Mit der ”Lord of Chaos”-EP liefert die Originalbesetzung von Killing Joke ihr erstes neues Material seit
sieben Jahren ab - eine Rückkehr zu einem früheren, punkigeren Stil, der von roher Angst durchdrungen
ist und die turbulenten Zeiten dokumentiert, in denen wir heute leben.
Neben zwei brandneuen Aufnahmen, die von der Band produziert und von Tom Dalgety (Ghost, Pixies,
etc.) abgemischt wurden, enthält die EP auch Überarbeitungen von zwei Songs des letzten Studioalbums
der britischen Band, ”Pylon” (2015); es handelt sich um die Songs ”Big Buzz” und ”Delete”, wobei ersterer
von Dalgety und Nick Evans neu abgemischt wurde und letzterer die volle Dub-Behandlung von KJ’s Youth
erhielt.
Das kultige ”Lord of Chaos”-Artwork der EP stammt von Mike Coles, der für einige der bekanntesten
Bilder der Band verantwortlich ist.
Für Fans von: New Model Army, The Damned, Ministry, Bauhaus
This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción. Disidentes and T de Cobre brought extreme sounds to local electronics, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción were responsible for introducing styles such as techno-pop, EBM, industrial and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called Rock Subterráneo underground rock, these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: viscerality, mechanical rhythms and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior and Reacción), were in fact affiliated to an electronic sound (techno-pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas de techno [Symptoms of Techno] represented an important step towards the development of a local culture of electronic music during the 90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. This project was awarded with funding from the Economic Stimuli program of the Peruvian Ministry of Culture.
Keith Fullerton Whitman brings his 3-part Generators series for Japan’s NAKID label to a close with a third and final instalment that ravishes the senses with hybrid analogue/digital systems tekkerz.
Hazing into a solemn start of floating organ and slurred drums, the first part fizzes into action with pranging irregularities, tentatively allowing the system to voice varying pitches and nimble rhythms that resemble balletic footwork plies as much as classically-trained instrumentalist flurries. It’s deeply trance-inducing, meditative gear that over the course of 25 minutes slowly gains momentium and complexity, first adding robust arps to complicate the structure, treading the finest line of chaos and discipline. In time, those arps turn themselves into a rhythm track, landing somewhere between Whitman's earliest junglist works as Hrvatski and a sort of plucked rhythmic minimalism that reminds us of Mark Fell’s Sensate Focus, gliding on natural, brownian motion and flux of texture, punctuated by what sound likes a plucking of a drum machine from the inside-out.
In part 2 the mood pools and diffracts in slow-fast meter, bristling ruptures of atonality that send limbs flailing one way and then another, adding subs for a dimensional shift that’s rhythmically fractured but always grounded at the low registers. The wavy embroidery of Whitman's machines trigger each other in endlessly fascinating forms of gyring workshop ballistics and dub reverberations.
A special bonus piece ‘Meakusma (Generators, Soundcheck)’ is the most curious of the lot, with a lone clarinet heard in the air, perhaps a serendipitous inclusion form someone else’s soundcheck, lending an enchanting depth perception to his frolicking bleeps.
N8NOFACE assembled a collection of 20 songs deriving from the
ongoing stories built through the lens of his continued new realities
This collection of 1-2 minute minimalist distorted dark synth movements and raw
acoustic micro rage- ballads, challenges every listener to accept what the real
world sounds like, and dares the complacent to be shocked out of their musical
safety net of never-ending sameness
Decadent Records recording artist, USA DMC Champion 1996, also known for his work with Beck, Death Grips, Ministry and The Crystal Method, DJ Swamp is the inventor of the highly imitated skip-proof scratch tool.
He was also in the DJ documentary “Scratch” ,The movie “CLOCK STOPPERS”, and 2017 movie “Banger.” Swamp began mastering his DJ skills more than 25 years ago. In 1996, his rookie year, he took the title of USA DMC Champion. Being true to his nature in an arena that was predominantly influenced by a very hip hop-esque culture, Swamp stepped up to the decks looking like some kind of junky punk. He was well received by the audience despite his counter-culture appearance because he exhibited skills that defied perception and already possessed a stage presence that many of his contemporaries still lacked. The finale came when he closed his set by freakin’ Deep Purple’s ‘Smoke on the Water’ and then smashing his records.
Notorious for mischief, while he’s on the turntables his shows are highly anticipated by those who know that they can expect to see something spectacular.
