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Dramas - Im Jahr 2016 Gegründet, Präsentierte Das Artpop-duo Dramas Mit Ihrer Im Frühsommer 2018 Erschienenen "libra"-ep Ein Großes, Emotionales Debüt Und Sorgte Auch International Für Aufsehen. Unter Anderem Wurde Die Erste Single "mess" Mehrmals Zur Nummer Eins Der Hörercharts Auf Einem Großen Berliner Radiosender Gewählt.
Nun Legen Dramas Nach Und Werden Bereits Als Eines Der Nächsten Großen Bands Aus Österreich Gehandelt. Die Neueste Single "midnight Sun" Ist Zugleich Auch Der Vorbote Auf Das Im Oktober Erscheinende Debütalbum "nothing Is Permanent". Getrieben Von Der Faszination An Unbewussten Gegensätzen Und Widersprüchen Verpacken Viktoria Winter Und Mario Wienerroither Darauf Inhaltlich Schweres Und Bedrückendes In Reduzierte Und Tief Bewegende Musik.

Edizioni Mondo as a label, has the goal to produce music that is descriptive of concepts, images and environments. Inspired by library music, a genre frequently used as theme or background music in radio, film and television in that very same period, the name MONDO has its roots in 'MONDO MOVIES", an Italian movie genre born in the 60's. Mondo movies are characterized by documentary-like content that addresses several topics from around the world ("mondo"). Numero nove comes courtesy of ROTLA. Also known as Mario Pierro and Raiders of the Lost Arp, 'Waves' is his third contribution to Edizioni Mondo. Downtempo, trippy, playful and pardon us, balearic, it's the soundtrack to the fading summer or the one starting somewhere else in this universe. Accompanied by remix works from label head L.U.C.A. and balearic (again!) mastermind Mark Barrott with his Sketches form an Island Healing Hands, it's the most balearic (three's a charm) record you will hear this side of the summer (wherever you are).

They say we are a product of our environment, you are what you eat and you reap what you sow. But what happens when you can no longerdig the earth and your food is toxic Amselcom has forever been near the forefront of change, exposing new ideas and giving insight through music and creativity. Our goal was always to bring the world closer by removing barriers and letting sounds and rhythm demonstrate humanity's true, loving nature. That is why a transformation has taken place and with this latest release we hope to give back and contribute without the shallow, meaningless compensation that feeds the music industry.
Geplantes Nichtstun demonstrates this concept perfectly, by saying it is time to remove ourselves from the machine and make our own way, in our own time. These tracks look to offer introspective that can only be found after eliminating barriers like money and fame. Taking time for idleness lets us forget about the things that try and control our lives, a necessary respite in a time of increasing global noise.Tracks like Opak offer the perfect accompaniment to a quiet time of soulful reflection and Mario Wagner's wonderful Control Room image brings us the idea of self direction and taking charge of your own destiny... one rest at a time.

Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles!

HISTORY:
Britxotica! (pronounced 'Britzotica') neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.

For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, 'Jump In The Line' with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit 'House Of Bamboo' plus the stunning 'Jonny One Note' by Ted Heath, the track that originally introduced John Craven's Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What's not to like

This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October. 
 
NEVER LET ME DOWN (2018), is a new production of Bowie's final 'solo' album of the '80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, 'hours...', Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and 'hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass. 

ZEROES, the lyrics of which reference Prince's Little Red Corvette was Bowie's salute to the '60s. He described it as 'The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia'. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton's sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels'. 

Of BEAT OF YOUR DRUM Mario McNulty says, 'David Torn's ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.'



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The second of Polytechnic Youth's ace new LPs for July, sees a mighty set from Austria based synth pop duo Mitra Mitra. Following previous releases on Peripheral Minimal and their own Micromort label, not to mention a lathe cut right here on PY that sold out in 20 minutes in Dec. 2015.



