Cerca:kris b

2024 repress.

Dive into the spiritual depths of Carnatic Music (Southern Indian classical music) - An enchanting journey of devotion and transcendence pulsates with raw sincerity and profound spirituality, casting a spell that transcends boundaries of belief.

Originally released on CD in 2000 from South Indian Carnatic music label and reissued on vinyl and digital first time in 2019 by Time Capsule. New 2024 repress vinyl has different tracks on the B side and it still remains as the reverse cut as the 2019 version.

2024 new vinyl repress with different track list on the side B. Reverse Cut Vinyl - This record plays from the inner groove to the outer groove. Comes with a hype sticker.

Born into a musician family steeped in the south Indian tradition of vocal music, the Mumbai-raised singer took advantage of the city’s cosmopolitism to study northern Hindustani disciplines, one of the few vocalists to train in both. Now revered as one of the greatest living exponents of Carnatic music, she received an Oscar nomination for her work on Ang Lee’s Life of Pi.

Within the first minute of opener Sada Bada (Slokam), Jayashri’s intensely spiritual vocals give a clear indication of why she has been increasingly embraced by a new generation of western listeners who’ve made the natural leap from ambient soundscapes to new age and devotional music. Accompanied on the following Bhajeham Bhajeham by a hypnotic rhythmic backing of mridangam drums, bells and the drone of a tambura, over its epic twenty-minute length she stretches her voice into a variety of spellbinding forms – her softly enunciated dedications to Shiva enveloping you with their immersive warmth and cosmic beauty. Keshvaya Namaha is an invocation to Lord Vishnu, the protector of creation and one of the other major deities of the Hindu tradition, while Raghavam recites the names and attributes of two of his most popular avatars: the heroic Rama and the playful, loving Krishna.

One of the album’s new-found devotees is label boss Kay Suzuki: “every time I listen I’m amazed at how such a small ensemble can create such a deep musical landscape. The incredible production plays a big part. That intricate percussion sounds so clear and sits in all the right pockets rhythmically and sonically. Just by following this groove I’m put into a timeless zone, but when her voice hits on top of that gorgeous drone sound and I focus on the details of her small melodies within melodies, my heart centres and I find myself in a blissful place.”

As professor of cultural and political theory in Universicty of East London, Jeremy Gilbert states in the album’s liner notes, the mesmerising sincerity and deep spirituality of these songs present an intense and spiritual charge that will appeal to an audience well beyond believers and devotees of Hinduism.

Over the past decade Rising Sun has firmly established himself as a purveyor of the finest deep, dubby and cinematic leaning house and techno, consistently delivering a sound that is distinctly his through labels such as Fauxpas, Freund Der Familie and his own numerous imprints Reality Used To Be A Friend Of Mine, Kristofferson Kristofferson and Beautiful Things Don't Ask For Attention under a variant of guises such as The Ambientist, Rising Sun Project, Rising Sun Psyche, Rising Sun Melancholia and simply Rising Sun under which he returns here for Echocord. As one has come to expect from a Rising Sun release ‘The Eternal’ has a firm foundation in emotive melodies and atmospherics across six alternate versions. ‘Eternal 1’ leads with muted drums, fluttering stabs and a preaching spoken word vocal. ‘Eternal 2’ edges into darked realms, merging expansive dub echoes with swelling subs and tension building strings before ‘Eternal 3’ dives head first into ethereal hypnotism via unfurling textures, soft stab sequences and a rounded kick. ‘Eternal 4’ opens the B-side with a subtly unfolding construction as vocals, chords and swinging drums run in unison. ‘Eternal 5’ then strips things back to a gritty statured feel with boomy percussion, enchanting strings and nuanced stabs before ‘Eternal 6’ rounds out the release laying down murky, multilayered pads, widely dispersing reverberations and bubbling delays throughout.

Immerse yourself in pulsating beats and refined taste with our latest Vinyl "Veinylpower." Featuring artists such as Monika Ross, Adine Frost, Ema Remedi, and Anaid, the musical journey spans from Deep House to Garage.

The design crafted by artist Kristina Supernova making your electronic music experience even more immersive.

For every record sold, a portion will be donated to SLOWODI - Solidarity with Women in Need, offering support to women facing challenging situations.

"Veinylpower" marks Veinyl Berlin's third groundbreaking release, celebrating women, the diversity of electronic music, and contributing to a meaningful cause.

