Following his 2017 solo debut EP, "Resisting in the Darkness", Tyler Dancer takes a step toward the light in his second outing for DBA, "62 Miles High".
Written in Hasselt, Belgium, "62 Miles High" finds the Shake-collaborator drawing upon his Detroit and Midwest influences to reveal another page from his sonic journey.
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Club Excursionista de l'Electrònica discovers a new trail, this time featuring British producer Pliny aka James Welsh. The "Countdown EP" is the third release from C.E.E. and is comprised of four powerful and energetic tracks that demonstrate Welsh's remarkable studio talent (his social networks are brimming with videos dominated by analogue machines). The EP was produced, almost in its entirety, using instruments and hardware effects, a process in which distortion and purest 303 acid lines form fundamental elements of its structure. Welsh's method of manipulating sound is truly unique; he is capable of agglutinating house, old-school hardcore, techno and even IDM, within the same track. James Welsh is already an established figure in the electronic music scene, under his own name, through his project Kamera and as a regular stalwart for the Phantasy Sound record label, headed by none other than Erol Alkan. Welsh's new Pliny pseudonym has allowed him to explore his more melodic inclinations, while remaining attentive to dance floor needs. The "Countdown EP" represents a personal journey that is palpable in each of these exceptional tracks.
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Part 3. Phil Merrall + Traditions... Music Speaks For Itself! Underground anthem alert...
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Delsin turns to this classic from 1992 EP by Random XS. Originally released by Saskia Sleger's legendary Djax-Up Beats-label. This re-release features the original a-side - a hypnotic vocal acid anthem that has become an absolute classic of the genre - remastered and re-cut, meaning that the infamous gap in the original is no longer there. The b-side has two new remixes from Lost Trax and Delta Funktionen resulting in futuristic, electro tinged, twisted versions with crashing hits and famously busy basslines bringing real warehouse energy.
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Medical Records presents the third release in our Transfusions 12" singles series. Certain Creatures (born Oliver Chapoy) currently resides in Brooklyn, NY but has a career dating back to the early 90's. He has roots in the Miami hardcore scene that evolved into post-rock and even electronic pop (Warm Ghost). He began exploring electronics as Certain Creatures in 2013 with a 12" on Styles Upon Styles with guest vocals from Stuart Argabright which led to Oliver producing the 2014 Black Rain comeback record on Blackest Ever Black. In 2015, Oliver created a lush and enthralling LP Vipassana, also released on Styles Upon Styles. For this particular release for Transfusions, Oliver sought to step out of his production bias comfort zone by recording live takes with minimal editing and production in order to maintain a dirty, raw, haze-filled warehouse aesthetic. Mission accomplished! The 12" contains 5 tracks total of uncompromising techno which we are ecstatic to unleash on the world. Presented on classic 160gram black vinyl in our Transfusions 12" sleeve. Mastered by Martin Bowes at the Cage Studios, UK. Crucial material for fans of Surgeon, Regis, as well as labels such as Downwards, Mote-Evolver, and the like.
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In December 2013 Fishermen released their debut album ''Patterns and Paths'' An album that was very well-received. Now they're back! This time with remixes from some of the standout tracks from the album. Cut Hands, Florian Kupfer, Steve Bicknell, Abdulla Rashim and Varg's project Ulwhednar is delivering the remixes
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Boris Bunnik dons his Hexagon scuba gear before diving into electronic abstraction and aquatic electricity. Counter Utopia brings together three works of machine textures. "Cerebral Trauma" is submerged in a simmering liquor of smelted metal, molten melodies bubbling to the surface as ball bearings fizz and rattle. Industrial experimentation undercuts the entire EP. Soulful chords are stretched, contracted and contorted against the clean percussion lines of "Utopia." Machines echo in the finale. Gears groan against a backdrop of soaring synths and pulsations in the depths of "Paranormal."
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After a debut 12" on Vanity Press in 2017 and a successful followup on Portage Garage Sounds, Black Noi$e returns for his first solo full length, 'Illusions' spanning 10 tracks, 48 minutes, over 2 discs, with a beautiful full sleeve by Bernard Veyu with a matte finish. Coming into his own, Detroit's Black Noi$e delivers a complete work, traversing styles and sounds from the past while looking far into to the future.
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Repress
The return of The Hague's black magician! It has been 13 years since The Parallax Corporation / Conservatives projects together with I-f and now Intergalactic Gary is back. I-G hooked up with a new musical partner, the lovely and talented Pasiphae from Greece and together they deliver four very well-crafted tracks of contemporary machine-driven techno romance, with the ecstatic title track 'Made of glass' being the floor burner that will unite dancefloors worldwide. With the 'Made Of Glass' ep Bio Rhythm proudly presents the absolute creme de la creme of the current Dutch West Coast 'noir' scene.
