House Новости

Proudly introducing this second instalment in the Hardacre label series:

Harnessing the sounds of UK rave, breakbeat, techno, trance and acid are four must have tracks ready to take your sound systems to the outer limits of time and space.

The journey begins with ‘Control’, an intergalactic dancefloor shaker fuelled by its ruthless 303 acid line and breakbeat percussions. ‘Dream Sequence’ then takes you deeper into the cosmos, intertwining hypnotic melodies and pads with a coruscating bass line.

‘Future’ then delivers a juggernaut for your bass bins packing a pacey concoction of breakbeat and bass before ‘The Awakening’ concludes the voyage through its trance melodies and otherworldly pads.

Save The Robots is the revival of a never before rebased collaboration between the iconic DJ Hell and mega producer John Selway appearing for the first time on Science Cult. Pressed on dual colour 12” Vinyl and housed in a printed and die-cut sleeve, this release pays homage to the legendary NYC club after which the release is named. The Hacker provides a deep and throbbing remix, while John Selway channels Kraftwerk for his remix.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a radio show, online community and record label born out of a lifelong affair with the many shades of electronic rhythms, alongside an obsession for collecting records since 1988.

During 2021, it’s safe to say that he’s certainly shown no signs of letting up. Known to many in underground House and Techno circles, Paul has spent the last few decades moving heads and feet at select venues, parties and festivals across the UK as well as further afield. His mission is all about sharing and releasing new music: for the dance floor, front room or even just your headphones. His reputation for serving up the best in new Acid, Electro, Techno, Deep House alongside the odd slice of Downtempo really does precede him.

Readying the 2nd WGD “Solo Series” edition to compliment the label’s growing catalogue – he’s called on the talents of emotive Electro producer Gennadiy Manzhos, better known as Low Tape, with impressive results. Offering up four tracks of sumptuous sounding machine led grooves, there really is something quite magical about Manzhos’ work that sets his sound apart from so many.

A master of understatement and muted grooves, this latest set of works are no exception. From the opening expanse of ‘Analog Electro’, metronomic snares give way to washes of delay soaked melody that subtly build and weave delight as simple combination of bass notes roll. Coupled with the pensive mood and cyclical melody of ‘Romancelectro’, we dive deeper into the fold as twinkling piano and strings unfurl: conjuring something ever so slightly in the shade of Select Ambient Works, a sheer slice of bliss.
Hitting the flip, the snappy percussion and perfectly restrained 303 of ‘Arctic Orbital Station’ bring to attention Manzhos’ability to hold everything back as he introduces additional layers of texture without overloading the senses. Last but not least, ‘13th Floor’ offers yet another moment of ethereal delight: rubbery bottom end and enticing melody leaving you feel all the more fuzzy as they take hold.

repressed !

Morane, that's the new project of Markus Nikolai and Theo Krieger, a collaboration which already proved it's potential with '99 summer hit "bushes"(PERL10). Perlon 34 offers 3 variations of "the trick": A1 (think away) and B2 (think on air) sound like a cooperation of Prince and Kid Creole at their very best time (remember "the sex of it"?). Energetic brass-sections, percussion and pitched vocals form a latin-funk-monster that will heat up prime-time-dancefloors. B1 (think dark) is a reduced, straight electronic mix including vocals that remind us of Yello's "oh yeah"....dancefloormadness guarenteed!

We welcome Stasis to De:tuned! UK techno pioneer Steve Pickton has dug deep into his DAT tapes collection to unearth 2 previously unreleased recordings from the golden era '92-'93. Both rarities offer a trademark lush and retro-futurist Detroit inspired sound that is totally unique. Fellow Likemind legend Nuron provides a stunning remix. The track was built up from scratch as no stems were available, giving you another sneak peek of the genius musical mind that is Nuron.

The vinyl version comes with impeccable sleeve and label artwork by Abdul Haqq (Third Earth).
Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl.
A separate digital release will also be available at the usual digital shops.

Stay tuned!

AirFunk was born out of the musical collaboration between Maxime dB & Aline Brooklyn that has been growing over the past 10 years. The label mainly focuses on electronic music with deep-rooted influences of Pop, French touch and 2000’s electro style. AirFunk aims to highlight Pop music inside the underground scene with avant-garde sounds from a selection of young talents and friends that they have met throughout their journey.

