Griffé is a new label curated by Chat Noir that focuses on dark and powerfull sounds. Between Electro, Rave, Techno and Acid, this release is a blend of very effective dancefloor weapons.
Paris based, Corsican producer Charlou takes control of the A-side with Mercenary and the complicity of Steve Marie on the track X-Station. The OPAQ Records co-founders deliver two tracks that brings immediatly the heat & madness of a rave anywhere it’s played !
The B-Side welcome Botwin, a very talented new comer based in Lyon for his first vinyl release.
... Through 3 tracks he showcases his production skills with a powerfull vibe and infectious grooves that can remind the golden « rave era » of the 90’s.
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The album Komorebi appears on vinyl in two color versions: classic black and a two-color version (splatter) limited to 100 pieces. OBI, a special element of printing, is a nod to the Japanese title of the album. Analog discs were pressed on thicker, 180 gram vinyl.
Following his electronic club aesthetic in Untold Stories (UKM036), Daniel Drumz takes a departure into the ambient synth wilds with Komorebi. This latest album represents a greatly matured perspective in the artist's discography, debuting this time under his real name, Daniel Szlajnda.
The album's name comes from the Japanese word 'komorebi' (木漏れ日), which refers to sunlight beaming through forest trees—often misunderstood for only representing the gentle, nostalgic side of nature. Komorebi polyphonically explores the dichotomy between the delicate and beautiful forms of nature, as well as the brutal and ruthless pulse of instinctual survival.
Komorebi presents pulsating, organic synthscapes that are nearly devoid of drum layers, jokingly referred to as "acid ambient" by Daniel.
The instrumental arrangements in Komorebi come from a modular synthesizer, built by Daniel during the work on the album. Harnessing imperfections and controlled unpredictability of this instrument fit perfectly into the themes of raw nature that the album is built upon. Sequences obtained by the synthesizer are in constant motion, never stopping in one place, and the album's electronic pulse is often complemented by acoustic instruments: celesta, marimbas and pianos.
The single track "Rebirth" was recorded together with Resina—a composer and cellist currently signed to Fat Cat Records in the UK.
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In this third chapter of the BROT series, we wrap up the trilogy from the Reykjavík based producer Felix Leifur, who has genuinely showcased his incredible set of production skills throughout the year.
These last five BROT tracks move the sound to another spectrum where Felix plays around with his traditional sound. But this time the tempo is high, and the strong influences from old school breakbeat and jungle shine through. Felix's BROT 03 ties up the first BROT series with flair and this one will surely not be the last one. Stay tuned for more BROT action in 2020.
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A new timley studio album from the duo of Peter Rehberg and Stephen O'Malley. Recorded and mixed during an unexpected extended stay in Berlin when the borders of the world suddenly closed. The claustrophobic urgency of this scenario is seared into the colossal vibrations set into this vinyl release.
Unlike many of their releases this is a studio record made unto itself as opposed to the many soundtracks they have made for theatre works and the like. It also stands as one of their most fully realised releases to date.
Proceedings are launched with The Director. Sitting somewhere between contemporary classical and doom this is a sliding and menacing mass of sound, more Masque of the Red Death than The Decameron. Silver lining is an alarming swooping buzzing track, looming and lowering only to rise and descend again. A delicate play with the Shepard-Risset glissando manifesting a delirious swarm of sound. Lee's garlic orbits into a short fragmented zone with bursts of harsh feedback and crashing fx, all manner of audio enters and is discarded with an underlying sense of despair and frustration. Proceedings continue on Side B with Tea With Kali where a calmer plateau is embedded with oscillating guitar and fluttering electronics. Beating sine waves envelop the listener in a meditative thought piece of sound. Frostless concludes this epic dispatch as a subtle and gentle foray into twitching electronics as a light buzzsaw drone swirls as around your mind.
The interplay of sources (guitar, electronic equipment (hardware, software, speakers) is so entwined it's often difficult to discern who is doing what amongst the broad sound field. KTL VII is instrumental music as visual narrative resulting in an exquisitely crafted release full of sophisticated and sublime illusory effects.
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Faitiche presents the release of a new album by Masayoshi Fujita & Jan Jelinek (faitiche13). Since their debut (Bird, Lake, Objects, faitiche03, 2010) they have played improvised concerts around the world. Japanese vibraphonist Masayoshi Fujita prepares his instrument with various percussion elements as well as metal objects and toys, while Jan Jelinek layers loops made using small-scale electronic devices. Schaum (German for froth, foam) is the duo's second album.