Italian legend Walter Del Vecchio aka Quiroga pays tribute to the acid house era on Hell Yeah with a new package that comes with two originals, an ambient mix and a remix from cult hero DMX Krew.

Quiroga released his last sublime album Passages on this label and it came as the latest entry into a discography filled with beauty and detail. He is a talented musician from Naples who has his own left-of-centre take on the Mediterranean sounds of the city, as he shows once again here with a house-leaning outing.

Quiroga has teamed up with cult musician Dario Bassolino and called upon Whodamanny's mixing skills for these new tracks. First is 'Once Again', a punchy and chunky house cut with skewed bass spraying about the mix. Its rough analogue edges are lit up by searing acid lines that never quit and will turn any party into a cauldron of intensity. The Ambient Version is a full-flavour downtempo workout that keeps the wild acid lines, adds in some FX, old-school piano chords and a yelping female vocal next to a blissful breakdown. 'Once Again' (DMX Krew Remix) is then a bumping acid-electro monster with fat drums and the manic 303 offset by serene chord work to make for a perfectly emotional dance floor delight.

'Freak The Funk' is a second original cut, as rides of crisp snares and snapping drum breaks blend with a warm bassline and smeared cosmic chords up top. It's a classy peak-time house cut with magical pixelated synth melodies.

Alongside superb artwork from PlanetLuke, this is another essential package from Hell Yeah.


DJ Support:

Sean Johnston (ALFOS), Kristian (AME), Fango, Front De Cadeaux, Sinchi Collective, Phat Phil Cooper, Balearic Gabba Sound System

Sounds Of The Universe | The 12" Singles, a deluxe collector's
edition box set, contains seven 12" vinyl discs presenting
singles--including Wrong, Peace, the double A-side Fragile
Tension/Hole To Feed--alongside B-sides, remixes, dub
versions and other recordings contemporaneous to Depeche
Mode's 12th studio album, Sounds Of The Universe, originally
released by Mute Records in April 2009.
Sounds Of The Universe | The 12" Singles offers a full range of
ear-grabbing mixes--radio, club, dub and more--of Depeche
Mode originals with three discs (Discs Two, Four and Seven)
newly compiled for this collection, bringing together B-sides
and mixes first released across CD and maxi-singles
contemporaneous to the album's release.
When it came time to record the Sounds Of The Universe
album, DM's classic core (Dave Gahan, Martin Gore, Andrew
Fletcher) returned to the studio to make their second album
with producer Ben Hillier, whose intuitive contributions to
their previous studio album, 2005's Playing The Angel, had
created new sonic possibilities for the band expanding
Depeche Mode's vision and repertoire while continuing their
tradition of issuing monumental 12“ singles.

Repress!

One of the gems on the smash hit album 'Soulmatic', Purple Disco Machine & Boris D'Lugosch's, 'Love For Days' gets the remix treatment three ways.

First up the master Kenny Dope - crisping up that shuffling rhythm with some added percussion and synthesiser arps to turn what was already a peak time soulful anthem, into a close to 8 minute extended journey drawing you in more and more with each build up and breakdown. Next up the PDM offers up an extended mix of the original, a welcome sight for those DJs on the club scene who have been rinsing this since the album dropped last year.

Finally, Motez takes you into raunchy, r&b tinged, garage territory, really honing in on Karen Harding's incredible vocals whilst incorporating brooding pads and sweeping fx's to create a special twist on the original.


DJ Support:

Aeroplane (Aeropop / Eskimo Recordings), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Autograf (Counter Records), Treasure Fingers (Psycho Disco! / Fool's Gold), Malente (Southern Fried Records), Satin Jackets c/o (Eskimo Recordings / N.E.W.S.), Eric Sharp (9G Records), Gregor Salto c/o (Spinnin' Records), DJ Blake Jarrell (Armada Music), Jerome Price (Throne Room Records), DJ Licious (Spinnin' Records), Travis Emmons (Weapons Music), Electronic Youth (KMS), Solidisco (Fool's Gold / Ultra) :: Mark Knight c/o (Toolroom Knights), Mike Mago (Boemklatsch), Muzzaik (Spinnin' / Toolroom), The Disco Boys (We Play Music), Trevor Mac (Jalapeno Sound System), Ferdinand Weber (Spinnin' Deep), LCAW (Ultra), Plastic Plates (Sweat it Out), Mark Lower (Nurvous), Don Diablo c/o (Axtone / Spinnin' Records), Eton Messy, Après (Love & Other Records), Spada (Ego Music / Hysterical), Eelke Kleijn (Spinnin' / Suara), Horsemeat Disco (Strut Records / K7! Records), Horsemeat Disco (Strut Records / K7! Records), Adriana Lucia (Get Physical), Broc Roc (Dj B-Roc of The Knocks), Chordashian (Mullet Records), Hector Romero (Saw Recordings), Just Kiddin (Nervous Records)

