One half of Scottish duo Clouds, Perth Drug Legend tear off a solo EP of rugged, apocalyptic bloke-techno. Stunners, all of them. Freak genius at work.
What more can be said about Clouds, young prodigies who have put out as much innovative techno in the past few years than anyone. The story takes a twist with a wealth of material being released by PDL, hot off a remix of Tiga's Bugatti and releases on Resin and Westend Communications. The sound is reminiscent of Ghost Systems Rave, but there's the feeling that things have gotten even more refined, something that smacks of a real subcultural movement.
Opener Balquhidder Ruins is a stomping gate-crasher, the tempo pulled back just enough to feel the grit of industrial funk, everything restrained to it's bare essentials. Monzievaird swings heavily around a few twinkling bleeps, sparse, chunky kicks that thunder through the greased hats. Pushing things even more into the dark corners with overdriven, haunting resonance is Clackmannanshire Crusaderz, which sounds like the soundtrack to being blacked out on the ground in a Berghain tunnel. Thisistullohnottibetpal adds a mystical, multi culti dimension with some mountain flute inexplicably soaring through the air before a bell breakdown zens things into a forceful yet tranquil climax.
If that madness weren't enough, there's a digital bonus track which is an absolute bomb if you're into lower tempos and hip hop inflected bangers.
Kyle Geiger returns to Droid Recordings for a three-track suite of techno and rhythmic experiments, Jupiter Storm.
A1 (Jupiter, Hydrogen Edit) builds from a rumbling kick, slowly constructing a space of delayed tones and filtered noisse pressure aimed at the dancefloor.
B1 (Mars) takes things for a truly unexpected turn, borrowing some of Jupiter's sonic language and reformulating a triple-metered groove with waves of noise and distortion.
The title track, Jupiter Storm(B2) brings the full kick back into the picture riding the Mars rhythms against the standard kick for a track that's driving and infectious
* Peverelist and Hodge remix two tracks from the reverse Livity Sound label catalogue for a sampler 12' to be released ahead of a new dnuoS ytiviL label compilation 'Reverse Vol 1' in October this year.
* A pioneer of his own vision of the UK sound, Peverelist transforms Hodge's Amor Fati in to a signature writhing mesmeric groove whilst on the flip side Hodge irons out Bruce's 'Tilikum' into a booming, epic late night tool.
* The Livity Sound label has been at the forefront of UK electronic music for the last few years, pushing its distinct take on techno with sound system frequencies. The reverse Livity Sound label (or dnuoS ytiviL) has run concurrently alongside, releasing music complementing and reflecting the core artists output. The compilation will mark the first time the catalogue has been available digitally, previously having been vinyl only.
Welcome back Mr. Quenum! It's been roughly two years now since the Geneve-based artist, DJ and producer released made his Upon.You debut with his single Rhyme' in summer 2013 and we're extremely thrilled to see his forthcoming three track 12 Trouble' causing serious dancefloor trouble again this fall. Getting started with Colour Pulp' there's no doubt that Quenum is in for some serious action here, fusing an uncomprising, yet minimalistic, hard pumping TechHouse foundation, well-tripping vocal bits and a highly percussive killer build-up sequence this tune is crafted for late nothing but late night abuse. The title track Trouble' also relies on Quenum's rolling trademark minimalism and obscured, morphing ethereal voices but adds a little bit of tribal seasoning here and there that perfectly floats alongside quirky synths and a steamy, fever'ish feel that keeps bodies pumping and palpitating through the night until the morning comes. Functional as functionality can get. Finally Geneve Never Sleeps' speeds up things on a darker, more technoid level where a dark'ish intro built from muffled bassdrums meets scattered, futuristic percussions before shrieking stabs and scarce, ghostly sounds take over and the unstoppable Techno engine starts to run. Proper machine music that is nothing but pure energy!
Spherical collections of stars form around black holes in situ; that is, locally to their cosmic neighbourhoods. It is said that future space colonization will rely on sourcing supplies in situ. Construction in situ uses raw materials at the site: colossal sculptures such as Naqsh-e Rustam, the Leshan Giant Buddha and Mount Rushmore were built in this fashion.
Wild, organic machine grooves, with a mind's eye on naked treetops and an early sunset. Melody breathes out from dubwise fx, percussion by turns sinewy and floating, sub blasts and stripped synth arrangements. Keys on air.
Spacious, witty, melancholic, deadly.
Dutch producer-duo on the run TWR72 returns to Planet Rhythm imprint to present their EP for the label's Limited series. Known for their signature solid techno tool sound, they've delivered a strong four tracker release with Trigeminus EP. These are not your average club tools!
Ontal's work excites many conflicting emotions. Exuberant, convoluted and theatrical plots define the watchwords attached to the Serbian duo. They represent one of the most paradigmatic examples of how industrial/techno can still offer a wide range of pleasant surprises. A visceral understanding of the scenic rhythm space vs. void establishes a metamorphic composition in short of an almost Baroque sensitivity. Always moving around an unstable fringe of intuition-rules-over-eclecticism, together with an attitude of total irreverence against the old aphorisms, but keeping at the same time an incredible discipline of sophistication, produce a situation where anything touched by them have to be immediately placed at the top of the evolution line of the electronic music
For the second installment in their 12' series Music From Memory present two deeply forward thinking electronic tracks from British musician Michal Turtle made between 1983-4.
The first track 'Are you Psychic' is taken from Turtle's obscure 'Music From The Living Room' album which Michal recorded literally in the living room of his family's South London house at the young age of 22.