Auf ihren neuen Album 'Two Sisters' präsentiert Sarah Davachi, Komponistin und Interpretin minimalistisch-elektroakustischer Musik, zusammen mit einer beeindruckenden Gruppe von Musikern und Interpreten neun erweiterte Kompositionen für Kammerensemble und Pfeifenorgel solo (darunter mit einer seltenen italienischen Traktororgel aus dem Jahr 1742). Die erweiterte Instrumentierung umfasst Glockenspiel (das drittgrößte der Welt samt einer 12 Tonnen schweren Glocke), Chor, Streichquartett, tiefe Holzbläser, Posaunenquartett, Sinustöne und elektronische Drones. Der konzeptionelle Faden der Kompositionen ist die ewige Balance von Zurückhaltung als Lust und Notwendigkeit. Das Album ist durchzogen von gespiegelten Klang- und Strukturbildern, die sich auch in der Ikonographie des Covers widerspiegeln: der Satyr und das Subjekt, der gemeinsame Blick von Kopf und Körper, der Dialog zwischen zerebraler und physischer Reaktion, wie oben so unten. Es ist, als gäbe es zwei Schwestern des Glaubens und des Zufalls."Two Sisters" erscheint als 2CD im Hardcover mit 24-seit. Booklet und als 2LP im Gatefold-Sleeve mit 20-seit. Booklet und DL-Code.
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Highgrade ist eine vollständige Überarbeitung der zehn Tracks ihres gefeierten zweiten Albums Colourgrade und enthält Remixe von Künstlern wie Arca, Actress, Lafawndah, Loraine James und Speakers Corner Quartet. Highgrade bewegt sich zwischen orchestralem Jazz, dekonstruiertem RNB und minimaler, glitchiger Electronica und lässt sich, wie Tirzahs gesamte Musik, nicht ohne Weiteres einem Genre zuordnen - und das ist auch gut so.
Format: 140G schwarzes Doppelvinyl inklusive 2-seitigem Einleger und Downloadkarte
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German powerhouse Sidney Charles steps up to the plate for Eastenderz latest and milestone 50th release. The prolific Hamburg producer hits hard with a four tracker of house and minimal goodness that has the club squarely in its sights.
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nearly ten years ago, toureau releases his last single and there were people who said there was nothing more to come... but it was worth the wait because sometimes things need their time - especially the good ones! so 2022 is the perfect mment to reanimate with müller one of germanys hottest and legendary techno labels, join the forces and start a new chapter.
"telecommande"(french for remote control) is a perfect summer tune with some emotional trancey melodies for the festivalseason. munichs deejay gigolo martin matiske interprets this track in his own unique detroit-infected electro-style a la dopplereffekt and brings back some 80s-retro to the floors. on the flipside AFUs felix bernhardt shows us the "stompy" side of techno and the
perfect sound for the next megarave. last but not least italys rising star vicky montefusco who already releases on marc houles "items&things" presents his own groovy and deep minimalistic remixversion. This release comes in a limited white coloured vinyl edition with a beautiful coverartwork and pictures of famous photographer ralf peters, who already has exhibited
his art in miami, zurich or tokyo...
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It’s been 11 years since we released the first Spektre production on Noir Music and I’ve been a fan of their music for even longer.
So it’s a great honor to have them back on the label with this amazing Shadowline release. The UK duo is currently making some serious noise in techno-world and well deserved as they keep shooting out great music. On this specific release I wanted the guys to show off their excellent production skills, so we get both their in your face, raw and unpolished sound with the acid opener “The Maze” and the more trippy, afterhours
hypnotic title track “Shadowline”. “Planet Noir” sits nicely in between with Spektre’s hardhitting beats and signature melodies.
On top of that we got an incredible remix of “The Maze” by Robert S (PT) who made the acid-journey more minimal and underground.
I’ve had these tracks for quite some time and I don’t get tired of playing these. In the fast-moving techno-industry that’s saying a lot. I am honored and super happy to have the guys back on my label.
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An emotional journey, Pitter Patter EP has everything within from jazz to world utilizing live instruments, samples and textures that are fused impeccably to form an introspective-predominant approach to minimal. Three Montreal natives Guillaume Coutu-Dumont & Vincent Lemieux also know as the Flabbergast duo and Ohm Hourani meet up in the studio, each working individually with Ohm to formulate 2 original works of music and thus formulating two new duo's Guiohm (Guillaume Coutu-Dumont & Ohm Hourani) and Wetsuit (Vincent Lemieux & Ohm Hourani). Let the music speak for itself.
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The first record from keepitgoing. is finally here, a panorama from Switzerland all the way to Chile in our world with no borders. An EP from Camilo Gil & ONE+1 with 2 originals backed up by two contrasting interpretations from Dorian Paic and Franco Cinelli, is how we kick off our labels musical journey in our vinyl only series.