Idris Elba c/o (Connaisseur Records / 7Wallace), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Shiba San c/o (Suara / CUFF), Malente (Southern Fried Records), Rudimental (Asylum / Big Beat), Sirus Hood (Under No Illusion / Dirtybird), Marc Spence (This Ain't Bristol / Skint), Martin Solveig c/o (Spinnin' Records), Horsemeat Disco (Strut Records / K7! Records), Riva Starr c/o (Hot Creations), Mike Mago (Boemklatsch), Kokiri (Love & Other), Fred Falke (Work It Baby Records), Claptone c/o (Exploited), Roger Sanchez (Stealth Records / Astrx), Don Diablo c/o (Axtone / Spinnin' Records), Icarus (FFRR / SubSoul), Pezzner (Dirtybird), Jourdan Bordes (Phonetic Recordings), Mahalo (Toolroom / Bunny Tiger), AC Slater (Night Bass), Chordashian / Felix Feygin (Mullet Records), Fei-Fei Wang, Kristina Sky (Ultra / Armada), Thee Cool Cats (Toolroom / Bunny Tiger), Solidisco (Fool's Gold / Ultra), Infected Mushroom c/o (HOMmega Productions), DJ Blake Jarrell (Armada Music),Travis Emmons (Weapons Music), Human Life (LIFEX / Exploited), Treasure Fingers (Psycho Disco! / Fool's Gold), Hector Romero (Saw Recordings), and Danny Howard (BBC Radio 1 / Nothing Else Matters)

OTHR is the techno alias of KHIDI resident and Tbilisi native Ladouka Ninua releasing his first EP on BITE 'Scythe Of Vyse'. One of the most prominent musicians in the Georgian electronic music community, his involvement and support has left a legacy that has established him at the center of Tbilisi's club scene. 'Scythe Of Vyse' represents Ninua's accumulation of uncertainty and isolation from the past years in Tbilisi and cathartically releases it into a triumphant record with singular sound design of metallic samples of groove that sound of a bygone age yet from a cybernetic future. With releases on KHIDI's own label and collaborations with Ancient Methods already, this EP marks a new beginning for OTHR as he steps into new, uncharted territory in electronic music with his singular style.

Edinburgh based DJ and producer Filthy Rich, head honcho at independent techno label ‘Zimp Recordings’, is a deliciously slippery artist with an engorged techno sack who’s always at the ready to spurt his computer generated juicy tit bits all over your proverbial techno flaps.

This release sees him pulling off as much energetic samba and animated conga as it’s possible for one to technically muster. The vinyl is literally rammed chock full of staccato vocals, modulating metallic chords, big percussion, whistles and shouting, all over thumping tribal African beats. Along-with the first two original trax there’s a full on analogue synth growling breakz remix by Kris Breaks of a third, a beautifully produced pounding clinical banger of a techno remix from Duellist & Kenny Campbell, a precisely linear, chanting and hypnotic mix from Polly Ambergris and a stunning debut track from Tom K McCarthy, commonly known by his DJ alias of Toxocologist, that’s a veritable bass driven atmospheric stomper overlaid with trippy melodies and vocals. Utterly outrageous dance floor fodder of the highest order if ever there was some.

A new lick of paint for the House of Disco, serving you slick, sophisticated and just as stylish. Taking the keys for the thirtieth release, Dutch dynamo Cleanfield, who lays down a four track EP dripping in summer sun.

The A side opens with ‘Sunshy’ a disco house banger, complete with bumping bass, sun-kissed toplines and warped Kool & The Gang synth warbles, before ‘Oregano’, takes you on a Mediterranean flavoured, supercharged dream house journey spliced with tripped out arppegiated wanderings.

