Cerca:la lom

For Rhye’s Michael Milosh, the home is the center of creativity and community. It transcends conventional understandings of walls, stairs and hardwood floors. A culmination of a wayfarer’s journey, the home is a balm for a restless spirit — a place to simply be.

For much of his life, the Canadian singer, songwriter and multi-instrumentalist has wandered, decamping in Toronto, Montreal, Thailand, the Netherlands, Germany and Los Angeles at varying times. Since the meteoric rise of Rhye’s 2013 debut Woman, he’s mostly lived on the road—playing between 50 and one hundred shows a year. But over the last couple of years something changed. On the heels of some major life changes, including a new relationship, Milosh yearned for a more permanent space. “It's this idea of creating a safe place that's not just conducive to creativity, but one that’s truly an anchor point from which to make art and be creative,” he says.

That longing was fulfilled in August of 2019 when Milosh and his partner Genevieve happened upon the perfect place in Topanga. It had been on and off the market for two years as the owner sought the perfect buyer, one who would carry on its creative tradition. “She did this ceremony somewhere on the property where she was trying to call in the right people, and apparently we came the next day,” Milosh explained. “The right kind of home presented itself to us, and we presented ourselves to it. It was like a union between us and the home.”

Written throughout 2019 and early 2020, recorded at Milosh’s home studio, United Recording Studios and Revival at The Complex, and mixed by Alan Moulder (Nine Inch Nails, Interpol, My Bloody Valentine, U2, The Killers), Home is familiar in its synthesis of propulsive beats, orchestral flourishes, piano ruminations and sultry, gender-nonconforming vocals, but never have they sounded more cohesive or alive.

“I'm always trying to always accomplish musical goals that are connected to the way I listened to and interact with music as a child,” Milosh says. The sentiment also underscores a broader, less obvious, but no less important theme echoed through his new record: No matter where life takes us, we can always go home.

"Matasuna Records" has found another musical treat from the African continent for its latest release - a song by the Ghanaian musician "Mawuli Decker". It was released in 1983 on the rare and sought-after album "Ayo Special" and is available for the first time as a 7inch vinyl single, which is supplemented by an edit from "Renegades Of Jazz". The esteemed London label "Kalita Records" was able to provide the audio material for new masters and is also acting as music publisher with the new "Kalita Music Publishing".

Mawuli Decker was born in 1949 in Ghana, where he also grew up. His musicality has been given to him from an early age, so that he not only attracts attention as a singer, but also plays drums, percussion and bongo. He played in various dance bands, which were very popular in Ghana especially from the middle of the last century onwards and made the Ghanaian highlife known beyond the borders. He has played in various dance bands such as New Planets, Sawaaba Sounds, The Tops, Caprice 73, The Volta Pioneers and others, which have performed in Ghana and other West African countries.
His first release was in 1975 with the band "Dzobi Soundz" on the Polydor label. Further releases of projects with his participation followed, until 1983 when he recorded his album "Ayo Special" at "Otodi Studio" in Lome (Togo) with an illustrious group of musicians.
He is still deeply rooted in music and performs in West Africa and is still very active in recording.

On the A-side is the original version of the song "Lololi-Lomko", sung in the "EWE" language, which is spoken in the south of Ghana as well as the southern parts of Togo. "Lololi" means "There's Still More Love" and "Lomko" stands for "Please love me" - classical themes that have appeared in countless songs in music history. Although a certain catchiness of the track cannot be denied, it doesn't seem cheesy at any point. Mawuli, who also contributes the vocals, creates perfectly formed harmonies through his compositions and arrangements, which are especially apparent in the bassline, guitars & brass and of course the vocals.

This was certainly also the idea behind the edit of "Renegades of Jazz" on the B-side, which did not want to break up and alienate the organic composition. Listening closely reveals the approach: a steady tempo, a more powerful bassline and additional drums and percussions bring the song back directly to where it belongs: to the dancefloors of this world!