"The river, forcing its way through veins between the outposts of the forest, was a great heart. Placidly as it flowed, gently as its descent beat against its vague banks, it brought and gathered sustenance for the busily mediating humus that swelled sunwards in the strangest cell configurations, trees, plants, animals. The silence all round was uncanny and stuck on the ear. Spasmodic squelches, a gurgling in the muddy hollows of the bank beneath overhanging shagginess, the slurping of ominous cavities, that shot out now and again between the long-spun threads of time, like something detonating, testified to the steady monotony of the process. From the forest itself came a crackling rhythm. There the mighty Pan could still be heard to rumble." - from the novel Tropics by Robert Müller (translated by N. Grindell)
*****
Dear Masayoshi Fujita,
many thanks for the audio files. Your additional vibraphone recordings go wonderfully with the material we have already. Preparing the vibraphone with more percussion instruments was the right decision. Combined with my tightly woven synthesizer and sample loops, the result is a fragmented sense of space. I have taken the liberty of manipulating certain recordings. One might now say that our joint recordings are both a basis for further processing and new pieces in their own right.
While listening through our improvisations, I noticed a tendency towards atmospheric sounds. I am almost tempted to call them tropical. This has strengthened my resolve to work with dense background textures - among others, I'm using material produced in connection with my radio pieces Kennen Sie Otahiti (Do you know Otahiti SWR2, 2012) and Dialoge zur Anthropologie (Dialogs on Anthropology, SWR2, 2013): artificial field recordings, jungle and rain forest settings that do not hide their staged, fictional character. They are synthetic and speculative. As you know, I have long been obsessed with the tropics. This obsession involves a mental image of a specific quality of landscape: deliriously extravagant unstructuredness, hostile to life but also excessively productive. I am fascinated by the idea of installing clear minimalist forms amid such luxuriant tropical growth. Perhaps my image of the city of Brasilia is a good example: the utopia of elegant and ascetic modernism, surrounded by rampant vegetation.
Corresponding to this, I would like to expand our liner notes to include a quotation from Robert Müller's novel Tropics - an expressionist travelogue published in Germany in 1915. It goes without saying that this work cannot be wholeheartedly embraced: its imperialistic fantasies of omnipotence and its 'master race' posturing, characteristic of that time and place, are, of course, intolerable. Please excuse my casually dismissing this, but it is not what I am interested in here. Tropics is fascinating as a nervous jungle phantasm that openly indulges in exoticism at the same time as deconstructing it. In this way, the main character's adventure becomes a journey into the subjective. It resembles a feverish inner delirium, exposing exoticism as a simulated, utopian perspective. What it boils down to is insubstantial, nothing but foam and froth.
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This new and grainy Sbire release sees La Chaux-de-Fonds electronic craftman Gaspard de La Montagne work as per usual with Nathan Baumann. The two of them share a long history of forward thinking music projects, including EPs, videos, movie soundtracks and so on. Things have changed on this one though as Baumann co-signs the record, instead of an usual credit mention. Both artists describe these 7 tracks as a small album which average format of tunes leans towards pop music. A thoughtful and progressive tracklist bounds all titles together as a whole journey, landmarked by Baumann's ethereal vocals and minimalistic french lyrics. This new approach makes Auras a moving and bittersweet journey that will see you wander from a crowded club to your lonely bed.
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This vinyl double pack EP brings you the flavours of 1989-92 when the underground scene was changing from hardcore and the beginning of Junglism. These 8 tracks of gems from Noise Factory and Potential taken from Ibiza's back catalogue showcases their musical impact and progression from the start of the rave scene...
A.Box Bass: This track made in 1989-90 was the 2nd release by Ibiza Crew which then changed to Noise Factory in the early days of the label. It was a game changer with that one finger bassline that shook windows n doors LITERALLY…
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If someone had told me in 1992 that one day Kniteforce Records would be releasing music from such esteemed old skool artists as Sublove, Liquid, Hyper On Experience and Acen, I would have not believed it. To add NRG to that list is beyond anything I could ever have dreamed of, and with new music as well? What can I say?