On the flip, ‘Krispy’ a tropical, synth-heavy party starter with sandy beaches and crystal-clear oceans in mind and ‘Caught In The Act’ an underwater sea sensation, drenched in drunken arps and a cocktail of chants, guitar licks and good vibes.

London's SlothBoogie return with the second instalment of their 'Dancing With Friends' series this August, featuring exclusive new music from Kemback, Felipe Gordon, Mak z, Bill Mango, The Revenge and more.

Following the success of the inaugural 'Dancing With Friends', which featured the likes of Kassian, Letherette, Joe Cleen and Ruff Stuff amongst others, the crew are back with that ever so tricky... second album. This sequel however, will not disappoint. The team have scoured the four corners of the globe to provide listeners with a comprehensive follow up that showcases more brand-new music from their favourite producers.

'Dancing With Friends Vol.2' is a deftly curated selection of the diverse styles synonymous with the SlothBoogie sound, ranging from the hazy deepness of cuts by Amy Dabbs, DJ Counselling, Bill Mango, Metropolitan Soul Museum and Kristy Harper to Disco tinged, jazzy, bumpy numbers from the likes of Jesse Bru, T.U.R.F. and Felipe Gordon through to more tripped out acid workouts by The Revenge, Fede Lng & Mojeaux, Togethrs and Pablot.

With this latest collection you can trust SlothBoogie to bring some much-needed dancefloor unity and sun-drenched energy to the world for the summer of 2021. The perfect soundtrack to reconnect and begin dancing with friends once again.

The vinyl format will come as a Gatefold Cover with 2 x 12" cream speckled clear vinyl and will include the full digital album download cards.

2023 Repress

This latest limited 7" from Mr. K features two incomparable baroque soul masterworks, one from a Chicago-based band that defied categorization and the other a deep cut from a living legend songwriter and performer.

The psychedelic soul of Rotary Connection’s “I Am the Black Gold of the Sun” still sounds revolutionary and unlike anything else, a full fifty years after it was originally released in 1971. Swathed in ethereal ripples of strings (courtesy the Chicago Symphony Orchestra) innovatively arranged by unsung genius Charles Stepney, and rooted in a rock solid foundation provided by the cream of Chicago’s cutting edge session musicians (among them guitarist Phil Upchurch and drummer Morris Jennings, veterans of countless soul jazz cuts), “Black Gold” sits in uncharted territory somewhere between soul, rock, jazz and classical chamber music. It’s a gorgeous territory, a fantasy land where Minnie Riperton and Sidney Barnes’s vocals transmit mystical, uplifting vibes, the entire affair anchored throughout by an addictive piano riff—a mixture that proved irresistible to Masters at Work, who covered it for their Nuyorican Soul project in 1997. Mr. K’s edit doesn’t try to force anything fancy on this masterpiece, simply tightening it up and taking advantage of the lush remastering to present this progressive classic on 45 for the first time.

In keeping with the orchestral soul mood, Mr. K turns to Stevie Wonder’s “Pastime Paradise” for the flip. Whereas “Black Gold” paints a portrait of a magical land, Stevie’s lyrics on “Pastime Paradise,” originally issued in 1976, are a penetrating look at the very earthbound concerns of modern society and its follies, an urgent message to look ahead rather than languish in dreams of the past. The sensitive string accompaniment provides just the right amount of gravitas and emphasis to Stevie’s voice without overwhelming it, while the hare krishna-inspired tambourine keeps the rhythm effectively. Mr. K’s edit again keeps things true to the original, simply providing a subtle intro that uses the tambourine rhythm to lead into the body of the song.

2024 Repress

While during the 1990s - higher, faster, further! - the straight bass drum has been shooted around the globe, there arose a number of variations of more or less contemplative slow- and sacred music from all kinds of corners at the same time. In a sense, it’s the other side of the medal: Chillout, Lounge, Easy Listening, Trance, Muzak and elevator music, electronic music and intelligent techno… and of course and in particular: Ambient. In classical and new variations.

