Rauch is a sonic interpretation of the work of photographer Friederike von Rauch, composed collaboratively by Berlin-based producers Felix K, Marcel Dettmann, Sa Pa and Simon Hoffmann. Arranged and mixed by Marcel Dettmann, the recording stands in dialogue with von Rauch's architectural images of post-World War II European monasteries, including La Tourette by Le Corbusier and Iannis Xenakis near Lyon, Roosenberg Abbey near Ghent and Maria Regina Martyrum in Berlin. The images were first exhibited together with the music on this LP as part
of an installation for von Rauch's solo show insgeheim ('in secret'), held at the Goethe-Institut Paris during the international Paris Photo art fair in November 2017.
While the complimentary relationship between the sounds of Rauch ('smoke') and the images exhibited in Paris invites interpretation, both can also be experienced as separate artistic entities. On the 42-minute-long LP, drones, modulating harmonic soundscapes and implied rhythms maintain an abstract emotional core while occasionally taking on vaporous, amorphous qualities. Similarly, von Rauch's images - often borderline abstract in composition - resist being identified by location or spatial context. Nevertheless, they also hint at their spiritual origin.
Rauch is part of an ongoing artistic collaboration between Marcel Dettmann and Friederike von Rauch, which includes 2011's Ash installation and three photographic works for Dettmann releases on Ostgut Ton.
(de) Rauch, geschrieben und produziert im Kollektiv von den Berliner Producern Felix K., Marcel Dettmann, Sa Pa und Simon Hoffmann, zusammengestellt und abgemischt von Marcel Dettmann, ist als ku¨nstlerische Anna¨herung und Dialog zu den Fotografien von Friederike von Rauch zu verstehen. In ihrer Ausstellung insgeheim im Goethe-Institut Paris, anla¨sslich der Paris Photo 2017, zeigt die Ku¨nstlerin Arbeiten, die in verschiedenen Klo¨stern der Nachkriegsmoderne - von La Tourette von Le Corbusier entworfen u¨ber Roosenberg Abbey nahe Gent zur Klosterkirche Maria Regina Martyrum in Berlin - entstanden sind und klanglich untermalt werden durch die Musik von Rauch.
Die Musik und die Bilder menschenleerer Ra¨ume stehen in unmittelbarem Bezug zueinander, suchen die Auseinandersetzung durch Begleitung und Interpretation. So entstand die 42-minu¨tige Komposition modulierender Klangschleifen und angedeuteter Rhythmik, den Namen von Rauchs beim Worte nehmend, musikalisch abstrahierend und doch im Detail ergreifend. Die Arbeiten Friederike von Rauchs lassen dabei kaum Ru¨ckschlu¨sse zu, welcher Ort sich dem Betrachter offenbart, der ra¨umliche Kontext bleibt verborgen und dennoch transportieren die konzentrierten und beinahe abstrakten Kompositionen, etwas von ihrem spirituellen Ursprung.
Rauch ist auch die Fortsetzung der ku¨nstlerischen
Kollaboration zwischen Marcel Dettmann und
Friederike von Rauch. Die beiden in Berlin
lebenden Ku¨nstler arbeiten hier nach Ash (2011)
zum zweiten Mal an der Schnittstelle Fotografie-Musik, daru¨berhinaus pra¨gten Friederike von Rauchs Fotografien drei Dettmann-Vero¨ffentlichungen auf Ostgut Ton.
Beats Novedades
Second release of Nathan Melja on his own imprint Dream Real, this is not a Techno EP, this is not a Bass EP, this is simply a music record. Four tracks going from Ambient to Club music to a weird and slowed down rap by himself on the Eponymous title «Raindrops» Enjoy and much love to y'all.
Plevna (an alias of Horatiu Serbanescu, long-time contriver at Future Nuggets and co-founder of Steaua de Mare) presents its first full EP. After incubating for almost 2 years while extracting and forging gems in the south-east space-time anomalies, the untraceable sound of Plevna has reached the optimum balance between eighties delicate nostalgia and contemporary local oriental melody. Bouncing on the delightfully twisted 9/8 groove, this is a unique contact with a multiverse under meticulous construction, an excursion abundant in haunting tunes and unfamiliar melancholy.
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"Tujurikkuja have found themselves in a very interesting zone of analogue sibilance, waveform transmission and ferric rhythmic pulse. Chris Dixon and Johsua Kit Clayton have quipped about their project being "ambient nihilism" and there are threads connecting their dilated industrial dub to the Californian dystopias revealed through Factrix and Thought Broadcast. Yet for all the naysaying that is rampant in the current cultural dialogue of the Bay Area, Dixon and Clayton let an undercurrent of optimism crack through the malaise."
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"Q/R" features the reissue of "Rug"composed by Chen Yi (1982) (previously played by Vladimir Ivkovic, Helena Hauff ...) among others quality new wave, electro pop, industrial tracks composed by Neud Photo, Automatenfall, Beta Evers & Dora Gerl as "Severe Sisters", BB&SS, Denis Frajerman & William Bope project ---> The Blizzard Sow + an exclusive latvian piece from 1988 (19 Gadi Pirms Sakuma).
Illustration by Den Haag based A. Blokdijk (Salò Mentale)
It's about weird electro, new wave, industrial, synth pop and dark psychedelic musik. It includes a remastered version of Chen Yi's 1982 work "Rug" , but also unreleased track from Beta Evers & Dora Gerl as "Severe Sisters", Denis Frajerman & William Bope project ---> The Blizzard Sow. An industrial/rock track recorded by a new band from Berlin, called Automatenfall... A new track from USA based artist Neud Photo, a cosmic electro track from mysterious BB & SS and an exclusive latvian piece from 1988 (19 Gadi Pirms Sakuma)
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Liondub proudly presents the debut release from Reggae Roast badman Adam Prescott. The Technique vinyl release features 4
tracks of heavyweight Reggae infused Dubstep pressure with a modern feel yet a classic, timeless sound. Expect deep, dubby
passages inspired by Tubbys and Scientist with classic Japanese samurai samplings coupled with in your fac, modern drum hits and gut wrenching sub bass. This one is for the history books and will surely garner support from fans and supporters of the original dubstep masters who created the genre.
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We are proud to present our second release by Beat Pharmacy AKA Brendon Moeller AKA Echologist, a singular voice in contemporary electronic, techno, and sound system musics in his various guises. Beat Pharmacy tunes begin life as live hardware jams where reverb, echo and delay rule the day, and rugged textures rub against digital processing.
In Density,' bass, kick and heavily reverbed piano skanks anchor an instantly enveloping soundworld of deepest dubwise ambience. From around hidden corners emerge the hiss of distant pistons and valves, sentient machinery working in complex relationships. Wobbles, wubs and sweeps communicate across cavernous spaces, as strange rhythmic elements sputter and spatter, tangling and massing in double-time to the point of rupture, only to resolve into crystalline moments of suspension into gorgeous, neck-snapping drops. Simply mesmerizing, and heavy in the dance. Everything to Gain' is spun from the same heavy metals, with a sparser feel, processed voice, and a buzzing, repeating alarm figure that sounds like a submarine warning that the dive is getting too deep, too dangerous...
Music that is moving, powerful, evocative and kinetic, slotting beautifully into 140 sets while defying easy categorization or description, always following vision over fashion. This is why we love Beat Pharmacy.
Mastered by Lewis at StarDelta
D-Operation Drop is a 6-man crew from Cesena, Italy with a strong and growing catalog of sound system killers, from orthodox steppers to dubstep abstractions and strange hybrids of the two. Recent releases on Moonshine, Artikal, and Lion Charge have cemented their position, and we are thrilled to invite them into the ZamZam fold with two chunks of 140 weight.
Warrior March' opens with a mesmerizing pad that immediately draws the unsuspecting into a unique soundworld and doesn't let go til the runout groove. A smeared, chopping-block snare, deep subsonic rumblings, swung percussion, massed yet minimal horns make a darkly coiled track, menacing yet full of funk and movement.
Sativa Team' captivates just as deeply with fewer moving parts, loping drums and leaden percussion, churning bassline, chopped and glitched JA-voices and sound tape, and ominous, clipped horns that wobble with tape delay in a strange airless void. Brooding yet cathartic, tripped out but fully physical, with both tunes D-Operation Drop display their total control over a restrained and powerful palette.
Mastered by Lewis at StarDelta
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MFM 019 will be an EP of works by Denis Mpunga and Paul K. Combining elements of traditional African music with experimental electronics, the Belgian/Congolese duo released only a handful of tracks, scattered across a few rare LP and cassette compilations that were put out in the mid eighties by obscure european labels . This release also includes a few previously unreleased songs that were found on the original master tapes
Sen Am' is the third album by London/ Freetown based artist Duval Timothy.
Drawing upon his Sierra Leonean and British identity, 'Sen Am' which means 'send it' in Krio is Duval's most personal album to date. The album continues Duval's work on solo piano on tracks such as "Whale" as well as introducing layers of vocal samples, software instruments, field recordings and WhatsApp voice notes from friends and family sprinkled throughout the record.
The project hosts one feature from longtime collaborator Nicholas Mandalos who's slide guitar Duval layers on the track "Language".
Sen am is Duval's first release under his own label Carrying Colour. The album was recorded, mixed and designed by himself. In this way the project brings together the many disciplines Duval work's across into one wide ranging project.
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Cong Burn are a tight knit collective reaching from Salford to Glasgow via County Durham and Middlesborough. An initial series of DIY cassettes and limited CDRs found their way into sets from Ben UFO, Lee Gamble, Tasker, Bake and Mosca and earned plaudits from The Quietus and XLR8R. Their first 12 consists of unreleased material from Haddon, Howes and Perfume Advert (1080p, Opal Tapes, Where To Now) and a reworked L. Pearson track taken from his debut release (CBW003 L. Pearson Stone Circles). 2017 will see Cong Burn artists releasing music on Whities and UIQ as well as a performance at Freerotation.
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Moscow based multi-talent Impish presents the Hush LP, his latest album project that will be released through all quality physical electronic music outlets around the world October 20. Working through labels such as ProgRAM, C.I.A. and his own fast rising Occulti Music imprint Impish is quickly establishing a name for himself in the global drum & bass scene. In a world that consumes more and more music in a superficial way Impish manages to take a halt on the Hush LP with timeless songwriting, arrangement and production inspired by live music and drum work. From effortlessly rolling tracks such as Can't Feel and Shadows towards more introspective vibes on Changing Colours and the LP's title track a common thread runs clearly throughout the album: the aim for perfection, true craftsmanship and a drive to combine to high-quality beats and breaks with musical elements. To aid the budding artist in spreading his ethos UK based female vocalist Kate Wild and Irish drum & bass producer Zero T feature on the album for vocal appearances and remix work.
Double LP compilation of Dutch electronic artist Michel Banabila focusing on his incursions into otherworldly and imagined realms. LP1 is a compilation of works spanning over 20 years that acts as a bridge between his earliest work and his contemporary practice. LP2 is a reissue of his early masterpiece Marilli, a highly sough-after album that acts as both an LSD inspired DIY tribute to Byrne and Eno's Ghosts and a youthful exploration of Banabila's personal background and his experience as a squatter in Amsterdam in the early 80s. Gatefold LP with archival pics, essay and artwork by Alan Briand.
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When the derangement has reached the limitless limits. Like the sound of a light-beam reaching the immense gravitational waves of a black hole. Is there sound in nothingness This is your Outermost reality.
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Baltimore's PJ Dorsey has traversed a lifelong journey delving into psychoactive music which can alter one's cognitive and conscious state. He harnesses his experiences to create music as Tarotplane. Using guitar, effects and processing he produces time suspending soundscapes - immersive music for merging the mind and body.
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358 Oblique is the follow up to First which was released on Aguirre Records in 2015. Find yourself adrift in the lapping waters of a slow unraveling sea of sound, a spectral vortex of shimmering tones and discrete samples guide the listener into an aural abyss, while plangent six-string melodies offer glimpses into a sanctifying
sensory space. The two exploration provide an evocative journey through a psychedelic continuum and beyond.
Listing somewhere between the cognitive and the corporeal comes the third release from Gratone. The Periphery of a Building', a live remix work featuring long-time collaborators Audun Kleive on percussion and Jan Bang on live sampling sees the young Norwegian label expound on the territories between extended jazz and the dance floor through a four track LP.
Veterans Audun Kleive and Jan Bang tap into something innate that moves perpendicular to the techno ethos perpetuated by the label's previous releases.
The Periphery of a Building', is a work that brings the past into the present and draws a red thread between genres. It juxtaposes disparate ideas between the dance floor and jazz, and ensnares itself in the tangled web of tradition and progress in a bold indefnable musical dialect. Upholding the ethos of Gratone by negating expectation Periphery of a Building' also calls in a new era for the young, but fertile label.
Periphery of a Building' is Kleive and Bang reconsidering live Punkt remixes* of Etenesh Wassie & Mathieu Sourisseau, AtomTM and Clarinet Factory & Floex. In their selection of source material for the Gratone LP, they eradicate, and then reconstruct tradition.
*The Punkt live remix concept puts third-party musicians, producers and composers in a real-time remix situation during a Punkt festival live show.
Fiona Talkington:
Stian Balducci's Gratone (grey tone) label inhabits an exquisite genre-defying world.The latest release features two of Norway's legendary, pioneering musicians, live sampling guru and co-director of the globally acclaimed Punkt Festival Jan Bang, and Audun Kleive, a musician whose work over the decades has repositioned the language of drumming. Together they forge an exquisite, adventurous path, as delicate as chamber music, as powerful as rock, and engage with samples with respect, a spirit of adventure and a creative vision which is simply inspiring.
Limited 180gram vinyl in hand stamped recycled cardboard jackets with silkscreen print.
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Vinyl Re-Release des DJ Food-Klassikers "A Recipe For Disaster" aus dem Jahr 1995! Kommt als 2LP+MP3! Für Electronic-, Downbeat- und Headz-Fans ein Klassiker aus den 90er Jahren!