This EP is not only NRGs first new hardcore in a very, very long time, it is also an amazing release which has all of the energy and sublime cleverness that you would expect from such a legendary artist. The first EP with more to come, this one contains four absolute winners. My personal favourite being I Love It because I love it, but Fire is also, well....fire. I am tempted to tell you to turn up Turn It Up and that Helpless will leave you helpless. All true, all amazing.
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This is the first in the Legends series.These very limited 10" Legends Vs Legends series aim to pit the finest in old skool artists against other old skool artists to see who is the best ever...haha, no. There is no best. But these little 10"s have BIG tunes by BIG artists and as we have 4 more already lined up, featuring Pete Cannon, Liquid, Hyper On Experience, Sublove, Alk-e-d, Dj Force & The Evolution and many more…you need to get on these while you can....
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7"
(This is...) one of Sascha Müller's weirdest, most experimental musical ideas brought to life as a limited, hand-numbered edition of 100 gold vinyl 7"es. Following the concept of recording crackling run-out grooves from various classic Pop albums and glueing them together into one crackly mess of a megamix this one is a collectors novelty piece for those searching for the most extreme, unusual vinyl releases they can get hold of. Expect looped crackles, pops, surface noise and all the good stuff related to listening to vinyl on a regular but do not expect any kind of structure or user friendly listening experience at all. This is for the die-hard collectors and vinyl freaks only.
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A first release for Seba & Paradox as a duo on Metalheadz is as special as its billing makes out to be. Although being situated in Sweden and Lithuania may provide many stumbling blocks, not to mention Paradox's insistence on physical 'in personal' studio sessions, the guys still manage to retain a production line amongst the best in underground jungle.
The impeccable brand new Metalheadz single is a brief excursion from their flourishing joint label venture and kicks off which looks set to be our busiest year ever.
PRESS/ONLINE:
Support from Mixmag, DJ Mag, UKF, Drum & Bass Arena, Hyponik, Bass Explorer, Tsugi , PhutureLabs, Bonafide Mag, In Reach, FACT, The Wire, DJ MAG USA Data Transmission, Resident Advisor, RBMA, Electronic Beats, Big Up Magazine, XLR8R, Skank N Bass, Boiler Room, Faze Mag, SB.TV, Noisey, Rolling Stone, Dazed and Confused, The Ransom Note, Electronic Beats, The fader, Billboard, Drum & Bassics, Mixmag Asia, Vice, Faze Mag, Bitch Slap Mag, In Reach, Thump x Vice, Track It Down Feats, DJ Mag Aus, Complex, Nu:Sounds, Complex, Noisey, Insomniac, Ninja Ninja, OneHourOneDJ, Dnb Dojo, Inflect, Bassrush, When We Dip, Nest HQ, Pilerats, Soundplate, Dummy Magazine, De:bug, Streetwear Today, Groove Mag, Clash Magazine, Different Grooves, Laif Magazine, IAMMUSIC, iD, Dancing Astronaught, Stoney Roads, Clash Magazine, Your EDM, Less Than 3, Beat Plexity, Inverted Audio, earmilk, This Song Is Sick, Esquire, GQ, NME, ShortList, SPIN, Time Out, Noise Porn, Eargasm, The Burning Ear, This Is Fanatical, All Things Go, Pidgeon’s and Planes, Neurofunk Grid, Stereogum, One Hour One DJ, Louder Than War and Shadowboxing.org.
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Optimo Music presents “Vanessa 77” the debut album from New Zealander Vanessa Worm. Originally due in May it was rescheduled due to the lockdown but we couldn’t wait any longer to get it out into the world, so here it is, on vinyl and digital.
After entrusting us to release 3 much loved singles it seemed right to let Vanessa stretch out across an album and show the world what she is about and how talented she is. Vanessa is exactly the kind of artist Optimo Music dreams of finding; her music fits in with no genre and no scene – it is its own genre and its own scene. Musically free and anarchic, Vanessa conforms to nobody’s dogma. Before lockdown Vanessa played a series of Southern Hemisphere live shows that entranced all who saw them. Hopefully next year she can come and do the same in the Northern Hemisphere.
We asked her for a few thoughts about her album. Vanessa says – “Vanessa 77, like most creative endeavours is a journey of self discovery. Mentally, emotionally and creatively. I spent most of my time alone in winter 2019 – focused solely on personal development & self realisation via the creation of this album. It was a way for me to put my mental state onto a plate – the joys, the fears, the epiphanies, and so on. I so desperately wanted to share what I was learning with the world too – I intended for Vanessa 77 to help others to heal, self-realise and alchemise. It was a 9 month process of death and a re-birth from the old into the new. Much like the world is experiencing now entering 2020, I hope this album can provide some form of healing, soothing, celebration and act as a sub-conscious guide for us as we enter into this New Earth. Thank you to all who listens, enjoy!”