Over-running his parents' front room with various synthesizers, amps and instruments, and setting up a portable four track studio the 'Music From The Living Room' tracks were built around live jams that took place alone or sometimes with musicians he would invite to play alongside him. Whilst seemingly sample based the instruments were played live and any voices or sound effects were actually recorded directly to tape, or put onto tiny 2.5 second cassette loops.
'Astral Decoy' was made in the year following the release of his only solo LP and forms part of a series of unreleased tracks that reflect a growing interest in combining electronics with more analogue elements such as Xylophone and live percussion. At the same timce this track draws inspiration from the sound of electro and boogie which Michal had become greatly interested in at the time, and in particular the work of musicians such as Grandmaster Flash.
With access to the archives of the many recordings made at his family home, this 12' serves as an introduction to a wider compilation of Michal Turtles works which is to follow on Music From Memory.
Something is looming on the horizon, a flickering presence, a sparkle in the twilight, hardly visible at first, then slowly taking shape and finally coming into view: "I will depart/I see, I will, I won't go far," Stefanie Boehm (Couch) sings on "Sirens", one of 10 tracks Ms. John Soda have recorded for "Loom", their first album in eight years – and it's true: It's a return that often feels like yet another departure, like it's time to say farewell once again, one last hug and off it goes into the valley, where life is already waiting.
A lot has changed since Ms. John Soda released the first 7" back in 1998, since Micha Acher (The Notwist, Tied & Tickled Trio, Alien Ensemble) joined Stefanie Boehm and completed the creative nucleus of this band around the turn of the millennium; day-to-day life indeed feels different some 16 years later (and half as many since the release of their sophomore album, "Notes and the Like"), but the basic chemistry, the intricate balance of electronic and analog molecules that orbit this nucleus – and thus, the resulting mood and vibe -, they're still recognizable, still undeniably Ms. John Soda: Whether it's the dense, intensely rushing soundscapes of "Hero Whales", numerous layers pushing and taking off into the same direction, the propelled clatter of "Sirens", a track like "Millions" that blows off more and more steam, a glistening, wheezing sort of madness even (though there is a tender side to it as well), the perpetual, magic lantern-like motions of "Name It" (think Trish Keenan and Broadcast) or the gradually descending melodies of opening track "In My Arms" – they're all lined with a certain tension, underpinned by a certain atmosphere, a unique brand of melancholy that never quite gives in, keeps searching for new outlets and answers.
The album title Ms. John Soda have chosen for their third full-length, "Loom", obviously hints at this feeling of re-emergence, gathering and looming, but according to the singer, it also refers to a weaving loom: It's about "weaving and combining a vast number of influences, ideas, instruments, melodies, rhythms, and layers to create a whole," says Boehm, whose vocals span these new tracks like thick, reliable ropes that glow with marine luminescence. "It's about weaving individuals into a group ('Millions'), weaving and merging former ideals and hopes with reality ('The Light'), combining 'hi' and 'bye', beginning and end ('Hi Fool'), interweaving opposite or contradicting concepts, such as pushing forward vs. being pushed ('In My Arms')." And while the weaving, just like life itself, can easily get out of hands, "because you lose track, and yet life goes on ('Name It')," a lot of these songs – e.g. "Hero Whales", the billowing "Sodawaltz", "Fall Away" – revolve around a shimmering sense of something we can't quite grasp or put a finger on just yet: "Intuitions, hopes, dreams, wishes, affinities, distances, temptations…"
Whereas Cico Beck aka Joasihno (drums, electronics), also part of Aloa Input and the latest addition to Ms. John Soda's live band, and drummer Thomas Geltinger helped out on various tracks they recorded with Oliver Zülch in Weilheim, Boehm and Acher were also joined by Karl-Ivar Refseth (percussions) and Matthias Götz (trombone). Together, they keep feeding the loom with countless spools of yarn, until epic piano closer "Fall Away" seems to offer a temporary respite: "find your way/take the dry suit off/for a night". Time to rest, to take a deep breath. Or is it already the first rays of dawn looming on the horizon?
Robert Crash is an alias of Italian DJ and producer Fransesco Schito and now he makes a debut outing on Creme Organization with a tidy four track EP. In the past he has turned up on Dog In The Night Records, and with these cuts lays out his singular take on outlier house and techno. Up first is 'Gigolo', a spare and weird house cut with sine waves and random claps, hunched drums and trippy synth lines. It's a unique track made in a unique way and will lead to plenty of freaky dance floor moments, for sure. 'Co. Art' is a whacked out techno cut with slap-funk claps, blistering and blistered synth lines and a rugged bit of bass underlining it all. The track is cavernous and metallic, empty and distant as if it somehow survived a nuclear blast. On the flip, 'Alzheimer' is a slow and gurgling, swampy techno number with broken drums and crawling synths that sound like their batteries have run down. Icy, watery melodies eventually rain down, but the track remains resolutely eerie. Last of all, 'Fabric' is another decaying track with subtle, heavily filtered synths and drums all making for a minimal groove that is barely there. This is heavily deconstructed music that sounds like little else out there and may well be the start of a very fast rise through the ranks for Robert Crash.
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Russian imprint GOST ZVUK announces a new 10'' sublabel INSTRUMENT with a release by Ukranian techno veteran Stanislav Tolkachev. A-side comes with an amazing ambient trip, while classic Tolkachev sound is represented on the B-side with a 9-minute techno banger. The aim of the label is to provide professionals with everlasting soundscapes thus transforming records into real instruments. This metaphor is further expressed through artwork with stamps of real working tools, chosen by the artists themselves. Limited coloured 10'', hand stamped.