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Night Blind is Richard Fearless' second release on Drone's white label series. The title track coalesced in the early hours of the morning as diffuse, Turneresque lights glimmered across the Thames and the container was pounded by a storm. Unnerving and melancholic yet with a glimmer of light, this is Fearless at his best.
On the B side is Cancan. With Xavier's spiritual acid head, Kenichi Iwasa, on percussion duties, this is one for peak time body shaking.
Both tracks were recorded and mixed at the Metal Box by Chris Blakey and produced by Richard Fearless.
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After the great success of the 100th release of the Systematic catalogue Stephan and Marc have decided to release a very special edition of their legendary synthapella concept, this time special versions of their latest tracks Kerberos' and Styx'. Not only for fans, also for record collectors and ambient fans a must!
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After nearly a decade in the making, Zomby finally dispatches Mercury's Rainbow, his astonishing and uniquely formulated dedication to Wiley's series of Eskibeat releases, a.k.a. the cornerstone of grime.
Originally recorded over an intense couple of weeks while suffering from circadian dysrhythmia,
Mercury's Rainbow documents Zomby riffing on intricately hand-programmed arpeggios, using theories of colour and its relation to the sonic chromatic spectrum - the circle of fifths - to place an expressively avant spin on the Wiley Kat's slyding Triton squares and frozen, post-garage drum patterns.
Rather than simply imitating Wiley's foundational unit of grime currency, Zomby innovates with a structure of bewildering, modal styles, refracting 16 diamond-cut permutations according to a colour-sound spectrum of tonalities. In the process he effectively loosens up and liquifies the Eski riddim, rendering its bones and sinew in varying states of reactive, physical deliquescence or GIF-like micro-organisms.
For dancers and DJs, the fluid contours and viscous, displaced rhythmic anticipation of Mercury's Rainbow suggests myriad geometries for movement in-the-mix, and serves to single-handedly put to sleep a whole genre of also-ran, prosaic 'future grime' thru its methodical, inventively ground-up construction.
While it's difficult to say with certainty, if Mercury's Rainbow was issued at the same time it was created, it may have arguably altered the course of UK grime instrumentals in much the same way
Wiley's original template coined a whole new genre, essentially making it the last word in grime futurism, proper.
From the darkest recesses of the drum & bass world, this LP sampler from Audio signifies the last step towards his debut LP on Ram Records. Already receiving support from the scene's heaviest, including key influencers Noisia and Beats1 mogul Zane Lowe, this next release is the predecessor for an album set to make history. First up, 'Overdose' sees Audio return to his brutish, rolling bassline slashed with gritty drum loops and underpinned by quaking subs. The master of dropping ominous samples into the mix, it propels deep into a murky conundrum of sound. Steroid driven kicks bloat out the already weighty composition, sliced with distorted, elevating beat patterns and bass to create an angry, sneering and unapologetic opener. This is Audio once again pushing through like a freight train... Unstoppable.Next up is the Mefjus rework of Audio's signature Ram release 'Ulton'. His production standards were already credited at this year's Drum & Bass Arena Awards; it's not surprise that Audio enlisted an artist who's received recognition for spreading his signature sound across dance floors worldwide. Mefjus' moulds the original around the unfaltering guns of his peddled drums and wavering bassline. Flicking the switch midway, you're thrown head first into the techy soundscape the producer reigns over. So once more we return to the cold, nefarious sounds of Audio a final time before his album is dropped on the Ram imprint. The dial is currently turned to full throttle and it's easy to see why the anticipation has only been growing with the release of each single
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- A1: Shenzhou
- A2: Spindrift
- A3: Heat Leak
- B1: Ancient Campfire
- B2: Houses On The Hill
- C1: Two Ocean Plateau
- C2: Thermal Motion
- C3: Path Leading To The High Grass
- C4: Fast Atoms Escape
- D1: Green Reflections
- D2: Bose-Einstein Condensation
- D3: Gravity Assist
- E1: Griz Nez Windy 03:21
- E2: Dover Ferryport
- E3: Kent Country Train
- E4: Lorry Shuttle Shaft
- E5: Sea Cat
- F1: Shuttle Hiss Tunnel
- F2: Calais Ferryport
- F3: Shuttle
- F4: The White Cliffs Of Dover
A remastered version of Shenzhou on triple vinyl and double CD with the bonus album"The Samphire Tower.
Paul Cooper, Pitchfork: ""Shenzhou", aside from being the name of the Chinese manned-spaceflight vehicles, means "magic vessel", and I can't imagine a more apt description for Geir Jenssen's latest excursion into ambient deep listening. After following an Aphexian trajectory with his releases on Apollo, the ambient sublabel of Belgium's R&S, Records, Jenssen veered from the padded sci-fi-inspired techno of Microgravity and Patashnik with 1997's Substrata, a genre-defining exploration of drifting soundscapes. Substrata remains for many the album that perfectly expresses the serenity and intensity of Arctic wildernesses, a landscape Jenssen knows intimately, having spent much of his life in the Norwegian Arctic Circle.
In 2000, Jenssen nearly eclipsed the success of Substrata with Cirque, a frequently frosty submerging of excerpted conversations and found environmental sounds that rivals Wolfgang Voigt's Gas project in its rumbling, gauzy beauty. Jenssen again relies on found sound as source material for Shenzhou, but this time, the found sound is old vinyl recordings of the orchestral works of French Impressionist composer and ambient precursor, Claude Debussy. Jenssen lifts fragments of these scratched records in a similar manner as he did for Cirque's "Black Lamb Grey Falcon" and "Iberia Eterea".
The ten tracks (out of the dozen on the album) that follow this model all begin as a barely audible hum, like a small electrical transformer, out of which the dust-dappled loops of Debussy's woodwind, brass, and strings emerge, condense, and fade out into pink noise rustles. Unlike Steve Reich's phase pieces or Brian Eno's Discreet Music, though, Jenssen doesn't set his loops against each other to produce juxtapositions and piquant dissonance, he uses them to describe imagined terrain, at first glance monotonously flat and barren, but on concentration, replete with minute detailing. The overall effect of these pieces is a sense of immensity. The orchestral loops sound distant, abandoned in a vast wilderness, and strenuously battling against Arctic winds. Jenssen sets the listener down in this wilderness as an aloof observer, a witness to the music's futile struggles against entropic forces.
The two tracks not derived from Debussy share the same hypnotic aesthetic. The brief interlude "Bose-Einstein Condension" is a loop of piano chords lolloping in search of coherence, while "Gravity Assist" is a longer voyage into woofer-quaking low-frequency manipulation, bell-like drones, and contrails of subdued noise. I can't help but feel that these tracks fit awkwardly and break up the conceptual flow of the album. This, however, is a minor quibble given the power of this music. Shenzhou is unquestionably a magic vessel, but one that reveals its enchantment only to those who pay close attention."
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Anthone and Katsunori Sawa team up again under their BOKEH alias delivering a 12" single on The Weevil Neighbourhood.
On A side "Lancashire", BOKEH explore the realms of Drum & Bass tempo challenging the how-low-can-you-go with extremely deep subs while "Fast Fiver" on the B side doubles up on your regular 4/4 while on a heavy dub chord's leash.
The release comes on black vinyl. The center label artwork is done by Lee Noble (No Kings Records/ Bathetic).
This is the new release by berlin based techno duo I/Y. the music is part of an interdisciplinary project between the international artist collective exc and I/Y which included an exhibition in a downstairs parking lot, the publication of the artistbook "pxrkxnglxt 2" together with the novel "raum in einem raum" by exc-co-founder eric keil and a short unmoved silent film for which I/Y did the soundtrack. This soundtrack now comes as an exclusive vinyl release along with an inlay artist edition, showing the dark scenery where the" film" takes action...
The artist book and the novel are published on rhein verlag and will also be distributed as a special edition together with the record at papierundgelb.de.
Vinyl comes with limited edition artwork by EXC Artist collective (high quality print)
Dolphins control the moon. It's quite far-fetched, but what if dolphins are indeed dangerous super intelligent creatures that created a secret base underwater from which they control a mercury-fueled spacecraft From the Earth's natural satellite, they can manipulate our minds with a special signal vastly known as the I/Y XXX sound wave. Think about it, question everything.
This is the beginning of a new series for the label, which will probably showcase different collaborations with dolphins and artists from different fields.
So Long, and Thanks for All the Fish
DJ PROMO / PRESS
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One of the boldest new producers to broach the dub sphere in recent times, Jay Glass Dubs is subject of Dubs, a prime 'early years' survey of his work, compiled by Alessio Natalizia (Not Waving) for his Ecstatic label, and released quick at the heels of their ace TRAX set and Novoline album.
Written during what Dimitris Papadatos, aka Jay Glass Dubs, describes as 'an adventurous and bold period', and holding material variously issued by Hylé Tapes, THRHNDRDSVNTNN, and Seagrave between 2015-2016, the Dubs compilation frames a singular, stripped down take on classic dub forms, wherein Jay Glass Dubs perceptibly retains the sound's heavy function and mystic qualities, but subtly updates its palette with a range of nods to shoegaze, darkwave synth styles and weightless dynamics.
The results form a sort of ghostly, filleted subtraction of classic dub architecture, all plasmic tones and diaphanous, boneless structures buoyed by an often overwhelming, yet somehow intangible
bass presence. Beyond the obvious, thematic ligature that connects the material, which was all recorded within a very short period of time, the artist also suggests there is an underlying, encrypted similarity to the material which is 'merely apparent to me', and awaits much closer investigation from keen ears.
From Jay's eponymous 2015 debut for Hylé tapes, listeners will encounter the heaving smudge of Definition Dub, the serpentine, Coil-like digital delays of Grumpy Dub, and a grime drone drill Depression Dub. Off the II tape for THRHNDRDSVNTNN comes the darkwave synths and militant step of Magazine Dub recalling a gauzier Equiknoxx production, next to the bass-less scudder,
Detrimental Dub and the shoegazing bloom of Daria Dub, while his III tape tees up some abyssal highlights in the vertiginous Hilton Dub, the melancholy, Basic Channel-scoped scale of Sieben Dub, and the HTRK-eaque starkness of Everlasting Dub.
Exclusive to the set is Perfumed Dub, recorded in 2017 and pointing to vast, layered, atmospheric directions for a timeless project which is only just hitting its stride.
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Klaus returns from a 2 and a half year hiatus from himself with just 11 minutes of music - that's an average of less than a second of music per day, which is frankly ridiculous. You might recognise the A side if you were there when ben UFO opened up for jamie the xx at brixton academy, the only confirmed occasion this tune has been played in public. Few are brave enough to do so as it is pretty murky.
'youve gone full heart of darkness eh' (morris 'da boss' kudos)
'lenna woke up when I played it, she cried but then grinned' (manchu)
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- 1: Wtf (Work The Fader)
- 2: Kwik Chek
- 3: Body Heat (Beat)
- 4: Str8 (Beat)
4 tracks by Mr White (known for those collabs with Larry Heard..) Limited run on his own label! - Comes in a generic white jacket. TIP!
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- 1: The Hymn Of The 7Th Illusion
- 2:
- 3: The Illusion Of The 7Th Hymn
Pan Sonic, arranged and edited by Barry Adamson, with an additional re-arrangement by The Hafler Trio.
Here Barry Adamson and Pan Sonic have composed a 12 minute music piece that is performed by the Hljomeyki choir and Pan Sonic.
"...a blend of an Icelandic choir performing Barry's (treated) microtonal, urgent score is slowly infiltrated, first with an electronic breath and then by well-rounded bass that evolves into a satisfactory crescendo before the scary humhum returns... highly successful" (Vital Weekly).
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We are really honoured to present a 12'' EP collaboration between the mexican band Ford Proco and the legendary UK electronic pioneers Peter Christopherson/John Balance aka Coil.
Ford Proco were formed in 1986 in Tijuana and they are considered the godfathers of the industrial electronic music in Mexico.
The story behind the recording of the two tracks is like a fairy tale.. apparentely the band members Robert Proco (sampler & synthesizers) and Wito Lavolt (bass, keyboards & drums) met Peter Christopherson in Los Angeles in the occasion of The Orb show back in the 90s and they exchanged phones & emails. Months later 'Sleazy' call and invited them as extras for Ice-T videos..
The tracks were composed following the method of the 'expansión naranja'; Peter Christopherson was adding sax, drums and effects, while John Balance provided his magnificient voice.
Both the tracks were originally recorded in Autumn 1999 and they are unreleased on vinyl. The tracks were directly transferred from the original DCC (Digital Compact Cassette) and remastered by the mighty Rude 66.
Cover artwork design by Alessandro Adriani, labels artwork design of sacred geometry logos by Maximiliano Lizárraga.
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This three tracks Ep features an ambient, downtempo recording taken from Kicks Experimental Boat Edition event on Thursday, 8th of June 2017. In this special performance, alongside Dasha Redkina, the duo created textures and soundscapes in real time with as much gear as they could bring on board a boat riding Berlin's Spree.
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Two swingeing, hypnotic excursions by the Brooklynite (aka Lichens). Ethereal and melancholic, Magnamite ponders 'the relationship of machine and human'; whilst the wilder pulsations of Heart Of Sogguth bear witness to a 'unified human machine wherein the voice becomes the rhythm — all become one instrument'.
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A stand-out track from the Bleep:10 compilation released earlier this year, Untold's incredible 'That Horn Track' finally sees a 12" release.
After being premiered on Pearson Sound's excellent Resident Advisor mix, the track gained further play from Mary-Anne Hobbs, James Blake and Tessela on their respective BBC Radio shows and residencies.
If that was not enough, Berlin techno royalty Marcel Dettmann remixes the track for the flip side of the 12". Marcel transforms Untold's hectic original composition into a slow-building sublime exercise in dread-techno production and pummeling drums.
Press support from: Pitchfork, FACT, XLR8R, RA, Groove, Clash
DJ support from: Pearson Sound, James Blake, Mary Anne Hobbs, Tessela
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21 shades of freak from the illuminati of lost sides, Light Sounds Dark.
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Benny L is the latest name we're delighted to welcome to the Metalheadz family, as the young producer delivers a ferocious 4 track EP entitled 'Route Zero', where the crunchiest of basslines meets the heftiest of drums, with old skool flavours, atmospherics and effects thrown in on top too.
