The return of Brain Machine, with their Peaks album, was one of the highlights of last year for Emotional Response. Juan Tripp (aka Jon Tye of Seahawks), Guido Zen (Vactrol Park) and Kyle Martin's (Spectral Empire/Land Of Light/Vactrol Park) acclaimed kosmiche opus is followed up with 2 remix EPs featuring some of the best proponents, peers and friends of deep electronic music.
Remixes One is given over to a quartet of trusted hands including man of the moment, Tolouse Low Trax, ambient visionary Gigi Masin, afro-techno-dub specialist Harmonious Thelonious and stalwarts Ronny & Renzo.First Detlef Weinrich shows his mastery of a unique percussive sound that has seen his identity become as respected outside of his native Dusseldorf as he is in it for his role as one of the founders and curator of Salon des Amateurs. A brooding, propulsive culmination, the original's haunting ambience is retained for a subtle, driving rework that hits the mark.
Surprise of the EP is Gigi Masin's remix of Crystal Clouds. Eschewing the original's celestial soundscapes, scattered percussion interplays with sub-bass to change the context, giving a rhythmic dimension while retaining the shimmering guitar and arpeggio infused cohesion.Starting the B-side is another Dusseldorf elder statesman, in the afro-visions of Harmonious Thelonious. Solo, as well as one third of The Durian Brothers, Stefan Schwander, has carved a distinct sound. Chrematistic percussion is matched with an atmospheric, dub-techno feel that perfectly fits the EP. Play loud for full understanding.
Finally, Remixes One concludes with the return of Ronny & Renzo. Long time associates of Brain Machine, their 10 minutes plus remix takes the glacial original's ambience to a darker plain, fusing rhythmic pulses with alluding acid intent.
diamond black metallic:
confidns founded their own label 'diamond black metallic' in 2017, as a platform for releases and remixes by friends and admired producers of the techno scence's old and new generation.
The 12" debut on diamond black metallic will be released in summer 2017 with the confidns tracks EXTASE and PROMISK, as well as a dark, powerful and refined remix of EXTASE, produced by nobody less than Chris Liebing.
confidns bio:
Talking about confidns, it is impossible not to mention the rumors and legends surrounding their 2016 residency during the Afterlife label nights, hosted by Tale Of Us every thursday at famed Space Club Ibiza. The two Berlin based long term friends, who grew up in Mannheim, Germany attracted attention with their super long dj-sets, lasting up to 8 hours.
Performing the warm up on the Space Club's sunset terrace and closings in the chamber, the duo, founded in 2015, proofed a mesmerizing sense for playing with the crowd. They mastered the artistic challenge of leading the audience through the night, with both spherical ambient sets and driving techno beats. Confidns does not shy away from mixing timeless classics from genres like ebm, synth pop, dub and industrial techno with unforgettable pieces/tracks, such as from boards of Canada and Tropic of Cancer in their ambient sets. One could already experience the two daredevils in clubs like Nordstern Basel, Labyrinth Club Hasselt, Egg Club London and Loft Club Ludwigshafen, where they played two sets of 7 hours alongside Chris Liebing and Dj Deep during the official Time Warp 2017 pre-party.
Driven by the high artistic and musical standard of Tale of Us' Afterlife label, the two artists behind confidns founded their own label 'diamond black metallic' in 2017, as a platform for releases and remixes by friends and admired producers of the techno scence's old and new generation.
The 12' debut on diamond black metallic will be released in summer 2017 with the confidns tracks EXTASE and
PROMISK, as well as a dark, powerful and refined remix of EXTASE, produced by nobody less than Chris Liebing.
2017 is promising to be an exciting year for confidns. In addition to gigs at the Afterlife showcase in Privilege Ibiza
and the Sziget Festival in Budapest, the duo will start their collaboration with the booking agency Artist Alife and
AMM' ask my management.
Antique Fragments EP is the third release of our Kommuna Tapes imprint. The A side starts with a quirky fast-paced track created by a mysterious producer named Schematix in 1997. Thinktank, an electro/breakbeat act who signed his first and unique EP only a few years later in 2000, takes us on a punchy yet dreamy techno journey. On the flip side, after Schematix undusted his hardware to extract the stems for the occasion, wizard Sergio Moreira mastered the challenge of creating a slower and deeper version of the track, while upcoming Madrid talent Javier Moreno closes the release with a bouncy acid burner.
Track by track, we build a Kommuna of artists who share our insatiable appetite for music discovery, guided by a certain vision of the dancefloor: deep stripped-down grooves, sometimes challenging, always with character.
This is NovaMute's first release since MOTOR (Bryan Black and Oly Grasset) over ten years ago. The Release will be 3 weeks available as VINYL ONLY.
Nova Mute, a subsidiary of Mute (Depeche Mode, Goldfrapp, New Order, Liars, Erasure, Moby), began in 1992 as a response to the growing demand for techno releases in the UK. Originally presenting white labels and imports, NovaMute went on to release records by Plastikman, Speedy J, Juan Atkins, Luke Slater and Joey Beltram to name a few, this is Nova Mute's first release since over ten years ago
Nicolas Bougaïeff presents his new EP on seminal British imprint NovaMute. As a producer he harbours a diverse musical background, having studied in a conservatoire setting whilst foraying into anti-authoritarian rave culture. He is also a respected lecturer, regularly teaching masterclasses in composition and speaking at global events such as Mutek and Ableton Loop - the results of which come to life in the inquisitive spirit of his productions. Cognitive Resonance explores elements of psytrance, gabber and techno through a compositional lens, drawing on the artist's love for avant-garde forms and long-standing relationship with the electronic music community. The title track lays out long, expansive phrases and warped crescendos to create a disorienting structure, whilst distant harmonies, distorted kick drums and shattering effects merge into a hypnotic form on 'Truthful Hyperbole'. Lastly, 'Fake News' mangles our sense of rhythmic familiarity, disrupting the 4/4 beat with a complex metre and sinister melody. This is NovaMute's first release since MOTOR (Bryan Black and Oly Grasset) over ten years ago. T as well as forging invaluable links with labels such as Tresor and Probe, which allowed them to license rare tracks for a wider audience. Forthcoming releases on NovaMute will include EP's from Terence Fixmer and Charlotte de Witte.