As Sure As Night Follows Day is Russell Haswell's landmark second album for London's Diagonal Records. Consolidating a quarter-century at the coal face of extreme computer music, techno and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date — zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor.
The album was extracted over a fast-working period in late 2014, and is best perceived as a sort
of fractured regression to his formative influences: you can hear the picnoleptic recollections of
grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse,
the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of
Mills and Hood in that early 90s phase.
Fortunately for the ravers, this album includes some of Haswell's most direct dance floor attacks to
date. 'Hardwax Flashback', for instance, finds him in pure tekno panik mode — a four-to-the-floor
wrecking ball groove that someone, somewhere, may even be able to mix. 'Gas Attack' distils his
penchant for all things Belgium into a vicious strain of New Beat lactic acid. Haswell then doffs his
cap to Detroit electro legends Drecxiya on 'Underwater Electronic
Struggle' — a story goes that he once thrashed a jet-ski all over the Mediterranean while listening
to 'Wave Jumper' in his 'phones — before he does the salty freestyle electro flex 'ting on 'Industry
Knowledge (For Oscar)' while reminding his trusty apprentice, Powell, that he still has a lot to
learn. In between these 'floor-flexers, we find more freakish disturbances and intrusive drum-box
improvisations: the modular mind-floss of 'Rave Splurge Noise' or 'Noise Rave', for instance, or the
self-explanatory 'Improvisation #1'. 'In The Air
Today' investigates warehouse-ready electro-acoustic percussion, while the chaotic clusters
of 'Interlude' swarm and invade your senses with psychoacoustic incision. This is Diagonal and
Russell at their most f**ked up and fizzy, and an important reminder of the artist's stream-of-
consciousness genius — and the pressing need for more chaos and unpredictability in electronic
music today.
* Jon Gurd's Birth Right EP is the first material from the Portsmouth based Techno producer in more than 2
years since his ventures on Octopus recordings, 8 Sided Dice and Quartz. The EP therefore indicates an
audible step change not just in the approach to production but also in the mindset and emotive feeling
behind each texture and layer. Having emerged unscathed from a traumatic family related drama Jon
communicates a tortuous and re-evaluated life message across all 3 tracks, and is dedicated to his brother
with a hidden meaning conveying, Tomorrow Is - Promised - To No One'.
* Dissecting the EP further the educated are blessed with field recordings, analogue rumbling and modular
synthesis exiting from almost 24 months of lab driven experimentation. No real process has been applied or
extant formulae followed and the EP's resounding success is that this now exudes what Jon feels' innately
rather than what the industry wants, therefore the journey, endless noise making and experimentation gives
a balanced and exciting offering. Jon comments seriously my process for producing this has been all over
the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio
window on day one'.
* Having spent two years asking himself why he makes music, I think on first listen of Birth Right EP we will all begin to empathise why. Remixes kindly provided by Messrs Dave Clarke and Ancestral Voices (new project from Liam Blackburn formerly Indigo / Akkord).
* A long time-friend and recording partner of Alan Fitzpatrick, as well as one third of Mister Woo with Dave from Reset Robot, Jon Gurd is best known for his work on the likes of Octopus Recordings, 8 Sided Dice and Quartz. Abundant with field recordings, analogue rumbling and modular synthesis, his latest signing to Derelicht is a result of almost 24 months of lab driven experimentation, and marks an auspicious return from a musical hiatus that stemmed from a personal tragedy. From the off, 'Tomorrow Is' is a driving piece of techno complete with sinister undertones and menacing atmospherics, meanwhile 'Promised' focuses on a low-slung groove as tantalising synths operate on top. The last original, 'To No One', then exhibits a deeper vibe with ebbing pads and spectral chords. Dave Clarke's decadent rendition of 'Promised' ups the tempo whilst demonstrating commanding kicks, until Ancestral Voices, the new project from Liam Blackburn (Indigo / Akkord), strips back the beats of 'To No One' for a subdued subterranean workout.
* Press / Promotion: 3 x Co-ordinated PR Campaigns (In House campaign by Derelicht, Dispersion PR and EPM Music, 100 vinyl hand-distributed to leading editors, artists and tastemakers. Key editorials through Resident Advisor, Inverted Audio, Ran$om Note, Beat Vision, Slate The Disco, Magnetic Magazine, DJ Mag, Noise Porn, Mind Grub Audio, Portals, Elevated Culture. 1 x videos produced to support Dave Clarke remix
Tiefschwarz - 'Just Beautiful!'
Alan Fitzpatrick - Yeah massively into this, will play a lot. Thanks for sending.
Dustin Zahn - Feeling the original of "To No One." the chord/pads are hitting the right spot for me this morning! The remix is also a nice take on the original
Baikal - to no one and Derelicht are dope
Kirk Degiorgio - Dave's mix for me!
Bas Mooy - yep! A1 for me mate!
Ben Sims - a1 is the cut for me, heavy and heady but still has the groove
Benjamin Damage - Thanks for sending this, top work!
Bryan Chapman - really feeling this EP, fav is the Ancestral Voices remix, that downbeat vibe
Bryan Zentz - Wonderful, moody, and emotive...LOVE it
Carlo Lio - Actually feeling all of them. Something for every time of the night. Can see myself playing a few of these for sure
Lo Shea - Tomorrow is sick! Dave Clarke's remix is dope too.
