Powel returns to All Day I Dream with an EP that perfectly encapsulates the label's emotive sound.
Beautiful and dreamy journeys to close your eyes to and float. Ever the perfectionist Powel's tracks have been heard at the events in various revised forms until, finally, he was happy. That makes us happy too.
If you're expecting peak time bangers please move on immediately. However, if you love tinkling bells, smooth flourishes of emotion and great beats then you've come to the right place.
Oslo based Bulgarian, Ivaylo makes a welcomed return on his Bogota imprint with two dance floor cuts on America EP. Warm Rhodes chords and funky bass lines inform the sound of 'Trendy Jose", taking the listener on a groovy ride with Ivaylo's vocal directing the sound: 'Jose is Mexican and he likes it, trendy! Spicing up the House groove ton the flip is a remix from Dallas native, JT Donaldson. Donaldson brings the heat, with his funky deep remix, whose percussive interpretation opens up the track for any dance floor. Ivaylo's second track 'Jacks Confusion' places you directly into Berlin's vibrant sound. Ivaylo hypnotises with the perfect combination of percussion and bass line on the steady 4/4 chi house beat. America EP is Ivaylo's 4th release for Bogota Records since label's existence and its' the beginning the producer's self-styled 'new sound' with more focus on percussive elements within the warm, deep sound that he's known for.
The free fall, to dive head first into something, is scary for most people.
For some it is the most exciting thing however and the only possible path anyways. Florian is one of those driven artists who never sounds the same, his signature tone is the free fall into new soundscapes, new ways of using his analog electronic instruments and carving out the essence for the dancing individual.
Out from electronic live improvisations , the first Ep of Destino starts with a
Clusterish ambient track (Orion)...
So DJ friendly , 911's siren and bleeps redefines the archetypical disco flavor of a
101 floor filler track .
Ceremony and it's balearic feeling will strongly warm up your electronic summer
nights.
Finally Loopo up delivers a dark electronic disco groove for cosmic dancers.
-Previous releases or remixes for Partyfine, Colette, Dfa, kill the dj, Tigersushi, Ed banger
"Cliché's Principle' exhibits the two-sided aura of an artist long familiar with the cultivation of DIY ethos: an effortless expulsion of playful immediacy and the unfolding of a musician well versed in unpretentious composition. Lucy Cliché's five track EP for Fleisch Records is a jacking romp through 120-125bpm electro/new-beat, swooning through downcast ambience, lobotomised vocal samples and sweat-drenched hardware rhythms.
Lucy's musical oeuvre piles high; as a figure in the Sydney underground for the past 15 years she has always explored sounds that playfully antagonize the status-quo; the dysfunctional no-wave approach of her band Naked On The Vague and the manipulated tape ambience of Half High echo throughout Cliché's Principle in the form of chorus buzzed synth chords, abstract drones and ethereal evocation. While there is the strong presence of a live veteran at work behind the machines, Cliché's Principle holds five tracks produced purely with the intention of paving the dance-floor.
Ah! Kosmos - Das Ist Ein Beständiges Wunder, In Dem Wir Hier Mittendrin Stecken. Beim Hören Ihrer Tracks Bleibt Immer Wieder Nur Stauen. Den Soundtrack Zu Love & Awe Spielt Seit Einem Halben Jahrzehnt Basak Günak, Sound-designerin, Produzentin Und Multi- Instrumentalistin Aus Istanbul.
Auch Auf Ihrem Zweiten Album - beautiful Swamp Verbindet Sie Elastische Bis Hart Knisternde Percussions Mit Melodischen Soundlandschaften. Dabei Gehören Der Universalismus Der Musik Und Persönlicher Freiheit Untrennbar Zusammen: Tief Im Gewebe Ihrer Tracks Aus Downbeat Und Deep House, Aus Türkischen Klangtraditionen Und Exotischen Revieren Stecken Auch Ängste, Glück Und Düsternis: Günaks Musik Fängt Auf, Was Sie In Ihrem Leben Zwischen Istanbul Und Berlin Verarbeitet Und Überwindet. Den Hörenden Bleiben So Nicht Nur Soundscapes Zu Erkunden, Sondern Vielschichtige, Emotionale Kosmen, Die Mit Jeder Neuen Klangschicht Ihre Widerhaken Ins Hirn Schlagen.
Schon Mit Ihrer Ersten Lp bastards' Bewies Sich Günak Als Grenzüberschreiterin, Oszillierte Zwischen Dem Mut Zum Glückseligen Flow Und Avantgardistischem, Düsteren Post-rock. Mit Ihrem Neuen Album beautiful Swamp', Das 2017 In Berlin Und Istanbul Entstanden Ist, Be- Wegt Sich Ah! Kosmos Weiter Jenseits Aller Genre-grenzen: Günak Baut Aus Polyrhythmen Und Folktronischem Instrumentarium Eine Mystische Klangwelt, In Die Man Hineinsinken, In Die Man Sich Forttragen Lassen Kann. Für Ihre Organischen Klang-cluster Hat Sie Auf Diesem Album Ihre Eigene Stimme Als Material Entdeckt, Wird Als Person Greifbarer.