'Afro Rock Vol. 1' is one of the most important compilations of heavy original '70s Afro funk and soul to be released in recent years. Originally surfacing on Duncan Brooker's indie Kona label in early 2001, the album single-handedly kick-started the thirst among jazz, funk and soul fans and 'diggers' to rediscover lost music from Africa made during the '60s and '70s from a time when many countries were gaining independence and celebrating a Pan-African identity within their music. The album was one of the frst to reach a far different audience to the traditional 'world music' market and spawned many further projects and labels in its wake. A year later, the 'Nigeria 70' compilation surfaced on Strut and labels like Soundway and Analog Africa would continue to unearth amazing lost gems from the Motherland. The album is testament to the determined work of Brooker following several research trips, especially to East Africa - Kenya and Zaire. It brought to light East Africa's fnest funk band, Air Fiesta Matata, led by the recently deceased Steele Beautttah, 'The Nigerian James Brown' Geraldo Pino from Port Harcourt in Nigeria, and the storming Afro jam 'Yuda' by Dackin Dackino, a previously unreleased gem from Zaire discovered on a discarded reel. The album has remained infuential since its release with tracks appearing on other Afro compilations and on TV and the big screen - Jingo's 'Fever' featured in Kevin McDonald's 2006 hit flm, 'Last King Of Scotland'.Out of print since 2015, the album is being reissued on Strut in its original form with the extra dynamite unreleased psychedelic cut by Kenya's Ishmael Jingo, 'Keep On Holding On' taken from the original master tape. The package features the original sleeve notes by Duncan Brooker along with new additional notes providing further background to the album and tracks.
* Dom & Roland's Label has gone from strength to strength from its conception in 2006. Featuring collaborations by Dom with other Artists such as Noisia, Hive and Amon Tobin the label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'. It is currently in A 'Dubs from the Dungeons' Phase releasing sought after unreleased music from the 90's from various accomplished artists every month on limited edition gold vinyl.
* PHOENIX - DOM ft TECHNICAL ITCH
A straight dancefloor DJ smashout made from two of the featured artists most seminal tracks combined. Dom & Rolands Thunder and Technical Itch's Reborn. Nuf Said!
*TEARS IN RAIN - DOM & ROLAND
A futuristic roller from the 'Bladerunner' Era. It perfectly captures the mood of the film. A big hitter at the Metalheadz sessions in the 90's this was smashed by Doc Scott and Randall in many of their sets. Again featuring a reworked alternating clean and distorted "flow break" and big 808 bass this style of production pioneered the way for Dom's later work. This turning point in Dom's history is now finally mastered and seeing it's release on vinyl 20 years later.
* DJ PLAY: Randall, Fabio, Bryan G, DJ Die, Jumping Jack Frost, Grooverider, Peshay, Loxy, Andy C, Break, Fierce, Doc Scott, dBridge, Goldie, Ant TC1, Gridlok, Marcus Intalex, SB81, Ulterior Motive, Noisia.
* RADIO PLAY: Radio 1, Radio 1Xtra , NRG, Noisia Radio, Many other radio stations around the world.
* PRESS: Bandcamp Interview, MIxmag, DJ , Various blogs, Facebook, Twitter, Snapchat, Instagram.
Too many people sleep on Tougher Than Leather, Run-DMC's fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game - Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens' prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic - chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D(MX) - get lost in their crates. For starters, the album's first single, Run's House' b/w Beats To The Rhyme' is arguably the most powerful one-two punch of the trio's career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world's best DJs, flexing the pinnacle of what would be called turntablism' a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, Mary, Mary,' driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like Walk This Way,' the song wasn't just bubblegum - there was an edge to it, and the lyrical gymnastics were very real. It wasn't selling out, it was allowing fans to buy in. Papa Crazy,' driven in concept and by a sample from the Temptations' Papa Was A Rolling Stone,' followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group's first three LPs. It's easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like Radio Station' they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. Tougher Than Leather' reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And They Call Us Run-DMC' and Soul To Rock And Roll' both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the '80s output of one of the decade's most important groups. It encompasses the full range of the trio's capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay!
This is the debut album of Swedish producer Daniel Andréasson, an artist that has both a sonically and artistic resemblance to the Skudge family of labels and artists.
Pushing his eighth year of releasing records, Andréasson has accomplished the task of creating a debut album that seem to tie together the sound of his previous EP's. Andréasson's sound is in line with a more outsider approach, but with a dance floor focus. A sound that he has been pushing since the beginning.
This approach shines through at the most on the tracks such as 'Mc35I# Rushup', 'Stay' and 'Dreams' as these specific tracks shows Andréassons more accomplished style. In between, the album keeps a perfect concept throughout. Taking breathers with its interludes and in general "shorter" tracks that hints of a ambient leaning urge to express himself, he never loses focus. A masterful debut album from a artist to keep your eye on!
After moving from London to Berlin Cromby is back on Tenderpark with his second EP for the vinyl label. The young man recreates our love for Deep House with two sample-based tracks which showcase his ever advancing skills with the old school Akai sampler MPC 2000 XL as well as his cool understanding of mixing haunting melodies with gripping groove patterns. The remix on the flip side comes from Hip-Hop super producer gone House lover Hodini who has collaborated with the talented bass player Chez Kerim for this funky workout. The cover image shot by Achim Valbracht is the start of a new artwork series developed by Tenderpark art director Till Sperrle which revolves around critique of investor-driven architechture that has been dominating Berlin for several decades now. The speciously precious and glittering image displays a normalised and globally standardised kind of beauty but at the same time reveals a strong sense of loneliness. As always both the mastering and as well as the lacquer cut of this record have been carefully executed by vinyl sound mastermind Helmut Erler at Dubplates & Mastering.