Finale Sessions is really pleased to launch new series Finale Sessions Limited with Berlin up and coming act Arcarsenal. Duo comprised of Alan Mathias and Etienne Dauta, both founders of Bass Cadet Records and its dedicated vinyl store located in the heart of the german capital, they are also active members of the large Underground Quality family. Arcarsenal have already started to establish themselves as proponent of a crossover sound, mixing many influences from jazz, house, ambient to dub and techno. They are always giving a prominence to jam, improvisation and textures work in their studio routine. This EP called « Dark Skies & Wetlands », even if slightly grittier than usual, is no stranger to the rules of the duo. The opening track « Different Planet » is an epic dark deep house cut which develops itself over a course of 8:40. Starting with a stamping ground bassline and hazy atmosphere, the track opens up with synth attacks, dub echoes and slowly brings in a blissful melody that ends up linking all the elements. « Substance Of Arjuna », the following track on the A-side, is a-contrario a short but intense ambient work. Shot in one take, this subtle cut showcases the kind experimentations that Mathias and Dauta can end up doing late at night in front of their machines. The b-side of the EP leaves all the space to « Racoons », one of the weirdest and yet most powerful work of the duo to date. Tribal techno could be a short try to define what they achieved here, but the track goes far more than this. Built on a gritty mental acidic bass and a huge drum kick, the frenchmen bring over aggressive synth work that could sound like an orchestra on rehearsal, pachydermic screams or an overdriven guitar larsen. Underlined by a complex percussion pattern recorded live in their nest and chopped up to the best effect, the track ends up in a looping transe from which the listener might not leave in a normal state.
Introverted Dancefloor is Bevan Smith, a New Zealander who has released music under names like Signer and Aspen, and who has played in the Ruby Suns and Skallander throughout the last decade. His prior output has been spread over many international labels and has touched on sundry genres (like techno, IDM, folk, ambient) while featuring restraint and sophistication as compositional hallmarks.
As Introverted Dancefloor, Smith has kept those features as guiding principles while allowing a more propulsive low end to dominate the construction of this music, winding up with understated but energetic dance tracks. Gestation, too, is a prominent attribute of this music, though not necessarily an obvious one. Smith started these songs with hundreds of layers, which he then pared down to a few core elements before rebuilding again.
For Introverted Dancefloor, Smith limited himself to the use of two synthesizers, one mic, one filter, and one effects processer. This constraint is not obvious upon listening as the album works across the idioms of electro, Detroit techno, pop house, and leftfield disco, playing with the line between fluid melody and drum machine programming. Each track has a playlist as its scaffolding, Smith's goal being to filter a certain set of varied influences through just a couple of instruments. Metro Area's Miura' (Original Mix) turned into Introverted Dancefloor's Happiness is such a mess/Pipedream.' If there can be such a thing as a subtle banger, then Smith may have earned that distinction here. Take it high' seems to be a constant ascent with its climbing bass and layers of chords, relying on no hackneyed drops or releases for its crescendo. Smith's layering practices show their precision on tracks like Even if you try' and Tiger bones,' in which disparate elements contribute to pointed melodies, an unidentifiable percussive part entering the same expressive plane as a sung line.
One of the record's most striking features is Smith's inclusion of certain elements of a song in a neighboring one (vocals from Pipedream' in Happiness is such a mess,' a synth line from Even if you try' in Always turn your head') to lend a phantasmagorical effect to the procession, blurring the distinction between a track and its reprise. The result is a song cycle wrought from painstaking labor, while nonetheless retaining core values of amorphousness and motion.
Following almost two years of driving bass music promotion, in the form of compilation albums, free download round-ups, reviews, guest mixes & mix series CDs, the time has come to transcend from what first began as an online blog into our very own music label. After working with renowned artists such as El-B, Quest, BunZer0 and Phaeleh, as well as fellow promotional platforms FatKidOnFire & Deeper Vibrations - the Albion community has developed and grown to become recognised across the board of the bass music spectrum. This extension of our brand will help in pushing this music even more, enabling us to curate a fundamentally diverse sound beside the culture that we so passionately enjoy.The launch of Albion Collective Recordings is to be set in motion with In Pieces, a collaborative down-tempo effort conceived between Vaun and Jafu which is radiant in textural soundscapes. This particular piece has been doing the rounds as a clip on Deeper Vibrations' YouTube channel since 2013, inducing longing excitement for the song to finally surface.