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A collection of contemporary reggae, dub and electronica, which marks a broadening of musical horizons for the label beyond reissues of lost African guitar dance music. The LP covers a range of Jamaican inspired sounds, including roots reggae, dancehall, dub and jungle, which may act as a taster for potential future releases.
Due for release in July 2019. Interest for airplay from Tom Ravenscroft and Gideon Coe from BBC 6 Music. Steve Barker plans to review for The Wire magazine
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Chat Noir Tools is the club orientated experiment lab for Chat Noir Distribution.
This imprint allows us to explore the new scene and to put the light on some talented & upcoming producers.
The new imprint Chat Noir Tools kicks off with one of the most exciting Parisian producer of the moment: Vitess.
In this EP his style navigates between house to breakbeat & tech house and even some touch of early trance inspiration with a common element:
the love for the 90’s sounds. Evolving in the vivid Parisian scene and backed up by his Chevry Agency,
Vitess made a reputation for himself by playing powerful and unpredictable live sets full of energy and groove.
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Steppas Records is back with another heavyweight single in collaboration with Dubzoic, Alpha & Omega and Fikir Amlak.
The earth-rocker sounds of Italian producer, Dubzoic, alongside A&O's mystical foundation style, blend with Caribbean/American singer Fikir Amlak's ethereal and enchanting lyrical and vocal talents to deliver a stand-out Soundsystem single.
This release features Dubzoic and Fikir's original vocal edit, with a mystical flute cut plus two incredible mixes from UK dub pioneers Alpha & Omega (Greensleeves, Steppas Records).
Until now played as an exclusive dubplate, Steppas Records is excited to unleash this tune to the world, beautifully mastered and pressed to limited edition vinyl.
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Vienna-based DJ and producer, Heap, lands on Mechatronica White with a radiant and hypnotic vision of forward thinking dance music, assisted by Gamma Intel's menacing slow-burner on the flip.
Starting from this release, EPs in the Mechatronica White series will be released via one limited pressing of hand-numbered and hand-stamped white label 12" vinyls, as well as in digital format.
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Visiting an antique shop is a journey into an uncertain past in which one finds objects that are dormant but still loaded with aesthetic, historical and sentimental value, waiting to be rescued in order to perpetuate their identity and, perhaps, to allow them to live a second life.
In "Anticuario", Alex Alarcón aka Sustainer uses digital restoration and sound processing tools to exhume forgotten musical genres, giving them new form and structure. The objects in his "Anticuario" are old recordings of popular music that have fallen into oblivion but have not completely faded. Now, after a long and meticulous process of editing akin to sound archaeology, he presents these forgotten objects to us, preserving their identity while creating a very different appearance.
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Italian dark electronics aficionados Alessandro Adriani and Cosimo Damiano come together for a debut collaborative EP on Pinkman. Belonging to different generations but both deeply influenced on one side by "the Sound of Rome", with pioneers like Gabriele Rizzo, Leo Anibaldi and Lory D, and on the other side by the raw electro Dutch legacy of Bunker Records, the two strike a golden middle of their styles with a clanging, raw and packed to the brim with coarseness electro-techno hybrid. Inspired by the cyber dystopia narratives, 'Neurodreamers' reflect on the hi-tech surveillance and the promise of AI which unfolds itself into the prospect of dehumanization. Taking the listener through turmoil and anger, the brutish 4-tracker weave the elements of grubby baselines, coarse synths and erratic percussions with the brain-melting hints of acid and Alessandro Adriani's own recorded vocals. A living warning to us all.
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Synthetic and still human. The realization of the project "Mind Asset" took place as a kind of "therapy". The first EP on Human Sense Technology was written and produced by Braintalk. In his melancholic way he put the emphasis on dreamy surfaces, knitted rhythms and distorted structures. The inspiration expanded within his personal development. For this reason the titles "Conscioussnes", "Mind", "Synapse" and "Path" found their place on the EP.
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Following up the success from Break’s “Another Way” LP, Symmetry sought out some of their favourite producers to spin their take on a selection of tracks from the album.