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Crash Course In Science are a post punk band that formed in 1979 in Philadelphia. The band members, Dale Feliciello, Mallory Yago and Michael Zodorozny, met while attending art school, where they began to experiment with crude electronics and off-beat lyrics. CCIS avoided conventional instrumentation by using toy instruments and kitchen appliances to augment the distorted guitar, drums and synthesized beats. Their first single, 'Cakes in the Home' was released in 1979 followed by a 4-song 12 EP 'Signals From Pier Thirteen' in 1981.
'Jump Over Barrels' was recorded at the Third Story Studio in Philadelphia in 1981, one year after 'Signals From Pier Thirteen'. The song remained unmixed and unreleased at that time for a proposed album titled 'Near Marineland'. Lyrically the song tackles overcoming obstacles, self imposed or otherwise, with vocal interplay between Michael and Mallory. On the A Side is the original mix and a demo mix from 1981. Then on the flip is a brand new remix by prolific Ann Arbor producer Charles Manier, a pseudonym of Tadd Mullinix, who toughens up the track. Also included is an unreleased demo version of the song from 1980, accentuating the raw and skeletal nature of the track.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. It is in a custom-made jacket by our in-house designer Eloise Leigh that incorporates waveform-esque squiggles jumping over abstract barrel symbols, plus a postcard with lyrics and notes.
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Subliminale Materiale is the 5th installation on Lustpoderosa. Kind of a split EP. The A side with two remixes and two original jams of Jack Pattern on the B side. With this release we want to point out the remixes on the A side. Both done by Lustpoderosas favourite producers and DJs: Sneaker aka Dunkeltier (Uncanny Valley, Rat Life, Frigio) and Kris Baha (Power Station, Pinkman Cocktail D`Amore) . We guess you know and love them as much as we do.
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Freedom To Spend's first catalog wide deep dive into an artist's career focuses on four albums from Rimarimba, beginning with 1983's Below The Horizon, followed by 1984's On Dry Land, 1985's In The Woods, and finally, the once-imagined, now-realized assembly of 1988's Light Metabolism Number Prague.
Somewhere out there around the turn of the 1980s, to the left of the post-punk crew, to the right of the minimalists, and surfacing with a friendlier face than the dour industrialists of the time - there existed, seemingly unbidden, an entire, networked, tape-trading community; a community that crossed continents and oceans, that relied on the postal service to do its bidding; a community full of humble visionaries and lost, misunderstood, or just plain ignored home steeped genius.
Exploring that thicket of weirdness in the UK wild, you'd likely stumble across labels like Cordelia, Hamster, and Unlikely; compilations like the should-be-legendary Obscure Independent Classics series, or the Real Time cassettes; and inexplicable one-offs like The Deep Freeze Mice, Jody & The Creams, R. Stevie Moore, Leven Signs, Jung Analysts, and Rimarimba.
Rimarimba was the project of Robert Cox, based in Felixstowe, on the seaside in Suffolk, UK. Rimarimba was not Cox's first entry into the world of recorded music, but was the first time he explored, most perceptively, the parameters of a particular musical mode: one where minimalism is removed from its 'high-art' mantle, Cox inveigling its practices in amongst the doit-yourself creativity of a burgeoning and beguiling underground, letting the music breathe - and most importantly, letting it play, gifting it with imagination.
The first in the Rimarimba series, 1983's Below The Horizon, feature Cox in exploratory mode, figuring out exactly how to make his music. There's a pleasure in hearing how he feels out the parameters of his aesthetic, here - there's a boxy minimalism, slightly clunky and charming with it, that reflects the home-spun, improvisatory tenor of the compositions. It's ambitious music, though, wanting to do the most and the best it can with its limited resources. Cox himself admits to not being 'pre-wired' to making this music, but that only makes it more compelling: 'Were I to be properly musical, it wouldn't actually work as well in some ways; it'd be just another album of contemporary clattery music.'
On October 5, Freedom To Spend will offer Below the Horizon in a one-time edition of 750 copies, followed On Dry Land and In The Woods on January 8, 2019 and February 22, respectively. Each album features artwork reinterpreted from its original edition by Will Work For Good, and accompanying abstracts by Jon Dale.