For the first release AF001, Sweely, Arnic & Aline Umber take off with 4 tracks in line! Airy and Funky at the same time.

Skip Audio Records is back with its third VA. Support from Raresh, Janeret, Sepp, Silat Beksi, Triptil, Vincentiulian, Enzo Siragusa and others...

Vinyl Only

After an impressive string of releases across 2021 via the likes of YOY, Hoarder and Dansu Discs, Parisian talent Vitess is an artist coming into his own.

Establishing his own vibrant and rich sound, fusing retro electro-influenced sonics with deep modern house influences across his productions and live sets, he now steps things up as he unveils a quartet of sleek bumping cuts via blossoming Amsterdam-based imprint Up The Stuss.

2021 has been something of a banner year for Central Processing Unit. Less than a decade on from its first release, the Sheffield imprint brought up a century of catalogue items earlier in 2021 with Cygnus' fittingly-titled '100% Dope' EP.

Reaching such a milestone would cause many to pause and reflect on their achievements. However, as well as taking stock, CPU has continued to drop new music at an impressive clip - Blackploid, Silicon Scally and London Modular Alliance are just a few of the cult favourites to issue new material via CPU in the past twelve months.

With FASME & Maelstrom's Lotus 48 EP, CPU round out 2021 with yet another cracking electro collection. For the latter, this is par for the course - Maelstrom's catalogue stretches back to the 1990s, and the one born Joan-Mael Péneau has already delivered two fine records on CPU in the past. However, Lotus 48 represents another line in the sand on account of it being FASME's label debut.

No matter who is at the controls, Lotus 48 carries itself with a panache which signifies that FASME & Maelstrom are both in their element here. Many of the tracks are anchored by the sort of snapping machine-funk grooves which have become something of a calling card for CPU down the years.

That said, as well as club-ready rhythm work, FASME & Maelstrom also deliver some gorgeous synth textures which evoke the golden age of Boards of Canada and AFX. A-sides 'Almond Blossom' and 'Ciliae' both follow this formula fabulously well. The bass and drum programming will delight those who have enjoyed recent CPU drops from Cygnus, Silicon Scally et al, while technotronic synth pads open up hidden depths.

The title-track kicks off Lotus 48's B-side with another sleek, slick beat. After introducing gurgling basslines and ghostly tinklings of synth, 'Lotus 48' soon locks into a slamming breakneck groove which is sure to send the dance into raptures. It's an energy which carries through to closer 'Moneres', a joint which contrasts booming drum programming with chordal washes taken straight out of the dub-techno playbook.

FASME & Maelstrom expertly combine machine-funk grooves with deft synth play on the Lotus 48 EP.

RIYL: Automatic Tasty, Silicon Scally, Cygnus, Splitradix

Industrias 94 strikes again releasing 9 Raw Cuts, handly crafted by the Electro Don: Rise Black!

The Greek, settled in Seville, provides us the results of his sonic investigations, in its purest form, without any adulteration, raw. Those were processed without any loss by our acoustic technician Polen Ralph, and then brought to real tape by the engineers from Envelope Structure.

This tape is the third volume of the Raw Cuts series, a compilation of sounds recorded directly from the machines, without any cuts or depurations, raw. You can find the previous volumes by Lorenzo Soria & OYE in Industrias94´s Bandcamp.

Remember the material inside it is really flammable, it can cause damage in ankles, knees and toes, if the dancefloor isn’t disposed correctly for its funktions.

LTM presents a limited double vinyl gatefold edition (500 copies only) of B9, the definitive collection of cold wave and minimal electronica from Belgium, recorded between 1979 and 1983.
Originally released on Sandwich Records in May 1981, B9 featured 10 exclusive tracks by luminaries such as Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese, the latter the first recording project by Daniel Bressanutti of Front 242. Now digitally remastered, with 10 additional tracks on the second disc, this new deluxe vinyl edition also features Front 242, The Names, Marine, Siglo XX, The Neon Judgement, Berntholer, Allez Allez, Isolation Ward and more.
Cover op-art by Victor Vasarely. Design by Benoît Hennebert, based on a poster for The First Belgian Rhythm Box Contest (1981). Liner notes by James Nice. The existing CD version of B9 is also still available (LTMCD 2486) 

Libertine welcomes Dj Overdose for the second release of ''X'' series, featuring 6 sick cuts between experimental electro and wave sounds.