Ihre Musik Ist Körperlich, Trägt Würdevoll Spuren Von Auseinandersetzungen. Die Transzendenz Von - beautiful Swamp Ist Eine Flucht, Ja, Aber Eine Nach Vorne. Der Titelgebende Sumpf Vielleicht Auch Eine Ursuppe, Aus Der Immer Neue Klangwesen Schießen. Mit Dem Druck Gelebten Lebens Und... Es Sind Überirdisch Schöne, Allesamt.
Ah! Kosmos Arbeitet In Erster Linie Allein. Wenn Günak Sich Auf Musikalische Begegnungen Einlässt, Dann Auf Besonders Intime Und Intensive. Wie Die Mit Der Jazzsängerin Elif Çaglar, Die Im Song - beyond Dreams Zu Hören Ist, Oder Mit Dem Gitarristen Özgür Yilmaz, Zu Hören Auf Dem Track - wide . Selen Ansen, Eine Der Wichtigsten Türkischen Intellektuellen Ihrer Generation, Hat Für Günaks Neues Werk Ein Gedicht Verfasst, Mit Dem Passenden Titel in The Dark Woods'.
Ihr Wichtigster Partner Aber: Das Publikum. Ah! Kosmos, Das Ist Genauso Sehr Ein Live-projekt - Und Eines, Bei Dem Die Musik Unmittelbar Auf Die Stimmung Im Floor Reagiert. Bei Jedem Ihrer Auftritte Nehmen Ihre Klanglandschaften Eine Neue Gestalt An. Sie Performt Solo Oder Begleitet Von Einem Gitarristen, War Bereits Support Für Acts Wie Sigur Rós Und Jonny Greenwood's Junun Project (barbican Hall) Und Spielte Auf Wichtigen Festivals Jenseits Aller Schubladen, U.a. Auf Dem Sónar Festival Barcelona Und Dem Venice Electro Festival, Dem Tokyo Electronic Music Of Arts Festival, Dem, Prague Quadrennial Und Dem Arena Theater Festival Nürnberg.
Zudem Komponiert Sie Für Zeitgenössische Tanz- Und Theaterproduktionen, Kurzfilme Und Perfomances. Im Frühjahr 2018 Nahm Sie An Dem Projekt sonár Calling Gj273b' Teil Und Schickte Eine Elektronisch Verfremdete Version Ihres Songs i Don't Belong Here' Ins All. Wahrscheinlich Fühlt Man Sich Ihrem Sound Sehr Verbunden, Dort Draußen.
Infernal Sounds welcomes their newest member to the imprint, Dark Tantrums. After a brief hiatus from releasing music, the producer who's had previous EP's out on both Deep Medi and GetDarker is back with a bang. From the millitant march of 'Command', to the distorted and twisted mind of 'Darkside', with 'Time Warp' rounding things off in a typical old-school fashion, this EP will knock your socks off and deliver a punch for the dance floor. IFS011 not only displays his ability to adapt his style under the 140 spectrum, but continues to prove why he's one of the most underrated artists to grace the scene.
The Leap is the new project of Dutch producers Tripeo & Doka who are now taking the logical next step in their musical journey and present an EP that touches on genres all across the electronic board. The Leap is about more than just music, which will reflect in the track titles. Current developments in the world take center stage and inspiration is taken out of politics, literature, media, (green) activism and much more.
The opening track 'Shock Doctrine' is a slow building yet powerful piece of gloomy, hypnotic techno, followed by the exceptionally deep and undulating 'Borrowed Time' that combines soft atmospheric textures with distinct fragile melodies and could easily be the soundtrack of a dystopian reality. On the flip side the duo showcases once again seamless production skills and with 'Green Capital' they set a nostalgic mood, a trancey journey filled with crisp hi-hats and snares, resulting in an effective techno tool. The mind bending closing track 'Sustainable Communities' creates dance floor tension with its piercing metallic synthlines & just like the whole EP it provokes the listener to think outside of the techno sphere.
2lp In Gatefold Sleeve With Liner Notes. 180gr Vinyl. Including Download Card. An Outstanding Collection Of Musical Gems From Belgium's Thriving Jazz Scene. Compiled By Belgian Dj And Eclectic Connoisseur Lefto.
This is a long overdue collaboration and we couldn't be more excited to present a brand new EP from our man, Jena's mad scientist funk freak himself, Metaboman. A stalwart veteran of the legendary Musik Krause camp, which has been a kindred spiritual sister label of sorts of ours since the millennium-turn heydays, being fellow purveyors of bold and raw dance floor music, still brimming with new ideas galore and bucket loads of soul. Here with the Wireless Dancer EP we have Metaboman in top form offering nothing less than his finest work: 'Doppeldenk' starts things off with some classic Krause bump that brings to mind the heights of the Duo at their peak but updated, like an STL banger turned up to 11 with sinewy melodic lines and that special Thuringen twist. 'Hanno' follows up with a guest spot by jazz saxophone master Thomas Prestin, and guarantees to bring down the house with a storm of swinging stabs, rough riffs, and fresh-as-it-gets drum work. On the flip, 'Splitit' does exactly that, whether referring to wigs, legs, or that last drink ticket - where dusty blues vox chops and a rolling percussive smack down will revive any fading floor faces. And finally, 'EchterG' rounds it all out nicely with the illest of atonal trips and subsonic bass tones that the finer sound systems out there will fully indulge. Much love from Jena & Paris to the World!
