. Sheera as her cool, raunchy, layered vocals come to the fore.

The legendary Zed Bias is stepping out with a new label I Feel Good Records and intends for it to spread good vibes only through a diverse roster of talent and sounds that span house, bass and beyond. He has more than a quarter of a century of experience in the game and of eyeing new talents and helping them to shine and has always had a collaborative approach to music that will continue to define this label's MO. Zed is minting the label with a new single alongside award-winning d&b MC Inja.

'You Should Dance' pairs his warming tones with infectious garage drums and smeared, soothing chords that radiant heat. It will, indeed, make you feel good. D&b mainstay Bladerunner serves up a remix that has been doing the rounds for a while now and never fails to make an impact.

S.A.M. is back on their own Delaphine label after a four year hibernation period. The leading cut ‘Project050’ comes in two version, a Studio Version and a Live Mix. The foundation is a grooving 12bit 909 pattern that’s as crisp as it’s phat. Combed in between the syncopes of the groove are layers of acidic and resonant tones padded with swelling chords lifting you in and out of the metaphysical. Second track ‘Ha’ reveals references within a wide range of dance music history from early Derrick Carter-esque beats and 90’s dub techno to organ Melodies and UKG sub bass-lines. The transient beats work like tent poles for the thriving and continuously evolving melodic culture growing underneath. S.A.M. is showing a drive and a ferocity with this EP that speaks to an interesting 10th year of Delaphine.

More than a decade after the release of ´Land Lines', the mythical Humboldt County, California based duo of Brian Pyle and Merrick McKinlay reappears seemingly out of nowhere with 'Atheistsaregods'. With past releases on such cult-like labels as Root Strata, Weird Forest, Blackest Rainbow or Digitalis, Starving Weirdos were an indelible part of a sprawling and loose network of artists in Northern America whose DIY work ethic and extreme activity revolved around shoestring-budget constant touring, numerous limited editions on CDR, tape and vinyl and a relentless drive to push the boundaries of genre.

Out of that cauldron, Starving Weirdos stood out as one of the most persistent and visionary acts, developing a mind altering body of work that went from warm soundscapes through droney digressions, freeform improvisation and raucous noise summoned from a myriad of instrumentation and low budget processing - vocals, keyboards, violin, flute, percussion and an assortment of less identifiable sound sources. 10 years on their legacy remains a timeless and wildly under-appreciated one, but hopefully this new album will shine a light on their idiosyncratic approach. As time itself was never a constraint. This is music suspended outside of it.

Right from the start with the echoing percussion, dissonant keys and processed vocals of 'Haiku Nagasaki', 'Atheistsaregods' draws a continuous flux of psychedelic elevation that goes from the gloomy electronic motifs not unlike the early Cluster vibes of 'Invocation' into the dank percussive maze of the appropriately titled 'Barulho do Samba'. The self titled track induces a sense of post-apocalyptic vertigo via hallucinatory scraps of voice, suspended synth tones and reverberating field recordings, connecting into the droney mystics of 'Dudukahar (Reed Prayer)'. Coming full circle, 'For Vinny' brings back the echoing percussion amidst hypnotic cello lines until it drifts off into the unknown. With the same palpable sense of urgency, Starving Weirdos feel as vital as ever. And even if we didn't realize it we were in need of them. Welcome back.

Carved out from between the cracks of life over a 2 year period, Low Flung presents his eighth full length album ‘The Wheel’. Together, the 11 tracks provide a space to process and sit with difficult change. This takes the form of microscopic minimalist landscapes. Presented in both audio and physical form as micro grooves on a 12” vinyl.

At times the sound wanders and walks, other times it remains still, clear and precise. The omni-present artifacts found in ‘The Wheel’ are left to breathe a different life during each listen. Drones act like familiar trails losing their path as space transforms like a breeze over a table of sand. Hyper focused spores evolve around blurred waves of time. Electronic tones are captured flowing to the rhythm of a decaying natural world.

‘The Wheel’ is a patchwork of sonic experiments made using modular synthesis, fixed architecture synthesis, Buchla Music Easel (replica), outboard effects, cassette manipulation techniques, samplers and field recordings taken along the texturally rich and historically questionable eastern coastline of Australia.

The tracks have been composed with a materiality that embraces the acoustics of different listening environments. Much like mood, this means each listening experience is unique due to the natural acoustics of your listening space. The sounds on this album embrace this phenomena, creating a rich, visceral listening experience that slowly scratches away at discrete moments of time

Rather than attempting to traverse new sonic fields of experimentation in ‘The Wheel’, the album touches on the various spaces Danny has explored over the past ten years as an Audio Visual artist. Although technically eighth, it would be more fitting to say this album draws a clear line from ‘Blow Waves (2018)’ to ‘Outside The Circle (2020)’ to become the third and final chapter in the expanded non linear, unintentional landscape series. Serendipitous that each was conceived over 2 year periods of time.

While the key focus is sitting with difficult change, this album is also a celebration of any moment you might find yourself in. Good, bad, easy or hard, this album is an attempt to help with feeling content wherever you are along your path. With each cycle a new context.