On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising ‘Black Willow’ from Loma’s self-titled debut. He said he’d had it on repeat.
At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a gruelling tour
with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd and then into the sea, while the band carried on from the stage - an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?” Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart
(and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become ‘Don’t Shy Away’. Loma writes by consensus and, though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an Ouija Board and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavor,” he says, “but in Loma, nobody wears the crown, so we have to trust each other - and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular - a vivid work whose light touch belies
its timely themes of solitude, impermanence and finding light in deep darkness. “Stuck / beneath / a rock,” Cross begins, as if noticing her predicament for the first time. Then she adds: “I begin to see / the beauty in it.” A series of guests contributed to the absorbing soundscapes of ‘Don’t Shy Away’, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes/Wye Oak’s Jenn Wasner and a surprisingly bass-heavy horn section.
And then there’s Brian Eno. Loma invited him to participate in the mantra-like ‘Homing’, which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band but his completed mix arrived via email late one night, without warning and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross.
“What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno - a perfect ending to an album about finding a new home inside an old one. “I am somewhere that you know,” Cross sings, above a chorus of her bandmates’ blended voices. “I am right behind your eyes.”
First LP pressing on dark green vinyl.

Auf Bronsons Veröffentlichung ”White Bronco” (2018) rappte er: ”my next album’s only for dolphins”, und der prinzipientreue MC steht immer zu seinem Wort. Action ist eine Legende aus Queens, NY, die für seine eigenwillige Feder und seine lebendigen Raps respektiert wird. ”Der Delphin ist eines der intelligentesten Lebewesen, das je geschaffen wurde, egal auf welchem Planeten wir uns befinden”, erklärt Action. ”Sie haben ihre eigene Art zu kommunizieren. Sie haben Nuancen und Unwägbarkeiten wie wir.” In einer völlig ungewöhnlichen Analogie vergleicht er den Wassersäuger mit den sagenumwobenen ”Fünf-Tool”- Baseballspielern - also mit einer außergewöhnlichen Klasse von Spielern, die alle Elemente des Spiels in sich vereinen. ”Die einzigen Menschen, die mich verstehen, sind diese ”Five-Tool”-Spieler, diese höheren Wesen, die sich auf derselben telepathischen Welle befinden wie ich”. So viel Zeit, wie er für das Wortspiel und die Bildsprache aufwendet, hat er auch in die Sonics investiert. Action hält ”Only for Dolphins” in der Familie und arbeitet mit Produzenten und Rappern zusammen, die er seit Jahren kennt. The Alchemist, Harry Fraud, Budgie, DJ Muggs, Samiyam, Daringer und Tommy Mas liefern die knisternde, psychedelische Klanglandschaften für Bronsons einzigartige Erzählungen, während
sein enger Freund Meyhem Lauren und dessen Bruder Hologram die einzigen Feature-MCs des Albums sind.

Marilyn Manson returns with his eleventh studio album WE ARE CHAOS via Loma Vista Recordings. Co-produced by Manson and GRAMMY® Award winner Shooter Jennings Brandi Carlile, Tanya Tucker, the ten-track opus was written, recorded, and finished before the global pandemic. Manson heralds the record’s arrival with the title track and lead single “WE ARE CHAOS.”

Manson’s painting, Infinite Darkness, which can be seen on the album cover, was specifically created to accompany the music. His fine art paintings continue to be shown all over the world, including gallery and museum exhibitions from Miami to Vienna to Moscow.

Manson says of the album, “When I listen to WE ARE CHAOS now, it seems like just yesterday or as if the world repeated itself, as it always does, making the title track and the stories seem as if we wrote them today. This was recorded to its completion without anyone hearing it until it was finished. There is most definitely a side A and side B in the traditional sense. But just like an LP, it is a flat circle and it’s up to the listener to put the last piece of the puzzle into the picture of songs.

“This concept album is the mirror Shooter and I built for the listener - it’s the one we won’t stare into. There are so many rooms, closets, safes and drawers. But in the soul or your museum of memories, the worst are always the mirrors. Shards and slivers of ghosts haunted my hands when I wrote most of these lyrics.

