MANOID returns to Hafendisko this October with his debut long player 'Truth', comprising six original tracks on vinyl from the Polish producer and live act. Rising producer MANOID has been steadily developing his unique approach to electronic music for the past few years, releasing his first tracks in 2014 and co-producing material for fellow Polish artist Pola Rise, whilst taking his live act across the globe to The Netherlands, South Korea,Iceland and more. Here though, we see him marking a milestone in his career with his debut album for hafendisko, the Hamburg-based sublabel of hfn music. Across the Truth LP MANOID delivers an amalgamation of styles ranging from jazz-tinged electronica through to modern classical and techno- due to MANOID's origin often referred to as 'Forest Techno'. One half of Darkness Falls and Trentemøller collaborator Josephine Philip also delivers vocals on 'Take Me', adding yet another musical twist to the package, whilst further ideas came to fruition through field recordings such as 'When' which is based upon recordings from a textile museum in the city of Lodz, and 'For Roses' which was initially made as a lullaby for MANOID's niece but he felt was a little too dark so later developed it into this enchantingly eerie composition for the album. MANOID's debut album radiantly displays charm, maturity and musicality throughout and joins the thread of his musical influences and experiences perfectly.
"INTERSCOPE RELEASES ORIGINAL SOUNDTRACK TO NETFLIX SERIES 13 REASONS WHY (SEASON 2) OUT MAY 18THSOUNDTRACK FEATURES NEW MUSIC FROM SELENA GOMEZ BACK TO YOU' AVAILABLE TODAYSOUNDTRACK ALSO INCLUDES NEW SONGS FROM ONEREPUBLIC FEATURING LOGIC, BILLIE EILISH FEATURING KHALID, YUNGBLUD FEATURING CHARLOTTE LAWRENCE, AND LORD HURON FEATURING PHOEBE BRIDGERS. In addition to new music from Gomez, the 13 Reasons Why soundtrack includes new songs from OneRepublic featuring Logic ( Start Again'), Billie Eilish featuring Khalid ( lovely'), YUNGBLUD featuring Charlotte Lawrence ( Falling Skies'), Lord Huron featuring Phoebe Bridgers (a new version of The NightWe Met'), and Colouring ( Time'). Like its predecessor, the soundtrack also features a mix of '80s New Wave favorites, including classics from New Order, Echo & The Bunnymen, Orchestral Manoeuvres In The Dark, Tears For Fears, and Siouxsie and the Banshees."
- Direct from Spain and totally lost in time the orchestra Enterprise was a great blend of the ''Disco Orchestral'' and ''Space Disco'' styles.
- Amazing project, wisely conducted by Josep Llobell Oliver, a Spanish keyboard player, composer, engineer and producer.
- Enterprise was the perfect soundtrack to your space trip, that dancing hidden treasure you always wanted to discover.
- Remastered reissue includes pictures and linernotes by Dr. Vinilo (Madmua Records).
#funk #soul #spacedisco #cosmicdisco #josepllobell #oliversplanet #spanishgrooves
In 1975 he was commissioned by the label's artistic director to produce a studio album with a hefty budget. It was his first company and he named it after the intergalactic ship Enterprise. He assigned the bands logo (inspired by the musical group Chicago) to a friend-musician and selected the tracks: Barry White, Chick Corea, the everlasting Beatles, sonidos calientes and other well-known hits, all played by Llobell along with the labels other musicians, all on payroll thanks to Belter. Javier Cubedo, Enrique Tudela, Gabriel Martinez, Kitflus, Ricard Roda, etc. all gave their best on a magnificent first album that would be followed by 3 more, one per year, all including original compositions by the group along with international hits that are currently part of our countries wonderful music library, even though they still haven't received all the recognition they deserve, Garcia Segura, Santisteban, Calderón, Pepe Nieto, José Solà, Manolo Gas, Adolfo Waitzman and Algueró, Ramón Farrán, Miguel Ramos, Albert Peter, Jaume Cristau, Josep Llobell and many others, published albums in the 70's.
Josep has been inexhaustible, for many years he has influenced the career of soloists and bands, modernizing their sound, Manolo Escobar, Peret, Junco, arrangements and productions for Marfil, Bachelli, Ana Reverte, even great artists from 'La Movida' and rock music like Burning or El Último de la Fila.
Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.
Mantequilla y su conjunto
In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.
In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.
In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.
1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".
There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.
"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.
Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!
Following two previous excursions into degraded tape loops, fuzzed-out ambience and bittersweet moments of tenderness, O$VMV$M return to Idle Hands to complete a trilogy of LPs with 12 vignettes from the underbelly of the Bristol scene.