The annual Deep Love compilation has become one of our most important releases to showcase what Dirt Crew Recordings is all about. It gives us the chance to highlight and welcome new faces alongside the residents who keep the Deep music we stand for alive. This year more than ever we have artists from all over the World, from Japan to Canada and Lithuania to Austria represented. The man the myth...Mr. Nightcrawler himself is back with another masterpiece. True to his usual unique blend of many styles, Nachtbraker has delivered typically off-kilter 'Cobi Cabani' with crashes and sound design that punctuate a freaky bass and rippling lead. Dropping in for his debut outing on our label, Viennese resident of Sass club and founder of the 'Secret Crunch' imprint, Roman Rauch brings the filtered Disco House. Ripe with fruity percussion and deeply ingrained groove, 'Sweet Ears' breathes and builds keeping up energy to work bodies throughout the cut. Close friend of the Dirt Crew family and member of Detroit Swindle's Live super group, Lorenz Rhode is an extraordinary artist who's not only active in the House Music scene but also created his own Big Band, the Rundfunk-Tanzorchester Ehrenfeld. He gets right to it in 'On Top' a legit live key and bass jam with all the funk from a seasoned jazz musician. From across the Atlantic we have Toronto's Jesse Futerman teaming up with Dan Only, Jesse remixed Harry Wolfman's last EP on DC and is known for his laid back house grooves.
If Psychic Health's self-titled debut album took the lessons the LA duo learned in the teeming clubs of Berlin and Melbourne, their latest LP, Exclusion, look inward, a document of the duo tunneling down the studio wormhole. As such, Exclusion is a remarkably dynamic effort, adeptly jumping between evocative ambience ("Jamaica 88," "Ryso") and equally expansive dance floor fair.
Examples of the latter, such as the album's obvious centerpiece and titular track, Exclusion, document Gabriel Mounsey and Devon Steffens's harnessing modular beast technology for peak techno utility, finding a clear thoroughfare between the soaring strings of Derrick May's classic Transmat releases and Ostgut Ton's current EBM-inflected precision.
As you'd expect from Mounsey's background in film composition, Exclusion whirls with imagery. It's a Los Angeles album, but focuses on raw beauty of the city at night—the lights in the distance, and the desolate downtown streets where kickdrums often waft from disused warehouses. While their debut album opened notable doors for the group, landing distribution from Hard Wax and featuring in the Netflix series Sense8, Exclusion is an altogether masterful turn for Psychic Health, their complete studio immersion easing the listener into deeply hypnotic states.
The sub label of Sonic Groove, 'Sonic Groove Experiments', returns after a 4 year hiatus with a stellar re-release of the Electrowave classic 'Eruption' by Beta Evers. Originally released as a Limited Edition 12' back in 2005 on Beta's own Kommando 6 label. Now in 2017 the original pressing goes for quite a fortune on the record collecting market. Often exceeding €60 for a mint copy. For the first time in a dozen years this release is available on vinyl in its original running order but with very sleak new artwork for the normal asking price of a new store bought 12'.
Beta Evers is Brigitte Enzler from Augsburg, Germany. An artist with a substantial amount of accomplished work to her credit including an early release on the storied Hague label, Cre`me and her side project Black Spider Clan. After ceasing Kommando 6 operations, Beta Evers continues on independently releasing music on her other labels Bodyvolt and Venus Noir. Her most recent release is the 2016 awesome 'Delusion' album on legendary Industrial/EBM pioneer Dirk Ivens prestigious Daft imprint.
The opening track's title serves as a warning, titled 'Don't Be Afraid', a cold introduction led by sinister synth lines soliciting our attention to expertly crafted true analog electronic percussion in the EBM/Dark Electro disciplines. Surreal, deep and seductive vocals lie in the wake at the center of the composition giving us a melancholic piece worthy of deep contemplation during listening on or off the dance floor.
The following track 'Move In My Body Rhythm' continues in the same sinister and dark aesthetic in a more driving manner, this track continues to bring forth energy with a precise beat and rhythm accompanied by acidic synth modulations.
Side B continues to hold the heavy weight of this extended player with the track 'Eruptive' This reference track to the title of the EP. is an electronic/vocal robotic analog circuit breaker suitable for dawn light on the floor. Traditional arsenal of classic analog sounds are arranged and rearranged with sonic manipulation at the test. Mutant dance music for cosmic venues.
The closing track, 'Destination Lost' is comprised of lyrics of urban angst and disturbance whispered out through sultry vocals. Dark minimalist and cinematic cyberpunk breaks reinforced by low drone synth waves and crystals of lysergic analog bleeps drifting along the perimeter. Dead serious wave infected electronics.
This sonic document also serves as a good example of a roots approach to creating music whilst at the same time giving us something entirely innovative. This is as futuristic as it is timeless and that reflects the elements of a masterpiece.
Two of the leading artists in dub techno and ambient electronics produced four cuts between their extensive studios in New York and Stockholm, with the results sitting in between the powerful oscillations of Echologist's previous EP for Kynant (KYN005) and the slo-mo, Roland jams TM404 specialises in.
TM404 & Echologist (aka Andreas Tilliander and Brendon Moeller) collaborate for the first time on 'Bass Desires'.
Two of the leading artists in dub techno and ambient electronics produced four cuts between their extensive studios in New York and Stockholm, with the results sitting in between the powerful oscillations of Echologist's previous EP for Kynant (KYN005) and the slo-mo, Roland jams TM404 specialises in.
The two A-side tracks are the most direct, with hard-hitting drums, soaring atmospherics and boomy reverb. Flip over and the record spaces out into cavernous bass vibrations; first the subterranean 'Odyssey' and then the melodic, modular twists of the 105BPM title track.
Mastered by Giuseppe Tillieci aka Neel @ EnissLab Studio, Rome. Pressed at Optimal Media.