The band was formed in Vienna in late 2014 by Violet Candide and Mahk Rumbae. Originally from New Zealand, Violet Candide is a founding member of the Crazy Hospital DJ collective, and one of the organisers of the legendary 'Future Echo' club night in Vienna, and is one half of 'Anesthetic Hairpins'; whilst British musician Mahk Rumbae is known for his work as a member of the industrial/experimental project 'Konstruktivists', 'Oppenheimer MkII' (with Andy Oppenheimer of Oppenheimer Analysis) and his solo techno project 'Codex Empire'.

After working together on one of Violet's solo songs, 'Heat', the pair decided to continue working together and formed Mitra Mitra as a more full time project, with the aim of writing electronic songs not tied to any particular influence or style. However, if there was such a thing as a signature PY sound- arguably this LP (alongside last year's Vorderhaus full length), encapsulates it most. Beautifully icy cold synth pop straight outta' early prime era Mute / Blackwing studios output. Serene yet melodic, edgy, dry icy hooks and delicious grooves aplenty all over this record. Eight wonderful tracks where quality and sheer melodic guile of the song writing never dips and attention truly is held across the whole set, ....no mean feat indeed.

Available as a 300 pressing LP only, destined to sell out rapid style as have all previous releases by both artist and label.

The music on this EP was conceived in China, between 1989 and 1993. The original tracks were mixed to DAT in real time, in a small neighbour-proof studio inside my apartment in Macau, a 19th floor with a view to the hurricanes. There's a small, unexpected or improbable story behind each track, some little magic fused with the local atmosphere, certainly guaranteeing their lasting authenticity 25 years later.

TAIPEI DISCO
Late 80s Guangzhou was an exotic city where the traditional past coexisted in harmony with the present and even already with the future.
I'd rather spend my weekends in Guangzhou than diving into Hong Kong consumerism - as most ex-pats in Macau did. I took a cab at the border and travelled 150 Km through chaotic roads with family and friends until reaching the hot, humid, mega South China metropolis.
We ate on street joints in the evenings, went on to a karaoke bar and ended up at Taipei Disco, the only proper club in town. All the others were inside hotels and played generic music or they were seedy, sleazy, smoky cabarets.
Taipei Disco used to be a cinema and played cantonese pop music and anglo-saxon pop/rock (that was new). The spacious dance floor was generously lighted, the atmosphere was airy and modern. Boys and girls were in the habit of dancing in pairs, one in front of the other, observing a respectful yet sensual distance. When the girl took a few steps back, the boy went along and vice versa. With legs and feet (more than the upper bodies) synchronized with the music, they never exceeded in extroversion. Cool.
I always carried a MicroComposer and a portable DAT recorder in my travels through China and weekends in Canton. Any spontaneous musical idea was imediately recorded and memorized. The MicroComposer allowed multitrack recording, which was very handy on the road. Based on the emphatic choreography of Taipei Disco's dancers, i started to compose a rhythm track while sitting at a table, with headphones, listening to Cantopop in the background. As if by magic - not a rare occasion in music - everything began fitting together. Odd as it may seem, the track ended up sounding more germanic (Kraftwerkian) than Cantonese pop.

The story ends in a circle: the cantonese DJ at Taipei Disco, whom i used to ask to play certain records, wanted to play my music at the disco when it was basically only just a rhythm track and little else. From a cupboard under his set up he took out a battered keyboard (unrecognizable brand) and invited me to play over the track with the available sounds on the keyboard. The circle was complete, with Cantonese clubbers happily dancing forwards and backwards, as if it were another Cantopop hit.
I didn't get payed but the house offered us free ice cream cups in which little Portuguese flags were sticked.
The track would be finished later, in studio, with vocoder strings ensemble and synth solos.

TAIPEI DISCO (LIVE)
The live version of 'Taipei Disco' was recorded during a live set at the China Pop venue, in Macau, 1993. China Pop was a rock club built in the ample space of an old fishing warehouse, located in the labyrinthic Inner Harbour area. It was decorated with large Mao Zedong and Cultural Revolution posters and memorabilia and had a unique atmosphere, fusing Pop Art with film noir. We began our performance at 1AM, pretty early for Macau's nightlife standards. We were lucky. An audience showed up. And in Macau there were always several friends among the audience, which tranformed a musical performance into a relaxed party.
The atmosphere was particularly surreal on that night. The front row was dominated by French Crazy Horse dancers, a sort of Oriental Moulin Rouge. The girls had finished their last performance of the evening at the Crazy Horse and were still energized from their show. During our performance, right in front of us and perfectly synched, we could hear the famous irreverent screams of can-can dancers. You always had to expect the unexpected in Macau.