Bound to Young Echo's ever-swelling cult of wayward sonics, individually Amos 'Jabu' Childs and Sam 'Neek' Barrett have plenty of irons in the fire. Childs deals in forlorn, vocal-led introspection alongside Alex Rendall and Jasmine Butt as Jabu, while Barrett can be found laying down punishing modern grime variations alongside Kahn, or delving into more traditional soundsystem sonics in Gorgon Sound. Meanwhile the pair were clearly heard laying down some of the tones that seep out of the uncredited Young Echo collective LP from earlier this year. Their production work behind Rider Shafique's killerLion7" on Lavalava was unmissable, and their blunted beats behind Manonmars' debut LP are awaited with anticipation.
As O$VMV$M, the pair enter a particular sound world that mixes cosy nostalgia with creeping dread. Even at its most mellow, a sense of unease hovers beneath the surface, and that's what makes their approach so compelling. The sound palette is broad, from pitch-shifted RnB vocal licks to foggy trumpets crawling at half speed, but over it all a dense blanket of dust gives the sensation of peering back through time.
Putting paid to the idea that immersive music needs to be long and drawn out, the dose response on these condensed mood capsules is quick and strong. In a little over 20 minutes O$VMV$M take you far and wide. The trip over the past three LPs has been an adventure for both label and artists - Sam and Amos have shaped out a style that now feels like a fully formed entity independent of their other ventures. We look forward to seeing where O$VMV$M heads from here.
Eduardo always delivers quality music, but this is a very special record, we can say that "this is a showcase of electronic music".
Four tracks with four different styles of electronica: deep and marvelous keys in 'Wondrous Punia', a mastely detroit house lesson in 'Knockout Sakshi', the minimal techno monster in 'Great Manojar', and the psichodelic electronic cult song 'Georgeous Shiama
Wave Stu might just be the Platonic ideal of icy, emotionally fraught synth-pop. On his debut release for Origin Peoples, Stockholm-based musician Michel Isorinne puts paragons of this style like Orchestral Manoeuvres In e Dark in his slipstream. Laced with spoken-word passages from films and television shows, Wave Stu weaves a loose tale about the nature of time, physics, and mortality that can be summarized by the key phrase, uttered by a woman scientist somewhere throughout the album, 'magic is in the molecules...'
Isorinne essentially creates introverted minimalist symphonies in which sprightly synth leads peacefully coexist with melancholy, drone-y undercurrents. Throughout the record, Isorinne's melodies bear a fruitful contrast between the morose and the jubilant. He repeatedly places exceptionally delicate and beautiful tunes amid subliminal waves of pensiveness. It truly is a masterly balancing act. e zenith of this approach is Side A's closing track, in which gorgeous countermelodies intertwine like lovers on a tropical beach while a pistoning rhythm pumps up the libido. It's instant paradisiacal bliss.
Side B contains Wave Stu 's most cheerful, uptempo track yet it never bursts into full-on euphoria. Elsewhere, Isorinne reverts back to more somber moods: an eerie, methodical chiller full of quiet wonderment and subdued sparkle reminiscent of Casino Versus Japan, Plone, and others of their gnomic ilk; a low-key anthem in which '70s Vangelis grandiosi meets the workmanlike bass-synth chug of Ulrich Schnauss; an elegiac piece that conjures an intimate majes ; a bass-heavy dirge festooned with forlorn wisps of melodiousness.
The complex, paradoxical happy/sad pendulum at the heart of Isorinne's music lends Wave Stu a tingly resonance that will reward repeat listens. Please welcome an extravagantly rich synth-pop classic.
A new duo launches by the name of Ghost Vision. Joining forces with an introspective, uplifting debut slice on Kompakt, the pair are two well-known figures Thomas Gandey aka Cagedbaby, member of Matom alongside Matt Edwards, and Daniel McLewin, half of UK-based production duo Psychemagik. Fruit of these blissful moments when no imaginary wall obstructs the vision and the stream of consciousness gives up to the entrancing magic of the creative flow, 'Saturnus' is an upright mano a mano between two musicians and their gear, unchained from all preconceptions and biases; real (machine) talk as the hip-hop heads would say.
Straight soul oration poured off the cosmic scapes generated by a good old Moog Voyager, '70s string machines', Oberheim OBXA, 303, Space Echo and the too little-known and equally little-used Korg Lambda, Ghost Vision's debut EP traverses remote kosmische-indebted expanses but hits close to the core with its deft mix of slow-burning spectral funk, textured outerspace pads and further stirring heart-searching harmonics. Subtly arranged yet leaving maximum room to the lively force of its original layout, it is a lovingly crafted piece of emotive and psychedelic magnitude that's seamlessly given birth to. Enter the greater deep and important world of Ghost Vision.