Jacy Bozzi Italian DJ, composer and arranger. He is the founder of Home Of House Records. Deeply devoted to the Old School Sound (88-94) of classic Italian house. He was picked up to feature on both of YOUNG MARCO's Welcome To Paradise compilations and released the SUPERB Somewhere In The Tapes EP on the insanely good Kalahari Oyster Cult label. DJ Haus had access to a world of lost DATS and dug out 4 super deep Italian house master pieces, real composition, no lazy sampling, just pure MIDI house music from Italy.
This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. While Poiemusia La Nau Dels Argonautes materializes at this moment as an album, another object suits Pep's project: Lewis Carroll's Map of the Ocean' from his The Hunting of the Snark. It's a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, Poiemusia offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music. Llopis, who often composed for dance, originally wrote Poiemusia for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, Carles Santos and Wim Mertens, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, Salvador Jàfer.
In the studio presentation of Poiemusia, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by Montse Anfruns' vaporous voice. She extends the roll of her r's and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.
Llopis was influenced by minimal American composers like Steve Reich and La Monte Young. He embraces the melodic sides of these masters in the winds of El Vell Rei De La Serp' and the tender piano on Nits de cristall.' You will find yourself submerged in tonality on tracks like Jardins Aquàtics' and La Nau Dels Argonautes' which have a kinship to Philip Glass or Daniel Lentz. Each piece extends from 5 to almost 14 minutes. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalana and Spanish. Once bathed in these sounds one will emerge like Carroll's map: a perfect and absolute blank.' Poiemusia La Nau Dels Argonaute emerges in vinyl and digital formats on May 19, 2017 through Freedom To Spend.
This obscure and difficult to find LP is the Heath Brothers' debut album and is considered to be their best. 'Marchin'on' is unquestionably a masterpiece and is a much sought-after album. With its wealth of riffs, it is much appreciated by samplers and has been sampled by various contemporary artists. It was originally released in 1976 on Strata-East, a label at the time co-owned by Stanley Cowell. The album flows fluidly, meticulously in a warm rich blend with the four part 'smilin' Billy suite being a tour de force on its own. All suites have the same anchor in melody but each branches out to its own distinctive song varying from relaxed to light to dramatic and upbeat. The Heath Brothers was formed in 1975 by brothers Jimmy, Percy, Albert Heath and the much celebrated pianist Stanley Cowell in Philadelphia. The band later on continued with the brothers and alternate new members, with at one point the very talented 'Mtume' who is Jimmy Heath's son, joining. - Rachel Kinoti
- Beautiful 1 LP Edition with heavy 350g Sleeve, Poster Inlay with Liner Notes and Photo, includes CD with incl Bonus Tracks - 33 rpm LP mastercut by Emil Berliner - Midori Takada and Masahiko Satoh's 1990 masterpiece LUNAR CRUISE LP available on vinyl for the first time ever, as well as on CD, sourced from the original studio masters, with all new liner notes. - Featuring Yellow Magic Orchestra's Haruomi Hosono (bass) and Kazutoki Umezu (saxophone, clarinet). *** TERRITORY RESTRICTION - NO SALES TO JAPAN *** Following the successful reissue of Midori Takada's Through The Looking Glass, WRWTFWW Records is delighted to announce another release from the legendary Japanese percussionist: 1990's LUNAR CRUISE, her superb collaboration with jazz pianist, synth master, composer and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada's fascinating discography, LUNAR CRUISE is an under the radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End...) and Kazutoki Umezu. LUNAR CRUISE is available in two versions: a first-time-ever vinyl LP cut at Emil Berliner Studios, housed in a 350g sleeve and including a bonus CD of the album with 2 extra tracks, and a standalone digipak CD version. Both versions are sourced from the original studio masters (DATs) and come with new liner notes. Tracklisting Vinyl LP
Official album reissue of Sunshine by Junior Byron: A real Modern-Soul/Disco masterpiece, originally released in 1981 by Canadian label Formula Records, and very hard to find today. TIP!!!
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Based in Canada, Junior Byron had quite a short career as a singer and recorded only a few singles and this stunning album between 1981 and 1985. Produced by André Perry and Joe La Greca, two famous names in the Canadian music scene, Sunshine is not just a one track album, but a complete whole piece of music, including some brilliants highlights such as Inch by Inch', Galaxy' or Sunshine', which are today must-haves in many DJ's lists.
As another longtime favorite collectable piece for Charles Maurice, it's a real honor and proud for Favorite Recordings, to finally officially reissue it for the first time on vinyl. In order to insure the best sound quality, the original tracklist has been dispatched on a double vinyl version, which should please all DJs and music collectors.
Signum" was initially released more than twenty years ago on cd format and became a larger-than-life cornerstone of P.A.L's discography as well as a historical document in industrial music. recorded over a three year period from 1993- 95 this album displays the past & present face of this artist's sonic variety ranging from sweeping minimalistic soundscapes and powerloaded percussion-driven floorburners to heavily distorted harsh power noise attacks presented as a unified front. the industrial anthem 'Gelo¨bnis' is a truly fine example for the combination of crystal clear mastering and the selective, inspired implementation of samples which was always an important factor for p.a.l and became a trademark of his works.
ant-zen and aufnahme + wiedergabe are proud to present the extraordinary reissue of this long-deleted legendary release on coloured heavy double vinyl in a gatefold sleeve. a timeless opus for being re-discovered by adepts and recovered by novices.
recorded 1993-95 at Upper Meadow Field, Munich. Some overdubs were done at His Master's Studio, L.A.
mastered & co-produced in L.A. by rudy r. 1995.
cut by Christoph Grote-Beverborg at Dubplates & Mastering
Veteran producer Gensu Dean comes back with his first compilation since 'Lo Fi Fingahz'. The new project is as rugged as the name implies and features artists like Diamond D, Homeboy Sandman, Roc Marciano and more.
Gensu Dean embodies the essence of true, honest Hip-Hop, while his music personifies the art of beat diggin' with sheer creativity. With this approach, Gensu has produced masterpieces for the likes of David Banner, Old Dirty Bastard, Royal Flush, Planet Asia, and Lord Jamar (Brand Nubian) to name a few.