RED MAMBO (IMPROMPTU)
I was familiar with the Portuguese-speaking African countries well before having lived in China. I found myself returning several times to one in particular, always attracted by its magic and very distinct, identitary culture and music: Cape Verde.
During the early years of DWART a lot of the inspiration for drum machine rhythms (Roland's TR series) came from African music, especially from new musical trends that gained full autonomy with Cape Verde's independence from Portugal, as was the case with funaná.
I had the privilege of having known and befriended some of the greatest Capeverdian composers, musicians and singers during the 70s and 80s, such as Bana, Luís Morais, Cesária Évora, Paulino Vieira, Chico Serra, Tito Paris, and historical bands such as Bulimundo (ambassadors of funaná) and Os Tubarões (great innovators of morna, coladera and funaná, with the sonic impact of an afro-beat big band).
When Luís Filipe de Barros began playing Os Tubarões for the first time on Portuguese radio, that was the turning point for African music in Portugal. The 'Tabanca' album was so widely heard and talked about that it quickly got a Portuguese release through one of the big labels of the time.
The mystic of this band from the Santiago Island would reach the East. Os Tubarões played to a packed room in Macau in 1992, and after the bombastic gig we arranged a dinner and party at my place.
We ate and drank generously and the moment came for a jam session at the small studio on the 19th floor. Because Os Tubarões didn't all fit in the studio, we recorded an impromptu with only three of the musicians: Tótó Silva (electric guitar), Mário Russo Bettencourt (bass) and Zeca Couto (piano). And there we were improvising without barriers, suddenly detached from cultural roots, labels and constraints, a truly unique moment. The track is now being released exactly as it was recorded, imbued with the real communion between the musicians. And it could only be titled 'Red Mambo'. I wish to dedicate it to the memory of Ildo Lobo and Jaime do Rosário, founders of Os Tubarões, sadly and too soon departed from the land of music.

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!














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For the 12th installment of Jose Cabrera's self-titled imprint, Mario Castillo appears under his long running 'Kastil' moniker to deliver a four track EP of mechanical dance floor sounds. With 'Anemic Lust', the resident of Vitoria- Gasteiz, comes up with a worthy addition to his rapidly growing discography. After a period of DIY work through his own label STALE, Castillo returns to the imprint where he last released his collaboration album with J.C. in 2017.

Musically, Castillo's palette is ever expanding, threading into the murky waters of mechanical textures and balanced, hypnotic beats, Anemic Lust is showcasing Castillo's love for dubbed out chords, orchestrated string work and power driven drum programming. The opening track 'Submissive' is a firm work of dance floor techno which uses a drone-like scream as it's back bone. While the bass and drums alternate skillfully, the hats and percussive elements penetrate entire spectrum and act in a vanguard-like fashion.

'Omniscience' is a work of growling and low down dub chords that are supported by a vigorous kick drum, slabs of fx, and high spirited hi-hats that change throughout. 'Red River' is the first effort on the B side if Anemic Lust. Castillo changes the pace to introduce a more inky side to his music. The drum work and bass sounds are ominous but the mood is shifted by a more soothing ambiance around the two minute mark.

Also on the B side, label owner J.C. translates Red River into an experimental sounding work of wintry drums and notable sound additions.

Anemic Lust comes in a 12" vinyl package

After welcoming Saule with an appearance on SUBALT015, the incredibly talented producer steps up for a full EP on Subaltern - a tour de force of distinctive, dark and original productions.

*A: Gorilla Glue
Starting off the EP with a bang is 'Gorilla Glue', a heavy-hitting collaboration with original Subaltern badmen D-Operation Drop - pressure is the name of the game. A sinister intro paves the way to a stomping bass-line topped up with growling synth layers, which culminate into a captivating melody that will stick with you. Get ready for the ride!