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Focusing on low-slung IDM, Acid and atmospheric Electro with nods to Krautrock & Ambient sounds, Steve Hyland's ATTRAKTTA project gets an extended outing on the FILM label. Across eight beautifully produced tracks, Hyland - one of the founding members of AI Records and subsequently Concrete Plastic, explores vibrant synthesis and intricate drum programming, with the music arriving at a sweet spot between home listening material & club-ready workouts for more intelligent dance floors.
Eschewing straightforward synth sequences in favour of blissed out - almost disharmonious sonics, Hyland transmits a curious psychedelia on his debut LP. Sounds pitch and warp organically, buoyed up by saturated low end and punchy drum machine percussion. There remains a decidedly accomplished precision to the work, though - with the music bearing all the hallmarks of an artist of some considerable experience - testament to the British producer & label head's 19 years working in the industry.
A colourful, exquisitely composed LP that riffs on a timeless production aesthetic with considerable style, Echo Principle is a fantastic entry into the FILM Records discography.
After a string of acclaimed EPs on Heist, Dirt Crew and Quartet Series, Amsterdam's Nachtbraker presents 'When You Find a Stranger in the Alps', his first longplayer on his own Quartet Series imprint. The good-humoured Dutchman - tongue always firmly in cheek - has always refused to stick to the 'sound du jour' and the industry's conventions, following his own path instead, continually willing to step out of his comfort zone. 'When You Find a Stranger in the Alps', a nod to his favourite Coen Brothers' movie, is testament to Nachtbraker's studio prowess and drive to explore new sonic pastures and styles. The album consists of thirteen tracks, made over the course of 2,5 years in his studio at Volkshotel Amsterdam. Constantly shifting through different settings and moods, the album feels like a deep dream, with vivid details, blurry edges and a warped sense of time. The word 'stranger' in the title references to this dream state in which you sometimes can be a stranger to yourself. Album opener 'The Dream Sequence' sets the mood with a lo-slung hip-house groove that relies heavily on field recordings, like the sound of one of the capital's trams. 'Flambo', a delectable slice of up-tempo French filtered house, is aimed straight at the dance floor. Nachtbraker dims the lights on 'NSFW', cleverly manipulating samples from adult oriented flicks, and turns in a hilarious skit with 'LOL'. Flip over for 'Randy', a quintessential Nac
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An Invitation To Disappear is the debut LP by British electronic musician Inland aka Ed Davenport - and his first release for A-TON. Based on his soundtrack for a video installation by conceptual artist Julian Charrière, Davenport has recast the material and field recordings into eight tracks of rhythmically intricate electronics and spectral, ambient techno, inspired by Charrière's visually striking, 76-minute tracking shot through a palm plantation toward a totemic soundsystem on full blast.
Both the album and original soundtrack were created in response to the 200th anniversary of the eruption of Indonesia's Tambora volcano in 1815, which plunged the world into darkness and caused a series of extreme weather conditions. At the time, the natural climate change crisis resulted in numerous global famines and is known throughout the northern hemisphere as 'The Year Without Summer', with global communities forced to adapt to sudden radical changes in temperature and weather.
An Invitation To Disappear offers a contemporary parallel, leading viewers - and listeners - down a seemingly endless direct path of gridded palms from dawn to dusk; a bio-commercial monoculture where ancient jungle once flourished. Light flickers between rows of fruit-laden trees and a distant fire burns in the undergrowth where the border between natural image and computer simulation breaks down. At the same time, formerly incoherent rumblings of sub-frequencies begin to transform into the contours of rhythm. This is reflected sonically in eight perspectives on the lush, synthetic jungle, made of myriad buzzing fauna, morphing melody and colossal bassweight. All paths lead toward an apocalyptic dancefloor, though speeds vary widely; rhythms dissolve from straight to broken, synth tempos operate by their own internal clocks (and logic). Juxtaposing industrial agriculture with rave culture, the album explores the industrialization and refinement of nature, and the new strange forms emerging from the synthetic grids of both.
As Inland, Davenport has previously contributed soundtracks to other installations by the Swiss-born Charrière, whose artistic practice focuses on bridging environmental science and cultural history, often taking place in remote geophysical locations, including ice fields, volcanos and radioactive sites.
Julian Charrière is a French-Swiss artist based in Berlin. A former student of Olafur Eliasson at the Institut für Raumexperimente, Charrière's art explores post-romantic constructions of nature, staging tensions between deep or geological timescales and those relating to mankind. His work has previously been shown across the globe, including at the main exhibition of the Venice Biennale in 2017, a solo show at Kunsthalle Mainz this past Spring and an upcoming solo show at the Berlinische Galerie opening September 26.