“Making this record, I had to think to myself: ‘Tame your crazy, stitch your suit. And try to pretend that you are not an animal’ but I knew that mankind is the worst of them all. Making mercy is like making murder. Tears are the human body’s largest export.”

"An amazing dub infused reimagination by buzzy Brooklyn duo Overcoats, of the Local Natives hit single When Am I Gonna Lose You. This version of When Am I Gonna Lose You has never been released physically
Local Natives have released a new version of “When Am I Gonna Lose You” back in December, with the touches of Brooklyn duo Overcoats. The original single is off of Local Natives’ latest album, Violet Street. “We loved singing this song and the more we sat with the lyrics and layered the harmonies, the more powerful the words became for us. It’s a beautiful song and we were really excited to be part of a reimagined version. “It’s hard to have perspective on songs you’ve spent so long with and are so close to, so having an amazing group like Overcoats reimagine one feels like a gift. We’re honoured that they created their own version of When Am I Gonna Lose You, they did a great job, especially with their beautiful vocals.”"

FELA Jonathan Loma mix When Spain meets Africa. Musician Jonathan Loma from Spain on the mix with this joyful, innovative rhythm, infused with African sounds and samples. Noticeably, Nigerian legend Fela Kuti can be heard during the latter parts of the track behind the shifting drum patterns which give this record a very catchy beat. Swinging hats and rolling snares keep the beat flowing over a loopy and swirling melody. The unpredictable and spontaneous sounds sliding in and out display creativity from the Spanish producer, but the highlight here is the subtle African background chants. Just wait for the smooth sax to appear.FELA H2H mix contrast to the Jonathan Loma mix and edging things into deeper territories, the Chez Damier and Ben Vedren (Heart 2 Heart) take on the track is a deep and driving dance floor mover. Quite literally talking toyou with an African accent throughout the majority of the track, the locked groove engages the listener and has you wondering if it will ever end. Loud claps, well-placed short and sharp snare rolls, and like that ofthe Loma take; spontaneous sounds creeping in and out are all included over this cleverly layered deep beat

Dauw welcomes back the California based r beny to the label for his new album “echo’s verse”. It forms the follow-up of his acclaimed “saudade” album (selected as one of the best ambient albums of 2018 by Fact Magazine).

“Echo’s verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “echo’s verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.

Soul Jazz Records new ‘Apala: Apala Groups in Nigeria 1964-69’ is the first ever collection of Apala music ever to be released outside of Nigeria. The album focusses on a wide selection of recordings made in Nigeria in the 1960's, a time when Apala music was at the height of its popularity. Apala is a deeply rhythmical, hypnotic and powerful
musical style that combines the striking nasal-style vocals and traditions of Islamic music, the Agidigbo (thumb piano), and the equally powerful drumming and percussion rhythms and
techniques of the Yoruba of Nigeria.

The most significant figure in Apala music is undoubtedly Haruna Ishola who features throughout this album. Ishola holds an almost mythological status in his role as populariser of Apala music in
Nigeria. Ishola’s singing was believed to be so powerful that, without proper restraint, it could kill the recipient of his music.

Apala is a popular music that also functioned as a form of cultural resistance – Apala music involved no western instrumentation and is sung in the Yoruba language, its aesthetic an implicit cultural
rejection of the British Empire’s colonial rule over Nigeria which lasted from 1901 until independence in 1960. Apala music was popular and widely accepted in Nigeria due to its philosophical and profound
lyrical content alongside the complex rhythmic patterns of this heavily percussive style, which highlighted many of the percussion instruments of south-west Nigeria.

He's one of a number of popular urban styles of music that came out of Nigeria in the 20th century and sits alongside the more well-known (in the West) styles of Fuji, Highlife, Juju and Afrobeat. Of these modern forms Apala remains perhaps the most ‘roots’ style (sometimes described as ‘neo-traditional’) due to the authenticity of its sound. It has similar Islamic roots to other neo-traditional styles of Nigeria – including Waka and Sakara – examples of which are also
included on this collection contextualising the music of Apala.