*B1: World 8
'World 8' dives into a video game-like vibe through quirky 8 bit synths playfully matched with a massive wall of bass. Gnarly breaks round off a masterful execution of sub and space alternating in a trippy scenario: Super Mario had a little bit too many mushrooms this time...

*B2: Close Chatter
Moody dark pads set a bewitched vibe in 'Close Chatter' a goose-bump inducing drop will leave you constantly hungry for more. An oddly pleasing journey, this is the typical b side-that-could-have-been-a-side track.

Mythical status for those rare disco tracks & heavy in demand 12 inches.

Oddball space disco/fnk tracks, composed between 1970 and 1985. Big tip!
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A master of the mixing board, from the late 60s until the 90s Bernard Estardy was the wizard of French musical recordings. As head of CBE studios, he shaped everything from Gérard Manset's concept albums to Claude François' hit singles, Françoise Hardy's delicate tear-jerkers and Michel Sardou's soul-stirrers. This giant' had his hand in the whole range of mainstream French music by making his studio a veritable playground for experimentation. His legendary album La Formule du Baron,' released in 1969, and the eight LPs of production music he made between 1974 and 1978 for Tele Music are vivid proof. In the CBE studio, which she runs today, his daughter Julie Estardy discussed his singular career.

A native of the Caribbean coast of Colombia, Abelardo Carbono achieved legendary status in his country's storied ranks of musical icons by combining the homegrown sounds of cumbia with the chiming guitars of West African soukous, enormously popular with the local tropical sound systems, and drenching the whole thing in his off-kilter, surreal and slightly psychedelic sensibility.

With the exception of a well-received compilation of songs from his 1980s heyday, Carbono has been rarely heard from outside the sweaty dancehalls he still commands in his hometown of Barranquilla. Now, Names You Can Trust has welcomed the reclusive guitarist and singer back to the vinyl format with a simmering Afro-Carib beast of a cut, recorded with the assistance of Will "Quantic" Holland on rhythm guitar and Mario Galeano (Frente Cumbiero, Ondatropica) on keys and in conjunction with Lucas SIlva of Palenque Records & Polen Records. It's a true cross-generational and international collaboration that is uniquely possible via Colombia. The first release of this expansive & power packed studio session is a cover of vallenato pioneer Guillermo Buitrago's La Piña Madura. This updated take veers heavily towards Africa on a rock solid foundation of bass and drums, with Abelardo's trademark guitar and quirky vocals leading the way.

The cornerstone track from Chloe´'s new album, an adventurously dark landscape dotted by Montreal rock band Suuns' singer Ben Shemie's vocals, Recall deserved this long-awaited quartet of astounding remixes, which serve as extensions of her latest full-length Endless Revisions' second single, released last October on Lumie`re Noire, the label founded by Chloe´.Moire´, Matthew Dear's latest signing to his Ghostly International label (which released the London artist's debut album in early 2017), retained a smattering of Ben's syllables, setting them to a captivating retro- futuristic remix that straddles two worlds, along the milestones of a restrained beat in a mesmerizingly ethereal and ghostly road trip that could last forever.German Crosstown Rebels signee Jonathan Kaspar's version is a more banging techno version, rounding out the EP's wide array of moods and genres. Over a formidably progressive build-up, the mood remains dark thanks to Ben's stretched-out vocals, and Recall's original universe is made more dynamic with a sped-up tempo, added percussions, and a concluding harmonisation finale that brings it all into the light. Douglas Greed, previously remixed Chloe´'s Driven (released on BPitch Control back in 2015,) similarly chops up the vocals, but takes them down a different road, reassembling the original's elements to create a different track, resulting in a fascinating free-form re-reading, an adroit upcycling, a long detour through the German producer's favoured poetic techno backroads - possibly inspired by the surroundings of Jena, Greed (a.k.a. Mario Wilms') hometown, and homebase of the Freude Am Tanzen label, the serious stable of geniuses directed by the incomparable Robag Wruhme.In a more motoric register, Autarkic's re-imagines Recall via a different narrative lens, re-populating and grounding it all at once. The Israeli Red Axes accomplice, who released an excellent debut album (I Love You Go Away) on Disco Halal last April, has a knack for propelling fanatics of rock urgency straight to the dancefloor. A gang of machines amplifies Shemie's voice, highlighting its minutiae of suffering and pleasure, leading the listener into dawn.