Evelyn spreads her wings and prepares to fly. This is her first offering for the ESP Institute. On side A, 'Tremors' slams together a plethora of seemingly disparate rhythms, organic percussion, field samples, hypnotic chants and a relentless low end punch, that when in full-swing, works some seriously deep sorcery. Contrasting her pounding kick and rolling sub combo are a softer grouping of melodies, soft mallets and muted tones that lay subtly beneath the aggression, skillfully playing with a sense of spatial depth and room size. Its the kind of track that draws you in with meditative bars, concentric cycles that sit ever so slightly off-axis, inducing the mind and body to obsess and regulating its timing, and then drops you into a very intentionally arranged soundstage giving expansive space to explore. On the flip, 'Pregunta' continues this approach of natural versus industrial instrumentation. The consistent machine kick has a powerful but playful tone, the negative space between each stroke evoking a mighty gesture as its note bends in the decay. Set in 3/4, a community of live percussion successively adds and subtracts, each player’s imperfect attack accumulating into a mechanically smeared and addictive loop that toys with peaks a handful of times yet restrains any unnecessary climax for the betterment of a driving groove. Near the end, as the kick and various players mute and the base of the track is given a moment to breathe, its apparent just how layered the production was in the moments prior, as we’re suddenly at home, smitten with the wobbly and lopsided innocence of the foundational percussion. These two songs will push you headfirst into the light.

"We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life." — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums' sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals' timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald's cello spins tales and emotions burst forth. Nature's eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth's primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello's warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

2023 repress !

After his debut on PoleGroup last year with a track 'Hate' selected for the compilation release Unknown Landscapes - EP 1, Kwartz makes a proper return to the label with Form and Void EP. Hailing from Madrid, DJ and producer Kwartz started his career in 2011 and within fairly a short time he has developed and refined his own hypnotic, dark and enveloping techno. Amongst notable releases to date is his first vinyl EP Fenomen (2013), a joint release with Pole Group artist Exium on their Nheoma imprint.

Form and Void EP features two strong originals and two equally powerful remix supports from the label mates and core members of Pole Group, Reeko and Exium. The title track 'Form and Void' kicks off with straight forward 4/4 rhythmic groove that gradually builds up layer by layer in to the darker shade to meet the mysterious break, followed by heavy brooding bass tones slashing through the kick drums, deepening the atmosphere with the hollowing echoes. Reeko's remix elevates the dark mood of original while pumping in even more energy with rolling kick/hat combo and psychedelic swirling chaos of synth that intensifies throughout the entire length of the track.

'Breakage' on the flip side possess much more hardened groove, pounding out the drums packed with blinding force. Exium's remix takes the tension-filled doomsday feel of original to another level and gives a new dimension to the heavy merciless percussion by adding haunting howling echoes that growls like that of ghosts combined with more muted drums and subtle layers of stabs of kicks and effects.

Kwartz holds nothing back with Form and Void EP, delving in to the darkest and deepest realm of subterranean pulses that fit perfectly for the dance floor with dimmed light and big sound system.

Vinyl Only

With open arms, Sous-Vide Records welcomes one of the genre's most celebrated producers Silat Beksi for our latest vinyl release SVR004.

The Ukrainian mainstay offers up three deeply submerged late night grooves that come dusted in tasteful sound design. Flexing his rhythmic aptitude, Beksi applies percussive elements and dubby electronic motifs to craft melancholic tones throughout the EP. Melodies may be in short supply, but Beksi's signature style creates invigorating and emotively fueled productions without them.

Silat Beksi writes a new chapter in minimal education for those versed in the field.

Join us as we explore the electrifying second release from Amsterdam's Locked-In label. Noiro and Riku Sugimoto combine their talents in the vibrant EP titled "L8 M8," taking us on a thrilling journey through the realms of house and techno. The EP opens with Noiro's captivating track "Viens Dormir," instantly igniting a dancefloor reverie with its infectious grooves. On the A2 Riku delves deeper underground with "City Sleep," intertwining trippy vocal samples with punchy drums and pulsating bass tones. On the flip we have "Semicircular," where Riku creates a mesmerizing soundscape with evolving recurring motifs. Finally, Noiro concludes the EP with the sonic gem "Hey Man," embodying the spirit of the dancefloor and setting the stage for a night of pure bliss.

Aptly named, Tranquilizer is a potent, six track EP from Brazilian producer Felix. As part of Piratao Records; a label that merges everything from baile funk, to electro and techno, Mutual Pleasure is a fitting home for the electric nature of Felix’s sound; something that is fully exercised in this EP.

Tranquilizer is a mind-expanding selection of dynamic tracks. Unrelenting, with a deeply contagious energy that acts as the engine to this project. It is entirely soaked with acid, and layered with a plethora of squelching basslines, manipulated Brazilian Vocals and trance-infused synths and melodies.

Felix coordinates a masterful blend of dark, gruelling tones, with funk-fuelled flavours of his native Brazil: an electrifying and devastating marriage that sets this Ep in motion. While tracks like Alpha Helix bring forward a more trance-ladened side to his sound, the devious breakbeat and infectious vocals of Ta Pegando Fogo bring a cutting edge to his undefinable sound.

Within this searing melting pot of genres and influences, Felix traverses from dark dubstep, to four-to-the-floor techno, and everywhere in between. It is a suitably devilish project, and a statement of his ever-evolving musical personality.