Inland (real name Ed Davenport) is a British producer, DJ and founder of Counterchange Records based in Berlin. Known for his detailed and explorative house and techno releases on his own label, Infrastructure, Naïf and more, Davenport has recently gravitated toward the contemporary art world, finding inspiration in the cross-pollination between Berlin's art and music scenes. Previous sound design collaborations with Charrière have been exhibited in institutions such as the Musée des Beaux-Arts de Lausanne in 2014 and Thyssen- Bornemisza Contemporary in Vienna in 2017.
The gallery version of An Invitation To Disappear premiered this past April at the Kunsthalle Mainz and will be on display at the Berlinische Galerie as part of Charrière's solo exhibition As We Used to Float, opening September 26, 2018. The LP will premier live together with the video installation during a special presentation in Berghain the same day for Berlin Art Week.
The Nomads EP is a new chapter for the Austrian duo. Not only is it the biggest project for RoyGreen & Protone to date it also includes hand drawn Artwork & Stickers by a Florine Imo and is rich of different musical flavours. It's a thing from the heart... you can see, hear & feel it.
Almost three decades after he put out his first record as one half of Tummy Touch twosome Tutto Matto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is 'Bella Topa', his first release on Leng Records.
Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer's usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas's early collaborative work. 'Bella Topa' cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.
Remixes come from Guigliemino's old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a 'Slow' club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo's twinkling, sun-baked original.
His other version, a 'Fast' club reconstruction, drags Guigliemino's track towards peak-time dancefloors kicking and screaming. Making the most of his friend's killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side's spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.
Catch Recordings return with their 13th release, this time from DJ Najaora. He's an emerging talent from the ever growing Techno region in Georgia who's mature, fully formed sound is showcased here across three innovative left-field Techno & electro tracks. The excellent 'Night Dreamers' takes the A1 spot. It's an analogue electro cut throughout. With forceful broken drums accompanied by electric lead lines that provide a powerful energy for the dance floor.'Space Call' is a more cerebral and less dance floor affair that has you day dreaming amongst the meandering pads and classic Detroit electro vibes. A soft acid line runs throughout, while the whole cuts creates nostalgia of old Warp Records.Last of all 'Simulaq' which takes the B-side has wide and vast rubber kicks alongside booming bass. Making this side a merge of Bass and Electro. Trippy stabs and dark energy pervades the whole thing, making it track for the late hours.
While 13 is an unlucky number for some, this certainly doesn't seem to be the case for Catch Recordings.
Cadans continues an incredibly strong run of releases with 'Curved', his first drop for Ben Sims on-point Hardgroove imprint.
Previous output for Clone Basement Series as well as Darko Esser's Wolfskuil and Balans as well as a collaboration with Randomer for Tasha's Neighbourhood imprint have quickly established Cadans' (Dutchman-in-London, Jeroen Snik) rep.
On 'Curved' we're treated to yet more of the rising star's strident and sometimes disorientating rhythms. 'Creep' and 'Dank' open the EP with blistering purpose - all distorted 909 kicks and and hazy memories of strobes on seething dance floors. The title track kicks off the b-side with an aptly undulating and enjoyably unsettling slant to it's main riff while the EP wraps up with 'Chant' - a brilliantly effective drum-machine and vocal/horn sample workout.
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As Hans Peeman's side project next to his Junktion moniker, New Franklin Theory returns to Outplay with a very personal project. Five carefully produced songs in the form of a mini-album of sorts, which showcases his journey into more melodic synth heavy work. Starting off, 'Andromeda Beach' eases you into the spacey atmosphere of the record with dreamy rhodes supported by his distinctive percussion and bass work.
Following, 'Homeward' introduces melancholic synth lines grounded by an infectious bass line for a Balearic inspired feel. 'Afterburner' ups the tempo with warm arpeggiated Juno sounds and saxy disco samples, which will remind you of his previous work. Space-funk-synth-boogie, that's what comes to mind when listening to 'In Orbit'. Instant groove with a solid beat interspersed with brief vocal samples and dreamy rhodes chords. As the closer, 'The Holtzman Effect' (award for 2018's most nerdy song title, look it up) sets you off floating away on warm chords and bass together with characteristic space bleeps.
Robotron is the machine formerly known as Xinner. This is its first offering for the ESP Institute. Side A's Dream Resonator is an idiosyncratic network — dexterous machine drum/percussion programming, an ebb and flow of floating arpeggios, syncopated counter-melodies and a hail of stabbing stringscontinually diffusing into ethereal vapor — all stacked into an (aptly-named) orchestral anthem. Side B's Ice takes a similar approach with arrangement, each instrument carving out its place in the track's mechanics for a glorious convergence of patterns, but, where side A proves optimistic, here we sense a more menacing undercurrent, an austerity powerfully articulated through towering kicks and claps so compressed they fill up every dark corner of negative space. Indeed, Robotron has an innate command for building and calibrating robust systems, but beneath this calculated veil we find the remnant human behavior of Xinner. These two songs will whisper loudly but scream quietly.
