Beats Новости

Africa Seven is taking its first trip to Germany... Well Germany via Cameroon. Charlie Kingue Soppo is better known as Charly Kingson, cousin of Manu Dibango and a Cameroonian emigrant in the 1970s. Charly first headed to Paris and then found his way to Munich in 1978. He recorded two albums in his career, "Born In Africa" in Munich in 1978 and "Dance To The Music" two years later in New York.

For this outing we focus on his debut "Born In Africa". It was recorded in Union Studios in Munich with some of the city's finest (and surprisingly funky) session musicians of the day.

The LP opens up with "Nimele Bolo" a trademark Africa Seven sound if ever there was one… early growling analog synths, big stabby brass and afro rhythms. Add in Charlys vocals and it is easy to see why this track was a highlight of our recent African Airways 04 Funk compilation. Next it is time for smooth ballad, "Makakane Masu" and its smooth jazz overtones. Next "Manyaka" the suspenseful string section, octaving keys and percussive horns drive the wah wah guitar and Charlys brooding song.

On the flip side we open up with the rolling bass and swinging brass of lead track "Born In Africa". This track was a single and it's the perfect microcosm of the album elements in one track. It even manages to name check all the big afro musicians of the time. "Nanga Boko" and its big smiles all around for the good time synth-boogie funk. We close off the LP with "Reviens-Moi" a pensive ballad about Charly's forlorn love. He wants her back of course.

After Charly moved on from recording in the 1980s he stayed in Germany, performing in a series of local jazz and funk bands. We tracked him down in 2016 and we really pleased to be re-releasing his debut long player at Africa Seven. It sounds just as relevant (if not more so) in 2018 as it did 40 years ago in 1978.

Sony Music Entertainment's Depeche Mode 12" vinyl singles project
continues with the release of Black Celebration | The 12" Singles and
Music For The Masses | The 12" Singles on 31st May 2019.
Each of these definitive box sets contains 12" vinyl singles
contemporaneous to either Black Celebration (1986) or Music For The
Masses (1987). Both pivotal releases in the Depeche Mode canon, these
albums advanced the band's musical mission, moving the DM sound from
industrial pop into darker atmospheric emotional territory.
Following its release in 1986, Black Celebration became the group's
then-highest charting album in both the UK and Germany, expanding
their influence across pop culture while inspiring myriad young
musicians to start bands of their own.
The next year, Music For The Masses furthered Depeche Mode's
international mass appeal, breaking open the United States and other
markets with the record-setting Music For The Masses Tour. An
electrifying and historic adventure for band and audiences worldwide,
the tour included Depeche Mode concerts in then-communist East
Berlin, Budapest, and Prague.
Both Black Celebration | The 12" Singles and Music For The Masses |
The 12" Singles extended Depeche Mode's increasingly mind-blowing run
of 12" singles and featured some of the band's most sublime artwork
to date. Each of the albums showcased some of the most enduring
singles in the DM catalog; Black Celebration featured "A Question of
Lust" and "Stripped" while Music For The Masses contained "Never Let
Me Down Again" and "Strangelove" (Depeche Mode's first #1 US Dance
chart hit).
Black Celebration | The 12" Singles contains the four original 12"
releases from the album plus a 12" vinyl version of the limited
edition "A Question of Lust" cassette release, available for the
first time internationally in this collection.
Music For The Masses | The 12" Singles includes the seven original
and special edition 12" vinyl singles from the album.

“Prove Your Love” by Misunami & First Touch returns to the Neon Finger catalogue in a brand new 12″, including the original versions (vocal and instrumental) plus two new mixes by the enormous Nick Wisdom (1/2 Potatohead People) and the huge Bamboozle aka Eli Soul Clap. After the big success of the track years ago, being played by some of the biggest selectors in the world… This future classic boogie disco track is available again with two new astonishing remixes that will burst into flames any dancefloor. Don’t miss it!

Electro, disco-chic, doused in gooey pop, sultry silk, and retro synth-boogie. Dekmantel welcomes the good time vibes of Canadian selector, and retrotastic, vibe-poppin’ producer Jex Opolis. Cult figure, obsessive Discog-er and Good Timin’ boss, the Brooklyn-based, Canadian has etched out a global reputation with his exotic taste of lo-fi, party productions, with this — his Dekmantel debut — not straying far from the formula. On Earth Boy, the hit making powerhouse turns up the synth furore to maximum, with electro and Italo all blending together, in a powerful melee of beachtime house, and crushing sunset disco. Leftfield soul that’s not just for the diggers, and the perfect introduction for his summertime debut at Dekmantel’s galant showcase festival in Amsterdam later on this summer.