Scacy and The Sound Service performed top 40 material at Byrne Manor and other cabarets around DC along with fellow go-go pioneers The Soul Searchers, The Young Senators, and Black Heat and opened for artists such as Stevie Wonder, Rufus Thomas, and War. Eager to put out a record Irving Haywood asked his bandmates if anyone had written any songs. Bennie Braxton, the band's new organist had weitten a song titled "Sunshine" which Scacy and The Sound Service recorded in1972. It was sampled by Outkast on his tune "Mighty O" in 2006. 12 years later the original finally receives a proper re-issue on 45rpm single.
Spread across two 180g discs, spanning 24 cuts and served in a gatefold sleeve designed by members and affiliates, the Young Echo LP is a capsule intended for cementation through time.
It's been almost five years since their last album. As a group, extended radio submissions, prolonged studio sessions and notorious club nights make up the cogs of time. Over the course of these years, the network has grown continually, both as one, and with singular, multi-directional paths from each of the 11 artists that make up the Young Echo collective, counting Jabu, Vessel, Kahn, Neek, Ishan Sound, Ossia, Manonmars, Bogues, Rider Shafique, chester giles and Jasmine towards the crew, with projects such as Bandulu, FuckPunk, O$VMV$M, Gorgon Sound and ASDA adding to the table in their individual ways.However, this record aims not to be judged on any single producer or vocalist. It is most effective as a whole, simply titled Young Echo. Of course each of the artists has an important part to play, but it is very much about the act of balance, accepting individualism to form a greater whole.A good example is the welcome addition of new energy coming from Jasmine (1/3 of Jabu) who injects endless space with her vocals, perfectly answered by the cool-killin' wordplay of Manonmars - who makes his long awaited debut here - sharing stage with the immediate poetry of ASDA's very own chester giles, along the mighty sound of Rider Shafique, and Bogues' versatile style that can flit between rap & song within seconds. Five very different vocalists that could've tried to find a compromise, but instead choose to connect in different ways, finding their niche in the equal range of rhythms and sounds that sprawl in this shared space, the juxtaposition.
Detuned soundsystem stylings, love songs swaying in hacked up ambience, skeletal dancehall, microphone technique, dread electronics, outsider pop, this record manifests the outcome of the shapeshifting anarchy which rears it's head when no one idea can rule, embracing the diversities when one path must be made up of many.
"The enigmatic DOKTA returns with 'London Nights' the third single taken from his forthcoming album -'Metronomic'.
DOKTA has already received support from Seth Troxler, Laurent Garnier, AME, Maya Jane Coles, Archie Hamilton, Mano Le Tough & Damian Lazarus. London Nights is the sound of DOKTA at his best - real musicians and live parts are intricately woven together in ever evolving arrangement. The piece starts with a moment of orchestral bliss before heading directly into a low slung rumble of bass frequencies and tight drum programming, complimented with trippy vocals. London Nights sees remixes from Constant Sounds founder and One Records regular Burnski taking it straight to sunrise at Panorama Bar, providing his trademark groove and euphoric pads. Complimented by a stripped down slice of dub techno contributed by Ralph Lawson, similar to his recent Lost in Time dub production with heavy bottom end sub and heavily worked poly rhythms, as well as Alden Records' Jason Heath, completing the package with a beautifully orchestrated string version.London Nights is out on 26th February and the album 'Metronomic' is out 26th March.
Cut from the same cloth as last year's double-cassette, 'Like All Mornings,' Vanessa Amara's new album trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic surrounds, often settling into buzzing, syncopated reveries. 'Manos' takes its name from an abbreviated term of endearment. Spoken in this form, it's an affectionate and inclusive gesture from friend to friend, or indeed from gang member to gang member. Vanessa Amara seemingly take their cues from either usage. Their new album feels hesitant to reveal its parts, and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape. Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album's final piece. A recurrent, gentle whirring, much like a gramophone's needle, tracks through much of 'Manos.' It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that deliver's Vanessa Amara's world. Always intricate, and effortlessly tender, 'Manos' is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far.
Returning to Metalheadz for the first time since 2010 we're delighted to have Seba grace the label with his 'Node 46' EP. The magical combo of Seba & Robert Manos head up the release with the Swedish producer also providing us with the dark and relentless title track on the other side. Two further digital bonus tracks complete an EP typical of Seba's incredibly unique style, one that he's so consistently built his reputation around.