These recordings were originally made and released locally by Decca and EMI Records as well as a variety of independent labels in Nigeria and have never been released outside of the country before. Soul Jazz Records are releasing this album as a deluxe double gatefold vinyl (download code), CD, slipcase and booklet, both containing full text and photography.

Shina Williams ‘Agboju Logun’ was a ground-breaking fusion of afrobeat, electronics, boogie and disco. First released on Phonodisk in 1979 as part of the ‘African Dances’ album, then in 1984 as an alternative version on Rough Trade’s Earthwork off-shoot, it has gone on to attain cult-like status.
So it remains a bit of a mystery how so little has been documented about the follow-up. Shina’s self-titled album was originally released on Help Records in 1980. It differs from the upfront afro-disco-funk of ‘African Dances’ as it diverts into deeper, hypnotic, afro-beat territory. Though listed as a six-track album, each side (composing of 3 tracks) is built-upon one continuous groove with call and response female & male vocals and instrumental solos coming and going as each side progresses. The results are raw, hypnotic, locked-in grooves, which sit perfectly on forward-thinking contemporary dancefloors.
Official Mr Bongo reissue. Replica original artwork. LP only. Licensed from the family of Shina Wiliams.

Editions Mego is proud to present the latest addition to the compelling discography of Thomas Brinkmann. Throughout his career Brinkmann has focussed on the human operating amongst industry alongside rhythms that manifest as a result of technological advancement. With this new release Brinkmann makes a u-turn, looking back to the early industrial age. Comprised of recordings of various looms, Raupenbahn investigates the sonic properties and consequences of the first automatic loom as constructed by Jacques de Vaucanson in 1745. Thomas Brinkmann once again adheres to his tendency for clarity and simplicity whilst further investigating not only the sound and rhythms of the machines (looms) but also what role they serve in society and what consequences they have on the environment. Raupenbahn presents 21 tracks in total, 11 feature on the vinyl, the remaining 10 as digital bonus tracks. The majority of recordings were undertaken by Brinkmann in 2017 with a Neumann KM 184 stereo set. Additional recordings were sourced with permission from Monika W. recs. from 2014 Central Museum of Textiles Łódź, Poland. Each piece presents a diversity of material which borders on the breathtaking and beautiful in richness and complexity. The various looms unravel rhythms and patterns unexpected from machines of the early industrial age.

The loom holds a significant role in shaping our world being the catalyst for Charles Babbage's Analytical Engine which, alongside the subsequent work of Byron's daughter Ada Lovelace, paved the way for modern computing. There is a linage of the loom that fits succinctly in Brinkmann's overall argument. Here we encounter a parallel between machine driven economies and the music that rose from such places, consider the Sheffield steel industries, the Manchester weaving industry or the Rhineland / Düsseldorf loom and machine industry. Is it a coincidence that the practice of such machines in the environment gave rise to today's predilection for electronic dance music, in pop, soundtracks, etc.

Raupenbahn features no treatment or processing and explicitly displays varying tempo and timbres which ascertain a wide range of acoustic structures. The artwork features Ingrid Wiener, Rosemarie Trockel and Alexandra Bircken, three different generations who would with ideas of fabric weaving, loming and the like. This exceptional release works on a number of levels alongside it's striking sonic palette.


i 9 Günne (Irmscher) BO Möhnesee / D

RUMPELN
Pumping proto-rhythms disrupting a wall of distortion building up from unintelligible screams, broadcasts of gadgets on the brink of destruction, DIY instruments made of springs, shards of metal and trash, all hardly held together by a skinny, long-haired figure jumping in the flicker of glitched out AV loops – there’s a deep understanding to be found in Anton Kaun’s performances that we, as animals, will never really get along with our electronics.

DANIEL DOOR
With his latest setup, „wallwart scales“, Daniel Door explores the sonic depths of a bundle of wallwart power outlets. Disconnected from the machines (like smartphones, external hard drives and old Casio keyboards) they once fed with electricity, their distinctive inner wiring becomes the base of a microtonal scale made audible by an EMF microphone (the Elektrosluch made by LOM, Batrislava, Slovakia) and mangled in a constantly re-sampling arrangement by an Elektron Octatrack sampler.