'Low Blow', the lead track, has featured in the sets of Goldie, Noisia, Randall, Doc Scott and many more for a while now, and has already achieved the status of dancefloor killer well ahead of its release. Benny L continues on this path throughout the EP, showcasing a colossal sound that we're very happy to have on the label.
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On the 2nd of October 2017 the independent Belgian platform celebrates its 5th anniversary by releasing its debut album. duploc, one of the leading references for dubstep worldwide, put together a 15-track compilation full of exclusive content from artists they regularly have been working with. Expect the typical residents such as ENiGMA Dubz, Bukez Finezt, Requake and SubFiltronik - though as usual they also included quite a few upcoming talents.
In general, the album is a proper reflection of both the sound as well as the artists has been pushing, since day one they have been known for featuring a rather unconventional and uncommon side of the genre.
Originally launched its brand in 2012 as a promotional outlet. Meanwhile they expanded to a currently 50.000-strong community with their own live events, a prestigious record label and a well-respected online magazine. By releasing this debut album, looks more determined and passionate than ever to show the listener a true and complete definition of dubstep.
a1. ENiGMA Dubz - Dirty South
The first artist on the album does not need any further introduction. He has been working together with Belgium's most authentic dubstep platform since its very beginning. Formerly signed to record label, ENiGMA Dubz' presence on the 5 Years of album' is quite logical nevertheless profoundly essential. In fact Dirty South' is his first dubstep track available on 12 inch.
a2. LOST - Turmoil
Signee LOST entrusts the 5 Years ofalbum' with a track in his typical murky style. Turmoil' is coming straight out of the studio and what is better than something hot of the press to celebrate the fifth birthday of with. The London born and bred HENCH-affiliated hasn't seen any of his tracks on hot wax since 2011. Until now.
a3. Bukez Finezt - Real 2 Real
Bukez Finezt is a versatile producer who likes to juggle with different styles within dubstep. That's exactly the reason why the DEEP MEDi signee fits so smoothly on record label. Via the 5 Years of album', the Belgian team proudly announces the official debut of the Finezt German in town on a 12" record.
b1. Requake - Fear
Hailing from the capital of Europe, dubstep producers Requake always have had a special connection with as they eventually were signed to the record label in 2015. Fast forward to the 2nd of October 2017, the track Fear' will be their first production ever to be released on vinyl.
b2. ARtroniks - Extinction
It would be unimaginable to leave out long-time resident ARtroniks of debut album. Since the Belgian producer was signed, he appeared on three(!) singles of the imprint thus far. Anno 2017 ARtroniks enthusiastically celebrates along by releasing his highly anticipated dubplate Extinction' on a vinyl record.
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"Leon Bailey and Joe Rossitter aka Chromatic have already released music on such respected labels as Innerground, True Playaz, and Commercial Suicide. Now the Chromatic boys have their own solo 12" on Dope Plates, presenting to you on the 1's and 2's three brilliant 90s influenced dancefloor drum & bass, jungle music....with a hint of hardcore rave thrown in. Safe as fuck."
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All Greg Beato productions! A compilation of sorts - the tunes THEY didn't want you to hear. Strong stuff!
Limited Edition gear on Mr Beato's on NI UN PERO label...
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I won't say a lot about this one, just that it was a pleasure to finally work with Marcus having known each other and been friends for so many years. A personal favourite release and the music must go on. I'm sure Marcus wouldn't have wanted it any other way.....
Duncan (Spirit)
Huge support from Doc Scott, Fabio, Storm, DJ Marky, Randall, Digital, Om Unit, J:Kenzo, Jubei and many more
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- 1: Glow Ft. Quinze
- 2: Escape Ft. Rebecca Meyer
- 3: Paper Plane
- 4: Skiproof 1
- 5: Skiproof 2
- 6: Skiproof 3
- 7: The River Flows Ft. Centaure
- 8: Fire Ft. Sean Hutchinson
- 9: Moonbow
- 10: Skiproof 4
- 11: Skiproof 5
- 12: Skiproof 6
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The title track sets the pace, leading with hard filtered breaks merged with classic reggae undertones. When you hear the words 'Strictly Drum and Bass!' you're launched in to a wave of hard hitting 808's and speaker rattling layers of sub bass. Strictly DNB is a relentless example of jungle, and without doubt, a classic Digital anthem.
Time Out in contrast rolls at a steadier pace and has all the feeling of a soulful and authentic Dub track. Note... If your bass bins aren't ready for this they're gonna get mash up!
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Seattle, Washington heavyweight breakbeat manipulator and Samurai Music top tier affiliate - Homemade Weapons comes roaring back into action for the Heiress EP, his first full solo release since the immensity of his debut LP - Negative Space. Intricately sliced and manipulated breaks and kicks ricochet off each other over 4 tracks of guaranteed high voltage floor-mobbing dominance. 'Streetcleaner' has a cheeky percussive drift, while 'Pyrosome' is pure dive-bomb adrenaline, 'Nabilone' the razor sharp steppers choice, with the title track opening proceedings with swarming menace.
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This guy Leibniz is back on Rat Life Records. You might remember him from the collaboration with Credit 00 on Basement Toolz Volume II. This time he goes for a full solo EP. The three course menu consists of a grimy appetiser called "Bat", if your stomach can handle this, we serve "Uzi" as a main course, a whole round of bullets, very hard to digest. "2 Simple" is for dessert, again quite heavy, full of fat and definitely not gluten-free.
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Groove Dis Exclusive. Limited edition DJ single of hot RUDE HI-FI Latin re-edits, a-side is a drum & bass version of MANU CHAO's "KING OF BONGO", flip is an electro soul remix of 60's Cuban singing legend LA LUPE entitled "COMPAY RUDE PLAYS FUNK CUBANO". Very limited edition.
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For its ninth release, Italian label Spazio Disponible looks to countryman Marco Shuttle for a first full length. 'Systhema' comes three years after his last album on his own Eerie label and finds him again focussing on an absorbing ambient techno style across eight enthralling cuts. Shuttle layers sound in subtle ways and has a meticulous attention to detail that results in a cinematic techno style that is cavernous and hypnotizing. Always operating in a region where ambient, techno and heady soundtracks become one, with this album Marco Shuttle once again confirms he is one of the finest sonic sculptors out there.
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With his debut MAT release entitled 'Universel', Palta almost paints with sound. Working a defined palette with subtlety and clarity of vision, we are taken to places that are alien yet somehow familiar, a world whose delicate exterior belies a profound depth and power.
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Living legend Phew follows up her brilliant Light Sleep album with another masterwork - Voice Hardcore - comprised entirely of her iconic, instantly recognizable voice, twisted, folded and layered..
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The fourth release on Trevor Jacksons Pre- Label is by SKULL. A visceral journey into experimental noise and no wave avant grade beatscapes
The last SKULL release 'SNAPZ' appeared on Jacksons own Output Recordings label in 1999. A seminal collection of tracks that had previously featured on the first two legendary Mo wax 'Headz' compilations (also featuring Autechre, Beastie Boys, Air, and DJ Shadow) as well as tracks that had also appeared on Kevin 'The Bug' Martins notorious Macro Dub Infection albums during the mid 90's.
Reactionary sonic statements aimed at the coffee table world of Trip Hop, fuelled by his dissatisfaction and dissillustionment with Hip Hop of the time, Trevor pushed himself into uncomfortable and far more extreme areas than he had before, areas he felt unable to explore with his Underdog productions, which were mainly being utilised for major label remixes at the time.
Influenced as much by the industrial pioneers, post punk and new wave of the past as the burgeoning post rock scene in the mid 90's, This new set of previously unreleased recordings originally produced between 1996-2000 are equally as intense and visceral as the early releases. Dusty samples, raw beats, tape loops, and primitive effects combine to sound as relevant now as when they were initially created.
- A1: Hiele - Birdwatching
- A2: Polysick - Misolidio
- A3: Rembrandt Redandt - Blankenberge
- A4: Soft Focus - Momentum
- B1: Alois R. - Twee Beren
- B2: Milan W. - Glaasjes
- B3: Fregnacciarius - Ferragosto
- B4: Elko B. - Verletztes Reh
- B5: Hantrax - Walking With Raven
- C1: Jonny Nash - Head Is Clearer
- C2: Gigi Masin - Starshine
- D1: Suzanne Kraft - Still Sick
- D2: Hiele - Buchla For Sunday
- D3: Componium Ensemble - Kats
- D4: Roger 3000 - Nuptiale
The world outside resonants metallic. Its activity humming calm harmonics. I am in stasis. Liquified. Receiving alien signals. Unseen universes translated into sound. Notes bend like light reflected in a curved, hard surface. Sine waves as my sinews stretch.
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Muscles form and tie. Limbs from this soup. Pain is not the word for it. This flux. I am detached from my body. I listen to it bubble and evolve. Guessing at my shape. Serene. Yet I grow impatient. Anxious to be free as the world vibrates. I have my life to be getting on with after all. How long have I been in here What will I find when I emerge Celebrations Or stamped on like a roach Will I be wonderful with colour and wingspan Dancing for a mate. I wonder as I wait and change. Change and wait. Would I be content on a diet of dirt It goes like this. My thoughts in circles. Dream chasing worry. Worry chasing dream. Waiting to be reborn. Maybe I`ll soar. Riding warm swells on Summer days. Or will I dwell in the dark No use for eyes. Only smell. Tasting the air for a sense of direction. Will I find myself one of a hive Or will I remain alone Expanding to crack this shell. Forcing myself out into the sun. Everything rings different in the light. I am slow in the warmth. A breeze drying my soft skin. Transforming it. Tempering it to steel. Polishing it until it shines. You can see your face in it. But I can`t see mine. Still left to suppose the presence I present. Old friends won`t recognise me. And I won`t recognise them. Remixed, remodelled, restructured. Bold explorers discovering purpose anew. Before all I did was eat. First steps I stumble. Unsure of how many legs I`ve got. The Sun seems to sing her reassurance. Her welcome. My joints clank and rattle. Like those of a machine. I move stiff and robotic, but swiftly now. Here comes the rain. Heaven cracks back to throw its shower against my armour and I feel invincible, immortal. Impenetrable in the private fortress of this exoskeleton. Shrugging off a god`s tears. Blood races. Oxygen pumps. What passes for a heart, this heart, is strong.
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Absolutely unknown and amazing gem from former Yugoslavia! Digger's specialty! Find out why Psychemagik were astonished at this record and why Electronic Beats called it "almost impossible brilliant prog masterpiece
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Apart from their own works composers, musicians and producers Brandon Wolcott and Emil Abramyan already had a joint release with YouAndTheSpace Between, the opener on the Don't Break My Love release on Nicolas Jaar's Clown & Sunset label in 2012. In the same year the two have approached by theater artists Michael Silverstone and Abigail Browde of 600 Highwaymen to compose music for a new work of live performance called The Record. Aside from a simple series of prompts and directions, the music was composed independently of the choreography. Drawing from backgrounds in theatrical sound design, classical composition and experimental electronic music, Brandon Wolcott and Emil Abramyan sought to create a diverse tapestry of sound, striving for a dynamic emotional arc that might elude a sense of genre or recognizable form. The music is performed live, with Emil on cello and structured into six songs on the Mini-LP Music of The Record to be released at the end of November 2017. Brandon Wolcott is a Brooklyn based sound artist, composer and theatrical sound designer. His work has been heard at venues including The Pubic Theater, Lincoln Center, Park Avenue Armory, Mass Moca, Museum of Contemporary Art Chicago and Centre Pompidou. He has released music with Wolf + Lamb Music, Archipel Records and Nicolas Jaar's Other People. His dance-music project Smirk, has been presented at venues and festivals around the world, including Communiky, Mutek, Save, Dispatch, and UnSound.
Damon Eliza Palermo returns to Lovers Rock with Cathedral, an EP of inky, shadowy atmospheres. Opening with the stunning title track, Palermo summons a hi-def miasma of gongs and synths, searching and incantatory. Congquin' rumbles through a tar pit of groaning static and radio interference, while Karangahape Road' floats through 5+ minutes of undulating sighs. Finally Cathedral' gets reworked for the dance floor with an extended, exuberant techno meltdown.
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- A1: Flux
- B1: Arctic
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The Oval Language is an autonomous art project founded in 1987 in Leipzig, East Germany, by Klaus-Peter John and Frank Berendt, and continued to this day by John. Its fields of activity are multifaceted and have included sound-noise performances, conceptual works in open spaces, installations, land art projects, photography, etc. The Oval Language has collaborated extensively with various artists, among others Nicolai Angelov, Koyo Axel Guhlmann, and Guido Hübner of Das Synthetische Mischgewebe.
Around 1991, the then members of the group - John, Berendt, and Peter Schüler - were exploring the irrational impact of the Monument to the Battle of the Nations (Völkerschlachtdenkmal) near Leipzig and presented the tri-media project "Hibernation", based around their attempts at approaching the undercurrents that are conserved within the imagery associated with the monument. Hibernation comprised live performances at the Academy of Fine Arts Leipzig (Hochschule für Grafik und Buchkunst, HGB) and at the Museum of Ethnography, an event sculpture in front of the monument which involved the burning of large amounts of straw, and an installation at the briquette factory Zechau near Altenburg.
"Hibernation is about the Monument to the Battle of the Nations near Leipzig. We don't look at it through the historical prism of the 1813 Battle of the Nations, though. We are concerned with the monument as a Gesamtkunstwerk, as a manifestation of irrational German thinking in previous times and its impact on today's generation." (The Oval Language)
This LP reproduces the sound layer of Hibernation and includes a recording of a live performance at the HGB, made in 1991. Printed inner sleeve with photos of each stage of the project and texts. Edition of 300.
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- A1: Vesta Part One
- B1: Vesta Part Two
- C1: Pallas Part One
- D1: Pallas Part Two
Tonaliens is a Berlin-based group investigating the inner dimensions and outer limits of Just Intonation. It was formed in 2014 by Amelia Cuni (voice), Werner Durand (invented wind instruments), Robin Hayward (microtonal tuba), Hilary Jeffery (trombone), and Ralf Meinz (live sound, electronics).
