"Berlin based Cocktail d'Amore Music and Ene Tokyo join forces for Greenvision's debut - The Italo-American duo formed by Trent and Juan Ramos. pENE d'Amore Pt.1 is the name of their first 12 inch. This is one of those records that makes you start questioning matters of genre and music construction. Sit back, press play and enjoy this ultra-cosmic adventure. The different rhythm patterns included in Surdinia melt organically with the acid lines, the high UFO whistles and spaceship-like sound effects, exploding into an unexpected and comfortable piano house line, solving the puzzle and leaving you thirsty for more. Meccanica is a slow tempo gem, It combines elements of industrial and Balearic with a touch of submarine-like soundscapes. Ramos and Trent's music-making philosophy is as special as unique. The multitude of elements that compose each track has its own life cycle, its own ecosystem.
Munich's Martin Matiske started his recording career at fifteen with his stunning ep Stars & Galaxy for DJ Hell's Gigollo Records back in 2002. Here he dons 4 fresh tracks for the Vivod label with his trademark electro sound, somewhere between Dopplereffekt, classical & wave. Kicking off the ep is Die Nibelungen, a sort of speak & spell classical piece with an electro backing track. A2 - Bayerischer Wald is a chord heavy majestic bomb in a 5/4 time signature, maybe a stretch too far for the linear techno dj but that's what makes this ep so interesting. B2 - Virtuosic Mechanic harks back to his previous work on Gigollo Records, a more club orientated track which should do some effective damage on the floor. Rounding things off is Kammermusik, a subtle electro ballad. If you like your electro with a heavy classical influence then this is your ep.
Seriously, how is it possible to spend two years and four months making a pop music album It's obviously not because of a fetish with technical perfection. Not a single take on 'Chemistry and Math' has been recorded in a recording studio. It is all living room, bedroom or kitchen table work. Which is the way we have recorded almost all Flunk albums. So really, how does it take 28 months to put together 10 tracks of alternative, lo-fi pop music Well, life Just life. We're busy with stuff like everybody else, ordinary stuff. And it's all in there, really. In the air in the recordings and in-between the lines of words.
'Chemistry and Math' might be about how you acknowledge the inevitability of the rules and patterns and natural laws, it's not so much mystery, it's math, and chemistry, and hormones, and a constant chaos of coincidence. In there are also a lot of pop music references, some obvious one, some slightly hidden. 'Chemistry and Math' is installed in a bleak and more distorted soundscape, reflecting the mood of the world thrown at us in a fucked up era.
'Chemistry And Math' is the sixth ordinary album from Flunk, the Norwegian downbeat/'folktronica' trio now expanded to a quintett.
Inaugurating the release, the cleverly designed Oberservate' drives forward with relentless kick drums that merge into self-indulgent pads slowly growing into a stargazing techno tale. P.Leone's remix sticks to the originals' covertness while adding more depth by peeling out the pensive atmosphere as his lead synth gears more empathically towards the dance floor. Opening the flip, Discrete Circuit's ambient version of Remote Conversation' in which the monologic acid line encounters blood boiling pads passing through some unknown territory. Blind Observatory's remix rips out the principal elements from the original in order to create a pulsating ominousness reminiscent of his trademark neo-futuristic journeys that are roaming through cinematic sci-fi realms.
Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.
And full-length it is:
The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period.
The 9th link of The Golden Ravedays chain will be released on Hippie Dance in September 2017.
Where number 8 of the series took us to outer space, number 9 introduces two tracks that are an under-water celebration of all that is good and all that is sad.
Side A features Hiding.
Imagine galloping sea horses pulling a Christmas chariot filled with dreams-come-true past enchanting mermaids, smiling sharks, waving tortoises and nonplused eels, leaving a gifted blanket of mystical sound in their wake.
Hiding stretches and breaks into many layers of listening love without enforcing one particular sound.
Side B features Flying.
The piece is occupied by a subaquatic melody colored by whale sounds and the echoes of immersed guitar strings.
Flying is not about complex development or diversity but the weightless drifting of sounds that create a wonderfully hazy cloud to lose oneself in and fly, deliciously with the dolphins.
Rest assure, the ending is be speckled with whimsical chimes showers, paving the way for the softest of landings
This is NovaMute's first release since MOTOR (Bryan Black and Oly Grasset) over ten years ago. The Release will be 3 weeks available as VINYL ONLY.
Nova Mute, a subsidiary of Mute (Depeche Mode, Goldfrapp, New Order, Liars, Erasure, Moby), began in 1992 as a response to the growing demand for techno releases in the UK. Originally presenting white labels and imports, NovaMute went on to release records by Plastikman, Speedy J, Juan Atkins, Luke Slater and Joey Beltram to name a few, this is Nova Mute's first release since over ten years ago
Nicolas Bougaïeff presents his new EP on seminal British imprint NovaMute. As a producer he harbours a diverse musical background, having studied in a conservatoire setting whilst foraying into anti-authoritarian rave culture. He is also a respected lecturer, regularly teaching masterclasses in composition and speaking at global events such as Mutek and Ableton Loop - the results of which come to life in the inquisitive spirit of his productions. Cognitive Resonance explores elements of psytrance, gabber and techno through a compositional lens, drawing on the artist's love for avant-garde forms and long-standing relationship with the electronic music community. The title track lays out long, expansive phrases and warped crescendos to create a disorienting structure, whilst distant harmonies, distorted kick drums and shattering effects merge into a hypnotic form on 'Truthful Hyperbole'. Lastly, 'Fake News' mangles our sense of rhythmic familiarity, disrupting the 4/4 beat with a complex metre and sinister melody. This is NovaMute's first release since MOTOR (Bryan Black and Oly Grasset) over ten years ago. T as well as forging invaluable links with labels such as Tresor and Probe, which allowed them to license rare tracks for a wider audience. Forthcoming releases on NovaMute will include EP's from Terence Fixmer and Charlotte de Witte.
