House News

Shall Not Fade Killer Cuts 3x12" sales pack including:
* Tom Frankel - Milestones EP SNFKC003
* Mark Laird - Random EP SNFKC005
* Deborah Aime La Bagarre - Daily Routine EP SNFKC009

El Absurdo comes as the first Release of Colombian label Disidencia Records.

An EP made up of 100% synthesiser sounds that navigates through the realms of Electro, Techno, EBM and Breaks.
These genres get all tied up in this 4 track instalment with brief Spanish lyrics that question some of the reality of South-American society.

Antenna! is the brand new music project created by the Italian producer Andrea Bertolini. Andrea, who’s a synth addicted and craftsman of the sound, over the last decade has shaped his own groove signature releasing hundreds of tracks for the best electronic music labels of the world; his particular attention and passion for stuff like Chicken Lips, Loose Joints and The Emperor Machine, that have been source of inspiration for him from day one, has generated the idea to create Antenna!. Juno 106, Korg MonoPoly and SCI Pro-one are his special weapons and disco, funk, house and psychedelic attitude are the special ingredients. Let yourself be taken by the hand for a dance floor journey from 110 bpm until the infinity.

Gottwood Festival residents, Jive Talk return to their Not For You imprint with two club-ready tracks that are already in the bags of The Ghost & Tristan De Cunha. Two considered and versatile house cuts with breakbeat elements, 'Pummas' and 'Effin™ And Jeffin™™ showcase the London duo™s penchant for producing danceable heat perfect for sunrise or sunset.

A true love letter to house music, Larson presents his account of the ubiquitous dance music genre diving deep into its origins. Connecting the dots with some of the genre’s most beloved innovators such as Larry Heard, Boo Williams, Ron Trent, Chez Damier or Chris Brann, the Belgian producer pays tribute by adding his own emphases. Setting a bright mood, at times aiming for the dance floor, at others comforting the listener into a casual vibe, Larson is not seeking, but spontaneously drawing attention with his graceful sounds, stripped to the bone and built on an intuitive factor.

Larson hails from Liège, the South Belgian city known for its meat balls and the mighty river La Meuse, and works as a sound editor in movie production. Recognised by those-who-know as one of the most quintessential figures of Liège’s burgeoning underground nightlife scene, the time is now for Larson to step forward. His 2x12” debut release dubbed ‘Interlace Joy Motions’ is one for the house heads, shifting between 121 and 130 BPM and showcasing the diverse sounds the producer has in store.

Opening track Our Inner Sun has smiles written all over. A simple yet effective piano loop, warm strings and a delicately running acid baseline are all Larson needs to set the standard for the beauty that is yet to come. Effortlessly entertaining for close to seven minutes, here is the essence of timeless house music at work.

Pushing up the speed up to 129 BPM, A2 brings the brand new label’s title track, Larson’s take on the many meanings the name may represent. Designed for jubilant dance floor action, Hi Scores is punchy and elegant at the same time.

On the flip side, Slack Breeze is an eleven-minutes-long breezy electro trip paying homage to Detroit music pioneer Juan Atkins and offers two mixes, nicely manufactured as one auditive whole on the vinyl record with a useful visual marker in between. Be aware of the slight tempo drop between the bold Club mix and the more laid back Sensual mix.

In a cultured and charming manner, Lethal Dance opens the second 12”. Driven by a fab bassline and soft as silk string arrangements, here is a slow burner for moments lost track of time. High Jazz Travel on C2 continues this trip to lofty spaces, speeding up the pace but holding on to Larson’s well crafted dream universe, with its mellow aura almost turning into a debonair lullaby for grown-ups.

Adding another layer to the cake is Chris ‘Funk’ Ferreira, the C12 resident DJ and ½ Senga Ferreira. Also active as the mixing engineer of this double 12”, on the D1 the Brussels based producer takes up the role as remixer with his stomping and energy building ‘Magic Force’ version of Hi Scores, contributing the single vocal sample to the EP. Things come to an end with Souvenir d’Enfance, a playful and innocent conga driven house track, cherished as a safe and sound childhood memory, forever in our hearts just as this excellent debut by Larson.

Volume number six in Wagram’s excellent electronic music compilation series.

Cluster was the pioneering German duo of Hans-Joachim Roedelius and Dieter Moebius. Formed on the cusp of the 1970s, they were a part of West Germany's nascent Kosmische Musik scene. The group would use restrained improvisational techniques similar to Gruppo Nuova Consonanza, working with both electric and acoustic instruments (organ, guitar, tone generators, cello, etc.) to create a singular sound that Julian Cope called "a huge beating heart, planet-sized and awesome."