Bristol based Daniel Brown, aka Vaun, has prospered into one of the scene's most prolific producers, covering multiple styles and turning out numerous releases for MindStep Music, Redshift-One and Soulstep Records. After recently hinting at the imminent release of an album, Brown can also reap in the keepsake of ALBION001 alongside Canadian artist James Fuller, aka Jafu, who likewise has blossomed astutely alongside his soulful Chord Marauders collective.In Pieces falls somewhere amongst immersive trip-hop and jazzy 2-step, an affectional arrangement that makes wonderful use of Marvin Gaye's a cappella in his classic Sexual Healing. The composition will certainly induce healing of the cerebral kind, with its stripped and delicate percussion work, dubbed out horns and soothing string sections. Encapsulated within Vaun & Jafu's musical offering is our label's statement of intent. That is, to champion unique music that emanates elegance such as this collaboration - and such as J.Sparrow's remix treatment. Ryan Wild aka Jack Sparrow, a Deep Medi Musik signee and one half of dubstep extraordinaire duo Author, has granted the scene with his tenacity to build profoundly stunning electronic music. Wild has the tempo notched up for his In Pieces edit but remains true to Vaun and Jafu's approach in the sense of its lavish spatial touch. The atmospherics breeze over with a soft vibrancy, as the electronic guitar solo recording from the original plays over the initial main section charmingly. This is all resulting in a simply sumptuous mix which goes right up there with his top drawer remix work for Annie Drury and De Niro & Y. To compliment J.Sparrow's sublime contribution and to also complete the package, the Black Butter Records assosciated and Bristol-based outfit Sly-One have whipped up an outright banger of a remix. Joe Cannon, Dave Constant and Oliver Read can already boast an admirable set of releases in the four years since they've joined forces, featuring on Shifting Peaks, Lost In Translation and 877 Records. Add that to a rude collaboration with fellow Bristol head & rasta emcee Buggsy and a remix for Bad Mojo on Meanbucket, Sly-One had clearly meant business from the offset - and have shown absolutely no let up for us at Albion Collective. Served with a side order of the trio's classic subtle cowbell hits, their 2-step/bassline fusion works wonders with the vamped-up vocal sample and is ready and waiting to rumble clubs & festivals for this summer and beyond. Early DJ support for the release has been noted from artists including Phaeleh, Quantum Soul, Thelem, J. Robinson, Walsh, K-Man, Nanobyte, Syte, Trashbat, Majora and D-Operation Drop & Foster. Radio airings to date stand at Sub FM on the BunZer0's legendary FOB Show, BBC Introducing showcased the release and Monki played the Sly One Remix on BBC Radio 1 Extra. The almighty
Dubstep duo Truth added the J.Sparrow Remix to their recent 'Chronicles' mixtape on Soundcloud, which was posted to their 75,000 plus following, Biscuit Factory Records owner and dubstep legend Walsh opened the edit on his latest podcast and J.Sparrow is set to showcase the version in a mix for the iconic Deep Medi label. Support is confirmed from digital publications such as FatKidOnFire,
GetDarker, Trusik and MTV Wrap up, which will involve a number of featuresm reviews, track premieres and artist spotlights. A review will also be printed in November's edition of Mixmag on Tomas Fraser's Grime/Dubstep page
LAB.OUR 06 features offbeat, dancefloor techno from Hermans. Hermans (Jerry Riggs 'Dick Diamonds' & Maxwell Church) already have releases out on labels such as Run Out Run, Klasse Recordings, Zodiac44 & Extended Play, among others.
A1 is Sweat Box Rock, an epic stormer that sounds like a techno jam session with alternating beat patterns and dirty keys.
B1, Dustin Tombtones, is an uptempo acid workout destined to move dancefloors. B2 is a remix of Sweat Box Rock by Lab.our Music bosses Basic Soul Unit and J-UL.
Trabet Records is proud to presents his first release on vinyl and digital: 'FIBRA 01 EP'. In this release we can find 4 track of pure techno.
The first track is 'Enter' by Elektrabel (Czech Republic): a hypnotic track with extensive development of sequences and patterns.
The second track is 'Interferencial 2P' by Josh Larue (Spain): strong techno track with a surround sound full of nuances.
Luis Ruiz ( Argentina ) signs the third track named 'Tetramorph' A solid track with classical percussion together with an organic transition.
The last track is 'Cities Of Tomorrow' by Migueru Anheru (Spain): In this track we can find a sound that is rooted in the American techno
Entitas, is the second instalment of Jay Clarke's BLACKAXON imprint, and sees the label boss bring out the big guns in the form of three distinct and diverse cuts. First up is Entity, an autonomic monster which has sweat soaked energy written all over it. It's auspiciously one part deep, and more than double just as twisted. Things are far from linear with Entity, it's mercilessly the sum of it's own parts, and has the hallmarks of a true big room pleaser written all over it. A truly authentic demonstration of the old adage 'It's not where you are going, it's how you get there'. Entity is certain to be reached for by all of the major players on the Techno circuit for a long time to come.
On the flip, Ghosts Of Acid is the Yin to Entity's Yang. A plangent and introspective groove opens up with wispy cymbals, cleverly placed rims, hats and claps. Exploratory and evolving subaqueous acidic forays dare the listener to dive in a little deeper, with the reward being a very proficient and efficient take on the now classic Acid sound.
Existence Through Perception seeks to carry on where the previous two tracks left off. A driving groove and sinister hook lets up briefly midway to a near triumphant fanfare, only to be brought back to it's mischievous overture. A perfect late night/peak time track for DJ's looking to elevate the bar of their set just one more rung higher.
Support From:
(Phase), DVS1, Ben Klock, Answer Code Request, Luke Slater, Norman Nodge, Chris Liebing, Lucy, Oscar Mulero, Speedy J, DJ Deep, Tommy Four Seven, Cassegrain, Inigo Kennedy, Slam, Brendon Moeller, Nihad Tule, Kr!z, Psyk, Jonas Kopp, Truncate, Samuli Kemppi, Juho Kusti, Anthony Parasole, Eric Cloutier, Jereon Search, Moerbeck, Truss, Distant Echoes, Yac (I/Y), Philippe Petit, Thomas Hessler, Randomer, Volte-Face, Fundamental Interaction, Arnaud Le Texier, Ame, Angel Molina, Tensal, Kwartz, Stacey Pullen.
Credits
MR G's forthcoming effort on the Phoenix G imprint is somewhat of a dark one. With crazy amounts of white noise processed as hats and some of the fattest kicks you'll ever hear, this is definitely one of those acey warehouse releases that will fit perfect in the modern trend of raw but touching house.