Hotel Record is the second release from the duo/couple of crys cole and Oren Ambarchi, following on from Sonja Henies Vei 31 (Planam, 2014). Where their debut recording presented a disquieting portrait of the erotic dimension of romantic intimacy, the follow-up continues to explore the pair's simultaneously musical and romantic relationship in a more subtle fashion, presenting four long-form pieces that touch on the variety of forms the life of this couple takes: as a musical duo, as a pair of travelers to exotic locations, as opponents in a game of cards...
Each of the double LP's four sides presents a distinct sound-world, yet each manages to attain the same suspended, half-sleeping feeling, outlining a space where improbable combinations of the electronic and the acoustic, of extreme closeness and amorphous distance, occur with the gentle insistence of a dream.
The opening Call Myself calmly unfolds a fabric of long tones from electronic organ and guitar, combining the sliding, aleatoric effects of classic David Behrman with a more hands-on feel. Over the top of this slowly shifting tonal bed, cole's voice mutters unintelligibly into a Buchla synth, teasing the listener by suggesting a meaning that remains always out of the ear's reach. Francis Debacle (Uno) builds on the foundations of a heavily amplified session of the titular card game, overlaying vocal murmurs and exhalations and mysterious room-sounds to create an impossible aural environment. On Burrata, a palette of vintage 1980s digital synthesizer sounds combined with guitars create an irregular texture of lush chords and bubbling melodic details, into which cole's voice processed by a vocoder, is interwoven, reading fragments of romantic correspondence. Finally, on Pad Phet Gob, field recordings made in Thailand become an ambiguously acoustic/electronic rainforest, eventually giving way to a mysterious, wavering electronic tone-field punctuated by sibilant, popping mouth-sounds.
Carving out an intimate and human sonic space across a diverse array of compositional approaches, sound sources, fidelities and textures, Hotel Record is the latest dispatch from the continuing explorations of a unique duo. Ambarchi and cole reimagine electro-acoustic music, not simply as 'abstract' sound, but as a diary, a love poem, a dream.
Deluxe gatefold sleeve with photography by crys cole and LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017
out of Stock
Last delivered 9 years ago available to reorder, subject to availability
...and in the end, not a great deal is known about the Spanish duo Futuro. The saga begins with the discovery of a cache of test pressings deep within the shelves of a very dusty record shop near the Plaza Del Toros De Valencia. As is the case with these things there was no promo sheet or any other information outside of three clues etched into the run-out groove: Futuro, Jollyman, MCMLXXXVII. Through deduction and reasoning it was soon realised that Jollyman was a short lived Italian record label that closed it's doors in 1987. There were rumours for a while that Jollyman was a mafia wedding gift to a music enthused female family member, but as the journey continued it became slightly more likely that this was a tax write-off for it's owners, as the label itself was never very successful, and was more likely an afterthought rather than a full on passion project. That is not to say that there were not gems hidden within it's small catalogue, most notably from noted library musician, composer and arranger Alessandro Signoretti, without whose help this release would not be presently in front of you. Alessandro's assistance led us to the infamous Hafenklang Studio in Hamburg, Germany. The very same studio used by Boytronic to record their classic LP 'The Continental' (some of the same DX presets can easily be heard on both albums) and despite the insane amounts of musicians that have passed through those doors the owner clearly remembered the duo and finally the mysterious Futuro had names: Javier C Rayón and Raúl Láynez.Too late for the Italo boom, and too early for the Sonido De Valencia craze, the recordings of Futuro have sat on master tapes since 1987 finally awaiting their much deserved audience. Bordello A Parigi are more than proud to present this lost Late slow-mo synthesizer Italo masterpiece onto the world.
Roman producer (and a force behind MinimalRome label) Valerio Lombardozzi known as Heinrich Dressel returns to Barba with a second release for our label, titled "The Styx Swamp". Heinrich has a unique way of combining classic techno and electro sounds with elements from the beloved Drexcyan universe and John Carpenter leitmotifs, and making them come together in a manner that both moves your body and pushes your mind beyond the point of awareness. As with the previous record, "Lurking Underwater", here he pulls off the move with the same efficiency and without sounding like he's repeating himself. "Gray Slope", "Sailing The Nether Waterways" and "The Styx Swamp" are all quite moody and deep, rich with sound and thick with vibe. However, the tracks feel equally at home in 4 am techno situation and a heady afterhours affair. He truly is a master of crafting hybrids whose influences get so flawlessly embedded that it's hard to point them out. If that's not enough, "The Styx Swamp" got a treatment by Nigel Rogers aka Perseus Traxx, a multi-faceted producer and a mighty live act performer. Nigel stayed respectful to the original but made the original's bouncy groove into something more direct and reduced, while retaining the same feel conditioned by lead synth's hypnotic quality. We're known to give a little bit of extra love to our releases so (as all before) this one's pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by EmaEmaEma.
Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern Samba, to the dizzying hedonism of Brazil's eighties disco/boogie craze, Clareia is a life-affirming journey through the rich and varied sounds Sabrina Malheiros has been immersed in since she can remember. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros - bassist of samba jazz-funk legends Azymuth - and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito's Bluey.
Sabrina Malheiros' career has often been characterised by her place in the succession of those special Brazilian women who, with unmistakable talent and effortless grace, have encapsulated the magical energy of Brazil with their voices. Elis Regina, Astrud Gilberto, and Joyce all had it, and Sabrina Malheiros has it in spades.'(MOJO) With her debut album Equilibria in 2005, Sabrina arrived on a wave of instant acclaim, carving out her place as the pioneering voice of a new brand of Brazilian soul music, rooted in the traditions of samba and bossa, but with an edge of contemporary electronic sophistication. Sabrina's innovative nu-bossa sound would continue with the 2006 remix album 'Vibrasons' followed by sophomore 'New Morning' - declared the best album of summer 2008'(Evening Standard), before 2011's best-seller Dreaming.