"Fresh off the back of his debut EP '2nd Nature', which received support from Seth Troxler, Laurent Garnier, AME, Maya Jane Coles, Archie Hamilton, Mano Le Tough & Damian Lazarus, DOKTA returns to 20/20 Vision alongside the dance music and audio obsessive 'Leonidas' who's been topping the Juno vinyl charts recently with his releases 'Kay Suzuki' and 'Hobbes'.
The uncompromising 15-minute composition merges DOKTA's unique electronic arrangement style with a transcending live saxophone melody and an original vocal recording of NYC's Paradise Garage and Loft regular David Vickers, with a spoken word tribute to Dave Mancuso and his legendry Loft residency, recorded before the great mans passing last year.
Structured with a driving kick, off set drums and rhythmic keys 'Baby Powder' proves once again DOKTA refuses to work within formalities, offering up a release that is both truly unique and impossible to ignore.'Baby Powder' sees DOKTA continue to push the boundaries of electronic production, effortlessly compounding live elements that explore exciting new musical territories.
The band project Drums Off Chaos was one of the central and on-going projects of the recently deceased drummer Jaki Liebezeit (who is normally associated first and foremost with the Cologne-based band CAN). In the early 1980s he had initiated an - at first - loose collective of drummers, who created a rhythmic concept on the basis of simple, strictly binding codes that enabled expansive improvisations.
Over the years the ensemble became smaller and refined its collaboration marked by repetitive patterns and their variation. You have to play monotonous,' a membr of the audience had already told Liebezeit in the 1960s. He took this to heart and there was hardly any other formation where he could bring this concept to life as regularly and with as much inspiration as in Drums Off Chaos.
During a development spanning more than three decades, this extra-ordinary band, which never saw itself as such, made numerous recordings but rarely any releases. However, in the last few months of his life Jaki Liebezeit, with colleagues Reiner Linke, Maf Retter and Manos Tsangaris, earmarked some tracks for imminent release on vinyl and CD - on different compilations. Liebezeit's death is all the more reason to go ahead with this plan.
Alex Ferrazzi and Matteo Keemani a.k.a. Blue Mondays, longtime Laterra friends and collaborators (with releases on Sonar Kollektiv, Rebirth, Snatch!,Memento, Manocalda as well), strike again. They do it, as usual, their very own way: shades of Balearic flavours in there, but with a very dark and malicious twist. Marvin & Guy add some disco nuances (keeping it raw and obscure, though), while Nick Anthony Simoncino delivers a solid, strict, gloomy dancefloor affair. No frills, mad quality.
Following some ear-catching manoeuvres across releases like last year's self-released 'Only' and 'Lagata', which gained her early fans like Bjork and Dev Hynes (who she supported in the USA), 'Tommy' marks Klein's deepest plunge yet into the deep, dark ocean' of her musical imagination on her Hyperdub debut. On 'Tommy' her vocals play with Fifties-esque melodies before switching to familiar tones akin to Brandy and Rodney Jerkins, her live voice and live piano playing filtered through hyper-glitchy and looped production with a loose, internal logic, cutting from angular atonality to pockets of skewered harmony. 'Tommy' also steps things up in conceptual terms. Its eight tracks are broken down into acts that are rooted in themes of vulnerability, sisterhood and death, threading the chaotic sonics with modern operatic undertones and a Shakespearean sense of tragedy. There's a lot of bluster about originality in contemporary UK music and what rises from the noise here is a creative voice who, by her very nature, plays with the construct of what pop is. This is Klein's world ... it's on us to get with it.
This is the second 12" from Taken, the duo effort of Elias Landberg and Nihad Tule.
The duo has done a local show at Under Bron in Stockholm as well as Herrensauna in Berlin, this new EP sounds inspired and fresh as their live sets, setting the course straight away.
The reminiscent sounds of Techno's adolescence goes everything but unnoticed as the reduced and powerful 'Cluster' on the A-side showcases Taken's ambitions.
Going into deeper territories, the B-side 'Elysia' almost smells of strobes and smoke machines for the eye-opening moments of a proper party.
With this new EP from Taken, the sounds have really developed and show their excitement for things to come, from their almost three year debut on Skudge Records.
This is a keeper!
Patrick Schütz (Groove Magazine) '
'both good tracks''
Objekt
''cluster is nice and subtle''
Shifted
''Both track are sick. and its great to see the Skudge sound evolving!''
Anastasia Kristensen
''I dig Elysia a lot, good job
thanks!''
Markus Suckut
''both tracks a sick!''
Jonas Kopp
''Top release , thanks''
Ben Sims
''cluster def my fave, thx!''
Albert Van Abbe
''Taken for President!''
Henning Baer
''CLUSTER!!!!''
Cosmin TRG
''Deep, driving, euphoric, well done Elias and Nihad!''