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For Subapical03 we present you the label debut of The 15 Dead Minutes. The 15 Dead Minutes is a collaboration between David Froud (Heuristic Audio) and David Campbell (Delinquent Dialect). Here they blur the lines between electro, techno and industrial with 4 screaming cuts, cutting between hostility, brutalism and mournfulness. Artwork by Yamako King, limited to 300 copies.
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As humans living on the planet today, we have become so removed from our original, natural habitat—the forest—that we forget our wild roots, our primal, animal origins. Music is one of the things that can bring us back to that place, that can put us in contact with a felt world of instinct, immediacy, and presence: a world where language and the problem-solving mind are not needed, where the music keeps your mind and body in the present moment, and the point of dancing becomes the dance of our inner wildness and animality itself. Hans Berg's Sounds of the Forest Forgotten affirms that music can bring us to a state of mind and body that can help us feel what we've forgotten from the forest. The overlaying project of the album is to conjure musical and conceptual resonances between mysticism and nature, summoning the incredible depth and force of nature that we usually miss, especially living in contemporary urban cities. Sounds of the Forest Forgotten channels the creativity, playfulness, and freedom of a life both before and beyond ours through the sounds of analog and digital synthesizers, a modular system, drum machines, and computers. Recorded between Hans's studios in Berlin and on the Swedish countryside, the album similarly shuttles between contemplative and ecstatic, between delicate and powerful, mixing sublime psychedelic techno compositions like 'Emerald Sea' with acidic dance-floor bangers like 'Storm' and 'Milk Thistle,' all nestled between contemplative and textural ambient compositions like 'Butterfly' and 'Glow Worm.' Berg is known for his enthralling productions and energetic livesets that capture dance floors with his particular brand of hypnotic techno, replete with angular lines, affecting melodies, pulsating basslines, and big drums. He also produces atmospheric scores and ambient soundscapes to accompany the video art and installations of long-term collaborator and celebrated artist Nathalie Djurberg. Berg's live sets have found a home in nightclubs around the world, with recent gigs in Berlin, Stockholm, New York, Tokyo, and Melbourne, to name a few. In addition to 2MR, he has released his solo work on record labels including Ian Pooley's imprint Montage, Klasse Recordings, and The Vinyl Factory. His ongoing collaboration with fellow Swede Johanna Knutsson - as Knutsson/Berg - has led them to start the label UFO Station Recordings, on which they release their own material. The duo also has released on labels such as Idle Hands, Default Position, Kann, and Random Island.
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In the Pacific there was another Atlantis, connecting Japan to what is now known as the United States. Swim with us through ancient caves and discover a secret that has been hidden from human eyes for thousands of years... Long thought lost Maiovvi productions from the early Berlin days remixed and remastered and made available for the first time.
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Classic yet fresh, part of the pantheon but exploring new forms: Module Werk continues where last year's Interdimensional Traveler EP left off with a new stand-out four-tracker on Portuguese label Helena. GRAVITATIONAL TUGS comes on in a Detroit rush of hi hats, claps and snares over an offbeat bassline, as stardust synths spin off into space overhead.Minor harmonies and a sparse breakbeat take MOMENT OF INERTIA into darker territory, preparing the ground for the vintage Ismistik-style squiggle-and-stomp of RITUAL DANCE MACHINE.
The mood lightens finally with AWAKENING, the kind of contemplative analogue electro to put on at an afterparty at your place, once you've changed into your comfiest pyjamas. Essential.
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Hailing from a futuristic landscape where gravel, glass and steel rub up against tropical traditions passed down to street-savvy Third Culture kids, Prince Of Queens has made it his mission to synthesize NYC's trans-caribbean culture clash and turn it into something entirely unique: deep techno improbably sprouted from tropic disco; demented cumbia and merengue as imagined by a clever, glitchy robot; a nod to Detroit from a Colombian immigrant's point of view. Merecutek collects five new cuts cooked up by POQ in his Casa Del Indio studio, a dank den of blinking analog filters, resonators and sequencers that also happens to be the creative space of one Felipe Quiroz, widely known as the multi-instrumentalist holding down the low-end for Combo Chimbita, and who is whispered to have a strong resemblance to the Prince Of Queens himself. Mastered at London's legendary Carvery for massive bottom and crisp highs, this new maxi single from Names You Can Trust is positioned to turn out adventurous dancefloors and soundtrack urban headphone walkabouts. Tropical Past and Future is here now, if can you glimpse it in the shadows of Queens.