Nach dem überwältigenden Erfolg der beiden Solo Alben "Fatty Folders" (2011) und "Happiness is Happening" (2014), kehrt Roman Flügel zurück mit seiner dritten full-length CD/LP auf Dial Records. "All The Right Noises" vereint House/Techno adventures, feinste Ambient Works, und einzigartiges Material rythmischer und auraler Verspieltheit. Was für eine Intensität, ein Meisterwerk der einlullenden Wärme, des provokanten Exzess, umarmend und uplifting zugleich. Roman Flügel überrascht immer wieder mit seiner ganz eigenen musikalischen Vision!
Gleich die ersten Akkorde von "Fantasy" entführen uns in eine Traumwelt, in der das Unmögliche zu Klang wird. gefolgt von dem verführerischen"The Mighty Suns". Die Reise nimmt ihren lauf über die fantastisch schrägen Tech-Tunes "Dead Idols", "Warm And Dewy", "Dust" und "All The Right Noises" und zwei perfekt exzessive Festival Opener: "Namless Lake" und "Planet Zorg". Mit dem closing tune "Live Tends To Come And Go" lockt uns Roman Flügel zurück in eine Fantasiewelt, die kein zweiter so beherrscht wie er.

Grey Vinyl

Polymorphism Records continue their intercultural and cross-genre work with their third release E Source. Female vocals return to the label with four original tracks by Russian artist Sestrica, who brings in her characteristic emotional narrative. A remix by Konx Om Pax and
a rework by Antwood make up the crew boarding on a galactic grey/silver vinyl.

PM003 takes off with electro-to-techno beats fuelled by a mild, wrapping acid melody in Today We Meet, where the uplifting countdown to launch can be felt. Sentimental Value gets
us deeper into the spatial trip. Darker samples and a heavier bassline give extra gravity to the anthem of the journey across sonic galaxies. Floating to slow, surrounding sounds and loops we land on a calmer planet called Intention. Its tidal sensation is created by an
orchestral combination of meditative vocals and other layers of composition. New Era enters an orbit of elegant syncopation within a rotating reverb stardust. Ancestral beeps subtly acknowledge legacy to be taken forward to the next odyssey.

Musician and graphical artist Konx Om Pax from Glasgow beautifully introduces nostalgia to New Era with playful breaks and scratches, getting us back to our roots in this excursion visiting alien territoires. Sestrica’s vocals from her original track are drawn into the remix as
echoing words rendering a mysterious aura, travelling through a deep trance of diverse yet harmonic rhythms and effects. A journey within a journey.

Canadian producer Antwood’s rework of side A jumps into an epic vortex of more experimental, unexpected sounds. The album-closer builds up towards absolute chaos, to then create a vacuum to emptiness. A supermassive (tribute to black holes intended) drop
leads to the last minutes of the EP: up tempo cyber-influenced sounds that bring us to a bright futuristic landscape ironically far from a dystopian prophecy.

Purely coincidental fact: the last track of PM002’s originals being Crisis Apparition and its homologue in PM003 New Era, hope seems to be peeking through current times to send an accidental message with this first series of the label.

Mind the overuse of Space metaphors; in this year 2021 where humans are going farther and further in exploring new places out there, it is a tribute and celebration to discover new musical journeys like this out here, on Earth.

Environmental sustainability and social justice are core values of Polymorphism Records. Following their strong interest in contributing to a good cause, shown from the early days, all Bandcamp digital sales are donated to projects such as Team Trees or The Ocean Cleanup.meet f B3 E Source side A (Antwood rework)

Sports Records recruits an all-star team for their first VA. The compilation kicks off with Goiz’s ‘Crab's Dub’, a bouncy downtempo number from the young Miami juggernaut that’s been taking the dance music world by storm. A2 sees a wonky percussive tune from the wild minds of Italian duo Shampoo Douglas. The B side welcomes Aussie Red Embers legend Ewan Jansen with his timeless deep house hole in one titled ‘Scit Scat Return’. Pager boss Markus Sommer rounds off this release with a swinging work out tune that’s sure to stimulate.