The group came together shortly after the release of the software version of the Hayward Tuning Vine, an interface for exploring microtonal tuning that allows for direct and intuitive interaction with the pitches normally hidden between the keys of the piano. Coming from diverse backgrounds, the musicians were eager to explore this harmonic space, and thus the tuning vine "acted first as a catalyst, then as a map, and finally as a spaceship" (Hayward) that enabled them to navigate those areas that largely remain obscured.
The music of Tonaliens has so far been focused on a very specific area within the microtonal space that was discovered by mapping out the first three harmonics of three tubes of Durand's self-invented Pan-Ney instrument. They named this area the Tonaliens chord, and both recordings on this double LP - two live performances from 2015 - are based on it. Sides A and B are recorded live in a church in Amsterdam, the Vondelkerk, during the Sonic Acts Festival. Sides C and D contain a contrasting, more intimate performance made at KuLe in Berlin for the Labor Sonor concert series. Amelia Cuni appears only on the Amsterdam recording.
Edition of 300 in full-color gatefold sleeve with liner notes by Robin Hayward, and detailed photos and screenshots. Black poly-lined inner sleeves.
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This EP was first released in 2006 and is the first stonedwave release. It is a white seven inch, containing of two tracks by Robert Chudoba aka Kungfoo.
A. 'Undead And Real (Kungfoo´s ectoplasma remix)' is the result of a remix context which was organized at the erutufon website using a samplepack by CHIP TRONIC. The theme is Undead and Real and describes the atmosphere in a HP Lovecraft short novel where an undead person is roaming around at night.. Kungfoo processes the samples of the track which was created by chip tronic with own built Reaktor ensembles and one of the first ableton live versions. The result is a funky wonky electro tune with a lots of bleeps, modulations and which is still a lot of fun to listen to. Timeless funk!
B. 'Rock Me' is a wonderful science fiction like glitch techno track with very elaborated breaks and an awesome groove. Like a whirl of satin.
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2017 Remastered and fully authorized edition !
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On the original 1965 The Magic City LP, issued on Saturn, the monster 27-1/2 minute title track sprawled across side A. Ra customarily supervised the Arkestra's improvisational process via keyboard cues or hand signals. He was always in charge—hence critic Simon Adams describing the title track as "27 minutes of controlled freedom." "The Magic City" was never performed in concert, saxophonist John Gilmore said it was "unreproducible, a tapestry of sound." Although shorter in scope than side A's magnum opus, the four works on The Magic City's flip side reflect the same improvisational approach, spatiality, and lack of structure.
One session outtake, "Other Worlds," an alternate version
of "Shadow World," is included as a bonus track on side B.
First-generation Saturn pressings of The Magic City were monophonic. A full stereo version had been issued on Sun Ra's Thoth subsidiary label sometime after 1969, however, it suffered from a technical flaw that prevented many copies of the LP from tracking cleanly through the first cut on side B. A 1973 gatefold LP reissue on Impulse featured reprocessed stereo. For this definitive reissue, Cosmic Myth Records used stereo sources which are superior to the Thoth pressing.
For this definitive edition, historical and technical notes are provided by noted jazz historian Ben Young, who restored and remastered the album with his Triple Point Records partner Joe Lizzi. Both men have been recognized for their extensive work on the Grammy Nominated Albert Ayler boxset, released on Revenant records in 2005.
Cosmic Myth Records issues recordings under license from Sun Ra LLC. The series is being co-produced and supervised by Irwin Chusid (Raymond Scott, Esquivel, Langley School Music Project) and Michael D. Anderson, who maintains the Sun Ra Music
Archive, the world's foremost collection of original Ra session masters.
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n5MD is proud to announce Heartless, the new album from Brock Van Wey's epic ambient guise bvdub.
First bvdub full-length ever pressed to vinyl. 2LP Transparent Copper
hose who have been able catch him live have found themselves undoubtedly immersed in sound. With Van Wey's 'ebb' warmly cradling you in juxtaposition to the 'flow' that teeters near the thresholds of human aural acceptance. There is no denying it, he excels at and revels in filling spaces with swirling waves of emotive tone. Heartless, for those keeping track, is his 29th bvdub album, origi- nally borne from the intention of reflecting the concepts and experience of a series of live shows from months and years before... a kind of prologue, as it were, that could further explain the painful impetus behind those live forays, and the life he attempted to escape within them. However, shortly into the writing process, he found Heartless became something more than even he intended: an even greater layered, monumental, and autonomous experience than its original intention - and swept itself into a life of its own.
We've been treated to beat-less bvdub works before, but with Heartless, Van Wey has created something far more monolithic than what has come before it. The album starts as bvdub album's sometimes do: warm washes of sound below the soulfully angelic vocals that Van Wey often gravitates to, this time distant echoes, it seems. But with Heartless this is only your introduction... easing you in before plunging to the deep end. As time passes, what voices existed drown below visceral, amor- phous, unabashed waves of sound that are wholeheartedly more sinister in temperament than his previous works, and the perfect manifestation of n5MD's "heart to hands" ideology.
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The pieces were created as structured improvisations using a monophonic synth (primarily) along with a Yamaha DX7 (borrowed from a friend) and possibly a guitar. Recording was made on an older Otari MX-5050 1/2' 8 track. Mixing was done on a Tascam M-50 console and a Revox A77 1/4' machine.
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"I recall the project happened in two bursts: I did half of it in September '85, then I finished up and edited the album together in December '85. I don't really recall making copies for anyone. I think I played it for a dozen people and that was it. Just forgot about it. I remember Jeff Ament from Pearl Jam (Green River back then) came by while I had it playing on my home stereo. He asked what it was and said he liked it. Surprised me a little. With regard to overall aesthetic: I like the sound of machinery, but I enjoy the fragility of human error and human instinct. I like to put things into motion then climb aboard and drive. I can't play an instrument (in the classical sense) for the life of me, so I've always just played things that are mostly choice rather than a convolution of style and technique. I guess you call that the Brian Eno school of rock."
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Idle Hands continues its quest to support new talent coming out of Bristol with a fresh 12" from local beatsmith Crump. Up to this point, he's been quietly slipping out razor sharp reduced house cuts on various artist releases for Extended Play and Banoffee Pies, but it's high time he had a 12" of his to truly showcase his sound.
The two tracks on this single tap into a consistent thread on Idle, fusing the minimal sensibilities of contemporary European house music with a swung, dub-weighted presence fit for soundsystem consumption in the fair city we call home. Much like previous releases from Leif, Christian Jay and Matt Karmil, this is a demonstration of stripped down music loaded with swagger.
"Ice & Spheres" pivots around an ear-snagging 2-step shuffle that cuts through any mix, but there's scores of subtlety woven in between the drums to reward the attentive listener. Snatches of vocal, distant field recordings, low-blowing synth licks and other unidentifiable sonic matter lurk quietly in the mix to cast a spell on the sleep-deprived twitcher and warm-up head-nodder alike.
Sporting a brighter disposition thanks to the sheen of its chords, "Mechanisms" provides a different vibe on the flip. The beat throws down with a rugged nod to West London broken styles while still tapping into that aforementioned continental 4/4 sensibility, injecting a refreshing variation into the densely populated minimal house landscape while maintaining the meditative qualities that keep the genre close to our hearts.
300 10" Pink Marble, hand stamped, individually numbered records, single press only.
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The warm dim light of the bedside lamp conjures up a kind of shadow theatre, sends the little stars on the ceiling into a spin, and fills the bedroom with a sense of profound peace. A small music box rounds out the evening atmosphere with soft little melodies. Perched at the side of his daughter's little bed, he watches over his little beat princess' slumber and her dreams, all while enjoying with satisfaction the unencumbered lightness of being at night...
The EP Hannah by the Leipzig-based beatmaker Duktus is a musical tribute to his three-year-old daughter and a personal instrumentalization of fatherhood.
A story told from Duktus' point of view in six different pieces, we can become part of little Hannah's world, as she plays in her room and runs around the playground, goes on adventures during the day and dreams at night.
In EP Hannah, Duktus casts his musical gaze backward in two different ways - both in terms of the experience of being a father and the moments, great and small, that this involves, as well as in terms of his musical influences over the past three years. This produces an atmosphere which, however, does not waver from Duktus' musical direction between uptempo broken beats and downbeat house grooves.
The EP Hannah cover was painted by Hannah herself at the age of two. And it is being produced in a complicated silk-screen process, printed in purple - Lila's favorite color! - on uncoated paper, making for a tactile homage to the little beat princess.
It is only a matter of time before Hannah discovers the record for herself as well. She already got her own record player as a present - from her dad, of course - and is a big fan of old fairy tale records. In the eyes and ears of a DJ and beatmaker, this is all a matter of early musical education.
- I dedicate this record to my daughter Hannah'
- Duktus -
For us (Rubadub that is), Hank Jackson has been behind some of the most inventive techno to have left NYC in recent years, releasing music on his compadre Anthony Naples label, Proibito and Mister Saturday Night. If you're after a twisted NYC take on classic Chain Reaction and Monolake, then this is strongly tipped.
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The sound is short and dry, like a fist colliding with leather or other flesh, but the repetition and reverberation transcend such violence and lead the listener to a heightened state by the time the parade is cancelled. A point of consideration. Stick around because at least a few folks will still march and it could be a gorgeously lonely thing to witness...
This Make Noise Records release was Digitally Mastered by Shawn Hatfield at Audible Oddities
Analog Mastered and Cut by DC at PLUSH/
Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve and Matte Jacket w/ photography by Moe Espinosa and layout by Sean Curtis Patrick..
LIMITED EDITION VINYL features white scratch-off ink and a 25 cent piece cased in a plastic outer sleeve. Each copy will be unique, as the quarter will move around the plastic sleeve in transit creating its own pattern. This is intentional, so any scratches that appear on the front cover when the vinyl arrives is a result of this. Sirens is the highly anticipated second full-length LP from Nicholas Jaar, the Chilean-born electronic music producer, mixing engineer and DJ, which comes out on October 14, 2016 via Other People/Kobalt. A prolific artist with a wide palette of talents, Jaar spent his teenage years in dance music circles in New York City, where he now resides. In 2011, he released his debut album, the critically-acclaimed Space is Only Noise. In 2012, he was contributed to BBC Radio 1's prestigious 'Essential Mix' series, winning 'Essential Mix of the Year'. In 2013, Matador released the debut album from Darkside, Jaar's project with his friend Dave Harrington. The band toured the record with a giant, rotating circular mirror, with key performances at Primavera Sound and Coachella. Other notable projects by Jaar include From Scratch, a live concept first developed for MOMA PS1, Pomegranates, an ambient record and alternate soundtrack to the Armenian film The Colour of Pomegranates, and the original soundtrack for´Dheepan, a thriller by the French filmmaker Jacque Audiard about a family of Sri Lankan refugees living in the suburbs of Paris. Dheepan won the Palme D'Or at Cannes in 2015. Jaar is the founder of the New York based imprint Other People, releasing music and spoken word by a diverse group of artists ranging from Lydia lunch to Ezekiel Honig.
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* Concept and composition by Ryoji Ikeda
* Co-produced by Eklekto Geneva Percussion Center, Ryoji Ikeda Studio and La Bâtie Festival de Genève.
* Percussionists (Eklekto): Alexandre Babel, Stéphane Garin, Lucas Genas and Dorian Fretto
Ryoji Ikeda
Japan's leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.
Eklekto
Eklekto is a contemporary percussion collective founded in 1974 in Geneva. Constantly seeking to reinvent percussion music, the group collaborates with living composers and contemporary artists through concerts, multimedia projects and artistic events that question the listener's expectations towards new musical forms. Eklekto has premiered over 100 new works and performed hundreds of internationally acclaimed shows.
TRACK LISTING
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With a sum total of 2 12's released for Samurai Horo and Red Seal, Theme has a sparse but vital discography. Fusing Dub Techno, Ambient and Half Time Drum and Bass, the Theme style developed as a uniquely Berlin influenced take on 170 BPM's post autonomic developing progression.
Following a 2 year gap since the last release, the Theme debut LP 'Passages' builds on this style by accentuating and extending the ambient 'passages' and experimenting with beat structures to create an intricately constructed and textured journey. There is nods to the form that has made the Theme style stand out (Passage 6, 8, 9), beautiful ambient tracks that soothe and guide (Passage 1, 4, 7, 10) but the glue that affirms Passages as an accomplished long player comes from percussive workouts that hover around various BPM's and genres (Passage 2, 3, 5).
Passages should really feel like the pinnacle of a journey for Theme, but instead it feels like the start of an all new chapter in musical form for a musical nomad who has found solace in leaving behind any constrictions and templates.
If you listen closely to Passage 11, you hear the sound of a new life beating from the womb of it's mother, a fitting metaphor for the birth of the new Theme.
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Live recorded on 2 Track Revox at KOPROD Studio Zürich in 1982 Chapter 3 of Mr. Thoma having fun with the Serge Modular Music System and TMS Synthesizer, accompanied by Knut Remond on drums. Proto-Techno monster LP.
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From Ernst Thoma's secret vaults. Originally recorded in 1983 at Koprod Studio Zürich, Mr. Thoma having fun with the Serge Modular Music System and TMS Synthesizer, accompanied by Knut Remond on drums. Proto-Techno monster LP.
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- 1: Grandmaster O - Santa Cut
- 2: Ende Shneafliet - X-Mas Card From Outer Space
- 3: Mark Lane - When The Candle Burns Tonight
- 4: Atom Cristal - Cristalissages
- 5: Ptose - What Will You Bring (To Me)
- 6: Atrox & F.p. & The Doubling Riders - The Little Match Girl
- 7: Bene Gesserit - Joyeux Poeme !!