This is the debut album of Swedish producer Daniel Andréasson, an artist that has both a sonically and artistic resemblance to the Skudge family of labels and artists.
Pushing his eighth year of releasing records, Andréasson has accomplished the task of creating a debut album that seem to tie together the sound of his previous EP's. Andréasson's sound is in line with a more outsider approach, but with a dance floor focus. A sound that he has been pushing since the beginning.
This approach shines through at the most on the tracks such as 'Mc35I# Rushup', 'Stay' and 'Dreams' as these specific tracks shows Andréassons more accomplished style. In between, the album keeps a perfect concept throughout. Taking breathers with its interludes and in general "shorter" tracks that hints of a ambient leaning urge to express himself, he never loses focus. A masterful debut album from a artist to keep your eye on!
Fresh from wowing us with that crazy limited promo 45, Krikor Kouchian delivers 11 tracks of expertly executed, shimmering boogie funk. BIG TIP!
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Think of the neon lights of the boulevard or a late nite drive through the lonely hills, Krikor Kouchian's "Pacific Alley" propels you to a world of sleaze and excitement, where passion, money, and illicit substances take precedent and the sun beats down in a relentless unforgiving fashion.
Spending time as a youth in Southern Cailifornia, the French-born Kouchian developed an obsession with this Americana and the magic of everything California. The music on the radio, from pop, to funk, to hip hop fueled his impressionable mind, later on taking influence in his own music.
Pacific Alley is a snapshot of this lost period, full of juicy low slung basslines, slow bpm cruisers, Linn drum crashes, and ride or die melodies. The elements all meld together through this 11 track lp, it's equal parts uplifting and melancholic, downtrodden, yet not without rays of light; the soundtrack for days hanging in front of the corner stores and nights on the strip, both a naive love affair and backstabbing doublecross.
This is boogie funk for the grift, a dollar here buys a bottle there so step into the shade, pop the tape in the deck and enter into the concrete dreamworld.
There are times in which you can clearly mark a producer's evolution.
When they stop inching towards growth and make a bold statement of change in capability and vision.
Such is the case with this EP from Detroit-based disco guru, Pontchartrain.
After a few years of steadily pushing out some significant pieces of work that have increasingly straddled the line between originals and edits, and nearly a decade of studio experience, his long overdue official house music debutante has arrived.
Featuring Detroit local soul artist, Coko Buttafli laying down some blistering vocals with a clearly positive house music message, on top of live percussion and keys, and bold analog drum rhythms, pontch has created a solid diva-house gem.
The sneaky festival-ready banger, 'Loose', performed, mixed, and overdubbed live, provides some fantastic contrast and versatility to the release.
A Mr. G-esque remix by DJ phenom Just Alexander and the musical journey of Topher Horn's evolving and deep version on the flipside make this a well rounded record that will undoubtedly stay in your bag for a good long while, and will find its way back in for years to come.
REPRESS !
Opening the EP, 'A Matter Of Time' sets the things up with a phlegmatic tempo centered around a feverish acid line. A soft mist of organic snares, dub percussions and jazz hi-hats slip over a spacious spread of synthesizers.'Abduction' steps into a more intense dimension, bringing distorted, shamanic, high-energy drumming intended to put the listener into a trance state. The momentum is reached as a deep organ covers the whole structure and releases twirls of acid onto its mediative canvas.Closing the side, 'Harmony Of Spheres' brings the pace down again, condensing all the acid material into a drowned mechanical piece that finally breathes when pads comes in at half-course.The B-side opens with 'Alternative Currents' a gasping piece of electronic jazz centred around a play of tribal percussions and dissonant pads. 'Parsec City' continues the story with its amazing free jazz rhythm investigation, showing once again the expertise of Marini in complex patterns. Closing the EP, the shorter 'Seven Transmutation' plays with sharp acid stripes and immersed organs chords on a frame of abstract drum sequences.
Dark Entries and Serendip Lab have teamed up to release 'Prototech', the first vinyl retrospective by German electronic trio Hypnobeat, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, "the desired level of technical sophistication." In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind's tribal music roots. Two cassette releases surfaced - 1985's "Huggables", and "Specials/Spatials" the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat concept of a "new tribalism", not least on their "Provocative Percussion" double 12" released in 2006. For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on "Slash! Buffalo Eats Brass" with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient "Can God Rewind" is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track "The Arumbaya Fetish" was a cathartic venting of Brown's least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature "Moon Jump" places limber 303 lead lines in a hail of thunderstruck patterns. "Kilian" has a stripped down quality that speaks more to the industrial era that Hypnobeat was conceived in, and "Mission In Congo" is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. "I am amazed that the release sounds like we really had a plan back then..." states Brown, but this accidental magic is in fact the raison d'etre of Hypnobeat. They weren't the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren't many artists stumbling across modes of expression that sound so relevant today.
All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus Cœurque holding the circuit board of a BOSS DR-55 rhythm machine.
Eight releases in, Leonidas & Hobbes have honed a mutual love of soundtracks, disco, jazz, house, techno, acid, psychedelic, African and dub sounds.