This first instalment of remixes features Workforce’s reworking of Break & Kyo’s “The Edge Of Time”. His haunting and moody rendition keeps things minimal with skippy rolling beats and lush soundscapes. With innovative vocal rendering and a well designed arrangement, Workforce delivers exactly the remix the original deserved.
Skeptical pulls out his trademark moves on Break & DLR’s “City Slickers”, showcasing his tight and precise production skills. He reshapes the best elements from the original into a stripped back and gritty version, the hypnotic techno style groove keeps this remix constantly rolling till the last bar.
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sample alchemy presented by Dip Friso aka Grim Lusk aka Sunny Balm aka ½ Pussy Mothers. Flipping quickly between dubbed out samplescapes, wah-warbled chords, reversed drums, cut up vocal samples and a somehow relaxing sounding argument, the tracks are tripping over themselves to the front of the queue.
Available cassette tape and digital download, limited run of 70 copies.
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Oh, lovely appearance of death, No sight upon earth is so fair; Not all the gay pageants that breathe, Can with a dead body compare.
- Charles Wesley, A Funeral Hymn for a Believer, 1780
So begins New Atlantis, the fourth full-length album by longtime Berghain resident Efdemin aka Phillip Sollmann. The words, sung by 60s California art icon William T. Wiley and embedded in glowing drone swells, set an otherworldly tone for Sollmann's first solo release on Ostgut Ton. Over eight tracks, New Atlantis oscillates between fast, kaleidoscopic techno, multilayered drones and acoustic instrumentation, fusing for the first time Sollmann's deep dancefloor productions as Efdemin with his sound art and experimental music projects. The latter include 2017's Harry Partch- inspired Monophonie performance and 2018's Panama / Suez EP with Oren Ambarchi and Konrad Sprenger. Long drawn to utopian musical traditions, Sollmann took inspiration for New Atlantis from Francis Bacon's unfinished 17th century novel of the same name, which describes a fictional island devoted to social progress through the synthesis of art, science, technology and fashion. In the story, Bacon imagines futuristic 'sound houses', which contain musical instruments capable of recreating the entirety of the sounds of the universe; a 400-year-old prophesy of today's digital sonic reality. Through Sollmann's lens, Bacon's vision ebbs and flows over 50 minutes in varying speeds and colors, emerging as a tapestry of different utopian musical traditions - through billowing synth lines, early Detroit techno, resonant wooden percussion, trance, droning organs, dulcimer, electric guitars, hurdy-gurdy, just intonation, poetry, hymns and murmuring voices. Sometimes they merge into epic, rhythmic journeys like the 14-minute long title track; other times they appear as a briefly open sound portal ('Temple'), or in the forlorn human voice on 'Oh, Lovely Appearance Of Death', calling to be freed from jail of the human body and pass into the afterlife. Like previous Efdemin albums on Dial, New Atlantis veers off the techno path to explore other musical territory. Here however, Sollmann occasionally abandons the club entirely, returning only to push its boundaries with other instruments, mythologies and psychedelic story telling.
Oh, lovely appearance of death, No sight upon earth is so fair; Not all the gay pageants that breathe, Can with a dead body compare.