- 8: Geluidshouwerij - Snow Blow
- 9: The Legendary Pink Dots - Governement Health Warning
- 10: Jacques Van Erven - Longfellow's Christmas Bells
- 11: Pascal Comelade - Creche Musicale Et Plastique
- 12: Doxa Sinistra - Sade Claus Is Coming To Town (Chapter I - Vii)
- 13: Van Kaye & Ignit - Happy Holiday
- 14: Edward Ka-Spel - Jesus Wept
- 15: Genetic Factor - Vigila Di Natale
All tracks on this record have been selected from the cassette series Oscar's X-mas Carols, originally released on Christmas Day 1984, 1985 and 1987 by Oscar Smit's imprint Noel Tapes in Holland. Edition of 400 copies. Laminated translucent sleeve, hand stamped (12'x12'). Complete with dossier including liner notes by Oscar Smit, band bios, photos and download code !
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The story behind X-mas Card From Outer Space' by Oscar Smit himself:
I've had a thing for Christmas music ever since I heard Phil Spector's Christmas Album in the late 1970s. Through the years I've become a massive collector of every genre of Christmas songs. Each year, I can't wait for December, when I can play Christmas music again.
In the 1980s I worked for Vinyl, a Dutch monthly magazine. A lot of music at that time was released on cassettes. A significant number of cassettes were sent to Vinyl, from both the Netherlands and abroad, so many in fact that I began writing a separate column, Dolby, to discuss them. For some years, my Dolby page was a meeting place for fans of cassette music. In addition to Christmas music, I was also a big fan of experimental sounds, and I soon noticed that very little electronic Christmas music was being produced. That's when I got the idea of creating a cassette myself, featuring adventurous and original Christmas numbers. I was in contact with a lot of musicians because of my work at Vinyl, and I invited a large number of them to record a holiday number especially for my Christmas cassette. The production and distribution were in the hands of Ed and Ignit from the Ding Dong label. The first edition of Oscar's X-Mas Carols was released shortly before Christmas 1984, on my own Noel label. I never received any payment or sales figures from Ding Dong, so I have no idea how many copies of that first edition were sold. That's one of the reasons why in 1985 I decided to take on the distribution myself. Plus, I'd just gotten hold of a rubber stamp that was suitable for stamping serial numbers. That gave me the idea of producing a limited-edition, numbered cassette. I'd package the cassette attached to a picture frame containing a beautiful black-and-white photo of my sister's hand, holding some of my parent's Christmas ornaments. My friend Theo Kamphuis not only took the picture, he also had to develop it 350 times, because that was the edition's print run. We spent two evenings assembling the 350 packages, each containing a framed photograph plus a cassette. The artistic-looking result disguised the fact that the project was a financial catastrophe. I barely recouped half of the 4000 guilders in production costs. I had well and truly learned my lesson and decided to stop producing cassettes. However, in 1987 I started to get the itch again, so I invited a large group of international and Dutch artists to send me numbers for my third Christmas cassette. This time, to cut costs, I did everything except the cover design on my own. The cover was mimeographed, and I reproduced the cassettes myself. And so, Is That You Santa Claus was created, in a limited and numbered edition of 100, made for approximately one-tenth of the production costs of its forerunner.
In 1988 I got a full-time job and had little time for my Christmas label. Subsequently, cassettes lost more and more ground to the encroaching CD format. A fourth cassette would therefore never materialize! It wasn't until 2010 that Oscar's X-mas Carols volume 4 would be released, in the form of a CD entitled Christmas Cover Up. The songs on that CD were covers of not-so-well-known Christmas numbers, performed by such artists as Hunter Complex, Jaap Boots, Eddy de Clercq, and Kaat Hellings. The music, however, was much less experimental than on the cassettes.
Now, in 2017, there's a vinyl version of Oscar's X-mas Carols. For this album's tracklist, its compilers Jordi Serrano and Oscar Smit made a personal selection from the three previous cassettes. In this, they were unfortunately hindered by the limited playing time available on a long-playing record. Of the fifteen tracks on this LP, seven come from the Netherlands. I've remained in contact with many of the original artists and was able to track down the rest on Facebook. Welcome to the digital era. I wish you much listening pleasure with these tracks from the previous, analog century!
Merry X-Mas
Oscar Smit (Music journalist / DJ)
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- A1: Intro 2
- A2: Drums Soul 3
- A3: Sounds Scratchs 1
- A4: Back To The Oldschool 1
- A5: Surely
- A6: French Acapella Rap 2
- A7: Interludes 2
- A8: Dancehall / Reggae Style
- A9: Voices & Fx 2
- B1: Back To The Oldschool 2
- B2: Us Beat Rap 2
- B3: Sounds Scratchs 2
- B4: Us Acapella Rap 2
- B5: Evasion
- B6: Electro Style 2
- B7: Kit Drums And Co
- B8: Interludes 3
- B9: Outro 2
P2s is back with a second Break Beat Maboul edition by Dj Clif. Including breakbeat, scratches & acapella ! .
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The return of Chords was met by adulation from the drum & bass community. After spending over a year on his film-
making artistic endeavours, he saw 2017 as the perfect time to come back to music making. And most recent single
'Love Burning' has re-solidified his place within the twenty-five-year strong RAM Records camp, proving that despite
his hiatus he's still able to tap into the skill set which made him so notorious within its roster. For October, Chords is continuing his stream of releases with forthcoming record 'No One is Listening / Glacier', a two-track offering which calls upon his stellar song writing capabilities and dancefloor appeal. It gives a multi-dimensional snapshot into his engineering, demonstrating his penchant for both sunshine filled crescendos and dirtier bass riffs, a combination alluding to why he originally came under RAM's radar.
'No One is Listening' lays down the sultry vocals of Georgina Upton over the tell-tale bassline Chords has spent years
fastening. His thick, meticulous composition gives weight underneath its vocal pitches, creating a record which has
already been hosted in clubs across the UK and beyond. Its strung note arpeggios and soft pads help to elevate the
track, providing an emotive set piece for any DJ.
And on the flipside, you're launched into 'Glacier', with relays of synth and a melody which traces itself along the
track's bassline. Bit by bit you're pulled into Chords' effortless artistry, exploding layer after layer. Between every
beat loop, you're made acutely aware of just how far Chords has gone to intricately weave each hook, before they
cascade into the mix. The next single from Chords proves that he's continuing to expel his craft. And with a host of
tour dates on the horizon, including sets at RAM's seminal RAM25 city-wide shows, he's definitely here to stay.
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- A1: Sonar Tre
- A2: Mare Calmo
- A3: Alghe
- A4: Alghe (Vers. Flauto)
- A5: Scandaglio Zero
- B1: Iridescenze
- B2: Coralli
- B3: Abissi
- B4: Guizzi
- B5: Marina
Edmondo Giuliani - "IL MARE: Musica Con Strumenti Elettronici", originally released in 1972 on the micro-label Dischi Egede. A Mega-Rare Italian Electronic Underwater music Library production - recorded for an obscure documentary on sea from the early '70s. Infectious and trippy Abstract Experimental music that plumbs in the sea depths with abyssal echoes, sound iridescences and marine electronic themes. Addictive record out for our Underwater Library tryptych release. Another great vinyl obscurity is filed and published on our label with amazing renewed artwork.
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'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.
Over the past year, Gerra & Stone have become one of the most exciting duos to take the genre's forefront. Featuring across Ram and Program's discography, they're creating their own space, one held firmly by tight production standards and a refreshing musicality, seldom seen in newly emerging talent.
The single appeals to a diverse group of music listeners. Whether across the subs of London's haunts, or the headphones of any technical music listener, these next two sonic cuts pedestal not only their understanding of a diverse sound design, but also their ability to conquer it.
'Dnt U' is a riddim which cuts and swerves between cascading breaks and instantly recognisable drum patterns. The junglist influences are given a stockiness by an LFO bassline and distortion, falling between amen and quaking sub. It shows a clear persona etched out by the two producers, one which has made them instantly recognisable from the outset.
The next up, 'Chicago' also brings an old school vibe whilst utilising more contemporary techniques. Flipping beat patterns draw you in, whilst metallic percussion drives you forward at an incredible speed. Switching up, it then drags you down a corridor of fluctuating bass notes and snapping hi-hats.
Adding a second instalment to an already impressive entree, this next output from the outfit prove their path is about to take another ascent. And with exciting new talent to come from the imprint... Once again, it's time to get with the Program!
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Originating in a New York apartment and completed in a garage in suburban Sydney, Jonti's new album Tokorats is out on Stones Throw Records on 3rd November 2017. Following on from 2012 releases Twirligig and Sine & Moon, Tokorats is a psychedelic, harmony-rich dream-hop journey. Recording for the album began in 2013, and four years and up to 100 versions of each song later, Jonti is finally ready to invite you into his Tokorats universe.
Melbourne's Luis CL is back for his second outing on Superconscious Records with three trademark house cuts.
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- A1: Golden Finger
- A2: Pulse 007
- B1: Jump Riddim
- B2: Slim's Dub
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- A1: Riflessi Acquatici
- A2: Riflessi Acquatici
- A3: Blue Valzer
- A4: Trasparenza Verde
- A5: Trasparenza Verde
- A6: Pesci Sul Fondo
- A7: Bolle D'acqua
- A8: Bolle D'acqua
- A9: Attrazione Lunare
- B1: Crociera Sul Mare
- B2: Crociera Sul Mare
- B3: Onde E Schiuma
- B4: Panorama Sul Mare
- B5: Giochi D'amore
- B6: Mondo Riflesso
- B7: Pressione Subacquea
- B8: Correnti Magnetiche
Amazing Italian Library Electronic and Underwater gem originally released in 1974, which has remained totally obscure until these days and absolutely impossible to find - Bewitching Underwater music trip made through analogue synthesizers and sophisticated Electronic Lounge mood music especially recorded for TV sea documentaries - for sure one of the finest examples we had of Italian Underwater Library music. Delicate marine themes alternate with hypnotic and abyssal vibes with droning effects, elegance reflected in crystal clear waves. A little jewel for fans of early Electronic music and Library junkies.
Renewed artwork by painter Stefania Casagrande. Back sleeve liner notes by music journalist Marco Ferretti. 180 gram vinyl. Limited edition of 500 copies.
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* Walton drops his third instalment on Tectonic in fine style, calling upon Japanese influences to create a truly unique sonic across both tracks in the release. Asian instrumentation meets directly head to head with the cutting edge sounds of a UK grime-techno axis to great effect.
* 'Praying Mantis' captures all the charm of a fine Japanese watercolour painting by means of some spectacular midi-harp programming. Hi-hats and detailed percussion set a shuffling pace, building the mood up before a beautiful harp section unfolds and takes over, expertly programmed by Walton to sound as if a master harpist had stepped into the room! As drums and bass join the party we have all the makings of a low-slung grimey masterpiece, both soothing and energising in a perfect zen balance.
* Flip then for 'Koto Riddim' which again brings Japanese influences to the forefront of the track. Walton programs classic sounding Japanese percussion sounds along with grunting vocal cuts and a charming flute-based melody. As the track drops, it switches into a more familiar, grime-based palette of sounds, deftly arranged for most dangerous impact.
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Dungeon Acid, bred in Gothenburg's (Sweden) obscure music scene during the eighties and nineties, releases his second 7inch on Hoga Nord Rekords. Dog Acid and Sex Beat focuses on those remote corners where Jean-Louis Huhta have rooted his musicality. With legendary bands like Cortex, Anti Cimex and The Skull Defekts on his resume, Huhta is most definitely one of the most interesting artists in Sweden!
The music on this 7inch breathes sex, concrete and dark seas. The tracks differ in instrumentation but they expresses the same feeling: uncomplicated and straightforward components, perfectly balanced In relation to each other, shutting down unnecessary body function, aiming for your lower back. Spastic curling synthesisers rests upon soundwaves heavier than the swell against the Norwegian North Atlantic coast.
Dungeon Acid is the miner of your record crate - hard at work finding the nuggets in punk, rock and electro to develop the strict techno.
* Integral 042 sees the return of the invincible Dawn Wall. Picking up from where they left off with the amazing Twin Falls EP, we are now championing their latest and greatest Problems EP. A continuation of the mistical journey through their enigmatic world via 4 new heavy weight anthems; these new DW beats are already on hot rotation with support from the likes of Andy C and Friction awarding it his Friction Fire Tune of the Week on Radio 1.* The title track 'Problems' kicks off the new EP with serious quirk, glitchin' bass and intruiging atmospheric vocals. With instant anthem status, this beast will draw the whole tribe to the dance. An eerie breakdown bursting into a scurry of magnetising drum patterning creates loads of funk and attitude.
* The stunning 'Never Say' showcases the DW orchestra in full effect. An amalgamation of the outfit's signature distorted vocals, ethnic samples, warped guitars and synths galore, layer over a string of exquisite melodies. Crafting a unique future-folk style vibe that uplifts and inspires, this one will guarantee hitting that repeat button.
* Up next, 'Shy' instantly tugs a little harder on the heart strings. Opening with such a mesmerising and memorable piano hook, emotions run high on this stunning build to another stupendous drop. The flavours on this one ooze beautiful future soul with maximum complementary dancefloor business.
* The fourth track of equally epic proportions is 'Nomad' - this is the sound of the new deep and dub sounds. An unnerving soundscape intro leads into beats and bass of melancholic magnitude. If music could tell a story, this talks of all kinds of mysterious tribal troubles...
* Rounding off the EP with a cheeky digital only bonus is 'Lemon Dogs' - a superfresh slab of dancefloor goodness with sounds of the orient meeting Detroit-inspired vibes, and a classic soul vocal to boot.
* Mark your iCal's now with November 10 as the official release of Dawn Wall's next installment, the Problems EP. Launching across all formats with supercool and limited edition collector's artwork, make sure you reserve your vinyl copy now to avoid disappointment! #ekho
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* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'. By popular demand from a kickstarter, now on vinyl!
* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.
* Japan native JUN KAMODA has been a long been a key creator, lending his hand to many segments of the local scene across the past 15 years. Following his last funk spirited release, 'Blind Disco', on BLACK ACRE, JUN KAMODA returns to the seminal Bristol imprint with a killer new EP, again ramping up the carnival vibes.