In the years before ​Hunter Lombard​ perfected the gentle art of juxtaposing mega breakbeats with lush synth hooks, the New Yorker was an active rock musician. Citing the afterglow of her guitar background as a big influence for her current melodies and timbre, Lombard inhabits a sparsely populated intersection in dance music. For ​Schloss’​ third release, Lombard connects the dots between sweet rave nostalgia and clublands latest wrinkle. She has previously released on Volvox and John Barera’s label Jack Dept, and can often be found behind the decks at Elsewhere, Good Room or Bossa Nova Civic Club.
Slow Foam​ is mixed and mastered by Matt Karmil.

No one had been through those doors in years. Unchanged, seemingly untouched, just a Guard watching over it, one wondered whether the place would ever see the light of day again. Built in the 70s by Scotch, there were only twenty such places in the entire world. Twenty studios, all identical. Most had undergone a digital makeover in the 80s, but not this one; situated in Lomé, this studio had stayed true to its original form. Silent and uninhabited but waiting for one thing, and one thing only: for the sacred fire to be lit once again. That of the Togolese Recording Office, is studio OTODI for those in the know. Through thick layers of dust, the console was vibrating still, impatient to be turned on and spurt out the sound so unique to analog. That sound is what Peter Solo and his band Vaudou Game came to seek out.

The original vibrations of Lomé's sound, resonating within the studio space, an undercurrent pulsing within the walls, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never really gone cold, despite the deep sleep that they had been forced into. In taking over the studio's 3000 square feet, enough to house a full orchestra, Vaudou Game had the space necessary to conjure the spirits of voodoo, those very spirits who watch over men and nature, and with whom Peter converses every day.

For the most authentic of frequencies to fully imbibe this third album, Peter Solo entrusted the rhythmic section to a Togolese bass and drum duo, putting the groove in the expert hands of those versed in feeling and a type of musicianship that you can't learn in any school. This was also a way to put OTODI on the path of a more heavily hued funk sound, the backbone of which maintains flexibility and agility when moving over to highlife, straightens out when enhanced with frequent guest Roger Damawuzan's James Brown type screams, and softens when making the way for strings. Snaking and undulating when a chorus of Togolese women takes over, guiding it towards a slow, hypnotic trance. Up until now, Vaudou Game had maintained their connection to Togo from their base in France. This time, recording the entire album in Lomé at OTODI with local musicians, Peter Solo drew the voodoo fluid directly from the source, once again using only Togolese scales to make his guitar sing, his strings acting as channels between listeners and deities...

Mid last century. Commercial Music is a machine that generates dances that run each other over in the urge to reach the audiences and mark their place in time and history.

A never-ending list of choreographies co-habit: hully gully, madison, rock, limbo, twist and a long etcetera, until a new dance, bossa nova takes over the dance floors. Joao Gilberto, Tom Jobim or Vinicius de Moraes reach stardom in Brazil with this mix of samba and jazz, but the genre doesn't explode internationally until a few American jazzmen decide to import it. From there it reaches Europe, via France, thanks to Sacha Distel, the first on the continent to record an EP completely dedicated to this phenomenon.

It is 1962.

Shortly after in Spain, the number of artists including original or adapted tracks in their albums, escalate: Tony Vilaplana, Mina, Duo Dinámico, Latin Combo, Los 4 Brujos, Gina Baró, Grau Carol, Salomé or Marisol, who popularizes the new trend by recording 'Marisol rumbo a Río', a blockbuster film partially filmed in Brazil. The maestro Augusto Algueró writes the films soundtrack.

For this compilation we have consciously dug into the archives of three Barcelona based labels like Belter, Discophon and Olympo to serve Spanish sung bossa nova songs that have never, inexplicably, been released on vinyl, all songs are recorded during those two (musically speaking) prodigious decades: the twentieth centuries sixties and seventies.