- Charles Wesley, A Funeral Hymn for a Believer, 1780
So beginnt New Atlantis, das vierte Studioalbum des langja¨hrigen Berghain-Residents Efdemin alias Phillip Sollmann. Jene Worte, gesungen von der amerikanischen 60er-Kunstikone William T. Wiley und eingebettet in glu¨hend schwellende Drones, setzen einen ga¨nzlich anderweltlichen Ton fu¨r Sollmanns erste Solovero¨ffentlichung auf Ostgut Ton. Im Lauf von acht Stu¨cken oszilliert New Atlantis zwischen schnellem, kaleidoskopischen Techno, vielschichtigen Drones und akustischer Instrumentierung. Erstmals verschmilzt Sollmann die deepen Dancefloor-Modulierungen seines Alter Egos Efdemin mit den Klangkunst- und experimentellen Musikprojekten unter seinem bu¨rgerlichen Namen. Zu Letzteren za¨hlen seine von Harry Partch inspirierte Performance Monophonie (Volksbu¨hne, Elbphilharmonie / Kampnagel, Ruhrtriennale, 2017) und die EP Panama / Suez, als Trio geschrieben mit den Experimentalmusikern Oren Ambarchi und Konrad Sprenger (A-TON, 2018). Utopische Musiktraditionen standen schon lange im Mittelpunkt von Sollmanns Denken - fu¨r New Atlantis diente ihm Francis Bacons unvollendeter Roman gleichen Titels aus dem 17. Jahrhundert als Inspiration. Darin beschreibt Bacon eine fiktive Insel, die sich ganz der sozialen Entwicklung durch die Synthese der Ku¨nste, Wissenschaft, Technologie und Mode verschrieben hat. Im Buch werden futuristische, akustische Werksta¨tten erdacht - von Bacon ‚sound-houses' genannt. In jenen werden Musikinstrumente vorgehalten, die in der Lage sind, die Ganzheit an Kla¨ngen des Universums zu erzeugen. Eine 400 Jahre alte Prophezeiung der heutigen digitalen Klangrealita¨t. Bei Sollmann schwillt und ebbt Bacons Vision auf 50 Minuten in unterschiedlichen Tempi und To¨nen, sind utopische Musiktraditionen ineinander verwoben: wogende Modularsynth-Lines, fru¨her Detroit- Techno, klingbare Holzperkussion, Trance, dro¨hnende Orgeln, Hackbretter und Stromgitarren, Drehleier, reine Stimmung, Poesie, Hymnen und raunende Stimmen. Mal - wie im 14-minu¨tigen Titelstu¨ck - stimmen sie ein in epische Rhythmusreisen; hier entladen sie sich als sich kurz o¨ffnende Klangportale (- Temple'), dort fordert eine desolate menschliche Stimme (- Oh, Lovely Appearance Of Death') die Befreiung aus dem ko¨rperlichen Gefa¨ngnis und ein U¨bersetzen ins Utopia des Jenseits.
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Matthias Vogt is back on Polytone with two strong original tracks, plus legendary producer Carl Finlow is adding his remix magic. The title track "Imaginary Friend" is an ode to Electro, with a hint of Pop and both: taking us back to the sound of the 80s, yet still sounding fresh and crisp. Carl Finlow's transforming Imaginary Friend into a sci-fi-something - it's out of this world. The B-Side is all about "Crevasse", a timeless beauty - we are in love with this Matthias Vogt trademark sound.
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"On this seven track album we hear MinaeMinae (alias Bastian Epple) playfully scurry through his dense soundscapes on a tightrope. The sounds lying somewhere on the crossroads of psychedelic trance, exotica, ambient and melodic dance music – veering further off orbit with nontypical rhythms and dystopian percussive patterns.
MinaeMinae understands musical material similar to documentary footage which he would cut up, repitch, and rearrange freely. Most of his tracks are a mix of analog, synthetic sounds and recordings of ethnic percussion and guitar. Recently Bastian began experimenting with modular synthesis and self made tape echoes - seeking a more reduced and minimal composition style compared to his earlier quite whimsical tunes.
Growing up in a small village in southern Germany, Bastian was never interested in kitschy folk sounds that everyone would mindlessly clap and sing along to, rather he took solace in the time he would spend delving into patterns and repetitions that pleased him. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to continue on this self-taught path of developing his musical language. He then started to experiment with a tape recorder and layering sounds with non-musical samples, which his former village friends found too weird – then to eventually working with a small freeware DAW. Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe – initially enrolled in music but the frustration and doubt of not being able to produce the music he wanted led him into film and documentary media. During his studies, Bastian was living with Florian Meyers (Don’t DJ) for several years where they would philosophize life and music into the wee hours – he encouraged Bastian to start sharing what he’s been quietly working on all these years and slowly emerge from this anonymity which eventually led to his first release on Human Pitch last fall.
Disproportionate forms, color changes, backdrops weaved into the foreground, all lay the dense earth for Gestrüpp through Benjamin Kilchhofer’s artwork."
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Limited hand-stamped 12” Vinyl housed in a dub-plate style sleeve. 300 Copies Worldwide. No repress.
Danish RDG teams up with Austrian DubApe for a colossal collaborative EP for Boka Records. RDG originally appeared on the label nearly 10 years ago via the 'TANK' series. Since that time his productions have gone from strength to strength and this year he released his debut album 'Planetary Sound Fiction' on his Circle Vision label. 'Storm' EP contains 5 tracks of doubled-down Dubstep bass-weight with 'Decoy' venturing into Drumstep territory, the EP is capped off with a special remix of 'Brok Out' from Bristol's Punch Drunk Records legend RSD.