Thousand Knives Of Ryuichi Sakamoto's Landmark First Solo Album From 1978 Issued On The Better Days Label And Featuring The Synth Classics "plastic Bamboo," "end Of Asia" & "thousand Knives" Is Reissued Outside Of Japan For The First Time In Decades.

Wewantsounds is proud to announce the release of Ryuichi Sakamoto's first solo album originally released in 1978 on the soughtafter Better Days label. Sakamoto was a member of Yellow Magic Orchestra at the time but the group hadn't released their first album yet. Featuring Sakamoto on a wide range of synthesizers and keyboards programmed by Hideki Matsutake, and accompanied by a few musicians including Haruomi Hosono and Pecker, "Thousand Knives" was a blueprint for the YMO sound and includes cult classics that were to become live favourites. Save for a small-scale release in 1982, this is the first time the album is being released on vinyl outside of Japan. Remastered from the original tapes by renowned producer and engineer Seigen Ono, the LP edition comes with original artwork including OBI and 4p insert with new introduction by Paul Bowler. 1978 was a key year for Japanese music. Haruomi Hosono, one of the country's most innovative musicians had just formed Yellow Magic Orchestra pursuing the sonic experimentation he had started with his solo album "Paraiso." The album, credited to "Harry Hosono and The Yellow Magic Band," had been recorded between December 77 and January 78 and featured both Ryuichi Sakamoto and Yukihiro Takahashi. Hosono quickly invited both musicians to form YMO but before the group could release their first album, Sakamoto entered the Nippon Columbia studios in April 1978 with a plan. Sakamoto had become an in-demand session musician after studying composition at the Tokyo University of Art and had played in many key albums of the time: Taeko Ohnuki's "Sunshower" and Tatsuro Yamashita "Spacy" to name just two famous albums. This led to an invitation by Hosono to feature on "Paraiso". A penchant for avant-garde and improvisation had gotten Sakamoto interested in Electronic Music early on and with “Thousand Knives”, he decided to get Hideki Matsutake on board as he had mastered the art of synth programming following a stint with Electronic Music pioneer Isao Tomita. “Thousand Knives” took several months to record as Sakamoto would be busy during the day with his session work and would only record at night. Named after Belgian-born poet Henri Michaux’s description of a mescaline experience, the album is a reflection on how synthesizer technology might come to change the face of music. The first side conceived as a long suite opens with the title track and a recitation of the Mao Zedong poem "Jinggang Mountain" filtered through a vocoder, before morphing into a mid-tempo synthpop instrumental. It is followed by "Island Of Woods", a ten minute track buzzing with insect-like synth sounds reminiscent of the tropical exotica of "Femme Fatale" on “Paraiso” (also featuring Sakamoto). Side one ends with "Grasshoppers," a beautiful acoustic piano melody underlined by a subtle synthesizer soundscape. Side two opens with "Das Neue Japanische Elektronische Volkslied," acknowledging the influence of the German sound spearheaded by Kraftwerk. The track features a mid-tempo metronomic beat skilfully intertwined with a Japanese folk sounding melody. The album ends with two catchy uptempo synthpop tunes in the form of "Plastic Bamboo" and "The End Of Asia," which both became staples of YMO’s and Sakamoto's live shows. Although "Thousand Knives" sold modestly upon release, it was hugely influential in setting the agenda for what was to follow. YMO's sound included various influences from its three members but there is no denying “Thousand Knives” paved the way for the group's Computer Music sound. Thousand Knives remains a fascinating insight into the making of a music revolution.

Spiralling through the space-time continuum, Alberta Balsam's debut EP amalgamates clipped breakbeat with lithe IDM and sawtooth electro. Inspired by the visionary author Ursula K. Le Guin, the vinyl is presented by Dekmantel Records together with a transcendental sci-fi narrative. Printed on a poster-inlay designed by British artist Alex Morgan, the story tells of a quest for survival on a planet ravaged by ecological collapse.