Six years on, Sabrina returns with Clareia. Itmeans to clear, light, brighten or illuminate, which, after seeing Brazil and the rest of the world go through some very difficult times, is exactly what the writing of this album brought to my life.' All tracks are written by either Sabrina, or in collaboration with her father Alex Malheiros and producer Daniel Maunick. Written and recorded in Niteroi, Brazil, overlooking Gunabara Bay and Rio's beaches, mountains and forests, the music basks in its surroundings and sings of ecological beauty, peace and sanctuary. Echoing Sabrina's emphasis on clarity, Alex notes that the album's title represents an appeal to the minds of our civilization today, to clear our thoughts for good and for peace.'
This pursuit of clarity continued into the studio: It took a little longer than usual' notes Sabrina, which was good in way, as all my previous albums were recorded in rush and we usually had a week for pre-production and another week in the studio, which always gave me the feeling that I could do better. With this album it was different... we took our time.'
Sabrina's unmistakable voice has never sounded better. Packed out with high-octane swinging samba-soul, like the title-track and 'Salve O Mar', the album also features some bottom-heavy Brazilian boogie cuts, like rejoicing album opener 'Celebrar' which harks back to some of Marcos Valle's cult '80s disco output, and 'Sol Ceu E Mar' is a Tania Maria-esque future classic of scorching latin-funk. Mellower moments are found in 'Em Paz', on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being the best guitarist I have ever worked with'. Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers 'Vai Maria' and 'Sandore', come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil. The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros' inimitable (occasionally slapped) jazz-funk bass, giving the album its irresistibly danceable pulse.
Set for release at the height of summer this year, Clareia is an intergenerational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today's scene on the very top of her game. The up-lifting compositions, which take inspiration from the stunning natural beauty amongst which the album was made, and the call for the clarity of mind needed to preserve it, are enriched by this special team of some of Brazil's most established musicians. Like the sun breaking through tropical storm-clouds, Clareia is a vessel of joy, as Sabrina puts it simply, I hope Clareia brightens the soul of whoever listens to it. That's the spirit of this album.'
Label is very proud to put out the VOLUME 2 with these two Attias versions unreleased before in a 12' format and officially licenced directly from the artists. Already played by a few international djs, we are definitely confident that this new imprint is promising with great quality for music lovers and vinyl collectors.On the A side we have an early UK vocal house tune produced by the She PROJECT outfit and that came out only on an album in 1991. Never released on a 12 inch before 'Mainsqueeze ' edit by Alex is longer than the original and more 'dancefloor' orientated with extended parts and an amazing mastering to feel comfortable to play out and loud. on the B side you will find an incredible instrumental soulful deep house track from 1991 produced by T Tauri New York duo. Extended from the original tapes and mixed with unreleased versions , Stéphane Attias version is a 9min 21 extended dancefloor journey into the deepness of New York early house music sounds . These two great soulful track will definitely find place in any dj box because its really really Good!
KLYNE first caught everyone's attention with their critically-acclaimed debut EP 'Paralyzed' on Aesop, as well as their debut remix - a rework of Disclosure's 'Omen' feat. Sam Smith - before signing to Because Music and going on to release their first two singles, 'Don't Stop' & 'Water Flow'. Both tracks hit the #1 spot on Hype Machine whilst garnering support from i-D, PIGEONS & PLANES, THE FADER and NOISEY as well as receiving airplay support from BBC R1, 1Xtra, 6 Music and Beats1 with 'Water Flow' racing to over 6M streams and counting on Spotify. 'mellow electronic pop that's like a long-lost cousin of Jai Paul' - The FADER 'infectious and effortless... groove-laden soulful masterstrokes' - VICE / Noisey 'minimalist vibes, captivating vocals... impeccable melodies' - Pigeons & Planes 'more fire from the young Dutch duo... the boys are off to a strong start' - i-D
Anthony Nicholson Chicago deep house maestro delivers here two amazing soulful deep house tracks for the Attias brothers label Visions.Visions open mind and wide vision returns here with their 15th release continuing their journey into the world of electronic dance music On the A side Anthony and William Kurk have produced an amazing soulful vocal track mixing lush pads Rhodes and beautiful vocals sustained by a solid house beat. This is a sublime journey into a soft and beautiful Chicago deep house jam that we fell in love instantanely with and wanted to share itwith the music lovers and vinyl collectors.The B side is a jazz funk number that rolls deep into Rhodes chords, moog leads and funky basseline for an 8min 20 long amazing dancefloor instrumental bomb.
With one track per side and with the great mastering and the loud cut , these two Chicago slices of goodness will find place in any dj bag for sure.
Mental Groove Records is thrilled and honored to announce the follow up to last year Water Vein EP (MG115) by Asian Psilocybe Foundation & Dj Yogurt. Entitled 'Daikaku", a Buddhist term for one who has achieved enlightenment. This second installment smiles on Geinoh Yamashirogumi Akira's Soundtrack. APF is an eccentric Japanese musician who raised attention from the Detroit. Remixed by Jon Dixon of Underground Resistance's Timeline, APF first EP was released by once legendary producer Orlando Voorn (Fix, Game One, Baruka). On the A side he achieves to capture Akira's spirit with his own organic and floating sound signature within a long, delicate and trippy techno number while on the flipside Dj Yogurt, a regular figure of Tokyo's nightlife who worked at Cisco Records, delivers two straight percussive numbers fueled with traditional Japanese flavor to take the most discerning floors to a Tetsuo state-of-mind. Mastered by Music Matters Mastering and cut at Emil Berliner Studios, Berlin.
What's the definition of a treasure Something precious hidden in a safe place by a king maybe Offen music begin their journey.. 3 sides of music with an etched 4th TIP!
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Serbian electronic music pioneer Rex Illusivii (The King of Illusions in Latin) left an extensive collection of never-heard-before musical gems in his mother's place, and other secluded corners of the world. They have been properly archived, years after his death in a studio fire in Brazil in 1999, the evening of the promotion of the São Paulo Confessions album he made as Suba.