Title track 'Earth Boy' pays homage to the classic electro of the early 80s, with its 123bpm rolling breaks, and throbbing synth basslines. It’s as if Drexciya has a disco-baby with Spacer Woman. With its cliquey stomps and robot pulses, and nods to the wave-style records that empties so many of Jex’s sets, 'Earth Boy' is classic future disco. 'Desolation' is bridled with greater depth and emotion, with Italo-pomp and a certain rhythms digitales flare. Braver souls may embrace the vocal mix when it comes to playing out, with its compassionate overtones and soft celled-bassline. Its time to brush aside the winter hue, and say hello to those good-time blues, and frolic along to the jetset, neo-Balaeric house stylings of Jex Opolis.

The illusive Nelson of the East reappears with his forthcoming EP Phase Alternating Lines – a first class two-tracker.

The Swiss-born, Milanese artist released his first EP Night Frames just last year, making a strong entrance on Tartelet Records. This time around, N.O.T.E explores 80s electro boogie with ‘Phase Alternating Lines’ on the A side, and delivers his very own take on obscure tribal house with “Burning Palm” on the B side.

N.O.T.E is young, thirsty, and dead serious about his music. His admirable work ethic shows off not only in his own releases but also in his collaborations with other artists. In the past year alone, he has produced for Wayne Snow and several others that are keeping their work under wraps – while simultaneously creating music as N.O.T.E and under his Verner moniker. All the hard work seems to be paying off on this new 12’, where he comes through with two outstanding dance-floor bombshells.

If you’re into the 80s, Beverly Hills Cop, or just sad that you missed out on Studio 54, you’re going to love EP opener, “Phase Alternating Lines”. It’s got it all: hot drum programming, an electric boogie bassline and a cheeky melody that sticks. “Burning Palm” takes us into obscure tribal-meets-afro-house territory, utilizing percussion, synth marimba and hypnotic melodies – all held together in a tight, driving groove. This track is exotic at its root and perfect for any late night outdoor activity. Both tracks come as extended edits for the vinyl release.

This is a limited-edition release of 400 copies, written and produced by N.O.T.E, arranged by N.O.T.E in close collaboration with Tartelet Records’ label head Dirk 81 and mixed at Panalama Studios in Copenhagen on the Neve 5088 Shelford console for good measure.

grey coloured vinyl

Mind Records and Spooky are proud to announce the official reissue of "Tapas", an indescribable and beautiful album by Sueño Sueño, a mysterious German duo from Mainz.

Little is known about this album, which was originally released on
cassette only in 1983 by Eduardo Van Kasteren (member of Van Kaye & Ignit) on his label Ding Dong Records.

What we do know is the arousing curiosity it triggers as it unfolds, it feels like a fantasy summer holiday in a dark metallic wintery world, as if somehow Mainz had become a Balearic island. Some comparisons can be made - Naffi Sandwich, Swamp Children, Maximum Joy, Young Marble Giants - but these, all lack the unique ice cold synthetic Latin sound of an imaginary German 80s tapas bar where "Sueno Sueno" all work.

Originally released in 1985, "Saunetic Fraction" finally gets a reissue (limited to 100 copies), and staying true to the original, once again on tape! A collaboration of France's M.NOMIZED (aka Michel Madrange of No Unauthorized) and Belgium's UNOVIDUAL (aka Henk Wallays of Micrart Group / co-founder of the 3rio tape label with Magisch theater and Dirk Ivens of Absolute Body control) . The 18-track album is a diverse beast, but affirms itself among the grandees of Minimal Synth and Electropunk, whilst maintaining a unique twist. At times coming across as the French / Belgian version of Chris & Cosey, there are also elements of the early cut-up Dadaist experimental oddness of Cabaret Voltaire. A much sort after tape, that was originally released in a ludicrously small edition, on Unovidual's own label.

*Please not that the tracks: "Aerial Waves" + "My Geisha", do not appear on the cassette, due to side length issues.

MORE INFO:

M.NOMIZED: Synthesizers, Tapes, Treatments, Loops. / UNOVIDUAL: Synthesizers, Vocal, Drum Box.

Music composed and played by: M.Nomized & Unovidual. Thanks to Peter De Middeleir (Belgium) and Fraction Studio (France) for recordings. All rights reserved. P. 1985.