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"Kapital Band 1 – Internationale Solidarität” is the third album of Martin Brandlmayr & Nicholas Bussmann. Since their first album “Kapital Band 1 – 2CD" in 2004 the duo explores the possibilities of improvising music with machines. Investigating parallel existences and mimetic affirmations of machine structures and human patterns. For their third album they revised their experimental settings once again. “Internationale Solidarität” is a search between impulse and logic, algorithms and attitudes, false random and real mistakes.
Martin Brandlmayr – drums
Nicholas Bussmann – robot controlled grand piano "the automat”
“the automat” is made by Winfried Ritsch
Martin Brandlmayr is a composer & drummer playing with Radian (Thrill Jockey), Polwechsel and Trapist. He has been working with ErikM, Christian Fennesz, Howe Gelb, Klaus Lang, Dieter Kovacic, Billy Roisz, Sachiko M, David Sylvian, John Tilbury, Ken Vandermark, Otomo Yoshihide, Mats Gustafson and many others. He has released almost 30 albums and toured on all continents. For his radioplay "Vive Les fantômes” he received the Karl-Sczuka-Prize for radio art 2018.
Nicholas Bussmann is musician and artist. As a musician he is playing Telebossa and his multi-language choir "Cottbusser Chor”. He has been working with numerous musician and artist: Natascha Sadr Haghighian, Butch Morris, Chico Mello, Van Dyke Parks, Lucile Desamory & Lindy Annis. As an artist he showed his work at Museu Serralves Porto, Hangar Bicocca Milano, Taxispalais Innsbruck & Shanghai Biennial.
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Stargazer is a huge tune beloved by ravers all over the world, but for a long time the rights to it were in legal limbo. Kniteforce/KFA un-limbo-ed them to create this superb EP of remixes, featuring the classic original, the also classic Reese remix, a fresh new … err … old take by Dj Luna-C, and a proper tough remix from Audio-X. All in all, this single record covers everything anyone could want in an EP …
Club/DJ Support: Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder, and ... many others.
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A stunning 17-minute-drumming-trip from feathery spheres through bold grooves to a dense thundery finish by Simon Popp and Sebastian Wolfgruber, the two drummers known for channeling World Music, Afrobeat and Jazz drumming in solo projects and with Munich-based Jazz quintet Fazer.
The B-side holds a rework by fellow Munich producers Zenker Brothers. The Ilian Tape heads and notorious audiophiles put their drum machines aside and weaved the recordings with layers of mystic synths into a tingling organic IDM tune.
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These 2 scene giants have come together with 2 amazing productions for their new label "Fish Rice". Hellfish has been producing music for nearly 30 years on his own labels Bogwoppa and Deathchant! Akira is the main man in the Dutch scene now and plays out at all the big festivals this year. He even hosts his own Hong Kong Violence parties at venues all over the globe as far flung as Brazil & Hong Kong! He's been an active member of the scene for decades and continues to push his incredible sound all over the world.
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Two big tracks from the last 18 months get the remix treatment from 2 of the scenes finest. Whiney injects some serious bass into BCee’s ‘Sincerely Yours’, flipping it from a laid back liquid roller into a heavyweight peak time flex out.
Phaction puts his touch on Villem & McLeod’s ‘Let It Breathe’
and once again flips this liquid vocal tune and creates an absolute monster. Support from Rene LaVice, High Contrast, Hybrid Minds,
DJ Marky, BCee, LSB and more ...
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We're celebrating our 30th release and we have done it in a big way, gathering a handful of like-minded friends, close and far!. This triple vinyl album contains a selection of 12 catalog tracks, receiving free and stunning treatment from masterminds like Venetian Snares, Samuel Kerridge, OM Unit, DgoHn, Plaid, Etapp Kyle, Dwaallicht (WISP), Humanoid (FSOL), EOD, Konx-Om-Pax, Radioactive Man and Anthony Baldino. Not many words are needed except this powerful release expands the AF sound palette from different approaches, making it, undoubtedly, in one of our essential records of the year. Packed in gatefold deluxe sleeve designed by Geometric Love studio.
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Next up on Blahh !! Records we have the 2nd release from Beforethbeatsbreak which is co-produced by Crazy bank. The E.P also includes a Re-edit of 'Closer' and a remix of 'Get to you' courtesy of Plastik People's Marc Cotterell
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