BACK IN!! THEO PARRISH and an all-star cast featuring Warren harris, Marcellus Pittman, Bill Beaver, Jerrald james and Mellissa Botts take you on a deep excursion to the roots of afro-american music with this free-spirited live jam. after setting the mood with live percussion and a thick live bass, a bluesy guitar, cosmic keys with a Sun Ra vibe, wailing soul vocals, Theo's instantly recognizable beat and later a bitter-sweet violin solo all join in and create an unique atmosphere that is totally mesmerizing. the 'Reprise' on the flip continues in a more stripped down, piano led way. two shining example of sheer musical genius!
Tensnake's standard In The End (I Want You To Cry) release gets not one, but seven remixes. A nod to the good old remix double pack craze of the nineties, you will find them spread out over two plates. Ranging from a classic Tiger & Woods treatment to Prins Thomas quirkiness via Lone's happiness, two versions by Shan, the timid DJ Oyster as well as Pete Herbert's & Dicky Trisco's respectful re-arrangement, this one has it all: disco, techno, jungle (alomost!), house, cheese & chocolate!
Now here's something special. A straight up, bona fide summer smash. A massive dancefloor-smashing beast of a tune. Daniel Dexter continues his long and fruitful relationship with Poker Flat by channelling the sound of classic Clivillés & Cole in 'Deeper Love', an early 90s house bomb that will send shivers down your spine. Underpinned by a resounding synth riff and dancing counter-motif, Kaori Kaneko's vocals provide the perfect foil, packing a powerful and soulful punch. Prolific Parisian Alexkid provides a radical reinterpretation: stripped down, muted and glitchy, with the vocal cut up into fragmented shards that flutter and fibrillate in an ear-tingling fashion. While on the flip, Berlin's Bay Area import Kevin Knapp intones the names of classic Hollywood starlets over the smooth groove of 'Heroine'. The fulcrum of the track - a fat and rubbery analogue bass - comes to the fore on an instrumental mix, perfect for long blends and deeper palettes.
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South London producer Paul White and Florida vocalist/rapper Eric Biddines have joined forces to form new duo Golden Rules. Their debut album of soulful, psychedelic hiphop features Yasiin Bey (fka Mos Def) and its sound recalls Outkast and Cee-Lo.
Golden Rules have already seen radio support from BBC Radio 1's Huw Stephens, plus 6 Music's Gilles Peterson, Tom Ravenscroft, and Mary Anne Hobbs, while key online hip-hop sites such as The Source and 2 Dope Boyz have been quick to recommend the group. Paul White has been described by the Independent as a 21st Century DJ Shadow', counts Madlib and Diplo among his fans and is best known for his production for the likes of Danny Brown and Charli XCX. Newcomer Eric Biddines has built a career in Florida and his last video received heavy rotation on MTV Jams, but this is his first step on the international stage.
Once A&R for Trax record and the man behind some of the rarest Chicago House records on this earth, UTTU present 3 RAW AS FUCK REAL Chicago Jackers! VINYL ONLY!
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Von Carl Bown und Colin Richardson (Slipknot, Machine Head, Trivium) in den Metropolis Studio in London produziert, entpuppt sich VENOM als kompromissloser, erbitterter Schritt für Bullet For My Valentine. Ihr heftigstes Album bislang packt den Hörer sofort an der Kehle, wofür die mächtige Performance von Sänger / Gitarrist Matt Tuck, die bissigen Riffs von Gitarrist Michael "Padge" Paget und das Drumming-Sperrfeuer von Michael "Moose" Thomas sorgen. Auf VENOM hält das Trio perfekt seine ureigene Balance zwischen Heaviness und dringlichen Melodien und schraubt sich so auf das nächste Level.
"Es ist schwierig, ein komplettes Album zusammenzufassen, nachdem wir soviel Zeit mit dem Songschreiben und Aufnehmen verbracht haben und Blut, Schweiß und Tränen flossen," erzählt Frontmann Matt Tuck. "Es war hart, für die Texte wieder an einige äußerst dunkle Orte zurückzukehren, aber sobald ich Fährte aufgenommen hatte, war es OK für mich, gewisse Themen einfach rauszulassen - und die Hölle brach los. Dieses Album ist ganz klar das aggressivste, das wir je eingespielt haben, und textlich wird es sicherlich Viele aufhorchen lassen.
An ultra-pitch non skip DJ scratch tool on vinyl by Ritchie Ruftone, with one side at 100 bpm and the flip side at 133 bpm - includes non-skip drum loops!
Cadenza Records displays a deft touch in showcasing new talent, just as much as it leans on its core of established producers. The 'Split' EP shines a bright light on the musical endeavors of Enrico Gasperini AKA gAs, and fellow Italian, Lino Pugliese. One side of vinyl each, and gAs opens up Side A with 'Rack Attack', its woody hits and scattering hi-hats holding a solid groove whilst gentle keys entwine a melodic touch with a stuttering synth riff that's designed to circulate around the brain. Splashes of cymbals and white noise provide the all important drama as the track rises to a crescendo. Enrico's second contribution, 'Agogo', keeps up the ante with another slice of exquisite house grooves. The inner-city street ambience opening gives way to an undeniably funky rhythm track, incessant spongy stabs and frenzied percussion that makes this one a sure fire winner. Over on Side B, Lino Pugliese gets to flex his sonic palette after recent releases on Cadenza Lab and Memento. 'Banging On Your Door' takes its time to unfurl; a percussive swing not too dissimilar to the Stones' 'Sympathy For The Devil' sets the tone magnificently, as low frequency synth sweeps and distant vocal effects build, the kick drum jolting the track into life with bursts of furry snares and handclaps. More ambient soaked business on 'Aniwama' as Lino forges melodious piano and clanging ride cymbals with low end sonics as the track deconstructs as quickly as it builds, tearing up the arrangement rule books to create a unique cut that can perform as a mood-setting piece just as well as a peak time genre-shifter.