E-Missions welcomes back Rush Plus with three forward thinking techno cuts and a remix from Enemy Records boss Dustin Zahn.

Comprised of Jackson Ryland and Jus Nowhere, Rush Plus are known for helming their Rush Plus Records and Metro Xpress imprints when not appearing on Ambivalent’s Valence and P.Leone and Caiazzo’s E-Missions, with the latter releasing their critically acclaimed ‘The Sweat’. Their refreshing take on techno has resulted in continual support from all corners of the scene including top tier names like Ben UFO, DVS1, Daniel Avery, and many more.

Opening at full pelt, ‘Staring At The Sun’ pertains to the duo’s ability to master rhythm, fusing manic syncopated patterns with clashing keys and ringing bells until Dustin Zahn’s rework takes a lighter approach with cosmic synths and dusty brushes. ‘Waverunner' is next, blending acid lines with an ambient soundscape reminiscent to a retro video game, making way for the galloping ‘Sh,Boom’ with its hypnotic vocals, rumbling low end and sonic zaps to conclude matters.

The Belgian duo San Soda and Red D entered the world of recorded music some 12 years ago with the inception of Red D’s label We Play House Recordings. A few years later their collaboration continued in the studio with the start of the FCL project, leading to original and remixed club hits.

In the meantime both have gained considerable mileage and reputation as adventurous DJ’s who are not afraid to take risks and with a ‘no boundaries’-approach to playing music. Being Belgian they continue to find inspiration in Belgium’s rich music and clubbing history, which led to the ‘Our Beat Is Still New’ compilation in 2013 on We Play House Recordings. Both San Soda and Red D contributed some tracks and thus the aliases Nick Berlin and Max Erotic were born.

Fast forward to today and Club Belgique, a concept Red D has been brooding on for quite some time. A true tribute to Belgium’s club (music) heritage which consists of club nights and also a new label for fresh material by himself and San Soda in his Nick Berlin guise. This release brings you that new material in the form of two tracks situated between new beat, synth pop and italo disco. Long live Belgium!

Rare sought-after future disco via Italy. Composed during the time when GIORGIO MORODER was creating DONNA SUMMER's "I FEEL LOVE" and FRANKIE KNUCKLES was making a name for himself at the WAREHOUSE. Limited import color vinyl. Don't sleep these will be gone fast.

LTD to 300 / SPLATTER VINYL. Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third PRESSURE release of 2019. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this Acid Ragga killer, after the PRESSURE label CEO, heard ‘Not Modular’ standing out clearly from Mitch’s gobsmacking one hour ‘Techno Dancehall Mix’ at the end of 2018. And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice ’Not Modular’ into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious.

it's a 2nd release of studio mule's new project with miyako koda aka dip in the pool.

following the cover version of ohnuki taeko's carnaval,we made the new version of japanese new wave classic 'shinzo no tibia by mariah' with a new lyrics in japanese(original is in armenian)which is written by miyako koda. yasuaki shimizu kindly gave us the permission to do this.

extended version on a side is full of the respect for the original version and dub version on b side is dark new wave dub version. kuniyuki said the idea of this version came from adrian sherwood's remix for depeche mode.

Oblique Russian sound strategist Natalia Salmina’s latest forking path portfolio as Atariame, Voiceless, arose in the wake of a dissociative relocation to Moscow, where she found herself adrift amidst a manic metropolis, alone in a skyscraper staring out at trees: “It made me lose faith in my ability to communicate, in my ideas about life.” Days without speaking turned to weeks. Even in private she felt estranged from her voice, and soon ceased singing.

For solace she turned to her Waldorf Blofeld, mining its panoramic frequencies to craft a shivering suite of futurist-noir nocturnes and rhythmic noise vignettes, equal parts exorcism and manifestation, desperation and delirium. Track titles hint at the headspace – “Outside At 5 AM,” “Same Thought All Day,” “Stay Late” – mirroring the music’s mood of hoods up, headphones on, wandering empty urban tunnels under flickering streetlights. Enigmatically, Salmina slips in a sliver of spectral voice on the intro and exit songs (“Breathe Exercise” and “Deconstruction”), framing them as induction into and escape from the cryptic isolationist condition of the rest of the collection. Mastered by P. Nikolsky, Powerhouse Moscow. Design by Britt Brown.