Honey Soundsystem met October (aka Jules) while on a one-night affair in Bristol in which he immediately dragged us from an artist dinner to the saddest Bear bar in the UK. After a few pints, vetting his taste for drag, boys, and girls that make love to boys who make love to boys, Jules confessed he has always wanted to release on HNYTRX. And so the hazing began, a year of torturing yet another sexy-stranger into refreshing, reminding, and refining a flurry of demos into the army of skeleton soldiers you now have in possession. Money drops, midnight withdrawals, 4 crisp singles: this is the Pay Day EP — gonna make that dance-floor 'cha-ching' bitch!
A lot of people hate October so... that is why we are releasing this record in September. But seriously though, upon cracking open this 4 track EP you might wish you had saved the vacuum seal just a couple days longer, keeping these ghosts contained until the month where screaming winds strip trees nude
"Dueños de Nada" announces itself as a strong and tough proposal. It comes with the intention to get away from what we are used to hearing from the Chilean producer. As a first album, and by incorporating broad influences into a range of genres, industrial sounds and punk, the debut by Tomás Urquieta feels huge and accurate.
The "Dueños de Nada" sample, which belongs to Martin Sorrondeguy, is used by Urquieta to assemble a classic techno piece mixed with a new sound proposal, and by uniting these elements, a catharsis and collective osmosis movement is generated on the dance floor that does not need further explanation.
The proficiency that Tomás has developed when creating percussion doesn't go unnoticed either. It is the sensation of a new breath in his music, a replacement, a much more mature sound is demonstrated by the high instrumentation mixed in with a full on Techno base. The rhythms are wild, futuristic and with a completely personal vision. There are tracks that lock you up and there's others that leave the need for a club ajar. It is a heavy album, political, metallic but very organized. There are voices in Spanish of direct protest towards the system, voices where he invites us to be part of a march to despair, a liberation march for the dance floor . If we could summarize "Dueños de Nada" we would say it's a cry for freedom, a cry which asks us to enjoy the feeling of complete freedom across 11 tracks that embrace this anarchy in which Tomás Urquieta invites us to join.
To celebrate the anticipated release of the 4th episode of the iconic soul compilation 'Shaolin Soul' this September, Uncle O has unearthed two new special soul treats: the extended version of 'Float On' by the Floaters and a rare vocal version of Marvin Gaye's 'I've Got Mine'.
XGLARE (all caps), is Jessee Egan, a Brooklyn-based producer, sound designer and multimedia artist. She has released music under multiple aliases since 2011, most notably on AY Japan. Her latest incarnation, XGLARE, balances warped sound design, unearthly atmospheres and experimental rhythms that reject genre boundaries.
Representing Brooklyn in full force on the debut record, 'Morph EP,' XGLARE yields incredibly heavy atmospheres. This is a mature record showing patience, design and a thoughtfulness sorely lacking in much of the electronic music scene. Beats and dance elements take center stage alongside impossibly powerful, almost elemental transitions. Track 1, Lymph sets the tone with an updated halcyon rave sound. Imagine standing in a field in the countryside at an illegal rave at 6 in the morning as the sun is rising, wind blowing in the air. Track 2 Fossa feat ARIADNE, an Opera trained singer, immediately submits you to whisper shouting, a highlight of the album. In between more dance floor-oriented tracks, Spore and Plexus, sit two sound design gems, title track Morph with its pounding rhythmic charges and vast reverberated rooms, and Ganglia, which reminds of early Do You Know-era Squarepusher. A well-rounded EP showing off the many talents of XGLARE also comes housed in beautiful artwork designed by Egan herself.
Beautiful 1 Lp Edition With 140g Vinyl, Stoughton Tip-on Sleeve, Liner Notes (english & Japanese) By Chee Shimizu, Sticker Official Reissue Of Diggers' Favorite Colored Music Available On Vinyl And Cd Or The First Time Since 1981. Genre: Electronic, New Wave, Pop, Synth, Experimental Wrwtfww Records Is Deliriously Happy To Announce The Reissue Of The 1981 Self-titled Album From Cult Japanese Duo Colored Music, Available On Vinyl (housed In A Stoughton Tip-on Sleeve) And Digipack Cd, With Liner Notes By Digger, Curator, Connoisseur, Writer And Legend Chee Shimizu. An Incredible Mix Of Cosmic New Wave, Unconventional Disco, Avant-garde Synth Pop, And Hybrid Electronic Funk, Colored Music Is Enchantingly Unique, A Sort Of Experimental And Magnetizing Take On David Bowie's Berlin Trilogy With A Psychedelic Haruomi Hosono Touch. From The Groovy Post-punk Glam Title Track To The Proto-house Dance Floor Killer heartbeat", Ichiko Hashimoto And Atsuo Fujimoto Hit All The Right (and Sometimes Not-exactly-right-but-truly-genius) Notes To Create The Odd And Beautiful, An Unparalleled Audio Escape To The Best Elsewhere You Can Think Of. Also Playing On The Album Are Celebrated Musicians Mansaku Kimura, Shuichi ponta' Murakami (pacific, Ki-motion By Mkwaju Ensemble, Collaborations With Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono...) Kiyohiko Semba, Tamio doyo' Kawabata, And Tatsuhiko Hizawa.