Web Of Intrigue is one part tribute to lost 70s soundtracks, when music was created on the finest analogue hardware, featuring full bands, session players and lush orchestrations, one part tribute to 70s disco gods Nile Rodgers and Bernard Edwards (Chic) and one part mid-tempo but nonetheless cosmic house. The three parts fuse to form an instrumental track sounding as fresh as a whole meadow of daisies in 2017 and one that's been going down extremely well with international DJs who have road-tested the material.
Heavy Weather flips the script for a deeper workout in a 3/4 time signature - more of a cosmic waltz. Taking its main cue from 70s jazz fusion heroes Weather Report and The Doors' Ray Manzarek, it incorporates rich African percussion, spaced-out flourishes exhibiting the duo's love for the dubs of Lee Perry, King Tubby et al, and a good old fashioned arpeggio of an acid line - definitely a more esoteric number, all told.
The 'Dawn' and 'Acid Rain' mixes push different buttons for the heads, as suits the mood. It all adds up to a very Balearic confection, fitting snugly in with the burgeoning revival for this somewhat ineffable sound - a trend that seems to be getting stronger/bigger every year, popping up every time the sun gets his hat on and we all remember how to party like the lucky residents of that infamous White Isle....
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London/Edinburgh analogue electronic duo Leonidas & Hobbes released debut EP "Machines, Tapes & Electronic Setups" via the Hobbes Music label back in May 2013, picking up plaudits and support from the likes of Resident Advisor, Mixmag, Erol Alkan, Ashley Beedle, Alan Braxe, Shadow Child, Jimpster, Nick Warren, M.A.N.D.Y., Leftside Wobble, Mr G, Auntie Flo, Sasha, John Digweed and many more... The duo were consequently commissioned to remix the Pet Shop Boys.
Second EP "Mo' Machines" came out on the label in April 2014 and received equally high praise, with i-D Magazine inviting the duo to record a DJ mix which has to date chalked up a whole lot of love on Soundcloud.
Leonidas has released two other collaborative EPs with London-based Japanese DJ/producer Kay Suzuki via his Round In Motion imprint, equally winning fans worldwide, with a track now forthcoming on new label YAM Records' You And Music Volume 1 EP plus much more in the pipeline for 2017. Leonidas also has his own lovetoparty label, releasing edits of much-loved disco tunes on limited edition 12" vinyl format and free download. Previously, Leonidas made a name for throwing word-of-mouth parties around east London on his audiophile 'lovetoparty' sound system (providing some of the inspiration for much-admired late-night watering hole Brilliant Corners).
Equally, Hobbes ran the widely acclaimed Trouble nights for ten years in Edinburgh/Scotland, working with the great and the good from across the soul/jazz/dance spectrum since '02, and championed up-and-coming live talent via his Limbo 'gig-in-a-club' nights at The Voodoo Rooms for nine years since '07. Hobbes has toured his DJing style to the various corners of the dancing planet, including gigs in the Far East, much of Europe and across the UK. The Hobbes Music label has otherwise featured artists as diverse as Auntie Flo, JD Twitch (Optimo), Neil Landstrumm, Craig Smith (6th Borough Project), Ali Renault, iO Sounds, Joe Howe, Debukas, Fudge Fingas, Marco Bernardi, Dimitri Veimar, Mick Wills and Nightwave, with further support from Ben UFO, Justin Robertson, Motor City Drum Ensemble, KiNK, The Revenge, T.E.E.D, Kiki, Groove Armada, Maceo Plex, OOFT!, Domenic Capello (Sub Club), XDB, Ben Mono, Masa Sutela, Bawrut/Scuola Furano, Numbers, John Heckle and many more...
Music has always coursed through Roman Lindau's blood. Even if he weren't the accomplished producer and respected DJ he is today, the German audiophile would still be spending all his money on the stuff; giving over all his time to the art form. ''I'm a music junkie. I need music to live'' he states matter-of-factly. ''For me it's the elixir of life.''
Good job, then, that he gets to spend his ..
Roman Lindau is a German techno DJ, artists and producer, as well as being a core member of the infamous Fachwerk Records from Berlin.
Music has always coursed through Roman's veins ever since he was a young boy so it is no suprise that he became the accomplished producer and highly respected DJ that he is today.
In the late 2000´s Lindau became active in the Berlin electronic music scene, beginning to play music in clubs as well as producing his own music. The first track he released in 2008 on his home label Fachwerk Records appeared in one the world famous Berghain Mix Compilations, mixed by Len Faki. Following from this Berghain invited Roman to contribute an exclusive Track for Ben Klock´s Berghain Mix in 2009. After this success the gates opened for him to play regularly as a DJ at Berghain.
At the same time he continued to work on music for Fachwerk Records. He produced dance floor smashers like ´Crasse´ in 2011 and ´Rave on´ in 2014, which were charted by the likes of Ben Klock, Sven Väth & Chris Liebing, afirming his deserved place amongst the techno elite.
More recently in 2015 the well known Victor Calderone from NYC invited Roman to release on his label Matter+.
The reason why Roman is such a great DJ is because of the fact he knows what the people want! ''I love to dance and that's very important: as DJ you need to feel what the crowd want so you can help them to party and have fun.'' Combining a varied selection of raw house and techno in his sets, recent bookings have taken Roman across the world; from the hallowed techno Mecca that is Berghain to dark underground clubs as part of the recent Fachwerk label tour. He has performed at every legendary Berlin venue, past and present from Tresor to Berghain, and it is this that gives Roman the edge above the rest. If you can do it there, you can do it anywhere! From 2014 Till the closing he was a resident DJ at Stattbad, one of Berlins findest adress for Electronic Music.