Originally released in 1972 on Brain, Cluster II features six pieces of atmospheric, proto-ambient drones – a step forward from Cluster's 1971 self-titled debut, which had all untitled songs. On "Im Suden," hypnotic bass pulsations and repetitive guitar patterns flow serenely, while side two opener "Live In Der Fabrik" dives deep into Roedelius and Moebius' foreboding industrial soundscapes and synergistic textural interplay.

As Roedelius told Uncut magazine in 2022, "This feels like a breakthrough? Well, we were just getting more into it, and getting more experienced at being able to elaborate it. Conny (Plank) was working with us again – as well as being a multi-talented artist, he was a very experienced sound master and great human being. He contributed as a fellow musician, adding sounds with his mixing table such as reverb, delay and other effects enriching the whole pieces so that they finally became somehow unique."

It's no surprise that when Neu! guitarist Michael Rother first heard Cluster II, he suggested a collaboration with the band – resulting in the supergroup Harmonia who would make their first album together the following year.

Cluster was the pioneering German duo of Hans-Joachim Roedelius and Dieter Moebius. Formed on the cusp of the 1970s, they were a part of West Germany's nascent Kosmische Musik scene. The group would use restrained improvisational techniques similar to Gruppo Nuova Consonanza, working with both electric and acoustic instruments (organ, guitar, tone generators, cello, etc.) to create a singular sound that Julian Cope called "a huge beating heart, planet-sized and awesome."

Following the release of Cluster II, the duo relocated to the village of Forst where they built a home studio and began to collaborate with like-minded artists such as Michael Rother and Brian Eno. 1974's Zuckerzeit, Cluster's first album made in their countryside studio, marked a major shift in their music from experimental noise to avant-pop.

"Hollywood" starts things off with infectious loops, analog drum machines and sweeping synth. "Caramel" seems to pick up the pace even more; its sugary groove promptly dissolves into a sea of ethereal keyboards, amorphous layers and sparse chords.

For Zuckerzeit, Roedelius and Moebius developed the tracks individually. They recorded in separate rooms on different days, although each piece flows into the next seamlessly. While Rother is listed as producer on the original Brain release, he was reportedly not present at the sessions and simply loaned the band some equipment.

Bringing together Cluster's haunted melodic sense and motorik rhythms, Zuckerzeit reveals not only how much the band grew from their experience in Harmonia, but also how instrumental they were in their later collaborations with Eno.

> French Electro Caster DynArec, appears almost like a living sequencer, breathing keynotes patterns among forgotten FM modulations. Four tracks for true Electro lovers…

Bloop Recordings run by Magazino and Cruz from Lisbon celebrates its 25th release with 2 vinyl Album. 8 floor use friendly track fit all kinds of situation in modern electronic dance scene. The 1st Vinyl is with the artist all around Europe and the 2nd Vinyl is with the Portuguese producers.

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

The first album in 7 years from seminal electronic music pioneers and twice Mercury Prize Nominated, Leftfield. Currently reaching a new audience through Idris Elba’s Gucci ad, this will be their 4th album in their 28 year history. The new single will be featured in the soon to launched eFootball by Konami (previously PES).

Their last tour (in 2017) featured 7 sold out UK shows (including 2 X Brixton Academies), a sold out world tour and various festival headlines.

Quote from Neil Barnes: "I wanted ‘Pulse’ to be the first statement from the new album. It felt strong. Dance floor. Human. Positive. And I love the bass. It’s Leftfield."

Full pitch notes with bio to come

CULTURE

Leftfield (originally comprised of Neil Barnes and Paul Daley), have been at the cutting edge of dance music since the 1990s, releasing albums that have become some of the most influential electronic records of all time around the world with their debut LP 'Leftism' being widely regarded as one of the most boundary-pushing electronic LPs ever released.

In 2010, Neil Barnes reignited the Leftfield name, and went on to release an acclaimed new album (Alternative Light Source) touring the world with the full live band. Neil has also been cementing his reputation as a top-tier DJ and record collector unleashing modern dance floor weapons, selling out venues, headlining festivals and creating some amazing nights with his sets.

MORE EPHEMEROL is one of the most fresh and surprising minimal synth project we have heard in months at Oráculo Records. Recorded with a fully analog systems, the simplicity and quality of the arrangements and the overwhelming vocals reminds to the best era of the genre back in the 80’s but with a new approach that makes it sound so fresh and new. The L.A.’s duo, with an amazing album coming up soon after this presentation EP, will be for sure an important player on the international synth scene. Comes presented in one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