Beside the constant pushing forward of the so called „Sound Of Cologne“- Minimal Techno in the home of Kompakt, there was also a strong faible for ambient sounds. Not only because of the labels origin and its operator’s preference for the pop music of the 70s and 80s, there was evolving a variety of ambient music, that added the aspect of pop to the confusing diversity of genres during that time. Not pop in the sense of actual classic pop music: Pop in the sense of subculture, of Pop Art and, first and foremost, in the sense of pop as an attitude. This was how Pop Ambient was launched and the way it established its own authentic music with a high recognition value. Pop Ambient is indulging the beauty and the timelessness. Pop Ambient is a sonic cosmos of attitude for itself and has no fears of contact with adjoining genres nor with kitsch, art or carnival. It’s ambient if you do it nevertheless. ^

Während sich im Laufe der 1990er Jahre die gerade Bassdrum immer höher, schneller, weiter einmal um den gesamten Planeten geballert hatte, kamen parallel dazu etliche Spielarten mehr oder weniger kontemplativer Erbauungs- und Verlangsamungsmusik aus allen möglichen Ecken auf. Gewissermaßen die andere Seite der Medaille. Chillout, Lounge, Easy Listening, Trance, Muzak und Fahrstuhlmusik, Elektronika und Intelligent Techno… und natürlich und vor allem Ambient. In altbewährten und neuen Variationen.

Auch im Hause Kompakt gab es neben dem steten Vorantreiben des sogenannten „Sound Of Cologne“ - Minimal Techno ein starkes Faible für ambiente Klänge. Nicht zuletzt aufgrund ihrer popmusikalischen Herkunft und einer besonderen Vorliebe für die Popmusik der 70er und 80er Jahre, kristallisierte sich bei den Kompakt-Machern ab dem Jahr 2000 eine Spielart ambienter Musik heraus, die den vielschichtigen, unübersichtlichen Genres dieser Zeit den Aspekt des Pop hinzu fügte. Nicht Pop im Sinne eigentlicher, klassischer Popmusik. Pop im Sinne von Subkultur, von Pop-Art und vor allem von Pop als Haltung. So wurde „Pop Ambient“ aus der Taufe gehoben und etablierte eine genuine Musik mit hohem Wiedererkennungswert. Pop Ambient frönte hemmungslos dem Schönen und der Zeitlosigkeit. Pop Ambient ist ein Klang- und Haltungskosmos für sich, und hat dabei keinerlei Berührungsängste, weder mit angrenzenden Genres, noch mit Kitsch, Kunst oder Karneval. Ambient ist wenn man’s trotzdem macht.

XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette tape early on in the label's history, while the two remaining pieces are presented by the label for the first time.

"The works Ir Himinn, Grooenn by Kristoffer Svensson, Disquiet (Heart) by Marta Forsberg and Lamé by Isak Edberg were first released on the compilation XKatedral Volume II in 2016. Svenssons piece from 2014 combines justly tuned gamelan percussion and prepared piano intricately interwoven in a way that obscures the boundaries between the two instrument groups. Forsberg and Edbergs pieces both use a monolithic form to explore the timbral and harmonic spaces provided by the Düben Baroque organ situated in Tyska Kyrkan in the oldest part of Stockholm. While similar in terms of instrumentation the two works differ formally - Edbergs Lamé composed in 2010 uses the registers of the organ to articulate a seamless spectral transformation while Forsbergs Disquiet (Heart) from 2014 deals in blocks of sound with a varying degree of opacity, saturation and intensity.

Glory for two electric guitars by Caterina Barbieri and Kali Malone was composed and recorded in Tempo Reale in Florence, Italy, and was originally released on the cassette compilation XKatedral Volume III in 2016. This music takes the form of an ever-evolving hypnotic pattern shared by the two instruments articulated through an additive and subtractive canon. Dissolving Ceremony, composed in 2012 by Edberg/Erlandsson/Lisinski, was first presented publicly on the self-released record Stratum. The music contained in that release was formed from a collection of gamelan percussion instruments augmented by two sets of live-electronic instruments tuned to the harmonic framework formed by the partials of the metal percussion. Originally positioned in the center of the record running order between two long monolithic process-based pieces, Dissolving Ceremony now stands on its own as a memory of a time and methodology from the not so distant past.

The newest piece in this set is Shipwrecks by Daniel M Karlsson. While this work is a recent one Karlsson should be considered one of the forerunners of the musical expression contained within this record set. Active within new music for two decades his strongly articulated musical ideas and constantly evolving craftsmanship has resulted in an enormous body of work, and has served as an inspiration for many of his fellow composers. This piece is a celebration of transposition and its immense capacity for timbral transformation using a vast array of instruments performed, recorded and electronically treated by the composer to form a liquid uncanny topography where a deeply personal harmonic language constantly shifts, slides and shivers."