Anthony Parasole
''dope as fuck''
Eric Cloutier
''"cluster" is massive! love it!!''
Norman Nodge
''Proper relaxed holiday techno, many thanks!''
Blue Hour
''Sounds dope''
Baikal
''cluster is dope''
Matrixxman
''great release''
Mark Broom
''Thumbs up from the Broom''
Mano Le Tough
''nice one. thanks''
Anthony 'Shake' Shakir
''Cluster has a dope groove for the entire track.
Elysia has a spell binding feel that is unrelenting
d
Skudge brings it all the time''
* 15 brand new and exclusive cuts from some of their favourite producers, alongside another 13 tracks that have been the soundtrack to your clubbing experience their nights. If you have been to any of their nights in the last few months then you may well have heard these being road tested.
* Highlights include the Spectrasoul remix of LSB's 'Rollings Sideways' and the sublime Vanguard Project rework of BCee's 'Lost & Found'.
* Support from High Contrast, LTJ Bukem, Fabio, London Elektricity, Rockwell, Etherwood, Technimatic and a whole load more...
Pristine sci-fi manoeuvres across 4 killer tracks. Dark hypnotic electro ('radius') leads us into the reverb soaked space-house jack of 'further out'. Flip for the classic tech funk groove of 'blueshift' before closing with the remarkable 'final orbit', widescreen dub sonics with a sideways glance at the artcore days of DnB. Essential stuff from Dark Arts.
Never before reissued, this legendary 1968 EMI recording is a revered Indian jazz rarity, a collectors' holy grail. Raga Jazz Style is an original Indian excursion into Indo-jazz fusion. A one-away recording from the almost unknown Bombay jazz scene, it is among the few jazz LPs to hail from the subcontinent.Closely contemporary with the UK-based explorations of Amancio D'Silva, John Mayer and Joe Harriott, Raga Jazz Style takes the melodic, scale-based raga system of Indian classical music and marries it with a swinging jazz rhythm section assembled by Bollywood's most highly acclaimed musical directors, the soundtrack composing duo Shankar Singh and Jaikishan Panchal.Singh and Panchal were a dominant force in Hindi film music from the late 1940s onwards. Shankar had been trained in classical tabla, while Jaikishan was an expert harmonium player. They worked together on well over a hundred films, and their innovative compositions and orchestral scoring revolutionised the music of the nascent Bollywood industry. Central to their sound was regular collaborator Sebastian D'Souza. From 1952 onwards, D'Souza would work on every Shankar Jaikishan soundtrack, eventually becoming Bollywood's most coveted musical arranger.
Originally from Goa, D'Souza had cut his teeth in the dance-band era, arranging and playing with his uncle's jazz bands in Lahore and Quetta. After Partition, he had moved to Bombay to follow the reliable work provided by the film industry, where Goan musicians had become the mainstay of Bollywood's film studio orchestras. Goans were also the core of Bombay's thriving dance-hall and hotel-based jazz scene, with artists including saxophonist Braz Gonsalves, guitarist Amancio D'Silva and trumpeter Chic Chocolate all working in the city during the post-war years.
The team assembled for Raga Jazz Style were drawn from this inventive and forward-thinking milieu. Pianist Lucilla Pacheco, saxophonist Manohari Singh and guitarist Anibal Castro were all fixtures on the Bombay jazz circuit, while drummer Leslie Godinho is reputed to have taught Joe Morello the 5/4 'Take Five' beat when they jammed together during Dave Brubeck's State Department tour of India. To this jazz backbone was added the sitar of Ustad Rais Khan, scion of long line of classical instrumentalists, and nephew of the renowned sitarist Ustad Vilayat Khan. Bombay's jazz modernists had been experimenting with the fusion of ragas and jazz since the 1950s, long before American or British jazz musicians had tuned in to Indian classical music. But very little of this exciting scene was ever captured on record. Raga Jazz Style offers a rare chance to hear the innovative sounds of the Indian jazz scene, as peerless composers Shankar Jaikishan and arranging supremo D'Souza join with veteran Bombay jazzers to explore classical themes in a jazz setting — eleven ragas to a swinging beat!This is a highly impressive inaugural salvo by Outernational Sounds, using original masters and beautifully rendered facsimile artwork, with 180g vinyl pressed at Pallas, in Germany.