From this archive that spans the 1980-1991 period, reflecting both his cutting-edge creative spirit and his classical training, In The Moon Cage (1988) has been selected as a first newly mastered release to emerge on two 12''. It is meant as an invitation to take a peek into the now finally unlocked treasure chest, filled with valuables of an undeniable intensity and sincerity, belonging to the multifaceted man behind the Rex Illusivii and Suba monikers: Mitar Subotic.
On In The Moon Cage, Subotic treats us to Yugoslavian folk lullabies, rain songs, ancient incantations, combined with equally mesmerizing electronics. These works, circulating on tapes that Subotic sent out in person, were awarded the UNESCO International Fund for Promotion of Culture, enabling him to start his influential career as a producer in Brazil. Yet, In The Moon Cage and the rest of his early projects have remained mostly uncharted and unrecognized until this day.
Subotic being as comfortable producing for Yugoslavian new wave bands as for bossa nova singer Bebel Gilberto, already manifested an exciting divergence in his likings and interests. The disclosure of his own more personal material leads to a renewed appreciation, perceiving him as the righteous king of illusions that he was.
REPRESSED !!
Frak are Björn Isgren, Johan Sturesson and Jan Svensson, a trio of synthesizer lovers from Sweden. The band was formed when Svensson and Isgren's older sisters were best friends and they introduced their little brothers to each other. Inspired by Severed Heads, DAF, Human League, Devo, Skinny Puppy, the boys began collecting analog equipment and started Studio Styrka. While the band were still in their early teens they released the first FRAK cassette album in 1987 on their own record label Börft.
Almost 30 years later, FRAK continue to release their bizarre brand of Scandinavian techno with their debut release on Dark Entries. 'Sudden Haircut' was recorded in 2015, a ten-minute brooding, heavy hitting acid attack full of 808 drum claps aimed at the dance floor. The three remaining songs come from a studio tape the band found in their archives named 'FRAK "After The Silence" 2001-2010' 'Synthgök' and 'Synthfrilla' were recorded in 2010 and originally released on the 'Börft' EP by Sex Tag Mania in 2012. Utilizing a 808, 303, 101 and MS-10, both are supreme cuts of electro leaning acid techno that perfectly fit the sweatiest moments of any club land experience. The deliciously rugged final track 'First Glimt I Ögat' is a vintage unreleased Frak song from 2001 recorded one month before the track 'Second Coming' (later released as B1 on 'Börft' EP).
All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Designer Eloise Leigh has created a playful DIY jacket based on a mysterious black and white photo of the band in their classic tin foil masks. Each copy comes with a black and white postcard featuring a distorted back stage photo of FRAK in their teens. 'Forget all you know about Swedish electronic music, this is Börft crew, the core underground of "söta bror's" techno history - here represented by Frak - a full out techno acid punch.' Juno Records
Black Truffle is honored to present a new issue of Annea Lockwood's classic 1970 tape piece Tiger Balm, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds.
Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming.
LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017
A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others.
Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship.
'India' includes the incredible 'Pontos De Luz' as sampled by Kaytranada on 'Lite Spots' - one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.
A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.
emplar Sound returns with four cuts of techno ruffige from Sydney producer Cop Envy, submerging the pulse of
Detroit beneath the ghosts of British hardcore.
* 'TS014' by Cop Envy has been mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.
With Bjoern Torske, Skateboard, Telephones and last not least the Sex Tags label all hailing from Bergen, the City ´s not been exactly short on world leading 'd.i.s.c.o' , but it´s Geir Hermansen aka Velferd that recently cought our ear with his keys. In 'The City that Drowned' it´s unlikely only ever so wet, there´s bliss, sun, warmth, heat - all painted bright with skyrocketing masterful synths over very neat and dry bass. great! Laid back and somehow dreamy the whole thing catches you by the ear and lingers on but then there´s so much dedicated kick and an almost extatic groove in each track - irresistable string hooks made in heaven! 'Never' and 'Through the Valley' add on to where the title song just left and this give the 3 track ep so much perfectly arranged strength... Bergen might well have given birth to another disco standard-bearer.
Electric Rescue, one of the made-in-France masterpieces of the electronic music and also REX CLUB Resident with his 'skryptom' label is making his debut on Rex Club Music with this 'Melancholic Enchantment' ep. With 3 albums and many ep's on labels like Bedrock, Cocoon Harthouse, Virgo etc to name the essential, Electric Rescue has proved since his debut, 25 years ago, his experience and skills as a confirmed artist in the techno scene.With this new release, 'Melancholic enchantment' Electric Rescue is bringing you to a mindtrip excursions.
Melancholic enchantment & Pavdo, enchant you and carry away in a hypnotic furrow, full of moody and atmospheric sounds. "Subway", in a harder style than the previous ones, with his saturated dub chords mixed with chattered hihat, is an unstoppable hit for big rooms that smiled to make its effect.
And what an honor to entrust to the excellent French producer, Marcelus, to remix PAVDO.
This prominent producer has already appeared on labels like Deeply Rooted, Tresor or Singular Records his label. Also resident for the Tresor in Berlin, Marcelus is a complete artist, excellent DJ, he is also a genie producer with a unique Paw , that you can find in this Pavdo remix.
It takes t he original in deeper and mental regions, with Bell textures and jumbled perc sounding like a ghost train in action. It's definitely a peak time weapon designed for plenty of destruction.
We are proud to present our second release by Beat Pharmacy AKA Brendon Moeller AKA Echologist, a singular voice in contemporary electronic, techno, and sound system musics in his various guises. Beat Pharmacy tunes begin life as live hardware jams where reverb, echo and delay rule the day, and rugged textures rub against digital processing.