* KAMODA's latest offering, 'THE DISTORTED HAUNTED BALLROOM EP' offers three fresh tracks from the colourful artist - BODY & SOUL, ( ( (BYE) ) ) and DOPEY FORESTS - a tripped out, twisted journey. 'THE DISTORTED HAUNTED BALLROOM EP' drops 24th November 2017. A man of many talents, Jun has produced art under his Illreme moniker, as member of Hip Hop trio, Baleine 3000, and as cartoon illustrator (Usca.) His forays into music have lead to work with revered global labels, think Mister Saturday Night, Black Acre, Mall Grab's Steel City Dance Discs and more.
* Opener and lead track, BODY & SOUL is a raucous jam. Killer, frenzied percussion, short riffs and vibrant erratic trumpets fuse industrial elements with far-flung balearia, teasing between warehouse rave and rainforest ravine.
* Second track ( ( (BYE) ) ) is a hazy, hypnotic cut, BODY & SOUL's wild elements rolling into a tug of war between arcadian bleeps and lawless euphoria. DOPEY FORESTS offers up a less frantic but still slamming dance floor ready slice of dreamlike vocals paired with driving percussion. A mesmerising, final jaunt to round out 'THE DISTORTED HAUNTED BALLROOM EP' with an ethereal, spooky stomp.
* 2016 saw KAMODA garner global attention with 'The Clay EP' Dropping on revered NYC Imprint, Mister Saturday Night. That killer cut, Physical Graffiti, was a glimpse of what's to come. Affiliated with Berlin's Dirt Crew Recordings, Mall Grab's Steel City Dance Discs and Black Acre - Jun has caught the attention of the dance floor elite with his playful, yet experimental grooves. This release sees the return to BLACK ACRE, with 'THE DISTORTED HAUNTED BALLROOM EP' nodding towards his previous video-game soundtrack productions, while showcasing the club ready oddities with which he is synonymous - infectious and immaculately produced. Undeniably an ideal fit for forward-thinking Bristol based imprint, BLACK ACRE, who celebrate their decade in the game this year. Rejecting genre constraints, BLACK ACRE focuses on championing talented artists pushing boundaries - working with the likes of Romare, Clap! Clap! Rocks FOE, Connie Constance, Prayer and more across recent years.
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- A1: Bass Junkie - Galactic Combat
- A2: Dj Xed - Spectral Subspace (Subsonic Mix)
- B1: Dark Vektor - No More (Soc Un Frik Soc Un Tecnic)
- B2: Negocius Man - Psycho Space (Vinyl Mix)
- C1: Dynamix Ii Vs John Robie - They're Coming
- C2: Darxid - Hungry
- D1: Otto Von Schirach - Bass Low (Down Pitch Out Mix)
- D2: Debonaire - Electro Novocaine (Injectable Beats)
Superb compilation of unrealesed tunes... Pure worldwide electro masterpiece !
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Field Records welcomes Acronym for a new album, Malm, which follows many great ambient laced deep techno EPs and LPs on Semantica and Northern Electronics. The 10-track beatless affair pays homage to one of his lost friends who was torn between his dualistic nature. In a state of paranoia, stress and inner conflict, even brief moments of panic can be fatal for yourself and the people around you. This album is born from those ideas and was recorded and arranged between 2015 and 2017 in different parts of the world using various analog and digital synthesizers and effects. Informed by grief and sorrow, the album evolved through a number of different forms and finally comprises three acts; the first two showcase the artist's take on the mental and physical circumstances during the events that took place on the 4th of January 2016 in Malmi, Helsinki, and the final act presents his viewpoint after that date. The Swedish artist offers absorbing and meditative passages of ambience and sombre atmosphere across all pieces here. Long, tailed pads gently come and go, occasional percussive sounds get sprinkled about and bleak keys bring real tenderness. It's an escapist listen that ranges from oppressive and heavy to more subtly uplifting and is one of the most coherent and cohesive albums you could wish to hear.
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DLR needs little introduction, his name has become synonymous with underground drum & bass and from the beginning he's stayed true to his roots - he's never watered down his sound for a more commercial appeal. This stance has seen DLR rise to notoriety, even after his very first output. And following his releases on Metalheadz, Dispatch, Utopia, Shogun Audio and Break's prolific Symmetry imprint, he's embarked on a journey which will now see him set up his own imprint Sofa Sound, continuing the ethos which has made him so revered.
Sofa Sound was inspired by the creative arts community which flourishes throughout Bristol. It embodies the DIY spirit which has sprung up across its many art spaces, helping to nurture the drum & bass scene there which has continued to grow since it first came to the city's venues. For their first release, they've brought together a three-track EP which gives a taster into what Sofa Sound has planned for the coming months. Featuring label head DLR, as well as collaborator Quadrant and even a free download, 'Sofa Sound 001' will stand as a monumental part of the imprint's back catalogue.
DLR and Quadrant's 'Ghostfish' rolls out on a heavyweight bassline which quickly switches to subterranean levels, drawing you deeper with every pulsing sub. Its percussive elements cut through the mix, shaking the composition and giving an edge with every successive drum beat. 'Ghostfish' is heavyweight business... Neither DLR nor Quadrant pulls the breaks following each tide of sonic.
Up next is DLR's standalone offering 'Don't Make Sense', a crushing, unforgiving roller with moody atmospherics and stabs of distortion. The track rattles amongst snipped up vocal samples and keyed note patterns, creating an unfamiliar soundscape for you to immerse your aural synapses. And finally, you're introduced to free download 'Throwback', living up to its namesake with metallic kicks and snares which add to the track's punch. DLR nods to his roots throughout 'Throwback', proving his longevity in the game. This history will be brought into the soul of Sofa Sound... A label which will become a staple within drum & basses discography.
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London based Jonny L's seminal D&B album 'Sawtooth' was his debut long player.
Originally released on XL in 1997 as a 5 x 10' vinyl box set, the reissue is pressed on vinyl with original artwork.
'Sawtooth' saw the evolution of drum 'n' bass from its original and wildly bombastic sound in to a 'neurofunk' era of D&B, defined by its eerily cold and obsessively tidy production. It's so mausoleum-cold in here, you can almost see your breath,' wrote Simon Reynolds about Jonny L's 'Piper' in The Wire, 1997.
- A1: Klimek - True Enemies & False Friends (Yesteryears Suite)
- A2: Sylvain Chauveau - Nuage Iii
- A3: Mint - Hindemith
- A4: Popnoname - Nightliner
- A5: Sylvain Chauveau - Fly Like A Horse
- A6: Jürgen Paape - Ausklang (Burger/Voigt Mix)
- B1: Marsen Jules - It's Only Castles Burning
- B2: Tim Hecker - Shosts In Silver
- B3: Andrew Thomas - A Dream Of A Spider - Deu670800161
- B4: Burger/Voigt - Frieden - Deu670800162
- B5: The Fun Years - I Am Speaking Through Barbara - Deu670800163
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Zehn Jahre nach seinem allerersten Release, dem Album "Everything Is Changing Colour" (2007), veröffentlicht der umtriebige und als Lone bekannt gewordene britische Künstler Matt Cutler aus Nottingham seine erste kommerzielle Mix-CD. Sein Zugang in die berühmte "DJ-Kicks"-Serie erscheint im Herbst 2017 und beinhaltet vier exklusive Tracks. Die Zusammenstellung spiegelt Lones Werdegang sowie dessen Produktionsweise schön wieder. Der verträumt-melodiöse und angenehm nostalgische Mix startet mit HipHop und bewegt sich dann von Boards of Canada und Plaid über John Beltram bis hin zu Radiohead durch diverse elektronische Gefilde zwischen Ambient, Electronica und Rave. Dazwischen baut Lone seine eigenen Stücke ein. Bewusst hat Lone das Set relativ lose, fast rau gemixt, was sich sehr lebendig und authentisch anhört. Dazu der DJ: "Der Hintergedanke war, dass die Hörer sich so fühlen können, als seien sie im Wohnzimmer dabei.
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10"
Marc Romboy presents his upcoming album "Voyage de la planète" his first solo full-length production in over eight years. Released on his newly launched Hyperharmonic label, Voyage de la Plantète signifies an exciting new chapter for Marc as he experiments with his sound - pushing the boundaries between classical and electronic music to create both an emotional and atmospheric experience.
The first impression of this new sound can be heard on this 10", the album opener "Monde futuristewhich blends together beautiful strings and soft flittering synths. While "Monde futuriste" merges the beauty of the violine played by Miki Kekenj and electronic arrangments, "Voyage de la planète" mixes the two mediums together with fluttering synths and a somber string quartet.
Inspired by a concert with the Dortmund Philharmonic Orchestra where he performed Claude Debussy works in a contemporary way, this 10" and the album signify the start of a new chapter for Marc Romboy. Combining the strange, fascinating sounds of electronic music with the sublime beauty of classical music to create an extraordinary sonic experience for the listener.
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Aus großen Melodien und strapazierfähigen elektronischen Teppichen gestrickt, ist "Love What Survives" gewissermaßen die Essenz ihres bisherigen Schaffens, indem verschiedene Gesangsgäste und Musikerpersönlichkeiten (James Blake, Micachu, King Krule) hinzukommen, um gemeinsam zu experimentieren, Formen neu zu denken, Dinge auszuradieren, mit Pop-Überlieferungen zu spielen, alles zusammen wachsen zu lassen. Die neuen Tracks enstanden größtenteils auf zwei Vintage-Synthesizern (Korg MS-20, Korg Delta), die beide, so die Band, diese "punkige, schloddrige Qualität hätten, die an Robert Wyatt erinnert", die mit ihrem Industrial-Einschlag und dem unverkennbar direkten Sound Mount Kimbie zu ihrem neuesten Sound-Update bewegen sollten. Der pulsierende Motorik-Beat der Single "Blue Train Lines" zum Beispiel schickt King Krule direkt auf die Überholspur, von wo aus er seine zerklüfteten Vokalsalven abgeben kann. Die offene, ausladende Aura der Platte ist ferner der Tatsache geschuldet, dass sie zwischen London und Los Angeles entstanden ist, zwei Standorten, zwischen denen das Duo pendelte, um gemeinsame Sessions zu veranstalten und Ideen zu verfeinern.
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Hello! Here are the Phaserboys with their full Debut on Aiwo rec. and they show up with a full equiped dance floor record including Love Mission Disco Adventures and Sequenced Breakbeat Dream Dance - be fast and take the ICE as long as you can - Winter is coming! *All rec. at Aiwo Railway-View Studios Ddorf
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- A1: Soul Machine
- A2: Distant Memories
- A3: Black Butterfly
- A4: Atomic Heart
- A5: Eternal Time Machine
- A6: Quantum Mysticism
- A7: Reflections
- A8: Trees Speak
- B1: Nothing Remains
- B2: Everlasting
- B3: Spirit Oscillator
- B4: Waiting
- B5: Unconscious Though Control
- B6: Ghost We Know
- B7: Silance In The Sky
- C1: Shadow Circuit (Part I)
- D1: Shadow Circuit (Part Ii)
Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.
Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab,
Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak
The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.
Trident code primarily consists of three producers: Digital, Flava & Horrific James; 3 artists drawn together by their love of Jungle/Drum and Bass. Flava and Horrific James say, 'Our focus is to have fun while making music and we want to help and inspire our friends at the same time like Dissect, Jay Bionic, D Menace, Handy, Strobe, Nick E.P. Hainsey and Spectrum'
Flava and Horrific James grew up in the 80's, with Flava hailing from Kettering, the same home town as DJ Storm. Flava's early days were largely influenced by the Hip Hop and Acid house scenes, a little after that nights at the Milton Keynes Sanctuary & Labyrinth solidified her love for Drum and Bass.
Horrific James grew up in Coventry where he became involved in the world of skateboarding and graffiti, this progressed into James moving to Camden in 1997 to study at the RCA. In 1999 he graduates & sets up his art studio in Hackney wick . In 2004 his work was picked up by Charles Saatchi and features in the New Blood exhibition at The Saatchi Gallery London . This led to Jessop shows in New York , Sao Paulo, Copenhagen & Torino . Today in 2015 James runs Horrific Recordings, a vinyl only label and he continues to exhibit art globally. In 2015 he opened Horrific Gallery in East London.
It's the Summer of 2002 where Flava and Dee Jay Jess (aka Horrific James) first met. A very keen Jess turns up for his new show on while Lady Flava was doing her regular show, a show currently in it's 15th year often featuring guests like Digital and Klute.
After Flava & Dee Jay Jess were initially introduced they became inseparable, instantly. The two soon joined forces in the Rude studio and went on to form the Rush hour crew with Dee Jay Jess, Flava and Motive.
In 2014 Digital was introduced to Horrific James through a mutual friend 'Clive Ingredients' which soon lead to Digital's guest appearance on Rude to celebrate his latest release on Horrific Recordings ' Corrupted Soul/Glue Tune'. Flava joined them inside the studio and this is where they all met as a unit. Soon after, they all decided to get together in the studio through their love of music and partying; Trident Code was born.
Digital began his journey helping out with Reggae sound systems around Ipswich under the heavy influence of his father. Seminal tracks like 'Waterhouse Dub', 'Ras 78' and the big bad 'Dubzilla Lp' helped cement his name in DNB history.
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'A Part Of Me' is the debut album by Ivan Arlaud alias 1954, a young musician from Lyon, France. It's an immersive journey between nostalgic and synthetic sounds, melancholia and hope, fears and confidence. He contrived to describe all the bright, warm, cold and dark moments of his restless imagination in rhythms without being intrusive. As the title says, it's his personal disclosure.