Double 180 gram, half-speed vinyl re-release of the orchestral epic. Norwegian Grammy-nominated and critically acclaimed masterpiece «The Mechanical Fair» finally gets it's long awaited vinyl release
Jampacked with a wellspring of harmonic slingshots, pumping beats and melodic rollercoasters, critics called The Mechanical Fair «the best movie you'll never see» and drew comparisons to Igor Stravinsky's «The Rite of Spring» upon it's original release in 2014. It's apparent appeal to an surprisingly wide range of musical communities finally brought it right into DJ dance-wiz Todd Terje's hands. And make no mistake: the physicist hands doesn't settle for an iPad. It craves vinyl. His wholehearted endorsement led the captain of the Olsen Family to clear the rights, assemble his own killer remix and requisition Grammy-winning cutting engineer Matt Colton for a gorgeous double 180 gram, half-speed vinyl re-release of the orchestral epic.
Originally written for a quintet including heavily merited jazz cats Erik Nylander, Ole Morten Vågan, Petter Vågan and Even Helte Hermansen in 2013, The Mechanical Fair expanded at the initiative of the Trondheim Chamber Music Festival, growing bolder and more powerful with the addition of the adventurous and Grammy-winning chamber orchestra The Trondheim Soloists in 2014.
Having just spearheaded seven genre-blending shows in just six days as the «Artist in Residence» of this years prestigious Molde International Jazz Festival, the multi award-winning Norwegian violinist/multiinstrumentalist, composer and producer Ola Kvernberg (35) can look back at an already impressive recording- and performing career. The once 17 year old jazz manouche violin sensation quickly and impatiently moved beyond the jazz realm for inspiration - resulting in seven albums as a solo artist, eight feature films as a movie score composer and countless additional recordings as a sideman. His list of collaborators range from jazz legends Pat Metheny and Joshua Redman, via post/prog-rock act Motorpsycho, to collaborations with world renowned novelists Lars Saabye Christensen and Jo Nesbø. His fearless attitude and relentless drive towards the boundaries of genres has given him a well-earned high standing on the Scandinavian scene today.
Don't miss out on this rollercoasting, genre-twisting magnum opus as it finally hits is true potential on the Olsen label on November 11 this fall.
REPRESSED !!
Early Piano Power Play by Jimpster, Trickski, Jacques Renault, Sevensol, Andy Ash, Axel Boman, Manoo, Sasse, Dennis Kahnn, _ and the girl from Ibiza last summer.Johannes is being frank. But Frank is also known as Hans. He's back with some sweet piano and disco melodies.
Die in Genf lebende, in Lyon, mit Vorfahren aus Kamerun, geborene Emilie Nana ist ein Wunderkind. 'The Meeting Legacy' beinhaltet eine eklektische Selektion, die Vieles von dem beinhaltet, was Emilie ausmacht.
'The Meeting Legacy' umfasst 11 Stücke, inclusive Like You, welches bereits Anfang 2013 auf Compost Black Label als Maxi veröffentlicht wurde. Die Black Label # 61 wurde digital veröffentlicht und die Black Label # 95 gibt es auf Vinyl. 2013 war das eine von fünf EPs, die Emilie Nana bis dato herausgebracht hatte. I'm Childish, So What!, was erstmals im Sommer 2015 als Teil der COMPOST 500 - Compilation zu hören. Dieses Juwel ist von Emilie's Neffen inspiriert und basiert auf der Idee, dass wir, egal in welcher Lebensphase, stets zu uns selbst stehen sollen. Es ist der einzige Track auf dem Album mit französischen Vocals und vermittelt ein getragenes, leicht verrücktes, regelloses Gefühl, ein absolut fantasievolles Glanzstück. Drei Stücke des Albums: Tolstoy' Changes, Music und The Meeting Legacy, werden 2016 als Compost Black Label - Remix - Maxi erscheinen, mit Remixen von Manoo, Beanfield & Thomas Herb, Floyd Lavine.
The Meeting Legacy, der Titeltrack des Albums, ist purer Musik-Aktivismus. Der Text stammt von Elaine Brown, eine schwarze amerikanische Aktivistin und Künstlerin, Vorsitzende der Black Panther Partei. Der Bass dieses gemächlich stolzierenden Kampfsymbols ist Nana-esk und die Vocals heben sich mit Leichtigkeit ab und positionieren diesen Track auf ergreifende Weise.
Black Like Me erhebt einen fortwährenden Anspruch auf Fiktion und Non-Fiktion und verkörpert die gelebten und kenntnisreichen Erfahrungen Emilie Nanas. Eine warme, melodiöse Kreation, mit einfachsten Lyrics und im Hintergrund dümpelnden Marimbas. Es ist die musikalische Interpretation des Buches 'Black Like Me' von John Howard Griffin. Er erzählt hier die Geschichte des weissen Journalisten, der sich einer Hautverdunkelung unterzog, um sich im schwarzen Leben des separierten Südens der U.S.A. zu engagieren. Emilie's musikalische Interpretation erfasst die bunten kulturellen Äußerungen, welchen der weisse Journalist im gelebten schwarzen Alltag begegnet.