In Density,' bass, kick and heavily reverbed piano skanks anchor an instantly enveloping soundworld of deepest dubwise ambience. From around hidden corners emerge the hiss of distant pistons and valves, sentient machinery working in complex relationships. Wobbles, wubs and sweeps communicate across cavernous spaces, as strange rhythmic elements sputter and spatter, tangling and massing in double-time to the point of rupture, only to resolve into crystalline moments of suspension into gorgeous, neck-snapping drops. Simply mesmerizing, and heavy in the dance. Everything to Gain' is spun from the same heavy metals, with a sparser feel, processed voice, and a buzzing, repeating alarm figure that sounds like a submarine warning that the dive is getting too deep, too dangerous...
Music that is moving, powerful, evocative and kinetic, slotting beautifully into 140 sets while defying easy categorization or description, always following vision over fashion. This is why we love Beat Pharmacy.
(en) While the last Kompakt offering from legendary Russian synthesists SCSI-9 dates back to 2008, when the duo released their album Easy As Down' (KOMPAKT CD 068), co-founder and techno/house virtuoso ANTON KUBIKOV kept himself busy cultivating his own label Pro-Tez Records - and establishing a career as solo artist with a clear penchant for dub-infused soundscapes and ambient music. WHATNESS is Kubikov's first solo full-length under his proper name, weaving airy and iridescent sonic tapestry that takes up where his excellent contributions to our Pop Ambient compilations left off.
ANTON KUBIKOV's special ear for ambience and tonal spaces was always an integral part of SCSI-9's musical DNA that would alternate between tight dance workouts and vast melodic range - but it's as a solo artist that he truly started to explore these spaces, following mysterious sonic trails into foggy, reverb-heavy territory. Kubikov's contributions to the several instalments of our Pop Ambient compilation series announced the arrival of a promising new project in our talent pool - a promise more than satisfied with the immersive sound bath of first solo outing WHATNESS.
Going from the richly layered electronic drones of LIQUID MIRROR or ENTRANCE to the lush ambient dub of OTHER THE SEA and KURT'S FOREST, or the minimalist, evocative piano of OKTOBER and PIA, the album covers lots of stylistic ground, but remains committed to its overall aesthetic of misty mountains and serene valleys. With the endearing APRIL, a true Pop Ambient classic from the 2016 compilation (KOMPAKT 345 CD 128) makes a welcome return, priming the canvas for the subtle bass throb of NORTH and its charming synth bell orchestra. Masterfully refining and extending his sonic pallet on WHATNESS, ANTON KUBIKOV can claim his spot among the very best of today's ambient composers.
(de) Obwohl die letzte Kompakt-Offerte aus dem Studio der legendären russichen Synthesizeristen SCSI-9 schon eine Weile zurückliegt - 2008, um genau zu sein, mit dem Album Easy As Down' (KOMPAKT CD 068) -, hat Co-Gründer und Techno/House-Virtuose ANTON KUBIKOV nicht auf der faulen Haut geaalt, sondern sein eigenes Label Pro-Tez Records gepflegt - und eine Karriere als Solo-Künstler mit klarem Drang zur verdubbten Tonlandschaft und Ambient-Musik in die Wege geleitet. WHATNESS ist seine erste Solo-Album-Veröffentlichung unter eigenem Namen und webt einen luftigen wie schillernden Klangteppich, der genau da weitermacht, wo Kubikovs exzellente Beiträge zu unserer Pop Ambient Compilation-Reihe aufgehört haben.
ANTON KUBIKOVs besonderes Ohr für Ambientes und tonale Räume war schon immer integraler Bestandteil von SCSI-9s musikalischer DNA, die gerne zwischen fokussierter Tanzathletik und ausufernden Melodieräumen changiert - doch erst als Solo-Künstler macht er sich daran, diese Räume wirklich auszuloten und geheimnisvollen Klangspuren in neblige, hallende Gegenden zu folgen. Kubikovs Gastspiele auf mehreren Ausgaben unserer Pop Ambient-Serie deuteten auf ein vielverprechendes neues Projekt im Talentpool hin - ein Versprechen, das mit dem mitreissenden Klangbad von WHATNESS mehr als erfüllt wird.
Von den reichhaltig verschichteten elektronischen Drones von LIQUID MIRROR oder ENTRANCE zum üppigen Ambient-Dub von OTHER THE SEA und KURT'S FOREST, oder dem minimalistischen, andeutungsreichen Klavierspiel auf OKTOBER und PIA erstreckt sich das Album über viel Stilgebiet, bleibt aber der eigenen Ästhetik dunstiger Gebirgszüge und einsamer Täler true. Mit dem überaus reizenden APRIL macht ausserdem ein echter Pop Ambient-Klassiker von der 2016er Ausgabe (KOMPAKT 345 CD 128) seine Aufwartung und bereitet den Boden für den subtil pochenden Bass von NORTH nebst charmantem Synthieglockenorchester. Meisterhaft veredelt und aufgebohrt, ist ANTON KUBIKOVs Klangpalette auf WHATNESS Grund genug ihm einen Platz zwischen den besten Ambientkomponisten unserer Tage zu sichern.
A stunning version of Steve Reich's masterpiece of musical minimalism Music for 18 Musicians' (1974-1976) performed live at Tokyo Opera House in 2008 by The Modern Ensemble and Synergy Vocals featuring the composer as guest performer.
In the 1960s, with Terry Riley and Philip Glass, Reich gave pulse back to experimental music, he discovered tape-based techniques of looping and phasing using recordings of fragments of speech, and then molecules of musical material.
(...)When Steve Reich released Music for 18 Musicians (ECM, 1978), it was a consolidation and major leap forward in the pulse-based music that the minimalist progenitor had been exploring on earlier compositions including Four Organs' (1969), a piece that relied on nothing more than a six-note chord, yet was a near flat-out sonic assault. 18 Musicians was an altogether more complex and sophisticated work, with a broader textural palette based largely on tuned percussion—piano, vibraphone, marimba and xylophone—but also working with maracas, voice, strings, and clarinets to create a sweeping, hour-plus long suite that was hypnotic, melodic, and eminently accessible. With the mathematical precision by which its eleven sections and wrapping Pulses' develop, it's a demanding suite to play (...)"