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Hessle Audio's final release of 2018 sees London-based Shelley Parker debut on the label with the 'Red Cotton' EP. The tracks match skeletal breakbeats and looming sub bass with
processed field recordings from both her work with ballet dancers and echoes of Carnival fromher flat. Ploy completes the record with a signature percussive workout of a remix of 'Angel
Oak'. Released 23rd November on vinyl and digital.
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Karen Gwyer returns to cement her reputation as one of the most individual and daring voices in dance music with 'Rembo', her first full LP for Don't Be Afraid. Reflecting the sheer energy of Gwyer's improvised, undulating and unpredictable live shows, 'Rembo' captures Gwyer in her element as a techno producer not afraid to smudge both the physical and emotional edges of what we may have come to expect in the club.
"I do think the dance scene right now is so rigid", explains Gwyer. "And I'm not really sure why producers are seen as less desirable as DJs. Perhaps there's a prejudice that implies that DJs are more engaged with the crowd, that they can take the vibe in the room and run with it, and I don't really hear people say that so much about producers playing live."
Live performance is where Gwyer's ideas come into gradual but vivid fruition, with tracks often evolving over "five or six shows" before reaching the studio. Here, Gwyer endeavours to capture the same transcendent energy that has seen her enrapture audiences at international events such as Mutek and Unsound, and in support of contemporaries such as Laurel Halo, Kassem Mosse and Factory Floor. Throughout 'Rembo', dozens of shows and endless stolen studio hours have informed 38 minutes of uncompromising body music.
"What I'm doing is trying to challenge a certain way of thinking", she continues. "I feel like, without it being said, I get treated as a warm up act for DJs. And I also feel like when I go and play, I want to disprove that notion. I'm standing there for an hour, and I don't necessarily know what's going to happen. I have a loose idea, but I'm definitely working the crowd. I'd like people to shift their thinking in regards to what producers are doing, and to acknowledge the fact that there's a lot of decision making happening on a second-by-second basis, and a lot of it is improvisational."
Each of the album's eight tracks are paired together to offer a different, ambiguous call and response through their wholly unusual titles. Opening the LP, the brooding cosmic unravelling of 'Why Is There A Long Line In Front Of The Factory' only offers a smudge of a kick, before, subverting her reputation for more contemplative excursions, Gwyer responds matter of factly with 'The Workers Are On Strike'. Pounding drums hammer down a paranoia inducing synth, establishing the relationship between Gwyer's striking, skeletal rhythms, as well as her natural tendency to "keep making things weirder", a tension that accompanies listeners further down Rembo's idiosyncratic rabbit hole.
'Why Don't You Make Your Bed' is equal to the melancholy dread induced by it's title, albeit sounding less domestic than positively interplanetary. Before long, it's wistful counterpart, 'Because It's Not Worth The Bother' lets us off the hook in a shorter sketch of fluttering chords. 'Why Does Your Father Look So Nervous' racks up the Drexciyan tension, before 'He's Been Teaching Me To Drive' responds with elasticated psychedelic techno, an almost overcoming level of detail slowly building and replicating the overwhelming sensations induced in sweat-drenched club spaces.
For the record's final chapter, 'Did You Hear The Owls Last Night' seamlessly blossoms from a hardboiled percussive assault into a vibrant swell of ethereal chimes. Finally, 'Yes, But I Didn't Know They Were Owls' concludes the LP with a slowly-stepping arrangement that nods to the futurist leanings of Detroit techno.
Throughout her youth in Michigan, with Detroit on the nearby horizon, the city's time-honoured musical heritage slowly sank under Gwyer's skin. First through public radio, late night transmissions and endless cassette recordings, then on the life-changing local rave scene.
"Before the internet came along, you were listening to the radio, and you knew who the DJ was, but you had no earthly idea who the records were by", recalls Gwyer. "You just listened to the music, and you didn't listen to the people. And because you didn't ponder their personalities, you weren't engaged in the process. And I loved it, it was pivotal to me. I still have records on tape, and I have no idea who made them. I lie awake at night thinking about how am I ever going to find out what that track is I have a snippet of it in my mind, but how will I ever know"
'Rembo' then, is in some way a tribute to those transformative moments caught on tape. And while the pressures of raising a young family means that Gwyer has fresh pairs of young ears to potentially inspire, instead, this is a record that calls firmly to the night, an album to transport both artist and listener to dark, sweaty rooms, to shared escapism and unexpected moments of electronic transcendence. From the first note forward, on record and in the club, Karen Gwyer is an artist in total control, no matter
where she ends up taking us.