Around the time of this recording, Stanley Cowell had achieved a degree of prominence as the pianist for the advanced bop quartet Music Inc., which he co-led with trumpeter Charles Tolliver, as well as for unusual projects like his Piano Choir. With Regeneration he chose another path, essentially trying to produce a jazz-infused pop album with strong African roots, perhaps owing a little bit to Stevie Wonder. He assembled an extremely strong cast of musicians for the venture, including Marion Brown, Billy Higgins, and Ed Blackwell, as well as several African string and percussion masters and, by and large, succeeded conceptually if not commercially. A few songs use vocals in a fairly standard pop framework, and, while they are performed capably enough, the lyrical content leaves something to be desired in typical mid-'70s fashion. But much of the rest of the music makes up for this with, among other things, a delightful fife and drum piece by Brown and strong bass work by Bill Lee (Spike's dad). Regeneration is an interesting, often enjoyable album which, aside from its own small pleasures, provides a snapshot of some of the cross-fertilization in genres occurring at the time.

Italian artist Nick Anthony Simoncino alongside his best friend Giulio, return to Thug Records with a stunning 12'.

Driven by dark drums and harmonized by humid synthesizers, this record is made for the intensity of the club floor.

Recorded at Paradise Studio In Perugia. Programmed and mixed by Vescovo Simone, in art Nick Anthony Simoncino, and Giulio Mariotti for Thug Records.

REPRESSED !
Pulsating reconstructions of fragmented piano compositions, melded with gritty peripheral field recordings. Transcending from flashbacks, lingering between natural and industrial landscapes. Broken left-field electronica by Maxim Wolzyn for the third Marionette issue.

REPRESSED !
Marionette wanders through the polyrhythms and shifting harmonics of Benjamin Kilchhofer's 'Dersu'. This is an expedition into modular synthesis and physical modelling, where patches become complex instruments, and the instruments become music. Kilchhofer composes the 4th Marionette instalment, enveloped in a film of spring reverb and tube distortion.

The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.

Repress

After last years slick selection for the series from MCDE, Young Marco steps up with a great set of obscurities. Top Tip!
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Born Marco Sterk, he certainly doesn't come from a standard DJ background. A former skate rat who grew up loving American post-hardcore and '90s hip-hop as much as early Warp Records, he's been affiliated over the years with Amsterdam institutions such as Rush Hour, Red Light Records (where you'll find him most weekdays!) and, of course, Dekmantel itself. Still, there's no question that he's always followed his own path, even during the years that playing his favorite records meant that he was occasionally clearing dancefloors.

Things are different these days, of course, as Sterk now regularly plays around the globe and has been widely hailed not just for his DJ talents, but also for his digging prowess and uncanny ability to pluck jams out of genres, eras and geographies that even veteran DJs will often ignore.

Still, Marco's entry in the Selectors series isn't some soulless collection of 'Holy Grail' rarities. 'Where's the fun in that' he explains. 'Anybody with an internet connection can check what flavor-of-the-month records are in demand.'

Just like the first Selectors compilation, this is not a mix CD, but a collection of hand-picked, unmixed tracks that Sterk has personally chosen from his own vinyl archives. Moreover, Marco has put together a collection of tracks that represent not only how he plays music, but also how he makes music himself. The songs here are melodic, electronic and bound together by a refreshing sense of naiveté. Nothing sounds overly calculated; the tunes here span several decades and include dollar-bin records, avant-garde records, club records and yes, a few things that collector types have likely been looking to get their hands on. It's not meant to be a grand statement, as Marco would rather provide an honest snapshot of his musical tastes and share a few of his favorite tracks and artists in the proc