Double vinyl edition of the Portico Live/Remix album
Portico Quartet still sound like nothing you ever heard before. The Mercury nominated East London based outfit's unique music has expanded to embrace new sonic territories, drawing on the inspiration of electronica, ambient, classical and dance music as they take their strange, beautiful, cinematic, future music to exciting new vistas.
Their new album 'Live/Remix' is a double album offering a unique insight into two distinct parts of the band's personality.
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Circus Company and The Mole have long been making eyes at each other across the same crowded dancefloor. Colin de la Plantes primary project is synonymous with the off-kilter corner of house music we like to spend our time dancing in, and the labels he releases on are close cousins of the Circus troupe. From Wagon Repair to Philpot, Musique Risquee to Perlon, its a wonder that we havent worked together previously, but finally thats been put right with Little Sunshine. Stripped back, understated disco grooves have always been the bread and butter of The Moles sound, while infectious, cyclical melodic patterns are equally important in making his unique version of house music. On the title track, those elements are presented with full force, but in between the driving rhythms linger the most gorgeous keys, bringing a mellow introspection to the track as a neat counterpoint to the energy of the drums and arpeggios. Compared to the clean lines and peppy tempo of Little Sunshine, Discotheque Airplane is an audacious swerve into low and slow territory, where dusty samples rule the day and the bass swells in and out of earshot with a truly mesmerizing effect. Its a moody affair loaded with tension, mystery and funk in abundance. As if that wasnt enough proof of the variety in The Moles repertoire, on his collaboration with Dutch hero Tom Trago for Down The Hallway we find the pair exploring lean, focused techno, where the simplest of rhythms propel a haunting, distant vocal lick. Its the drum sounds that make this a special cut, championing warm, natural percussion instead of the methodical drum machine hits found in most contemporary techno. Rounding the EP off in a beautifully mysterious style is Aardvarck, whose remix of Down The Hallway take
lvin Toffler was overwhelmed. When in the morning of October 4th, 1988-it was his 60th birthday-he was starring with a still somewhat absent look into a bowl of cornflakes, he thought that in the surface structure of the yellowish shimmering milk which was making an emulsion with the maple syrup and slowly but irreversibly corroding the crunchy crystals on the flakes, he could see through a window into a timeless dimension. Toffler, who at that time had reached the peak of his fames as a future scientist, was sustainably disturbed from his peek into this extra temporary peephole. In none of his books-'Future Shock' had just been released with yet another edition featuring a proud printed note on the book cover stating 'more than 5 million copies in print'-did he ever mention this occurrence. Even after his death in June 2016, no note on this incident could ever be found in his estate. The 'flake dimension' as Toffler called it in notes which were later shredded remains a secret of opaque, hard-to-grasp radiant power.
Maybe it's too simple to describe 'Pneumatics' as a creation coming from this cornflake world Without doubt. Are there any more precise terms or instruments to determine the multifacetedness and beyond-timeliness of the 'Pneumatics' soundscape There are still unknown. 'Pneumatics' is, after releases at Innervisions, Die Orakel und his own label Sound Mirror, the debut album of Orson Wells (as long as you don't count in 'Jupiter' - Wells's first LP which was released in 2014 with 48 copies on cassette-have fun digging for rarities and bargains!).
Perhaps Wells, known in Frankfurt under his real name Lennard Poschmann and as an employee at the record store Tactile, is only a messenger. Or a psychic. The sound manifesto that he apparently transmits from Toffler's secret dimension tells of a city of upside down pyramids ('Tianon'), of passes into the land of the five elements ('Multipass') and dead straight four-to-the-floor lines which appear bended within the spherical dimension (''Geodesic'). These beats are right on the heels of the ones of Intersteller Fugitives; the strings sound like that at any moment a vocal sample edited by Moodyman could warp over through the Cornflake wormhole. Pneumatics is the science of all technological applications powered by condensed and often by quite heated air. It is a matter of mechanics, compression, jackhammer, ramblings, high pressure levels, valves for blowing of steam. On 'Pneumatics' it's all about this. And more. Orson Wells's album gets to the point of the post-retro futuristic state of the dancefloors of the house and techno clubs of this planet. It is like a peek into another dimension, right on the golden cut of spacetime geometry.
The sub label of Sonic Groove, 'Sonic Groove Experiments', returns after a 4 year hiatus with a stellar re-release of the Electrowave classic 'Eruption' by Beta Evers. Originally released as a Limited Edition 12' back in 2005 on Beta's own Kommando 6 label. Now in 2017 the original pressing goes for quite a fortune on the record collecting market. Often exceeding €60 for a mint copy. For the first time in a dozen years this release is available on vinyl in its original running order but with very sleak new artwork for the normal asking price of a new store bought 12'.
Beta Evers is Brigitte Enzler from Augsburg, Germany. An artist with a substantial amount of accomplished work to her credit including an early release on the storied Hague label, Cre`me and her side project Black Spider Clan. After ceasing Kommando 6 operations, Beta Evers continues on independently releasing music on her other labels Bodyvolt and Venus Noir. Her most recent release is the 2016 awesome 'Delusion' album on legendary Industrial/EBM pioneer Dirk Ivens prestigious Daft imprint.
The opening track's title serves as a warning, titled 'Don't Be Afraid', a cold introduction led by sinister synth lines soliciting our attention to expertly crafted true analog electronic percussion in the EBM/Dark Electro disciplines. Surreal, deep and seductive vocals lie in the wake at the center of the composition giving us a melancholic piece worthy of deep contemplation during listening on or off the dance floor.