Hailing from Tel Aviv, Israel, the DJ/producer trio PARTOK MATUSHKA APFELBERG is a well-known entity in its hometown, with the involved artists holding residencies in one of the most acclaimed clubs these days: Tel Aviv's The Block has been named "one of the five best sound systems" in the world on England's BBC Radio 1, perfect proving grounds for the slick, propulsive techno to be found on our latest 12" offering. Title track NAI NAI bum-rushes the stage with prowess, inflicting its bass-heavy demeanor with some funky voice cut-up work that will conciliate the hardcore floor heads with the more casual headbangers. The flipside shines with STATION, a relaxed, somewhat introspective belter giving its epic synth pads enough room to breathe without sabotaging its percussive agency. All in all, this is an impressive calling card putting these fresh talents on the road to worldwide floor domination.
Aus Tel Aviv, Israel, stammt das DJ/Produzententrio PARTOK MATUSHKA APFELBERG, in der Heimat eine anerkannte Grösse: die beteiligten Künstler stammen samt und sonders aus dem Umfeld von The Block, einem der besten Clubs zur Zeit, wo sie auch als Resident-DJs walten und wirken. Vom englischen BBC Radio 1 als "eines der fünf besten Soundsysteme der Welt" gelobt, entpuppt sich The Block als das ideale Testgelände für den smarten, antreibenden Techno der unser neuestes 12"-Release schmückt. Der bassgeschwängerte Titeltrack NAI NAI stürmt gekonnt die Bühne, auch dank der elegant zersägten Stimmsamples, welche die Hardcore-Flurfüchse mit den Gelegenheitsheadbangern versöhnen wird. Die Rückseite glänzt mit STATION, einem entspannten, tendenziell introspektiven Schieber, der seinen epischen Synthieflächen genug Raum zum Atmen gibt, ohne jedoch die perkussive Schlagkraft zu sabotieren. Alles in allem eine beeindruckende Visitenkarte für diese frischen Talente auf dem Weg zu weltweiter Flurdominanz.
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Prolific electronica polymath Emika found acclaim once again this year with new studio album 'DREI', an opus that picked up Ibiza Spotlight's 'Album Of The Week' accolade and was called a fascinating album' by Rolling Stone. With six new remixes on this EP, further life has been breathed into her latest LP - with stunning results.
UK techno legends The Black Dog provide a foreboding rework of Battles, all brooding pads, electro glitchery and stomping breakbeats.
Kamikaze Space Programme's version is more dramatic still, returning the favour after Emika appeared on his own 'Choke' recently.
CNCPT (Brenda, Natch Records) kicks off the remixes of What's The Cure with an industrious slab of dubbed-out, reverb-heavy techno, doing away with Emika's vocals entirely and instead making use of her sound design expertise with subtle finesse.
Mysterious German Clone and Bunker affiliates The Exaltics tap into their electro roots on their rework with a thick, rubbery bassline working its way under a simple, atmospheric arrangement that allows Emika's honeyed delivery to take centre stage.
Borai (Tasteful Nudes) teams up with Emika herself to provide a stripped-back, heavily-swung, stomping take on the track, boiling it down to its melodic and textural essence.
Eomac rounds off the package with his stunning string-laden instrumental interpretation.
Tough, to the point, no-nonsense machine music is a longstanding Midwestern tradition.
Drawing a line all the way back to the old guard, The Bunker New York's latest EP is Walk The Distance, courtesy of Mark Verbos, a techno veteran and New Yorker by way of Milwaukee who put together four pieces of heavyweight dancefloor artillery, informed by an intimate, inside-out knowledge of the machinery used in the production of these tracks.
"I've been doing this for a long time. In the beginning, there was only hardware, and it feels better to make music with physical objects. Plus, I make hardware, too," says Verbos, recounting his production processes. Verbos not only produces music, he also produces the hardware he uses to make music—his company, Verbos Electronics, manufactures Eurorack synthesizer modules with a vintage sensibility. When he's making music, Verbos says, "I try to get to know the devices I use well enough that whatever I imagine can come from them. Techno is machine music. When I'm recording, it's just me and the machines."
The music, however, speaks for itself. No punches are pulled here—the record starts in top gear with "Start Up Drive," a devastating techno bomb centered around a throbbing, repeating bassline and a meaty kick drum that builds to a massive climax in the span of five minutes. "In The Back Room" kicks the tempo up a notch, featuring spaced-out atmospheric synth leads floating atop syncopated percussion. "Just A Little Late" is funkier than the other two, built around a rubbery, insistent synthesizer groove that worms its way deep into your head and doesn't let go.
The aforementioned three tracks alone would comprise a solid techno EP suitable for any number of dancefloors. But the last track on the record—its namesake—shifts gears entirely. "Walk The Distance" is a moody, pulsing slow burner, introspective and emotional. It's a haunting listen that adds remarkable depth and complexity to the record. "Walk The Distance, the track, is a reference to the fact that music is not a career. Any advice you could offer someone on how to have a successful career doesn't really apply to a career in music. By that I mean to say, process is everything, and the results don't really matter."