Keysound Recordings presents a weightless album from label boss Blackdown. 'Those Moments' is his first solo LP, features fellow 'Margins Music' contributors Trim, Dusk & Farrah and, like the imprint's Rollage sub series, is centered at 130 bpm. Each of the tracks is a distillation of a fleeting moment. The tracks and LP itself are short and constrained, relying on only voices, synths and sub bass. The album came about in a quick intense burst and many of the tracks represent snapshots of brief instances - a bitter-sweet moment of inflection, a moment of positivity, digital over stimulation, awe, loss, intensity, anger, nostalgia, regret, honesty, relief and joy. 'I'd had a tough 6 months...' explains Blackdown. 'I'd had to hold it together and not lose my nerve. Early on in the months I'd so nearly had a massive, positive life change but... it slipped out of my grasp. I was so focused on holding it together, I couldn't allow myself to really write music. Then, when things resolved themselves, and I'd figured out this new weightless way of working, 'Those Moments' just came flooding out. I'd heard other musicians talk about this - but that had never happened to me.' Recent releases from Rinse FM's Blackdown include a contribution to the #SaveFabric CD, three 4 track 12's of the new Rollage sub series ('WDYM!', 'Keysound Sessions Anthem' and the 'C-Troit' EP) and a remix of Jamakabi & Terror Danjah's 'Juicy Patty.'
Emotional Rescue and Malka Tuti join forces to bring a collection of the music of C Cat Trance. Drawing on the rhythms and melodies of Africa and the Middle East to produce a World Beat across some 6 EP and 4 LPs, here drawn together on a special double LP compilation.
From the legendary Shake The Mind to the percussive, ethnic meets club inspired songs like Sudaniyya or the previously unreleased Some Day Soon, the album highlights a project that stood out from the post-punk haze with striking scales and time signatures to develop a unique sound.
Formed by world music fan and multi-instrumentalist John Rees Lewis upon leaving post post-funk pioneers Medium Medium, the group retained the intensity of the former, but in a considerable new direction. Teaming up with fellow ex-band member Nigel Kingston Stone, together they formed the backbone of the band around a continual stream of guest players.
Exotic, dense, tribal rhythms propel a mixture of club, pop and world music, creating an atmospheric fusion that can be heard across the 12 pieces. The alt-industrial feel of She Steals Cars and Screaming With You is countered by avant-percussive Dalbouka and I Looked At You or the Balearic vibes of Take Me To The Beach and They Made Them Up.
Together they perfectly showcase a dark and moody world music with a shamanic spiritual underbelly that has gained admirers from collectors and latter-day producers. With that a set re-edits, remixes and reversions from latter day heads including Red Axes, Prins Thomas, JD Twitch, Khidja, Die Orangen, Jamie Paton and more will follow.
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The New Backwards, created in 2007, was originally included in the Ape Of Naples box set released on Important in 2008 and was constructed by PETER CHRISTOPHERSON using material from the Backwards sessions recorded in the early '90s for a planned release on Trent Reznor's Nothing Records label. The New Backwards, like The Ape Of Naples, is an intense fan favorite and an essential part of the COIL catalog.
Returning with his first album in 13 years, Errorsmith's 'Superlative Fatigue' long-awaited release on PAN arrives as his perhaps most optimistic record yet.
Placing a strong emphasis on spectral exploration, the tracks tell an inherent story and span a musical arc with his recognisable synthesised tones, computerised vocal effects and timbral changes in motion.
In comparison to his previous productions, Errorsmith (Erik Wiegand) sees the release as less abstract, harsh or aggressive: 'I would say it is rather accessible and cheerful; at times ridiculously cheerful but still very sincere and emotional.' He suggests. 'I find it touching when this little android raises its pitch at the end of 'Lightspeed' or the android catching its breath in 'My Party' for instance.'
The album title, 'Superlative Fatigue' reflects this tension between an over-the-top, hysterical emotion, against more deeply felt expressions or realness. Besides collaborating with the likes of Mark Fell, to Berghain resident Fiedel as MMM, and Soundstream as Smith N Hack, Wiegand has released a string of seminal dancefloor tracks. Building his own instruments using modular software synthesizers is a large part of his work. Where almost all the sounds in the LP were created with his synth, 'Razor', (a synthesizer plug-in he developed for Native instruments, released in 2011) or slightly modified versions of it.
Premiered at Unsound Festival last year, this new material he has developed since has finally taken form in this epic full-length.
The album is mastered by Rashad Becker, featuring artwork by James Hoff and layout by Bill Kouligas.
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Felix Kubin (org, electr,sampler)
Milosz Pekala (vib, xyl, sampler, perc, effects)
Magdalena Kordylasinska (mar, perc, effects)
Hubert Zemler (glsp, dr, perc)
Music composed by Felix Kubin, tracks A1+2 together with Milosz, Magda and Hubert.
The pieces are soundtracks to educational and industrial 16mm films dealing with the subject of "work".
They were commissioned by NDR das neue werk (North German Radio).
Recording engineer: Robert Migas, Black Kiss Studio, Warsaw
Mix: Tobias Levin, Electric Avenue Studio, Hamburg
Mastering: Rashad Becker, D&M, Berlin
Production: Felix Kubin
Film archive: Metropolis Kino, Hamburg
NDR editorial department: Dr. Richard Armbruster
Artwork: Stephen O'Malley
Originally developed as a film score "Takt der Arbeit" is inspired by a handful of industrial and instructional films from the early 1960's until the early 1990's that portrait different forms of work. Felix Kubin is translating these historic documents into a musical poem of conceptual depth. "Takt der Arbeit" - the beat of work - is not only serving as a title but also as constructive element in this endeavour.
Being hunted down by the ever accelerated pulse of our reality is an omnipresent issue in capitalist societies of the the Western world. Living in times of constant exhaustion, it's not only our bodies that have been disciplined by and synchronized to the rhythms of working processes, but also our minds that rage in the tempo of our surroundings. Following an almost analytical effort, Kubin and an ensemble of 3 percussionists are investigating the different qualities and intensities of time that are catalyzed in working processes. While picking up precise temporal and motoric motives of the films, condensing paces and excavating rhythmic patterns, the ensemble is mapping out an animist choreography, shifting from a time when labour was still relying on bodily efforts to a time when machines and ticking clocks seem to reign and model our perception. While Side A is dedicated to procedures that are still based on manual and mechanical movement, Side B is inspired by the digital age, marked by invisible processes and subcutaneous pulses that we internalize.
The result is a critical and poetic reflection on the rhythms of our daily life and yet another example of Felix Kubin's skills as a composer, placing him in the field of orchestral music.
This journey started for Flox on the Reunion island, in the lost heights of the Mafate cirque.
It is in this area cut of from the world, only accessible by foot, that the English multi-instrumentalist found himself face to face with the thrilling and endless feeling of being lost and in danger once again. A sensation that had faded away through time, weakening the flickering flame of inspiration.
Listening only to his instincts, leaving aside past experiences and moving forward freely are the main ingredients of this sixth album Taste Of Grey. An album conditioned by inspiration, each song catching the feeling of the moment and releasing unblemished
emotions. At ease with the different lines of artistic creation, the multi-talented craftsman once again composed, arranged, played, and recorded Taste Of Grey, a complex mix of organic and digital music balanced between deep Jamaican rhythms and loose funky beats.
Breaking down styles to build his own, spending hours reinventing a personal electro vibe that moves back and forth from rap to singing and from darker to lighter landscapes.
Rather than the simple choice of black or white, Flox has chosen a path with more subtle shades of grey. A step into the unknown, writing love songs when political issues had mainly been a major theme. Writing about feelings, unclenching fists to come up with an album that tells a full story. You could listen to the album Taste Of Grey in random but this would also change the story line...
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Señales, Spanish for Signals, is the new work and debut at Femur by Rafa M. Espinosa, aka Geistform. It depicts a round trip to the darkest side, the sullen and dismal side of our sonic concept. The four tracks, which make up this 12' range from odes to smacking electro beat, obsessive mid-tempos, old industrial echoes and sinister and unsettling atmospheres.
Finnish visual artist and filmmaker Hannu Karjalainen's music draws inspiration from ambient, drone, modern classical and dream pop. His first album Worms In My Piano was released in 2007 on Osaka Records and the second album, Hintergarten in 2009 on Simon Scott's Kesh Recordings. A Handful Of Dust Is A Desert, his third album - and the first under his full given name - arrives after a prolonged break.
Hannu Karjalainen's association with Karaoke Kalk started with his remix of Dakota Suite's The End Of Trying Part III on The Night Just Keeps Coming In in 2009 which also featured remixes by the likes of Hauschka, Deaf Center, Loscil and many more. Now, luckily for all concerned, Hannu is releasing a full length album on the label in the form of the exquisite record A Handful Of Dust Is A Desert.
The album opens with the track Angel which is a truly heavenly composition reminiscent of Boards of Canada's finest work. The Emigrant makes effective use of sinister synth-lines and delicate glockenspiel patterns to invoke a kind of science-fiction soundtrack atmosphere. Throughout the record, our ears are graced with truly sublime sound-scapes and transcendent textures.
The title track is actually the shortest tune on the album, but in no way less evocative. It's looped piano melodies are comparable with Susumo Yokota's later recordings in their minimalism and poise. A Year In a Day continues to walk the fine line between ambient and electronica - which is one of the albums great virtues: it shows how lively and eventful ambient music can be. Certainly ambient music benefits from having a strong pulse as Karjalainen demonstrates in various tracks on the album. The song Love Is A Black Lion features a sample from the afore mentioned Dakota Suite tune The End Of Trying Part III, and therefore somehow closes a circle.
This powerfully contemplative album comes to a controlled landing with the majestic Breaks My Heart She Aria, another in a long line of mesmerizing drifts, with a floating choral voice delicately enveloped in strings and pitched percussion.
A Handful of Dust Is A Desert is instantly captivating and for lovers of ambient music, dream listening. As an artist who trained in photography and is mostly active in the world of visual art, Hannu Karjalainen clearly enjoys a great deal of creative freedom in his music. This is the kind of desert you won't mind getting lost in and even take pleasure in roaming through the expansive sonic landscapes and horizons it embodies.
For the 9th instalment in DBA's Dubs series Ikonika and Big Strick square off head to head, following the Hyperdub artist's genre-defying Distractions LP earlier this year. Oral Suspension is an instrumental which switches rough-shod between a UK halfstep crunch and a Hoop Dreams era Chicago bounce. On the flip Big Strick brings his characteristic smooth groove to the table for the remix, which, though laidback, is nevertheless bound to energise the dancers.
Evading the ubiquitous pigeonholes, Ikonika has variously been known for her dubstep innovations, her uk funky experiments on Hum and Buzz and her post-urban sketches for Hyperdub. Meanwhile though an interest in techno and specifically the sounds of the Midwest have underpinned her work.
- 1: Born
- 2: Until I Die
- 3: Prince Of Grunge
- 4: V
- 5: I Don't Know
- 6: Fantasy
Prince of Grunge - Explores conflicting truths and accounts of depressions, social anxiety and fear in the name of progress. Moving through cold landscapes with vocal of Until I Die' & I am lost' on a undercurrent of rave.Prince of Grunge is a visceral and unsettling tour through a missed youth.
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On the heels of 2015's hyperactive Longanimity EP on Leisure System and the recent Sense of Purpose LP via Bloc Records, JoeFarr returns to Leisure System with the Spectate EP, another tactile and punishing contribution to the ongoing GRIDLOCK series complete with an incredible remix from sound scientist Max Cooper.
Farr throws down heavy drum grooves on title track Spectate,' with hi-hats and synth zaps creating malevolent movement around a blurry vocal sample. Teetering on the edge of total malfunction, it lurches and leaps in beguilingly twitchy ways. Max Cooper explodes the track on his remix, offering increasingly distorted sections that lure in the listener before shattering the structure. On the flip side, Comp Killer' and In Focus' are two slices of deliciously raw techno, featuring shuddering bass and searing melodies sure to split open any dance floor.
The fifth edition in Leisure System's ongoing GRIDLOCK 12' series, the Spectate EP is yet another example of JoeFarr's able hand at creating fierce, infectious, and irregular techno.
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First outing for this collaborative effort from the prolific Posh Isolation mainstay Loke Rahbek and Frederik Valentin of KYO, also on the revered Danish label. As old friends circling around the same scene this is the first time they have combined their respective perspectives. The results are an ambitious aquatic infused audio environment. Recorded near water at Valentin's studio within the vicinity of the new aquarium in Copenhagen, Buy Corals Online channels the sensual floating aspects of such environments.
"During Japan's Edo period (1615-1868) the phrase "the floating world" (ukiyo) evoked an imagined universe of wit, stylishness, and extravagance—with overtones of naughtiness, hedonism, and transgression. Implicit was a contrast to the humdrum of everyday obligation. The concept of the floating world began in the Japanese heartland, migrated eastward, and came to full flower in Edo (present-day Tokyo), where its main venues were popular Kabuki theaters and red-light districts." - Wikipedia
Buy Corals Online arrives as a suite of works embracing the joy of being close to something you don't require interaction in order to experience. This enchanting aquatic infused audio hovers a sensual world rich in sensory experience. Loke Rahbek & Frederik Valentin's debut outing conjurer's a world both sensual and abstract as it moves casually alongside fantasy.
- A1: Introduction
- A2: Stewardesses
- A3: Freebasing
- A4: Snoop Doggy Dogg
- A5: Cursing
- A6: Bestiality
- A7: Fags
- A8: Beaver
- A9: Comedians' Wives
- A10: Divorce
- B1: Naked Cheerleaders
- B2: Cloning
- B3: Dirty Diapers
- B4: Living Life On The Edge
- B5: Movies
- B6: The Right To Die
- B7: Alzheimer's
- B8: Aids
- B9: She Sits Among The Cabbages And Peas
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Durban's Rudeboyz (aka Masive Q and Andile T) return to Goon Club Allstars to follow up their self-titled 2015 debut EP with new record, 'Gqomwave'. Widely acknowledged as Gqom originators, alongside Goon Club label mate DJ Lag, Rudeboyz' raw, energetic compositions took the sounds of Durban's townships global back in 2015, opening doors for a whole new generation of South African artists in the pro-cess. They themselves hail from from Mount Moriah, just outside the KwaMashu township in North Durban. The duo's latest record, 'Gqomwave', is comprised of four tracks, each bursting with the intense, driving rhythms and boundless energy their productions have become renowned for. Gqom is again the core around which the whole EP functions, as blazing sirens and charging beats play out on opener 'Major Turn Up', but subtle, stylistic nuances point to a growing maturity in their work. The springy elasticity of 'Bounce Back' and the sharp, stripped back drums on relentless club burner 'No Mercy' each offer different, smouldering takes on the Gqom sound, while final track 'Asjableni' features the gritty, hypnotic vocals of long-time collaborator T_D Snaxx who tragically passed away earlier this year.