The following track 'Move In My Body Rhythm' continues in the same sinister and dark aesthetic in a more driving manner, this track continues to bring forth energy with a precise beat and rhythm accompanied by acidic synth modulations.
Side B continues to hold the heavy weight of this extended player with the track 'Eruptive' This reference track to the title of the EP. is an electronic/vocal robotic analog circuit breaker suitable for dawn light on the floor. Traditional arsenal of classic analog sounds are arranged and rearranged with sonic manipulation at the test. Mutant dance music for cosmic venues.
The closing track, 'Destination Lost' is comprised of lyrics of urban angst and disturbance whispered out through sultry vocals. Dark minimalist and cinematic cyberpunk breaks reinforced by low drone synth waves and crystals of lysergic analog bleeps drifting along the perimeter. Dead serious wave infected electronics.
This sonic document also serves as a good example of a roots approach to creating music whilst at the same time giving us something entirely innovative. This is as futuristic as it is timeless and that reflects the elements of a masterpiece.
THEATRE RECORDS WAS FOUNDED WITH THE IDEA OF CONCENTRATING THE MAJOR GENRES OF ELECTRONIC MUSIC ON A SINGLE STAGE. MANY CENTURIES OF THEATRAL ART HAVE TAUGHT THAT THE TRAGEDY AND THE COMEDY ARE STRICTLY LINKED IN SPITE OF THEIR DIFFERENCES. WITH THIS PILLAR THEATRE RECORDS CONTAINS VARIOUS GENRES THAT AT THE SAME TIME ARE SEPARATED IN TWO DIFFERENT SUB-LABELS.
THEATRE WHITE - THE MASK OF THE COMEDY INCLUDES THE STRENGHT AND MUSICALITY OF ELECTRO-HOUSE AND PROGRESSIVE-HOUSE.
THEATRE BLACK - THE MASK OF TRAGEDY KEEPS INSIDE THE SOUL OF GENRES AS DEEP-HOUSE AND TECH-HOUSE.
- Beautiful 1 LP Edition with heavy 350g Sleeve, Poster Inlay with Liner Notes and Photo, includes CD with incl Bonus Tracks - 33 rpm LP mastercut by Emil Berliner - Midori Takada and Masahiko Satoh's 1990 masterpiece LUNAR CRUISE LP available on vinyl for the first time ever, as well as on CD, sourced from the original studio masters, with all new liner notes. - Featuring Yellow Magic Orchestra's Haruomi Hosono (bass) and Kazutoki Umezu (saxophone, clarinet). *** TERRITORY RESTRICTION - NO SALES TO JAPAN *** Following the successful reissue of Midori Takada's Through The Looking Glass, WRWTFWW Records is delighted to announce another release from the legendary Japanese percussionist: 1990's LUNAR CRUISE, her superb collaboration with jazz pianist, synth master, composer and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada's fascinating discography, LUNAR CRUISE is an under the radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End...) and Kazutoki Umezu. LUNAR CRUISE is available in two versions: a first-time-ever vinyl LP cut at Emil Berliner Studios, housed in a 350g sleeve and including a bonus CD of the album with 2 extra tracks, and a standalone digipak CD version. Both versions are sourced from the original studio masters (DATs) and come with new liner notes. Tracklisting Vinyl LP
Sublunar is glad to introduce their new release. Following the trilogy signed by one of the two founders of the label, Sciahri, it is now time for a new artist's debut.
Ladan, young Iranian producer at her first release, presents 'Section', a record made of 5 carefully selected tracks that range from bass-driving techno to sharp experimental excursions.
The EP's opening piece is 'Spectres', characterised by an increasingly deep, disquieting atmosphere. The body of the piece is stroked occasionally by metallic elements which make the whole sonic spectrum resonate.
On the same side we find 'Zone.2', an elegant, propelling techno piece painted with a similar colour palette of the previous piece.
The B side starts with 'Rebound', where hypnotic, overlapping melodies and broken rhythms entwine in an enveloping, uplifting musical development.
We also get a glimpse of Ladan's fierceness with 'Fault Line', an outburst of stomping, plastic rhythms sculpted synthetically, followed by 'Knives', a razor-sharp groove that creeps under the listener's skin.
the label of the post-autonomous kindergarden from berlin's east cross awakes after a long beauty sleep. we're back behind the decks with a lineup that is carving out contemporary techno.
finnish producer samuli kemppi, from helsinki, has accompanied us since the beginning of our club. musically, he stands for a minimalist, crystal-cut sound hailing from galaxies far, far away.
fabrizio lapiana is a long-time friend of the house. his sounds are able to expand even the smallest dance floors—he sculpts spacious soundscapes and sends dancers on a deep dive into dark and melancholy travels. we are particularly excited about the presence of our resident akmê, who comes to us with energetic release after his first ep on connwax. he will be bringing his steadfast love of detail and sly playfulness—elements present in all his dj-sets. with these three numbers, the ://about blank 002 has compiled the best of the mdf soundtrack. next stop after powernap: lobby and garden. rave on!
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Toby Tobias joins Delusions again for what will be his sixth(!) 12' entitled The Rain. The prolific Londoner whose releases have graced such venerable labels as Rekids, ESP Intistute and Let's Play House, is back with a vengeance, delivering two mighty fine originals plus a remix from Nebraska.