In a bid to rescue all lifeforms from impending destruction, a lone holobot frantically consults her neurobiological interface. Humans can no longer subsist on Earth: waterways are contaminated, and the unbreathable atmosphere has taken on a toxic purple, almost holographic hue. Faced with environmental apocalypse, she turns skyward, to take root among the stars. With nods to the utopian futurism, attunement to nature and alien visions of pioneering electronic artists such as Drexciya and Delia Derbyshire, Alberta transmutes a synergy that's entirely her own. Higher Dreams journeys elsewhere on a passage that's equal parts intergalactic and introspective, questioning how, on the brink of the abyss, we can find hope.

Blasting off the A-side with 'Atuan Tombs' – a reference to Le Guin's masterful Tales From Earthsea series – a cyborg voice narrates plundering through the skeletal remains of an urban landscape. Hollowed out kick-drums thunder in 'Cascade;' glitched-out beats that shatter into incandescent, intricate melodies. On the B-side, the titular track crescendos, it’s biblical vocals conveying the gravitas of an approaching dystopia. Yet Higher Dreams is far from doom-inducing – the EP closes off with ‘Suspended in the Manifold,' the vibrant Roland TR-808 rhythm fuelled by the colossal power of a solar flare.

Renowned for her live hardware-based sets, Alberta flexes her immeasurable skill as a tech-savvy producer adept at constructing danceable, yet simultaneously lush and expansive interludes. Having trained as an epidemiologist, the theme of care reverberates through her music. Crucially, she regards dance as medicine – a primordial remedy to sustain our interconnected existence.

Now with a steady accumulation of exciting names in their back catalogue and hammering along their stride, Cardiff-based event promoters and label Haŵs welcomes Aloka to the household. For the imprint’s 7th release comes the interplanetary ‘View Source’ EP, an arsenal of controlled chaos via four essential, dark electro cuts.

The titular ‘View Source’ is a vicious opener, brandishing its pummelling acid and muscular drums with a snarl. There’s no retraction of the hostility when it moves to ‘Blind Spot’, however, whose sinister drones take flight like birds of prey over the percussion and synths that squirm as though they’re being targeted down below.

The flip side introduces ‘Red Shift’, a vehement stomper with a proud disposition and a classic electro beat, its acid-lines flaring up in a temper-tantrum of robotic aggression. Finally, the attack is subdued. The EP finishes on a more melodic close with ‘Enigma’, a drowsy, rich soundscape of atmospherics that seem to fall in slow motion. There’s a real sense of space with this finale; recurrent flares of synths stammer over the languorous bassline, withdrawing and emerging like the gasping embers of a fire in a vast room. A final breath extinguishes the flame.

Electro has many flavours, and Aloka traverses this palette with ease from its gritty peaks all the way down to its melancholic depths.

S8jfou (pronounce "suis-je fou" in french wich means "Am I crazy?") is a young French producer of electronic music. Chosen as a reference to the cynical philosophy, "Cynism" is the second album to come out of S8jfou's creative mind, this time on Rennes's imprint Parapente Music. This new record mixes skillfully UK Garage, IDM, Jungle influences, ambient music, ; and scrolls like a dream trying to escape, leaving through its melodies a message to the eternal children...

"Cynism" is an self-produced album in a remote hut in the French Alps. In order to fully live his music and to produce it, S8jfou needed to be isolate in a self-built house in the mountains, far from noises and judgments. His electronic compositions are thus freer. Since 2016, he has gained in popularity among the young producers who love analog sounds and sound synthesis in France.

The more alone he is, the more accomplished his albums become : “I discovered how to let go when one is completely alone, to live a trance-like experience when one composes, he says. By living there, I realized we don’t need anything to live. I make fire in the wood stove for heating but also for cooking, I go shopping once a month, a three hours walk away... The rest of the time I create.”

In spite of the young age of the artist, we already feels a lot of maturity and technical mastery when listening to this album. The influence of the master Aphex Twin is never very far away, both in the isolated creative process and in the sound itself. However, S8jfou manages to keep his own and personal style throughout the album.