WRWTFWW Records is feverishly thrilled to announce the first ever vinyl release of the soundtrack for Hélène Cattet and Bruno Forzani's critically-acclaimed Belgian-French giallo Amer (2009), filled with superb compositions by Italian movie score legends Ennio Morricone, Stelvio Cipriani, and Bruno Nicolai, all remastered for hardcore audiophile appreciation. This limited edition of 500 comes on an arousing Pitch Black 10 vinyl, housed in heavy cardboard old Stoughton tip-on jacket. Described by The New York Times as "a surreal cinematic tone poem that pays slavering homage to Italian giallo horror films of the 1970s", Amer finds its influences in the films of Dario Argento, Luis Buñuel, or Mario Bava and makes for a truly visceral cinematic experience, thanks notably to a perfectly curated soundtrack compiling some of the best songs from cult Italian movies of the past.

Since more than ten years close friends and metal heads Phillip Tielsch (von Spar) and Mario Katz (Cologne Tape) met for guitar sessions, trying to " nd the essence of their favourite metal records* and digest in their own sound". Quite ambitious but without any release plans so far... Magazines Jens-Uwe Beyer found out about their project and pushed them to produce an uncompromising condensate of their raw material. Beyer cut here and there, contributed some additional production and also got John Stanier (Battles) in the boat for the drums.
So ZON became a band and "Palace" became the most intense and sharp edged instrumental metal set you probably heard in years!
Crato's B-side counterpart, a 27min drone ambient interpretation of the ZON material, completes this literally thrilling album and makes it - wrapped up by John Harten's unique artwork series - another MAGAZINE release at its best.
Mastered by Matt Karmil. - 45 min playtime
- Endless loop on side A; B-side cut inside out
*
Death - Spiritual Healing
Entombed - Morning Star
Ministry - Psalm 96
Earth - Hex, Or Printing In The Infernal Method Autopsy - Mental Funeral
Napalm Death - Words From The Exit Wound Terrorizer - World Downfall
Misery Index - The Killing Gods
Morbid Angel - Domination
Sepultura - Beneath The Remains

Ströme Musik ist immer analoge Live-Musik, die an zwei A100 Modularsystemen entsteht, dazu gesellen sich auch mal andere analoge Synthies, Vocoder, Bass oder Trompete live und Percussion live. So spielen Ströme auch ihre Konzerte.

Ströme sind die zwei Vollblutmusiker Mario Basshofer und Tobi Weber der erfolgreichen Brass Techno Band LaBrassBanda, die sich zusammengeschlossen haben, um einen Mix aus treibenden Beats, analogen Synthmelodien und live Trompete zu schaffen und diesen auf die Festivalbühnen und in die Clubs zu bringen. Klare, ungeschliffene Sounds und dynamische Drums werden an Modularsynthesizern komplett live und von Hand gemacht.

Das macht Ströme zu einem einzigartigen Liveact. Einen derartigen Modular Liveact mit allerhöchstem Rave-Appeal gab es noch nie - jetzt gibt es Ströme. Ihre bisherigen Live Konzerte waren sensationell. Dieser erste Release (12' / digital) mit drei Tracks erscheint im September, eine weitere Maxi im Spätherbst und ihr Debüt Album wird im Februar 2017 folgen.

Fideles is the joint moniker of Italian duo Daniele Aprile and Mario Roberti, who have carved out a niche for their distinctive brand of deep, techy house on noted labels such as Defected, Be As One, and Marco Resmann's Upon You, among others. Here on their first outing for Poker Flat Recordings, the duo cook up four courses of lean, focussed tech-house for Steve Bug's seminal imprint. 'Detuned' starts the journey - an edgy, tense groove exhibiting the boy's masterful sound design and use of space to create a thick, intoxicated atmosphere. 'I'm Rude' is more direct - a thumping bass drum introduces a low slung bass groove, slowly evolving and mutating into a true party-starter. 'Worthy' uses similar building blocks but delivers a different vibe altogether, revelling in a minimalist production aesthetic and cheeky bass riff. 'Ran Baran', the title track, is another lesson in great production - each element perfectly balanced to create an atmosphere of controlled mayhem - which is exactly the response this entire EP aims to instigate on dancefloors.