In true Toby Tobias style, The Rain got made on an MPC, sliced and edited from a single live take through the desk then accidentally deleted so no further mixing, sequencing or editing could be carried out. But what is an A&R man's nightmare, turns out to be the record buying DJ's gain, as the improvised, dubby vibe and raw as ***k mixdown give the track an authentic feel and energy which could only come from the madness in Toby's method. Fresh from his brilliant releases on Mister Saturday Night and Razor n Tape, we have our man Nebraska do his thing on the remix of The Rain. Dropping down the BPM's a bit from Toby's more frenetic original, Nebraska add's a healthy dose of moogy lead lines to the lo-slung house
groove, perfect for warming up the dancefloor. Closing this release we have New Way Of Feeling which sees Toby in
playful mode with a percussion heavy, driving basement jam. FM pads form the centerpiece of the track whilst flourishes of Juno come and go, hints of early 90's IDM shining through on the glistening sine-wave melodies. All in all a glorious melting pot of ideas and influences all over this release which make for one of his strongest yet for Delusions
Following an accomplished EP on Perc Trax & a feature on Parallels and Influence Part II, Manni Dee returns to Leyla contributing his third EP to the labels impressive discography.
Your Public Image commences with Insurrection Erection, featuring vocals by Joke Lanz of Sudden Infant (Harbinger Sound, Raubbau). The vocal contributions harness a feeling of widespread disharmony, punctuating the bullish drums and assertive atmosphere with eruptions of frustration and expressions of malcontent. While the field recorded vocals made by Lanz feature as an empowered voice and a call for upheaval, the screams and shrieks from Lanz operate as the marginalised voice of the oppressed, sharply slicing through musical elements only to disappear and become submerged.
The A2 skips along with broken beats in very British fashion, reminiscent of Manni's earlier work on Black Sun Records, with added ingenuity and percussive flare.
The application of vocals, which has become a key characteristic of Dee's recent work, is creatively exhibited on the B1 Combination Acts; a track that displays a deft percussive density unique to Dee's style, adding a frenetic touch to a steadfast substructure. The tempo ramps up on the EP closer, satirically & appropriately titled The Jingoism Stench. The distorted & frantic yet nimble foundation propels the track forward, with reverberated contact mic and vocal recordings bouncing off the stolid walls of rhythmic pressure.
An acute understanding and implementation of rhythm and sound design results in provocative dancefloor material that blurs the lines between industrial traditions and (post) punk artistry. Dee continues to flourish as one of the most innovative and exciting voices in techno today.
Minneapolis Exchange is excited to bring the next exchange; a long awaited release for us. As promised, the exchange is the goal so for this exchange we bring you music from our crew in the US.
Side A is exclusively brought to you by two amazing Minneapolis artists that are literally head first in the Minneapolis House Music and Techno scene. These guys are out there on the front lines every weekend and many week nights, they don't sleep! Welcome two tracks from Jeff Swiff and Christian James.
Next up is side B, this is the exchange part ya'll! From Chicago we have Dan Ryan and from Los Angeles we have Ricky Tinez. These two bring in a seriously raw and darker vibe to the release, let the tracks speak for themselves and enjoy!
Brixton's Dream Diary continue to bolster a blooming catalogue of classy electronic music with a fresh 4-track EP courtesy of label owner Oslo Roma. Staying true to their canon - Roma's 'Bubbles' EP spans Ambient, cruising Deep House, Minimal and Electro balancing water tight drums with eyes down melodies throughout.
The title track opens things up with gliding Juno chords and a steady, hypnotic pulse. Shimmering cymbals and spoken snippets ferry the listener into a trance before 'How Good Is The Party' rolls loose limbed drums under sweeping tones and expansive dub delays. 'Mars Water' then dims the lights with a driving bass line set under reversed vocals and clipped, neat drums. 'Twotet' then finishes the package up with sharp 808 drums and soft allaying melodies that work to round off another rich and varied addition to the Dream Diary catalogue.
Nisantashi Primary School are Vlad, Lucy and Mykhaylo from Kiev. This electronic-pop trio embraces weird sounds and holds omnivorous but clearly discerning appetites for mixing disco, funk and dub grooves. Their debut EP is a mix of snappy and moody synth sounds, vintage-tinged bass lines and gritty rhythms.
The selection of tracks is a showcase of moods and influences: from the feverish and psychedelic "Mr. Fingers" with Fumaça Preta's Alex Figueira on drums, to the nocturnal dancefloor gem Hills'. Hints of dance records from 80's NYC, synth-based disco and krautrock come through, but an eastern european immediacy and faux-débutant approach brings its own flavor to the table.
While dance music from Kiev might seem surprising, what do we really know about this city's energy From the place where so many things are happening these days, maybe it's time to see something else unfold.
Aus großen Melodien und strapazierfähigen elektronischen Teppichen gestrickt, ist "Love What Survives" gewissermaßen die Essenz ihres bisherigen Schaffens, indem verschiedene Gesangsgäste und Musikerpersönlichkeiten (James Blake, Micachu, King Krule) hinzukommen, um gemeinsam zu experimentieren, Formen neu zu denken, Dinge auszuradieren, mit Pop-Überlieferungen zu spielen, alles zusammen wachsen zu lassen. Die neuen Tracks enstanden größtenteils auf zwei Vintage-Synthesizern (Korg MS-20, Korg Delta), die beide, so die Band, diese "punkige, schloddrige Qualität hätten, die an Robert Wyatt erinnert", die mit ihrem Industrial-Einschlag und dem unverkennbar direkten Sound Mount Kimbie zu ihrem neuesten Sound-Update bewegen sollten. Der pulsierende Motorik-Beat der Single "Blue Train Lines" zum Beispiel schickt King Krule direkt auf die Überholspur, von wo aus er seine zerklüfteten Vokalsalven abgeben kann. Die offene, ausladende Aura der Platte ist ferner der Tatsache geschuldet, dass sie zwischen London und Los Angeles entstanden ist, zwei Standorten, zwischen denen das Duo pendelte, um gemeinsame Sessions zu veranstalten und Ideen zu verfeinern.