What works reliably is to know the raw silk, hold the uncut wood. Need little. Want less. For- get the rules. Be untroubled.Laurel Halo presents six instrumental pieces that form a meditative, cinematic listening ex- perience. Inspired by recent film score work for Metahaven and Ursula Le Guin's translation of the Tao Te Ching. Featuring cello work by Oliver Coates and percussion by Eli Keszler.Working in abstraction leads to a deeper lon- ging for touch and closeness.The tactile sen- sation of struck organ keys and bowed strings, wood and felt on drum heads. Smoke and dirt and stone. Febrile and tactile, hairy and hissy. A clover of highway onramps, a continuous flow, like old leaves melting on their way down a stream at the back of a house. Constant contradiction, the truth's nowhere.
While we are constantly flooded by disco edit nostalgica (nevertheless we already have some edits in the pipeline too - muhaha :), eurokrise news and nuclear gameplay from Donald and Kim, this twotracker by scharbatke gives you the real deal. Beautiful sundrenched original house music for your feet and soul. If this is not soo glad then cut us an arm. PS. Main Instrument used for this release : Yamaha PSR-36 for - LoFi-Deep House-Amalgam' Vital Sales Points: -Scharbatke is one half of turquoise colored french tourists and producer of the underground hit - love is only moments away'
Inner River delivers a self-titled debut 2LP which is a 10-track journey of beautiful ambient, downtempo rhythms and otherworldly atmospheres. This mysterious dreamworld sounds complex, emotive, mystic and elegant. It's a personal story that remains interesting until the very end.
Formed in 2007 by Jakob Seidensticker, Florian Schirmacher and Henrik Raabe, Wareika was accidentally gathered on stage for the first time at Hamburg's mythical Mojo Club. Since then, the german trio has built a very singular sound signature after a decade of playing together. Revealing the diverse influences and musical educations from all three individuals, the band's discography has been built over a solid live experience. Being academically trained in Jazz and Classical but also self taught through electronic music, Jakob, Florian and Henrik are able to sing, play guitars, drum machines, pianos, synthesizers, bass, percussions and way more. Concocting their stylistic blend with meditative Jazz, hypnotic Dub, meticulous Techno and subtle House, it leaves no surprise as you think about the high level of versatility of Wareika's musical spirit. Calling from King Tubby, Sun Ra or afrobeat master Fela Kuti, they develop a dazzling kaleidoscope of melodies and polyrhythmic patterns over four to the floor beats that is entirely unique in the electronic music scene. When it comes down to live gigs Wareika is putting a stress on quality and delivers an outstanding sound. As a trio of singular performers the band jumps on stage without computers, setting up an improvised dialog based on their original material but always handing over a unique piece taking form in the moment. Jakob Seidensticker on MPC arrangements, drum machine sequencing and mixing, Florian Schirmacher on vocals, synthesizer, percussions and Henrik Raabe on guitar, synthesizer and percussions, the trio holds the mastery of enhancing a crowd with a multitude of tools and elements, sometimes for more than four hours. Also occasionally rendering live versions of their own full-length releases, they always cross borders of their studio work to unfold their creations into a whole new level.
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As we reach our 30th release on the label, Animal Farm is proud to present Stephanie Sykes' first solo EP since 2016's effort on Prodigal Son. Those two years have seen her presence in the techno scene explode, with a flurry of appearances across Europe - our own Animal Farm night in Glasgow among them + residencies at Tbilisi's KHIDI and the infamous after hours Jaded crew in London, Corsica Studios.
Title track 'Interference' is an impeccably crafted tool in the vein of her recent DJ sets - boomy in the low end with sweeping peak time sensibilities. It's a brand of unpretentious techno purism Sykes has become synonymous with, also making her a firm favourite with the Animal Farm crowd.
The electro-informed 'On The Other Side' shows a new side to Sykes' production; contrasting mean drums with opulent synth work to craft something that is simultaneously dreamy and floor effective. The elusive Janice turns his hand to 'Interference' on the flip, providing a razor sharp mind-trip of a remix that's as affirming as it is abrasive.
All tracks mastered by Conor Dalton @ Glowcast Mastering.
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Lockjaw introduces his upcoming LP 'Human Research' with the release of the 'Human Research Sampler EP' on Locked Concept. A longtime curator of adroit, technical drum & bass through his Locked Concept imprint, Lockjaw now steps to the foreground, revealing four tracks from his forthcoming album that exemplify a continued dedication to this guiding principle, whilst displaying his expert abilities across an eclectic array of tracks that give a tantalizing taste of what is to come from the full LP.
The titular 'Human Research' opens with glistening chimes and a pensive drone, quickly joined by a wandering bassline that sweeps through the shadowy milieu of the track's opening, winding its way forwards amongst a series of increasingly sharp and distorted pulses towards the track's main section, where the combination is joined by a frantic drumbeat that rushes forwards with single minded determination.