Track Fünf des Albums, dem inoffiziellen 'letzten Track von Teil 1' heist Confessions Of No Language. Während Emilie Nana hier ihre innersten Erfahrungen transponiert, oder transportiert, zielt sie auf eine 'gewisse' Körperzone. Welche Das muss man hören.
Das Album beginnt mit Off The Street, die wilden Begleiterscheinungen einer durchfeierten Nacht von Party-Girls, geht weiter mit dem, durch die frühen 90er Jahre von Janet Jackson und Prince beeinflussten Music, bei dem wir Emilie Nana sehr warm und cool erleben. Schliesslich entdecken wir sie in Inward Path, wenn sie resümiert, dass es mehr Glücklichkeit als Traurigkeit gibt, da immer Hoffnung in uns selbst existiert.
Dieses Werk erfreut sich an dem Erguss aus Nana's grazilem und dennoch lebhaftem Wesen und trachtet erfolgreich nach dem Brechen der Regeln, mit denen Kunst oft behaftet ist. Indem sie ihr Leben vergegenwärtigt, führt sie uns gekonnt, mit Kindesaugen, Teenage-Erfahrungen bis erwachsenen Sehnsüchten und ausgereif-ten Konversationen, durch Subkultur, Kampf und verschiedenen sozialen Einflüsse. Nach vier Jahren Produktionszeit, liefert Emilie Nana ein Album, das ihr verspielten, aber reifen Geist widerspiegelt und ihre Seele miteinbezieht, The Meeting Legacy.
Cyclo is relaunching with an absolute classic track from its extensive back catalogue. Produced by Derrick Carter & Chris Nazuka the Chicago house classic Rednail Kidz "Do My Thing" was an underground smash when it was first released at the end of the 90's. Clubs nights such as Space at Bar Rhumba rocked hard to the incessant groove of this track. We have included a remastered original with 3 remixes:The Nacho Marco remix takes "Do My Thing" into big room territory. Nacho works closely with Roland and on this remix you can witness Big 303 lines and huge bass that will rock most discerning floors.Hallo Halo (Jon Dasilva & Jonas Nilsson) remix the track superbly and add their trademark warm tech sound.Mystic Bill creates a stunning, deep, Chicago inspired, sonic journey of a remix where less is, most certainly, more. Your Only Friend (AKA Tres Manos) adds some warm acid lines and some extra synths for his remix (digital edition only).
We hope you will enjoy these tracks as much as we are !
Coming from Geneva (Switzerland) but "napoletano" by heart, Pascal Viscardi is a new face in the deep-house panorama. The 31 years old fellow started his career (as a producer) a few years ago with 2 twelve inches on "The Exquisite Pain", including remixes from some heavy weights : Mark E, Session Victim and Agnes.
For his debut on "Frole Records", Pascal kicks in with a single track. "The Warmest Color" is the kind of cut you might play when the sun shows up and the bodies are ready for the slower and sexiest loops. In a totaly "Modern Swiss Vibe" (Did you say Agnes...) this double kicked tune offers you a straight, extra-shuffled, moodygritty and dubby moment. Is this Love at first sight! Yes, it is...
Our new friend didn't come alone, chosing carefully his remixers to complete your wax in a most accurate way.
On the A side - together with Pascal's "Original Swiss Swing"- we're proud to present you the greek berliner : Kindimmer. If you ask Ralph Lawson (2020 Records), the boss could tell you how talented the young dude is... At least, his record on the inconic label proves it all. Here on our release, Kindimmer offers a subtle and minimalistic approach to satisfy all your germanic house needs.
The B side starts with the german puncher Manooz, well known for his bangers on labels like "Tomorrow is Now Kid!", "Morris Audio", " Housewax ", and more... His version is a devastating big room nugget you should drop if you wanna see your dancefloor burning.
On B2 we have the third remix which comes from a really interesting outsider, our french mate : Toni Be. His releases on "Courtesy Of Balance Recordings", "Soul Notes" and "Rawthenticity" have truely convinced the genre specialists. Concerning his tune : dont look further, here you have the deepest cut of the bunch.
Featuring heavily on most of Drumcode's shows due to his impeccable DJ'ing, Bart Skils is back with a new EP flexing his signature rolling sound and hooks.
Caressing from one track to another, the use of pads in this EP and using uneasy sounds to build tension in each track. The swelling bass within each track manoeuvres the tracks into dark after hour's territory with the help of the subtle percussion.
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Last delivered 2 years ago available to reorder, subject to availability
* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.
* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.
* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.
* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.
* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.
* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.
* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)
aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
Inner City Records returns with their fourth release, continuing with the ethos of providing first class, dance floor-driven house music with groove and attitude.
InnerCity welcomes the return of an artist who has been there from the very first release and one that fits the InnerCity sound perfectly. Leigh D Oliver, hailing from Yorkshire (UK) has firmly established himself as an artist synonymous with top-notch house music. Leigh's passion for 'proper house' coupled with his raw talent has resulted in him gaining numerous chart positions and releases on prestigious labels such as Large Music, Underground Source and Freche Fruchte.
With its heavy kick, rumbling bass, smooth chords and sweet vocal hooks, '(Sic)' kicks off the release in absolute style, highlighting why Leigh is one of our absolute favourite producers here at InnerCity.
For the second track, Leigh returns, this time combining forces with Lost Records owner Andy Lee. With two producers of this caliber, the results were always going to be excellent. Andy, from the North East (UK) has seen releases and remixes on labels such as Love Not Money, Spinnin' Records, Nervous Records and his DJ career has taken him worldwide, playing gigs in Moscow, Switzerland, Ibiza and beyond. 'Moves Ya' is a first class slab of deep & moody house that does exactly what it says on the tin. A track teaming with deep chord hooks, clever vocal samples and low bass, Moves Ya is perfect for the darker, sweatier clubs.
Next up, InnerCity's very own Roland Nights brings us 'Let It Rain', a dance-floor driven slab of straight-up house with jacking percussion, warm chords and soulful vocal cuts. 'Let It Rain' showcases Roland's passion for classic-sounding house music which has seen previous releases on labels such as Lost My Dog, Large Music and Amenti Music.
Last but by no means least, we head over to the Ukraine, gladly welcoming Mystep who lays down an absolute beast of a house track that is filled with energy, classic sounding chords and rolling bass, guaranteed to work on any floor.
DJ Support:
Golf Clap
Miami Ice
Kinky Movement
Ian Straker
Joan Ribas
Jordan O'Regan
Luke Gibson
Jeff Craven
Cahul House Mafia
This Is Why We Dance
Manooz Manuel
Greg Fenton
Raw Culture
Horsey
Marc Cotterell
Pete Gelderblom
Carlo Gambino
Leigh D Oliver
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Last delivered 7 years ago available to reorder, subject to availability
As Pathway Traxx finds itself embarking on a dawn of maturity the now familiar colourful label welcomes in its 4th vinyl only release.
This bright yellow vinyl 4th installment welcomes on board relative newcomer on the house scene, Amir Maglajlija a.k.a. Espada. Originating from Bosnia & Herzegovina, Espada only began producing in early 2011 but as you will hear on this release his production skills far out weigh his years of experience. Amir delivers a truly sublime A-side with sprinkles of jazz influenced house and funk. He effortlessly intertwines melodic keys with jazzy horns whilst keeping things moving along nicely through his infectious drums and percussion.
The B-side of the EP see's Pathway Traxx return to more familiar ground with a stripped back deep rework by Mannheim native, ManooZ. Having released on the likes of Tomorrow is Now Kid, Swink and ALIVE Recordings to name but a few, its clear to see Manooz is a force to be reckoned with, and a name well-known for quality house productions.
And last, but by certainly no means last, in typical Pathway Traxx style, they've saved the heavy weight banger for the last track on the B-side. This out and out club ripper is delivered by close label friend and well renowned groove maker, Kezla. Expect nothing more and nothing less than Stripped back drums and a bone-shaking baseline!
"Mad" is one of the the main songs taken from the soundtrack of the 1980s film "Qua La Mano" (whose music was entirely written by the music maestro Detto Mariano). On the B side there is the instrumental version "Gocce D'Acqua", taken from another scene of the movie. This limited edition vinyl comes with a coloured cover artwork with original pictures of the movie (from the dance competition scene where Adriano Celentano is dancing), and a special insert paper where you can read the full story of the soundtrack told from the author Detto Mariano.
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Last delivered 15 months ago available to reorder, subject to availability
you secretly believe that all of the best dance music has an undercurrent of melancholy then you are in for a treat. 0.5, the debut EP from the Fascination Movement, doesn't skimp on either the dancefloor rhythms or the windswept yes-we-remember-New Pop romanticism. The Fascination Movement is looking forwards, not backwards: just because this is music that adapts the same vocabulary created by bands like New Order or early Orchestral Manoeuvres in the Dark doesn't change the fact that from the first arpeggios of "Just Pretend" you feel the shock of the new. Of course, you may be too busy humming along to the choruses to notice how slyly the band makes a classic sound fresh again...