For the third and final part of Jerome.c, Dubfluss - Friendship connection we invited Julian Alexander and Guy From Downstairs to join our artist roster. A lot of hard work was made into this 3 part LP by our good friends and we hope everyone enjoys it as much as they did producing it. Lots of Melodic grooves and solid bass lines, proper house music dance tracks on this release. Cheers from Berlin
Following on a trio of successes with established talent, for our fourth release MANHIGH takes an excursion to lesser-known regions with experimentalist Desroi. Previously known from EPs on his eponymous imprint and Total Black the German newcomer quickly caught our attention. Beginning with the opener, 'Indifferent', we are introduced to his heavily sculpted, hypnotic sound world, where a rolling, repeating rhythmic framework is echoed in the higher registers with heavily-filtered delay loops, and a melodic lead line taken deeply into dub provides both a centerpiece and the basis for many other elements. Another relatively new talent currently rising quickly to wider notice, Phase Fatale's relaunch of 'Indifferent' stays resolutely in his own world, a grinding, banging amalgamation of distortion, punishing in its resolve and propelled by mutated elements of the Desroi's original piece. His idea of 'Apathy' invokes entirely more aggressive emotions than the word's conventional usage, tightly winding bleeps around a rigid sequence kept in motion by constant effects and sporadic drum hits, which then transforms at is halfway point with the entrance of harder kicks driven by an open hat. 'Sopor' induces trance states more than it does sleep; sophisticated applications of delay effects and patient acid combine for a deep, inward-looking hypnotic state with momentary shifts in rhythm and color evoking the ephemeral nature of dreams.
No musician embodies more the dramatic transformation in the British jazz scene over the past thirty years than Courtney Pine. His debut album, Journey To The Urge Within in 1987, was the first serious jazz album ever to make the British Top 40, notching up sales to qualify for a silver disc.
Aside from being the preeminent figure in the resurgence of British jazz, Courtney became a renowned presenter and broadcaster, best known for his long running radio show for BBC Radio 2, 'Jazz Crusade'. He was also awarded an O.B.E in the 2000 New Year's Honours, and was also made a C.B.E in 2009 for services to Music.
As an artist always looking to work outside of and across established musical genres, it is easier to list the musicians and artists he hasn't worked with, but now in 2017 Courtney releases brand new music featuring another British music legend of equal repute, his Freestyle Records label mate and an artist also honoured for his own creative endeavours, Omar Lyefook M.B.E.
Both tracks of this single are taken from Courtneys' forthcoming album Black Notes From The Deep - the 19th of his stellar career. The exciting and fresh interpretation of Herbie Hancocks' Butterfly demonstrates straight away that this is a dream team combination. With Alec Dankworth laying down the bass, Rod Youngs' drumming underpinning the groove, the song also gives the outstanding keyboards of Robert Mitchell space to stretch out - Omars fantastic vocal performance rides sweetly on top of the dreamy backing vocals of Charleen Hamilton - and of course Courtneys' flowing, imaginative and creative solo perfects this modern version of a much loved classic.
Rules is a brand new, collaborative composition by Courtney & Omar - the punchy drums and bass line patterns hints simultaneously at classic jazz and funkier club-centric sounds. Courtney cooks on tenor saxophone and also the organ - whilst Omar marinades the super catchy melody with that unmistakable voice.
As an introduction to the forthcoming album Black Notes From The Deep this single points the way to what 2 British legends, both exemplary in their own right - can come up with when joining forces.
If you were in the global house music scene around the turn of the century, you'll be very pleased to hear the news !
Dubtribe Sound System brought a wealth of inspiration and joy to the world's house music community with its deep, rich, thoughtful, musical and lyrical message at the height of their existence.
Sunshine and Moonbeam Jones, the prime instruments behind Dubtribe, dazzled audiences with their performances and further with their releases on home label Imperial Dub.
During an apparent long hiatus, Sunshine Jones has actually been as busy as ever, doing his own thing, as always, and touring city by city around the world to deliver his message, sound and soul in person to his legion of followers.
On the heels of the tours and shows, Mr. Jones is ready to release the incarnation of sounds that he's so eager to share.
The good time vibes are all there with a current poignant meaning for all to ingest. As they say, "the more things change, the more they stay the same."
Although in the data age, this release is deeper and more meaningful than the old adage ever could imply.
Pacific Beach Vinyl is pleased to announce, Sunshine Jones - Fall In Love, Not In Line in three equally glorious renditions.
The Crooked Man returns to Bitter End with an 'Emotional Copy Only' limited pre-release of powerful club pieces...
Keen eyed aficionado's may spot the homage to Mel Cheron's classic US label West End Records here
But while their motto may have been 'Where The Sun Sets & The Stars Rise' Bitter End Records embarks on a distinctly more 21st century path to dancefloor salvation...
'Echo Loves Narcissus - Part 1' is the opening salvo in a sonic saga across four movements, marrying, as it does irresistibly uplifting chords and vocal ad-libs to a bass line so thick it'll rattle the windows right out of your ride and knock the tiles straight off the walls of your cerebral restroom.