For her first single, the sublime title 'Loverboy' comes out as a big urban spleen, released in a space made of asphalt and artificial paradises. Groups like Hooverphonic or even Portishead play around this throbbing softness that is Loverboy, splashing about in the electronic lounge of the 90s.

The opener, 'Alien Lady' features a flute-driven solo backed up by a funky guitar riff that then transitions into a tropical beat and Tanja narrating the story of feeling a stranger in a big city, not understanding the social codes and clues 'I don't speak the language in the way that you know' while Worth to you is a dreamy, glitched-out hypnotic track which maintains an edge of mysterious sexuality and her signature sense of intimate detachment.

If the atmosphere coming out of Lomboy's work can be sometimes felt as prude and even shy, it certainly does not intend to hide with embarrassment the aphrodisiac scent that permeates it. On the contrary, this modesty perceived in the interpretation and in the production sensually envelops the different compositions, and imparts to this guilty pleasure the feeling of a stolen kiss. Warped Caress brings us to vertiginous heights and takes us into abyssal depths throughout the five tracks. This suggests at times a diegetic representation of this erotic world seen through the insolent prose and at other times a mimetic representation where each instrument plays an important part in every story told.

New and unknown Sent In Sound gets into the trendy spirit of selecting choice tracks and committing them to a 12" piece of wax.
The tracks take on a sky ward direction on newly christened Point Loma (US).

If you're one of the extinct deejays who play 8 hour plus sets, start your journey before spreading your wings on the next booking with Doving on side A by Benaji Lattu. Settle into the booth, hit the loo and sequence the next movement while the lengthy and heavenly track serves its purpose, a convocation for the ceremony ahead, while blessing the entering congregation.

You'll have the perfect tune to bring the room back down gently to reality at night's end with Skylover Tea by Tinopiras on side B.
It's the fragrant sandalwood for the glowing sangha as it exits the guru temple also known as your party.

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

La Fleur releases her new EP 'Right Behind You' via her own Power Plant imprint. The EP includes two tracks, 'Circadian', and the title track 'Right Behind You' - both showcasing La Fleur's in-demand brand of groovy, vocal techno. The EP release marks the end of La Fleur's busiest summer on record. A residency at Hot Since 82's Labyrinth parties at Pacha in Ibiza, touring Brazil with the Watergate crew and remixing their new single from the mighty Sasha have lead to it being a season to remember. The title track, 'Right Behind You', features vocals from Austrian vocalist/songwriter Lula, who is best known for her distinctive work on Danny Tenaglia club classics like La Fleur favourite 'Read My Lips'. La Fleur said: Lula's voice is special and distinct. Hearing her unique way of vocalising on favourite tracks of mine from back in the day (like Tenaglia's '98 single 'Read My Lips' for example), I just felt I had to reach out to her. Creating 'Right Behind You' was a labour of love and we spent months working on it until we finally got to the definitive version.

Roman producer (and a force behind MinimalRome label) Valerio Lombardozzi known as Heinrich Dressel returns to Barba with a second release for our label, titled "The Styx Swamp". Heinrich has a unique way of combining classic techno and electro sounds with elements from the beloved Drexcyan universe and John Carpenter leitmotifs, and making them come together in a manner that both moves your body and pushes your mind beyond the point of awareness. As with the previous record, "Lurking Underwater", here he pulls off the move with the same efficiency and without sounding like he's repeating himself. "Gray Slope", "Sailing The Nether Waterways" and "The Styx Swamp" are all quite moody and deep, rich with sound and thick with vibe. However, the tracks feel equally at home in 4 am techno situation and a heady afterhours affair. He truly is a master of crafting hybrids whose influences get so flawlessly embedded that it's hard to point them out. If that's not enough, "The Styx Swamp" got a treatment by Nigel Rogers aka Perseus Traxx, a multi-faceted producer and a mighty live act performer. Nigel stayed respectful to the original but made the original's bouncy groove into something more direct and reduced, while retaining the same feel conditioned by lead synth's hypnotic quality. We're known to give a little bit of extra love to our releases so (as all before) this one's pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by EmaEmaEma.