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Frankfurt duo Transonic Flow fly at the speed of sound on this six-shooter for Dream Ticket, giving the label 3 for 3 in 2018. The furious salvos of 'Pk Jam', 'Elec Jit', 'Arp Attack' and 'KC's Intermission' come fully loaded with influences from classic Detroit jit and electro, while 'Frtry 2jun' and 'Hp Dub', with all their broken melancholy, sound like man-machine laments for the aftermath. Make electro, not war!
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Multi Culti magically conjures an EP from the legendary ZONGAMIN, whose amazing releases on XL Recordings and Ed Banger have kept fans waiting an unfathomable 13 years.
His return is unpredictable in every sense, stylistically running from Detroit string-house, futuristic electro, ceremonial flute-jazz, to indie folk-tronica - these are high-wire jams of the highest order showcasing a unique virtuosity as a multi-instrumentalist, a truly psychedelic experience that stands as a high water-mark for Multi Culti's cult ambitions.
12 inch vinyl with a picture sleeve & obi strip (belly band) shrink wrapped.
Early DJ Feedback:
Superpitcher - supernice :)
Soul Clap - THE TEXTURES!
Joakim - zongamin! what a nice surprise.
Red Axes - Great,Thanks!
Alli Tiefshcwarz - a m a z i n g ! ! ! zongamin is back
Jennifer Cardini - Zongamin!
Wolf & Lamb - Laser
Mano Le Tough - Zongamin is back! amazing!
Ivan Smagghe - FAVE!
2ManyDJs - yay
Tim Sweeney (Beats In Space) - Yes! So good to see Zongamin back.
Dylan Petit (Spotify France) - Such a brillant EP!
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Spondylolisthesis' is the forward displacement of a vertebra, especially the fifth lumbar vertebra, most commonly occurring after a fracture. Backward displacement is referred to as retrolisthesis."
{Four songs in autobiographical sequence}
- Abandonded
Abandonment through Tibetan eyes
- Kataniksis
From death to life again!
- Cortisone
Cortisone who restored hope when it seemed lost.
- Endorphins
Endorphins are one of three main groups of endogenous opioids produced in the brain, with representative beta-endorphin, which has the strongest analgesic action.
Marked worldwide as the anti-stress hormones and natural analgesia and happiness..
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JAMAL MOSS aka HIEROGLYPHIC BEING & THE CONFIGURATIVE OR MODULAR ME TRIO serve up this special limited 3-track EP on colored vinyl. The title track is a jackin' phaser workout, while "DISCOTIC COMPUSERVE" is minimal bleep at it's best and
"HOW FAR BACK.." is a contemplative lowbit riddim!
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Flippers at the ready... High Scoring EP from one of the hardest working producers we know. The A side is a pacey affair - a multi-ball dancefloor battle against the Grand Lizard. The two equally neon treasures on the B side were recorded at the gear laden Worm studio, Rotterdam in 2017. This is another cracking solo outing from the Ju Ju & Jordash / Magic Mountain High linchpin. BIG TIP!
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100 copies only. Comes on yellow transparent vinyl. Mastered by Helmut Erler at Dubplates & Mastering, Berlin.
The next releases on Eotrax will round off a busy 2018 for the label and set out an exciting proposition for a future way of working and releasing music. In what will be an ongoing, curated collaboration series artists will be invited to make work together for the label, without restrictions on genre, style or aesthetics. An open environment of collaboration and experimentation which will then be released by the label.
To launch this series label head Eomac teams up with four different artists over four slabs of vinyl, to be released sequentially over four months. The collaborations are improvised and composed, wild and emotive, unexpected and expected and all of them resulting in music that would never have been made by either artist individually.
The final installment comes from the UK via Berlin sonic renegade Kamikaze Space Programme and Eomac. What started as an attempt to synthesise the heaviest reese bass possible turned into a session of futuristic, noisy soundscapes. 'Environment 1' takes inspiration from grime, dub, noise, jungle and techno to create a track that sounds like all of the above and none of the above. The more experimental 'Environment 2' on the flip utilises the very same sounds and processes but moves into abstract terrain with a dense, noisy take on feedback and drone.
With records already out from Paula Temple, Sean Carpio and Demian Licht this final collaboration is the one that started the whole concept and as such is a fitting close to a diverse and colourful series.
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For This Third Release, Blue Night Jungle Inaugurates Its Sublabel Bnj Spirit Promoting Oriental Musics And Vibes. Turkish-singing Live Band Ayma, Future Arabic Bass Producer Matrub, The Nugget Digger Unouzbeck And Local Resident Amar Du Désert Introducre On This Various The Variety Of Their Both Occidental And Oriental Influences
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