Once you've adequately composed yourselves, we invite you to the 11 minute MONSTER which is 'Get The Love' on the AA...
This recalls the brief but genre defying 1990 jams from Mundo Muzique's 'Revelation' project: synth assisted house-nosis, buoyed by the mantric voice imploration to accept higher states of carnality atop an immersive blanket of propulsive rhythms.
Once again Bitter End rips up the rule book, and crafts a whole set of new, better ones in which freedom reigns
Although not a band in a traditional sense of the word, this record was created by a rotating ensemble of players: for a brief moment, musicians from different backgrounds (in this iteration: Preslav, Kenny Peagler, Waajeed, Joe DeFazio and Phil Boyd) became a band and then went their separate ways.
Rhodes, funk basslines, neo-soul chords and tight drum programming are the lingua franca of the 24 Hour Band.
The title of each song represents the time of day that inspired it and collectively, they point to the goal to create records that can be enjoyed not just in a club, but throughout the day, at home, or in your car.
Italian artist Blasted is ready to spread his stunning music with an intense four-track EP, Aelien I. The industrial architecture of this project defines the lines of his modern techno concept. Blasted welcomes two remixes from the acclaimed, Berlin-based producers Unhuman and Blush Response. The EP goes straight to its revelation, neurotic patterns which bump into a dark misanthropy, an experimental sound that becomes more and more cryptic. The second track is a powerful remix by Blush Response and it is the result of a metallic explosion due to a mental calculation of dusty beats and low basses. Unhuman's remix closes the EP, dark forces make it clear about the distorsion and intensity of Aelien I's noise, techno rhythm. Welcome to a unique variation of massive techno sphere.
DJ Harrison is Richmond VA-based producer and multi-instrumentalist Devonne Harris.
The son of a radio DJ who introduced him to the world of record collecting, Harris grew up with music, progressing from violin, to high school drum-line, to the Jazz Studies program at Virginia Commonwealth University. He also continued working with other instruments and developed an interest in sampling. His development as a producer - at first, without a computer or sampler - came first learning to replay samples on the drums, piano, bass or guitar.
DJ Harrison finds himself inspired by local musicians in the Richmond scene that's as diverse and nonexclusive as they come. Among rappers, producers, punks and bluegrass bands, he falls within reach of an expansive pool of musicians to collaborate with. He lives and works in Jellowstone, a house turned recording compound occupied by his band mates in Butcher Brown, a 'garage punk jazz funk' group.
My Favorite Robot welcome the collaborative outfit of Rodion & Local Suicide for their next EP, which comes boosted by
remixes from Los Mekanikos, Moscoman and Fairmont, as well as artwork that is made up 3D prints of the act.
Rodion is an Italian classical piano player and acclaimed producer whose albums and EPs for the likes of Gomma, Nein
& Nang have helped to reshape modern disco. Also one half of Alien Alien and boss of the Roccodisco label, he is a real
studio visionary who for ten years has mixed up classical, trance and psychedelic sounds. He makes everything from
chamber music to computer game soundtracks, has remixed Giorgio Moroder and counts the likes of Tim Sweeney, Erol
Alkan and DJ Hell as fans. Berlin-based duo/couple Brax Moody and Vamparela aka Local Suicide have been
collaborating together since 2007, either as a DJ duo, in bands, or as remixers and producers. They have played all over
the world and are in favour with the likes of XLR8R, Thump and Mixmag for their fusions of slow techno, post disco and
acid.
These original analog tracks were recorded between 2014 and 2016 in Rodion s vintage studio in Berlin. They came about
when they all met following one of his gigs just after he moved there, and after being in touch online for a while. During
one of the nights, Rodion brought friend, producer and singer Ali Bey (part of the Belgrade DJ collective Beyond House
and a famous record digger) to contribute.
Impressive opener Abu Dhabi includes samples from field recordings from all over the world. The most prominent is the
recording from an airport in Bangkok where Brax Moody and Vamparela were waiting to catch their plane to Saigon
and it ended up being the main vocal hook. The alluring track is a wonky feeling number with gurgling synth lines and
gentle releases of white noise lulling you into the groove. A searching synth line and distant siren add urgency and the
whole thing feels urban and futuristic.
Comprised of Mexico City producers Max Jones and Eddie Mercury, Los Mekanikos combine raw hypno-rhythm tracks
with pumping grooves that pay homage to Chicago, Detroit and Berlin. Their special remix is another late night and
unhinged number that encourages you to freak out amongst the panning and paranoid synth patterns and robotic grooves.
Then comes the brilliant True Love Floats with Ali Beys singing and Vamparela s vocoded vocals. The interplay between
the two is tense and alien and makes for a perfectly inhuman groove with popping bell sounds, undulating pads and spooky
deep space ambiance.
Remixing this one is Berlin via Tel Aviv artist of the moment and Disco Halal label head Moscoman, whose raw machine
grooves have impressed on labels like ESP Institute, Correspondant and I'm a Cliche. His slow and purposeful version is
deep and psychedelic with disorientating vocals and blistered synths wallowing in a menacing urban landscape. Buy it
digitally and you will also get a fine remix from label regular and Canadian Fairmont. He runs the Beachcoma label, has
worked with cult outlet Border Community over the years and mixes up dark disco and goth into his own fresh sounds. His
remix here is more direct and driven, with powerful drums and well sculpted synths making it another great rework.
This is a unique sounding package featuring plenty of heavyweight names and marks another cultured outing from the
always considered My Favourite Robot label.