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

Hailing from different places in western Europe, Luc Bersier, Low Bat, Leonard Prochazka and Ariel Garcia created this vibrant EP. Their synergy tells a story of creativity, freedom in sound and, above all, playfulness. Serious music while similarly not being to earnest.

Their venture evolved into a very original blend of cosmic music, utilizing instruments that fit into the neofolk Krautrock domain, vocal experiments into French chanson territory, infused in Berlinian cosmopolitanism. Expect an exciting minimal wave synth punk orgy, punk definitely being the defining trait underneath these layers of sound.

This is boundless music with attitude, capable of making us drift off and disrupt us in equal measure.

After a sabbatical period, Roberto Auser makes a comeback with his analogical machinery with the exquisite mini-album called “Chaos Never Dies”. In this record he explores a broad range of sounds from minimal-electro to acid with a touch of improvisation from his particular perspective based in roughness, rhythm and immediacy. Limited to 300 copies.

We could wax lyrical for days about the music of Ewan Jansen but we’ll leave that for the blog sites and Reddit message boards whose pages his name regularly graces. The Australian producer responsible for seminal 90’s label Red Ember could be seen as an unwitting progenitor of the now well established and flourishing Australian House music scene and his vinyl releases have become highly sought after and frequently exchange hands for triple figures. Appearances on other legendary labels such as Mike Grant’s Moods & Grooves (who released Ewan’s Blueline Summer LP in 2005) and Chez Damier’s Inner Balance. In 2016 Ewan brought Red Ember out of hiatus releasing some solo material that sounded fresher than ever, continuing to push his raw yet musical, authentic house sound. Cut to the start of this year and Jimpster is flicking through Instagram when he stumbles upon a short clip of some work in progress on Ewan’s
profile. Transfixed by the vibe, he contacts Ewan to offer a release on Freerange and we’re now super-proud to present you with the Perfect Strangers EP. Four original tracks showcase Ewan’s impeccable attention to detail in the grooves, sounds and production. With the uptempo, afro-tinged synth jam of Take U Away and the more crunchy, minimal bounce of Logarithm, we find Ewan in pure dance floor mode on the A side. Flipping over we’re treated to Chika Kozo, a rolling groove with an emotive vibe, perfect for a late-night drive through the urban metropolis. Closing out
the EP things get more intimate and introspective on title track Perfect Strangers. Layers of warm pads build upon a punchy house groove whilst a filtered Moog bassline keeps the momentum and brings the low-end energy to the track. Overall Ewan’s sound melds together many sonic worlds, bringing to mind early Morgan Geist, elements of Warren ‘Hanna’ Harris, Black Dog, ART and early 90’s IDM, all put together with love and skill by a master of his trade. Enjoy

With such a raft of quality music coming across the Summer from NuNorthern Soul, we thought we would put together an EP of some of the tracks featuring across the upcoming months...

We have taken our favourite tracks from various digital releases and present them on one vinyl 12" EP On the A side we take Nick J Smith's 'Waves Take Hold' from the Waves Take Control EP'
'Waves Take Hold', is a kaleidoscopic, life-affirming exercise in late 1980's style Italian Dream House, that's so warm and rush-inducing that it's likely to get the hairs on the back of your neck standing to attention.
Full of ricocheting drum machine hits, sun-bright lead lines, elongated chords and rich bass, it sounds like it was tailor-made to soundtrack sunrise in Rimini...

Bonnie & Klein 'Ocean Leap' taken from the Ocean Leap EP
There's a deeper and dreamier feel to the 'Ocean Leap' track, whose bubbly melodic motifs and synthesizer panpipe flourishes offer subtle nods towards 1980's Greek new age electronic composers such as Vangelis Katsoulis amd Dimitris Petsatakis.
Bonnie & Klein's synthesizer-heavy melodiousness comes accompanied by dub disco strength bass and undulating, off-kilter drums, but retains the rush-inducing bliss associated with the pioneering work of their Greek predecessors.

AA is given up to the 10 minute + track from Mirage: 'Endless Ocean' taken from their Reflections of the Sun EP.

'Endless Ocean' is a slowly building masterpiece. After a hushed, atmospheric opening, the track bubbles away on waves of hazy bongo beats, lapping water sounds and seductive chords before rushing skywards in a swarming swirl of trance-style synthesizer lead lines, echoing electronics and picturesque piano motifs.

Re-issue of legendary Minimal Electronic Vinyl compilation feat. Stephen Emmer, Van Kaye & Ignit, Nine Circles, Smalts, Cargo Cultus & Genetic Factor