'Without You' bears a tangible nostalgia, its opening drums carrying a classic, rave inspired piano riff and vocal reminiscent of an earlier era that reaches its climax amongst rising saw stabs, before locking into a dynamic bassline groove still rippling with the same jubilant energy introduced at the track's beginning.
'Velveteen' features the vocals of QUAILS, who provides an ethereal verse that daydreams about possible affection over soft, floating keys and a pulsating bassline, which drift aimlessly until the track grows with excitement in the second chorus amongst rising percussion & desirous guitar. 'Second Chance' considers the prospect of beginning again, as its sweeping pads grow from muted beginnings to produce an originally subdued drumbeat which exudes a humanizing growth in confidence that waxes as its complexity increases, with a rolling bass and stirring percussion introduced alongside wistful pads still wary from the outcome of the unspoken first attempt.
With the 'Human Research Sampler EP', Lockjaw, demonstrates in brief his unique ability to bestow deeply human qualities to his musical productions across a wide array of tones. In debuting these four sample tracks, he issues firm assurance that the forthcoming 'Human Research LP' will be no less mystifying as its researches the condition of humanity and the emotions most central to it.
Dutch-Italian composer, musician and producer Aimee Portioli alias Grand River is back on Spazio Disponibile. After a debut record on the label in 2017, she now serves up her first ever physical long player, Pineapple. The record draws on Portioli's love of electronic music and sound design, as well as her background in traditional composition and formal training on a range of musical instruments.
An experienced sound engineer and composer for national radio, she crafts absorbing film scores, experimental and ambient projects and takes in symphonic calculations that blur the lines between traditional composition and research-based modernism. All that is evident on Pineapple, which is named after the most peculiar of fruits and is just as peculiar, but ultimately satisfying, across ten remarkable yet rewarding tracks.
They are often long pieces which take in wallowing electronic landscapes, with real ambient beauty next to a subtle sense of narrative that is absorbing throughout. Unusual sound sources and a masterful sense of suspense characterize the album and make it as fascinating as it is enjoyable. (*Audio snippets will be released in September*)
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Having previously featured on Comb and Razor's popular compilation 'Brand New Wayo', Caribou's 'The Longest Mixtape: 1000 Songs For You' (twice) and remixed by numerous DJs including Kornél Kovács. It has long been over due that Nigerian synth-funk legend Dizzy K gets the reissue he deserves, teaming up with London based record label Sticky Buttons for a very special double LP compilation.
Dizzy K Falola is one of Nigeria's most adored disco funk artists form the early 80's. His career was propelled by EMI Nigeria who brought him to notoriety with his first album 'Excuse Me Baby', released in 1982. Excuse Me Baby became an instant success in Nigeria and within 3 months he was back in the studio recording his second album and touring with international superstars such as The Whispers. The success of his work came both from the creative collaboration of musicians and their progressive style of synth-funk and disco influenced heavily by western artists. The team included Nkono Teles, Felix Liberty and Dizzy K's mentor and manager Tony Okoroji amongst others who together formed the disco funk that infected the homes, streets and clubs of Lagos. Noted in 'Hip Hop Africa: New African Music in a Globalizing World', Dizzy K's song titled Saturday Night Raps which features on Excuse Me Baby is thought to have been on of the earliest examples of commercial African Rap music. It was examples like this that showed Dizzy K was bringing something new to the Nigerian boogie scene.
With careful restoration by Colin Young at See Why Audio, (who's expertise and talents have graced some of the most iconic reissues of recent years, including "Who Is William Onyeabor" and Charanjit Singh's "Synthesizing: Ten Raga's to a Disco Beat") and vinyl mastering conducted by The Carvery, cutting the masters on a Neumann VMS70 mastering lathe originally used in Nashville's CBS studio to cut Motown classics. This is an uncompromising vinyl package covering Dizzy K's first 3 albums from '82-'84. Compiled for the dance floor and offering Sticky Buttons take on the bright boogie goodness of Dizzy. With personal liner notes from the artist and fresh artwork by the team this is a record that cuts to the point.
'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.