Vactrol Park is an honest outpouring of thematic obsession, a celebration of championed studio components and the mastery of their nuance, an avant garde collaboration between Kyle Martin (Land of Light, Spectral Empire) and Guido Zen (Gamers in Exile, Brain Machine). Simply entitled "I" (the first of a 2 part series), this debut EP opens the door to a world of ebb and flow, layers of oscillation falling in and out of sync, keeping us on the brink of vertigo and, as cliché as it may sound, we find solace in its chaos. This homogeneous release plays with the notions of systems as beautifully symbolized Mario Hugo's capsule of cardiology—yet another visually arresting module in the ESP Institute catalogue. Some music is made for drugs, some is made on drugs, these tracks simply are drugs.

The Original Soundtrack of ZBIGNIEW PREISNER /KIESLOWSKI / LA DOUBLE VIE DE VERONIQUE - THE DOUBLE LIFE OF VERONIKA in a collectors edition CD Digipack

Label boss Daniel Solar returns with a new EP and some helping hands from Stee Downes on the mic, Florian Kruse & Nils Nuernberg with the mixer and Berlin homie Mario Aureo on the composition.

The tracks are ranging from disco to house, from mild to wild and should keep the audience from start to finish.

A1 - Daniel Solar - Someday

Someday... somehow... it feels good! Does it point the direction to the promised land Or is it just the hope for a better sexual experience Send a mail to Doctor Solar. Meanwhile have fun on the floor with this peak time piano driver.

A2 - Daniel Solar - Someday (Kruse & Nürnberg Remix)

Pimp my car, pimp my track... More beats, more piano, more more. Try this for hot & spicy or go back to Daniel's version for the original taste.

B1 - Daniel Solar & Mario Aureo - I Do Believe (feat. Stee Downes)

This is the voice of planet... Stee Downes. Dikso couldn't resist and asked him to join them on stage. Together with longtime production partner Mario Aureo he completes a new dream team and with "I Do Believe" they couldn't have started better.

B2 - Daniel Solar - Cookie Dough

And what are we having for dessert A disco-infected mid-tempo groover called cookie dough Thank god you can dance the calories off with it.

"Between Stars" is the debut album from Barcelona based Venezuelan producer and DJ Maurice Aymard. More than two years in the making, 'Between Stars' has been a labour of love for Aymard as he travelled the globe to collaborate with musicians and singers in Barcelona, Berlin, London and Venezuela who could help to bring his vision to life. Released on Aymard's own Galaktika Records (Garnica, James Teej & more), 'Between Stars' was recorded entirely live and features contributions from the likes of Brazilian star Gui Boratto, Columbian singers Andrea and Paulo Olarte, Argentian guitarist Mariano Godoy and many more, the resulting album takes the house music template and expands it to a grandiose level. In an age when anything that isn't packed full of buzzsaw bass and 'sick' drops gets labelled as Deep House, "Between Stars" is the real deal, and from the first bars of the albums opening (and title) track, 'Between Stars' quickly establishes itself as something truly special, a 'house' album that not only works as a coherent whole but sounds as good at home, by the poolside or in a club at 4am. If 'live' house albums have in the past had a tendency to verge on the polite, Aymard's skill as a producer and experience as a DJ keeps things rooted in club culture and nearly every track off 'Between Stars' deserves to find its way into DJ sets over the coming months. Rather than smooth things out the live instrumentation instead adds an energy to the tracks and the subtle touches, that the likes of guitarist David Rondon brings to 'El Final', lift the album up to another level altogether. Since moving from Venezuela to Spain and launching Galaktika Records, Aymard has become an integral part of the European house music scene. With releases on the likes of Berlin's Moodmusic, Hamburg's Einmusika and Denmark's Tic Tac Toe Records, and remix credits for artists such as Mario Basanov, Compuphonic and Combo, Aymard has built a reputation for delivering quality underground house music and with his debut album Aymard looks set to secure his position as one of the scene's most innovative artists.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.