Sage advice indeed, but judging by Walk The Distance, Mark Verbos has figured out how to produce results that matter.
Shimmer was the record that put Stefan Goldmann on the map of techno. The dark and throbbing tracks, reduced to the essentials, were love at first sight for many of the DJs who ruled the scene back in 2004. Josh Wink threw in one of his most focused remixes for Stefan Goldmann's debut on Ovum - which was also the first one by a German artist on the label. As so often in dance music, things have come full circle. About time to give a mint copy of "Shimmer" to the DJs who play this prototypic sound today. Remastered meticulously by Rashad Becker at D&M, with the title track cut to a full 12" side, it never sounded better.
OID is the solo project of Russian producer Andrei Antonets who is set to release his latest track 'Bright Side of Life' on PNN Records (13/07/2015) Born in Riga and having lived in Berlin, OID is now based in Moscow, where he is inspired by the city's rapidly changing scene. 'Bright Side of Life' translates a sense of potential, it is upbeat without being commercial. The track's singular sound has prompted The Field, Popnoname & J.P Janzen (Von Spar) and Mujuice all to produce remixes which will appear on the EP alongside the original. Each of these deliver a unique take on this uncommon yet catchy tune.
Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.
Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.
Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical
revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.
Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'
This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.
While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.
Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.
The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.
Das erste Release auf Ostocode Exile in limitiertem weißen Vinyl vom Leipziger Oliver Rosemann, welcher derzeit als eine Hälfte von Dualit Erfolge auf Earwiggle, EarToGround und sogar CLR feiert, liefert mit Chest einen hypnotischen & rauen Techno Track. Dazu gibt es auf der Chest Reworks EP einen Remix von Dualit, sowie vom Argentinier Luis Ruiz und von Espen Lauritzen aus Norwegen, welcher das Label Krill Music betreibt.
Following up his debut on the label, JC Laurent successfully returns with this memorbable four tracker, Southside' EP. Using his influences from deep within Berlin and detroit, he resumes where he left off, continually blurring the lines between techno and house with an uncanny ability to make it look easy.
similar to 2013's From Nice to Berlin', we have been fortunate to cast an extremely well respected, and in-demand producer to join forces on this release. last time it was Fred P, and now Uk's Tom Dicicco provides a heady, seductive remix of the title track. Tom has been busy releasing on labels such as Run Out Run, Stockholm LTD, Ear to Ground, Inner Surface and The Corner. additionally, his globetrotting dJ skills have found him inside Berghain and also a standout appearance at Boiler room in london. we love his work and glad he's a part of it.
Hidden Recordings again focuses on quality over quantity with another master- fully curated vinyl. southside' ep looks to be the next classic in the already well stocked and established history of the imprint.
After releases for Discos Capablanca and Moon Glyth, Food Pyramid join Especial for a remix EP of their album-only track Oh Mercy. Updated by the inhouse team Apophenia, before being given the full italo treatment by SF's Inhalt and a true Especial twisted FX double mix by the man, the myth, Jamie Paton.
Minneapolis collective, Food Pyramid are welcomed to the label with the twisted psychedelic electronics of Oh Mercy. Taken from their Mango Sunrise album of 2012, its warped breakbeat jam-fusion has long been a secret favourite of the label, so it seemed right to present it on a unique EP.
Starting with a 2015 rework at the hands of the label's in-house production team of Apophenia, the original is extended with respect, keeping much and taking out little (the horns) so that the originals groove can ride and ride.
This is followed by a superb remix from Inhalt. After themselves appearing in the form a remix EP (EES009) it seemed now was the right time to get on board with their own take and in the process creating a pumping Italoesque classic. In the same way Timmy Regisford turned NOIA's Rules To Survive in to a mid-80s Chicago all time top 10, this remix harks to all that was good of that time, notably replaying much of the
instrumentation, while keeping it aimed squarely at today's floor. Who said Razormaid
On the flip are killer remixes from the label's main man Jamie Paton. Locked in an increasingly modular headspace, he digs deep and expansive. Premiered on the recent Beats In Space showcase, the Remix kicks far and wide, pushing club systems to the max, this yearns to be played at 7am Panorama. Sliding straight (and you'll miss it) in to the Dub, stripping it wayyy back, let the drums do the talking. Oh baby, have mercy on me.
The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.
Das extra schwere 180g schwarze Vinyl kommt mit einer CD in transp. Stecktasche als Bonus.
Seit der Veröffentlichung ihres Debütalbums - Flucht nach vorn ist viel passiert. ROGERS blicken nicht
nur auf Shows/Tourneen mit den Broilers, Slime, Sondaschule und The Creepshow zurück, sondern
auch auf zahlreiche Festivals (u.a. Open Flair, With Full Force, Mair1).
Die ROGERS vertreten eine - Alles oder Nichts -Haltung und diese hört man dem inspirierten und
griffigen neuen Album - Nichts zu verlieren definitiv an. Ungekünstelt und frei von hohlem Pathos
rocken die ROGERS hymnisch (- Steh Auf ), treibend (- Eure Zeit ), nachdenklich (- Zugvögel ) und
beschließen das Album smart mit einem potentiellen Sommerhit (- Vergiss Nie ).
Mit - Nichts zu verlieren im Rücken können ROGERS die anstehenden Sommerfestivals und die
Tournee mit ihren Labelkollegen von The Bones im Herbst kaum erwarten - schaut sie euch an. Es
lohnt sich!