'Bound to shake your walls and rattle your windows' Max Reinhardt, BBC RADIO 3 "The first bit of evidence that Elizabeth Bernholz's next album Pastoral - due out in September - could be her best to date". THE QUIETUS "Will likely be one of the year's very best records.' CLASH 'What species is this What century' Forged in a rural idyll in Middle-England, the new album Pastoral, by Gazelle Twin, exhumes England's rotten past, and shines a torch over its ever-darkening present. Told through a troupe of multi-gender voices, in vernaculars old and new; from the shrill echo of folksong to tabloid-tinged jaunts, the artist aka Elizabeth Bernholz, presents the notion that 'there is horror in every idyll, and danger lurking beyond the 'quaint' '. The village square - once host to centuries of public torture - becomes a floral framed postcard, dolled-up for the Summer Fête. A sunny, afternoon walk over the hills unsettles a cloud of angry flies feeding from unidentifiable remains. Bigoted vitriol gently murmurs amidst tearoom chatter, as the neatly framed pastoral picture dissolves into a solemn ennui. Four years in the making, amidst life-changing events, including a move far out of the city, Pastoral will be the first major release by the artist since her widely acclaimed LP UNFLESH (2014, Anti-Ghost Moon Ray) and is seamlessly on-theme, together with Bernholz's J.G. Ballard-inspired A/V show 'Kingdom Come' (soundtrack released November 2017, Anti-Ghost Moon Ray) - a fascism-infused hellscape, this time set in deepest Old England. As its sole creator, Gazelle Twin 'The Composer, Musician and Producer' has crafted an album overflowing with a frenzy of traditional and contemporary musical tropes; from early music instrumentation - the harpsichord and the humble recorder, fed through myriad electronics - to the compelling, ritualistic application of found sample-looping. Beyond Bernholz's signature choral-infusions, here reverberating like a warped Sunday Service, there are even shades of '90s house and the once-thriving rural rave scene, albeit recalled as a watery, second-hand memory. In its consummation it is an album that feels pan-century, even pan-species. Set against a verdant backdrop of hedgerows and steeples, Gazelle Twin 'The Artist and Performer', constructs an eccentric and commanding visual embodiment of all-of-the-above - a costume fit for a court Jester of the 21st Century. The colours of Neo-Nationalism. Coke cans, and DANGER. 'It' (not 'she') hints at folkloric traditions with a footy mascot twist. The 'Ye Olde' and 'The Everyman' of the English cliché. Brandishing a sneer and a hobby horse. A riddle and a recorder. A jeer and a square dance in red, Adidas Gazelle's, and a mad, fixed GRIN - first glimpsed in the single, 'Hobby Horse' (22 June, Anti-Ghost Moon Ray). A deranged, absurd reflection of deranged and absurd times.
Farrago created a name for himself in this short time taking back the real roots of techno and rave and putting them in a new context... we said new, not different. This is his 3rd record on the label, and this time he goes beyond the idea of reminiscing the past, 'Hard Light' shows how the rave can be alive in everyone of us, and absolutely not changing the formula he gives us this beautiful feeling of being back in the past, while you dig in a record shop and you find something that hits you, in our past was that record that gave us memories. In this case the work of this record is almost double, the record itself reminisces the past, but gives good hope for the future of genuine rave music without compromises.
Here at Death & Leisure we are on a continuing mission to surprise and experiment, and so with our new release we present something very special, Blackmoon1348 and The Tibetan Monks of The Tashi Lhunpo Monastary. This project sounds like nothing else, it fuses heavy drone guitar sounds with traditional tibetan throat singing and live instrumentation.
BlackMoon1348 in collaboration with the Tibetan Monks of the Tashi Lhunpo Monastery (Tibet/ India). 2017 BlackMoon1348 embarked on a cultural experimentation of cultural diversity in the arts, forming a collaboration of ancient Tibetan ceremonial practises and instrumentation with sub-harmonic drones and industrial soundscapes. The music amalgamates sacred mantras that date back to the early teachings of Tibetan Buddhism practised in the Tashi Lhunpo Monastery, with heavy detuned western instruments, synths, and electronic music for the first time in recorded history. The Tashi Lhunpo monastery was once home to the Panchen Lama who subsequently 'disappeared' under the oppressive Chinese rule of Tibet. A handful of the Tashi Lhunpo monks were fortunate to escape into exile and have since re-built the monastery in Mysore, South India - now flourishing with over 400 monks practising within the monastery. Tibetan Buddhism is an outlawed ancient tradition within Tibet - monks, nuns, and Tibetans cannot openly practise their heritage and traditions, forcing Tibetans to inhabitable plateaus, with such areas are now under 'Chinese Re-development', the land being stripped of natural resources for China's ever growing economy and totalitarian rule. Tibetans face persecution for as little as owning a Tibetan flag, or picture of the Dali Lama, with such actions landing you in jail, tortured, poised, and/or being released just before the point of death. It is important for us to remember and celebrate the traditions of the Himalayas and its sacred, peaceful practises.
The music was recorded live in one take at Flesh and Bone studio in Hackney for NTS Radio's Black Impulse show. Engineered, mixed, and mastered by Oliver and Owen at Flesh and Bone, capturing the raw, ethereal essence of the collaboration and ceremonial sounds buried deep within the Himalayas. This was the first time in history for such collaboration of tradition, ideology from Adeline Rozario and orchestrated by David Kerry of BlackMoon1348 who created this music to diversify and bring together ceremonial instruments, diversifying the metaphysics of transcendence through ceremonial Tibetan practises.
It is important to understand that BlackMoon1348 are not attempting to change the fundamental meaning or belief of the Tashi Lhunpo Monks, or assume to have a deep-rooted understanding of the ancient traditions of Tibetan Buddhism, This is our understanding of Tibetan culture and practices as truly and honestly as we see and feel it, and our attempt to spread this beautiful, sacred, culture, and keep it alive within today's society.