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All tracks were produced during a one-off session on the shores of Bretagne, more specifically on Le Cap De La Chèvre, using solely a MPC, a Korg 03RW and a TX7, all connected to a portable generator. Bottles of white wine and a consequent amount of oysters were also directly involved in the process.
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UnknownmiX was a band active in Zürich between 1983 and 1992. Their music is a mixture of free vocalism, new wave and industrial, they released five LPs and three EPs. Out of their discography Lux Rec selected four tracks, remastered from the original tapes, and presented as a sampler EP. Four tracks that fit perfectly to the label's tonal view. An ode to those Zürich days, when excesses and uncompromising choices were a badge of honour. And music was something to fight for, or fight with, or dive in and die.
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- A1: Tachikawa
- A2: Seiko 1
- A3: Seiko 2
- A4: Sen-Nen 1
- A5: Ricoh 1
- A6: Seiko 3
- A7: Boutique Joy
- A8: Seiko 4
- A9: Ricoh 2
- A10: Laox
- A11: Shiseido
- A12: Seiko 5
- A13: Sharp
- A14: Sen-Nen 2
- B1: Honda
- B2: Suntory
- B3: Knorr
- B4: Bridgestone 1
- B5: Bridgestone 2
- B6: Bridgestone 3
- B7: Bridgestone 4
- B8: Bridgestone 5
- B9: Ka-Cho-Fu-Getsu
- B10: Seibu
Remastered vinyl with colour innersleeve + download code card. Originally issued by Crammed in 1987, this is one of the most sought-after releases in their legendary 'Made to Measure' series. Known for his numerous albums, soundtracks, and collaborations with the likes of Ryuichi Sakamoto, Van Dyke Parks, Pierre Barouh, Bjork and Elvin Jones, composer and saxophonist Yasuaki Shimizu wrote and recorded this brilliant and inventive collection of short pieces, initially conceived for Japanese TV commercials (and bearing sweet titles such as "Seiko", "Sharp", "Honda" etc). This album has achieved near-mythical status in the last few years, which have seen artists such as Oneohtrix Point Never sing its praise.
Alek Stark is responsible for some of the finest boutique vinyl releases available. His 808 boxes, DMX drum machine replica and plexi-glass sleeves for Fundamental Records are legendary in the electro fraternity.
Stark's attention to detail in everything he does is particularly apparent in his music - his tracks are all first class analogue electro. He pulls no punches on this E.P. with heavy 808 percussion alongside a myriad of modular noise and synth workouts.
Cold, robotic and reminiscent of early Psyche / BFC with deep chorused pads creating an off-world dystopian theme that runs throughout this release.
Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.
Exclusivo! was the group's debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.
Enter the all-encompassing universe of Everything, a score by Ben Lukas Boysen and Sebastian Plano - available worldwide via Erased Tapes on July 28th 2017.
Game creator David OReilly has built an interactive world for you to explore at your choosing. Whether you decide to take the role of a microbe inside a plant in the desert, or a star in the furthermost galaxy, each layer of the game is coated with ambience which takes the simulation even further into the limitless boundaries of each world. Composers Ben Lukas Boysen and Sebastian Plano have shaped this experience with their intricate 4-hour soundscape, alongside the continuous narration by philosopher Alan Watts.
Words from Ben and Sebastian, April 2017:
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- A1: Too Little Too Late
- A2: Forever A Stranger
- B1: I Knew Happiness Once
- C1: A Gentle Hand To Hold
- C2: White Clouds Drift On And On
- D1: A Chance To Start Over
- E1: A Chance To Start Over - Intrusion Under The Starlit Sky Mix
- E2: Too Little Too Late
- F1: White Clouds Drift On And On
- G1: Forever A Stranger
- G2: I Knew Happiness Once - Intrusion Shape V
- H1: A Chance To Start Over
Vinyl press of cult ambient album from unabashedly private & poignant artist. This could be the soundtrack to an endless freefall, a restless sleep, or a place where nothing ever hurts. 4 LP gatefold, printed on reverse board. Mixed clear & white vinyl.
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- A1: Exercise In Colour (Feat. Ann Demeulemeester)
- A2: Sleepwalker (Feat. Anna Yamada)
- A3: Silence Is Golden (Feat. Peter 'Sleazy' Christopherson)
- A4: Fffetish (Feat. Frankie Gothard)
- B1: 46 Things I Did Today (Feat. Little Annie)
- B2: Love's Septic Domain (Feat. John Balance & Louise Weasel)
- B3: Alcohol (Feat. Noriko Taguchi)
- B4: Curious Yellow (Feat. Little Annie)
Produced by Ivan Pavlov/COH
Digital assistance: lit-e, g-race, tin-y, a-lisa
Revised and re-mastered 2017
Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2017
Cover photo & graphic design by Victor Robyn
The ongoing relationship between Editions Mego and COH continues with this special collection of works made by COH over a number of years released on a variety of labels. What brings these works together is the incorporation of vocalists and lyrics. Neatly compiled here, a diverse pool of vocalists elevate the otherwise instrumental works of COH ( Ivan Pavlov) into worlds of narrative, the human and the haunted.
Little Annie brings her sly subversive cabaret style to one of the works whilst delivering an intense lkist of daily activities on another whereas Peter ,Sleazy' Christopherson conjures a world beyond our own with his cracked spectral delivery interpreting Pavlov's disembodied electronics. "I wrap my last kiss in a bandage... I send you this message".
Frankie Gothard provides classic distorted industrial swagger to the proto-disco FFFETISH where LOVE'S SEPTIC DOMAIN (feat. John Balance & Louise Weasel) screams from the abyss of "dirty hospitals", As starlit and damaged as any of the classic Balance deliveries. A previously unreleased work featuring the renowned fashion designer Ann Demeulemeester skips along a metronomic beat whilst the voice lays out dry settings and instruction. Elsewhere Noriko Taguchi embeds a fragile sensibility to a music box melody whilst Anna Yamada's collaboration results in an exquisite blend of disorientating pop.
The versatility of Pavlov's practice is on display as proto disco, industrial simulation and pop all come together with the vocalists presenting a wide range of human function, from the absurd to the mundane to world's unknown.
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Music For Dreams is proud to announce the new album by Danish legend Dub Tractor. One of the founding fathers of electronica in Denmark in the early 90s, Anders Remmer has remained a reluc-tant beacon of Copenhagen's scene ever since, with his musical legacy still a work in progress. As well as being a member of Future 3, Remmer has released material under a number of different ali-ases, but his most frequent guise dating back to 1994 has been Dub Tractor. Under this name, he gently crafts complex yet warm and organic electronic music that flirts with ambient, dub and IDM.
With Hello Ambient Wash', the first Dub Tractor album since 2009, Remmer explores further the pos-sibilities of Dub Tractor after the more pop-oriented & shoegaze-flavoured approach of his last album "Sorry". In addition to new material, the second half of Hello Ambient Wash' presents a retrospective of hand-picked tracks from his first three albums on Flex Records (the label which Music For Dreams founder Kenneth Bager ran with Ole Mortensen from 1994 to 2007). Two "Discrete Recordings" tracks from 1994 highlight the atmospheric dub origins of Remmer's sound, while the two tracks from the 1996 album "An Evening With.." see Remmer at his most accessible and funky. The four cuts from his seminal 2000 album "Delay" still sound as vibrant and fresh today as they did then, and perfectly add weight to this unique collection.
Back on the new material, we see Remmer experimenting further with the style he has become syn- onymous with. On tracks like "Wow" and Flutter', he plays with elements of distortion and layers of sound to create an atmosphere of fragility and nostalgic haze. Loops trapped in reverse over the delicate but intense humming of lo-fi ambient noise create a sense that these tracks could fall apart at any given moment, but still push forward at a cautious pace. The melodic side of Dub Tractor shines through on the opening track "C8 90", the title track "Hello Ambient Wash", and "A7 94". Coming off as crackly old cassette recordings of some lost Southeast
Asian folk music filtered through the high-tech dub engines of Remmer, the sound of the new
Dub Tractor proves a heady stew of influences that still sound wholly their own.
Stay Home' echoes more the shoegaze direction Remmer took on "Sorry" with a melancholic sway which layers ghostlike vocals over muted lingering chords. While on tracks like "SIne Song" and "Ltl" Remmer truly gives cause to the name Dub Tractor, as he ploughs down tight rhythms over sub-bass frequencies and a myriad of trickling effects. Like walking through a dense rain forest of sound,drum clicks stick to your body like moist leaves - these tracks conjure the sensation of a cannabis high or an ASMR episode (google that if you don't know it). Remmer must have tapped into some masterful technology of sine wave manipulation to push the listener into these mind altered states.
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Two of Hospital Record's most electrifying artists have formed an allegiance for a true coming together of titans. Bournemouth's Krakota and Sao Paulo's Urbandawn have combined their production talents to create the five-track 'Focus Shift' EP - a real drum & bass mash up of styles and sonic sequences.
The aptly named 'Coyote' is an absolute howler, unashamedly powerful and loaded with energy, distorting and plunging itself into new streams of audio chaos throughout.
'Laguna' fits with their alter-egos - sweet, pensive and majestic. Operating within a more classic Hospital framework, this rolling stroke of musical bliss will leave no party unsatisfied.
Sitting in the middle of this concerted creation is title track 'Focus Shift'. Informed by both liquid-funk and tech styles, it's gelled together with scathing bass riffs and high profile percussive chops.
'Epigram' has all the bassweight you'd expect from such a monolith collision of production powerhouses. Crisp and sinful, with a consistently militant atmosphere this song is pure depth, darkness and danger, with a genuinely intriguing sonic progression that renders this track as devastating as weapons grade plutonium.
Seeing the release home is 'Paladin'. An ardent dancefloor destroyer that fuses the power of the stepper with the groove of a roller, that even angels would find themselves bustin' a skank. Uplifting and powerful with cosmic subtleties in the low end twinned with sombre melodies and skittering drum-work all tempered in unison to create a certified banger.
From the sounds of Dominowe in Newlands East in Durban, South Africa, we are now going to the opposite side of the hill in Newlands West with TLC Fam! For those who are not familiar to the crew, TLC Fam are a crew from the township of Newlands West formed by 23 members. All the members have different roles in the crew and showcase different talents such as DJ'ing, Producing, Dancing, MCing, Promoting and taxi businesses. TLC fam was established in 2011 as a dance group until 2014 where they met distribution boys " they helps us with gqom tracks production since we were dancing with their gqom music." Dj Magic and Resto tried to learn to make their own TLC gqom in 2014 until now as TLC gqom hosts. Their sounds represents a strong, powerful Zulu culture from the sounds, lyrics of the songs to the song titles as well. The main producers Resto and Dj Magic created a very unique and original style of gqom, the strength of TLC is being as a real family where everybody help each others. TLC fam gqom is loud and powerful it can break your speakers which is why they play this out to packed dance floors till the early morning. TLC fam are the originator/creator of the Taxi Kick' style of Gqom which has a very particular distorted multi layered hard kick made with some specific techniques on fruity loops. The kick is made specifically for taxis in the townships and quickly became viral with the new generation of gqom and core tribe producers in Durban. "Our Gqom is so different from others cause we got our personal style where we put more vocals in our tracks and we got our own kicks (Taxi kick) and our own type of gqom where we came with hard kicks which you can play them in taxis and big speakers ". "We were just making music just for fun and fan cause here in Durban they didn't take gqom music as real music but now we saw lot of changes in the local scene" " What we need now is too see gqom music pay world wide and we need to be well known in other countries as we are the one of the gqom kings in South Africa" As usual here at Gqom Oh! we're super proud to put out this psychedelic hardcore gqom LP called Isbethelo seGqom which in Zulu means 'The Gqom hit'. It will be released a in a very special limited edition 12' in collaboration with HB production with special 3D graphic designs on the cover which you can check out with the glasses we have provided in each vinyl.
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Tranceonic is the duo of Carlos Perón and Boris Blank of Yello who met in 1971 in their hometown of Zürich, Switzerland. At this time Carlos studied Free Jazz while Boris listened to bands like Pink Floyd and Queen. The two bonded over a conversation about The Mahavishnu Orchestra album 'The Inner Mounting Flame' and became musical friends. From 1973 to 1976 they played in the New Wave group Urland. After the split of the group Perón founded the Tranceonic studio with his equipment in his private flat. Carlos invited Boris over to his studio and a concentrated work began. The idea was to make experimental new music with the hopes of having a hit in the United States. Everybody at this time was into punk, but Tranceonic loved industrial and electronic sounds. Their foresight and innovation created new ideas. Perón and Blank made electronic avant-garde music informed by the Berlin and Cologne schools. By 1978 the two had enough material to record an album and made a trip to San Francisco to visit Ralph Records. The Residents promised to release the music if the duo removed all the tape hiss, which never materialized.
'New Crime' is the first ever vinyl compilation of material produced, recorded, performed and mixed at Tranceonic Studio between 1976-1979. The equipment set up at the studio included a Farfisa Synth Orchestra, WERSI string ensemble, ARP Odyssey with Sequencer, ARP Quadra, Roland SH 3A, CR-78, Space Echo and Korg Minipops 120P and many effect boxes normally used for guitars. Samples were self-recorded using a Revox cassette deck and turntables. Blank and Perón experimented with manipulated tape loops, echo effects and snippets of found sounds. Blank also explored foreign near-equator exotics playing Arabesque percussion and a homemade bamboo flute. Perón experimented with CV triggering and dubbing super 8 film effects from vinyl. Both members took turns singing Carlos' lyrics. Stylistically the songs anticipate the feeling of Yello's 'Solid Pleasure' album and included here is the first instrumental mix of Bostich'. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Cover artwork features a photo of Carlos in Los Angeles taken by Boris in 1978 and design by Maycec. Each copy includes an insert featuring photos and liner notes by Carlos Perón.
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