Oráculo Records very rarely presents re-editions of old projects but surely this is a release that deserve the attention of any classic ebm lover Founded back in 1988 in Cologne (Germany), Impuls Records has become a legendary label, being absolutely inspirational for the electronic body music generations to come. This tribute release includes a selection of the personal projects (SIGBEFIA FIVA / FORMAL DEFECT) of Impuls Records founders in between 1988 and 1991, containing majorly unreleased tracks in vinyl format. This is a truly target for any vinyl collector; Impuls Records vinyl releases are one of the most high-priced ebm records of all time in the collector markets. Presented on deluxe edition including printed inner sleeve in a one-off truly limited edition of 400 copies lacquered pressed on 180gr. high quality solid green vinyl. All tracks have been specially restored and remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

DJ Dex aka Nomadico of Underground Resistance is nearly out of time. So the Replicante is here to get more life... fucker!!! Dame más vida... Qiero más vida!!! There's no time to warm up or over think it... just feel the groove, move and you'll get there. The Off World is here, not in L2 orbit hiding behind the earth. This is the funky dark place that rumbles your dancefloor. His mentor Gaff has something to say about getting more life but he needs to slow down and disappear into the bass. Always on the move, spinning over skyscrapers and rising vertically into the clouds, the Spinner Theme is thumping and sets the mood just right.

When Bjork sang of an ‘Army of Me’, it evoked not just the powers she could summon if wronged, but also her multiplicity as an artist. That is still more the case with the enigmatic, dazzlingly versatile artist, Seaming To. Though working here mostly solo, she has the capacity of a full ensemble, not just in terms of her remarkable vocal range and multi-instrumental virtuosity, but in her ability to shapeshift effortlessly, to merge between genres, and change colour at will. Dust Gatherers is a unique achievement, an album of unclassifiable, magic-realist avant-pop. Drawing on and alluding to classical, jazz, blues, pop, and electronica, Dust Gatherers always wears its eclecticism weightlessly, airily, dreamily... Beguiling, evocative, emotionally fraught, but never putting a foot wrong, Dust Gatherers is an Army of Her.

To manifest Seaming To’s singular vision, Dust Gatherers is assisted in part by critically acclaimed guest musicians: Simian Mobile Disco’s James Ford (slide guitar and electronic effects), Homelife’s Matthew Batty (violin), Justin Lingard (viola) and Paddy Steer (double bass, pedal steel guitar), Olivia Moore (violin), and Semay Wu (cello). The album begins with ‘AnOverture’, which feels like a portal into Seaming’s dreamworld. Imagine entering a wormhole, the nightworld of Charles Ives’ ‘Central Park in the Dark’, perhaps a dark corridor of glistening chimes, before processed strings – deep and consoling – rise to a reverberant crest, then fall in an elegant heap.This is a place full of love and longing. ‘Blessing’ affirms this, with its wish for us to be conferred “in our sleep with rest/in our dreams with vision/in our waking with a calm mind...” It’s a prayer, laden with all the qualities for which it asks. Set against a simple, but heavenly choral see-saw, To overlaps herself, with overdubs and harmonies, ascending into the upper register and splitting up into several beings. ‘Tousles’ follows, occupying an ethereal realm between the real and the processed, the pure and the synthesised, the minimal and the voluptuous, an arpeggiated weave of silk, metal and plastic.There are hints of The Associates’ Billy Mackenzie in the soulful Sturm and Drang of her vocals – silvery, Busby Berkeley magical. ‘Brave’, meanwhile, sees her sub-divide once again into multiple voices – spectral, supernatural, a Brothers Grimm fairy tale etched in keyboards.

On ‘Traveller’, there are strong hints of the solitude of her project, the journey she undertakes through her fertile imagination, with only her own echo and overdub for company. With ‘Water Flows’ that journey takes a faintly sinister turn, with intimations of the nocturnal river scene in Charles Laughton’s Night Of The Hunter. And then there’s 'xenanmax', a quite unexpected instrumental interlude. Abstract, metallic, it’s like a piece of machinery in the process of assembling, or perhaps disassembling itself. It makes way for the fulsome ‘Hitchhiker’, a thing of candelabra elegance, chamber orchestral. There are faint echoes of Kate Bush in the way that it swoops with a sort of doomed, emotional recklessness, before briefly threatening to morph into Gershwin’s ‘Summertime’, before another door opens to reveal a glittering trove of musical detail. ‘Look Away’ proceeds to the muted, eerie tones of funeral parlour music, its lyrical narrative unfolding over a splintered, glitchy backbeat. But then, on ‘Pleasures Are Meaningless’ – as if now fully awake – Seaming resorts to the lucidity of an untreated piano, addressing us with the melancholic intimacy of a torch song, or a Chet Baker reverie. She seems to question the very nature of her enterprise, beautiful as it is, but hankering exquisitely in vain. Finally, there’s ‘Tenderly’, on which woodwinds sway gently, buffeted by static interference. A concluding, uneasy calm. Dust Gatherers is a brilliant album which reveals its myriad charms immediately, but not all of its secrets, or the depths of its interior world, rewards that come with further, repeated listenings.