The opening original track "Can Soleietes" offers a minimal, dubby twist with sweeping chords and atmospheric pad work with hints of skippy percussion layered throughout. On the second original "Opera House" this is where things begin to turn around a darker, acidic corner consisting of rolling acid baselines and spooky pad-work. It features various chords and stabs working in the background, while the prominent acid bass moves around creating some dark, trippy vibes on the listener.
Franco Cinelli reworks "Can Soleietes" perfectly with a minimalist approach to the track, offering a more mellow and groovy interpretation of the original. One that will get you lost in the cosmos with an immediate listen. The second remix from Dorian Paic is a more stripped back affair than it's original. It is another minimalist one that represents his sound truly, as a classy remixer for the EP alongside fellow family member Franco.
Join us as we begin our journey from every corner of the world, all connected without any borders between us. Like this, anyone can express themselves freely, and really create the way they want to without any judgement or limitations. We are a forever growing family who share the goal of loving and living music together.
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Another quite brilliant installment of hi-tech electronic constructions from bespoke cutter.
We're talking stab-filled dancefloor pressure, glitched-up house grooves, spacious techno purism and electro-flavoured sound design - all reduced to the most funk-filled, minimal variant possible.
Heavyweight coloured vinyl, hand-stamped kraft cover with unique artwork print. Do not miss.
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Recorded live in 10 days, with minimal overdubs, Shuttered Dreams is a blast of uncompromising truth reminding us to stay awake when the vultures are circling. The album was mixed by Sean Genockey (Shame, Richard Ashcroft, The Who, Black Crowes).
Margate in March 2021 was a time to test your resolve. If the wind howling round the closed down shops and cafes didn’t send you spinning out of control the out of season coastal melancholy could drag you down as surely as any dead eye mermaid. Add in a murderous virus and a frozen gig scene and it was a time to stay frosty and fight off the demons. Dan had some experience to draw on.
“Instead of baking banana bread or knitting, I decided to upgrade my home studio but after a couple of months of writing it was obvious that the songs needed to breathe as much as I did. They’re all about real people and raw feelings and I felt they wouldn’t get justice by being turned into zeroes and ones so early in life “.
It was decided to record the masters live with his new band featuring Dom Hall (drums), Henry Gabbott (bass) and Freya Warsi (vocals) and engineer friend, Harry Armstrong. Armed only with a Vox Marauder, a skeleton recording studio, and a pad of lyrics, Dan moved in with The Tenants to The Tom Thumb Theatre which like everywhere was closed for business but had just received Arts Council recovery funding and was offering residencies for artists.
“Musically I wanted to try to work within a strict palette of sound, using the same acoustic and electric guitars for every song, and Henry’s Wurlitzer and Mellotron to flesh things out a bit.” Dan explains, “We played all of the songs live, sometimes up to sixty or seventy times until we were happy with a take, we might then add a bit of extra electric, percussion or backing vocals, but what you hear on the record is pretty much what was happening in the room. That makes me feel proud, as all the records I love listening to were made in that way.”
XXX the label presents its new release XXX014. ‘XXX014 - Psycho’ is produced by Isaie, the new live alias from Simon Weiss. Simon Weiss (Isaie Reuling) already made a name for himself with stellar releases on well known labels like Rush Hour & Voyage Direct and the hit ‘Television’.
XXX014 will be a mini-album with eight tracks on vinyl. Each side contains various genre crossing tracks that could be used on different occasions, whether you are in a sweaty basement, a big festival or obscure radioshow, these tracks will do the trick. High energy guaranteed.
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Dass die Band aus Minneapolis, Minnesota kurz davor ist eine ganz große Nummer zu werden, zeigen nicht nur die fast 200.000 monatlichen Hörer*innen auf Spotify. Der Sound, den Villain of the Story liefern, ist unwiderstehlich und kombiniert das allerbeste aus modernem Metalcore und einem radiotauglichen Rocksound, den sonst nur Bands wie I Prevail so ausgeklügelt kombiniert bekommen.
Energetisch, eingängig und explosiv – so ist der erste Eindruck von „Losing Control“, der ersten Single des vierten Villain of the Story Albums „Divided“. Zwischen poppigen Rock Parts finden sich groovige Metalcore Elemente, die einen Sound auf der Höhe der Zeit abbilden und mit Spannung erwarten lassen, wie dieser Sound auf voller Länge klingen wird.
Die zweite Single „Karma“ zeigt sich hingegen mit harten Metalcore Elementen und einem catchy Pop Chorus, der sich schnell ins Gedächtnis einprägt. Auch Tracks wie „Never Again“ folgen diesem Ansatz. Es gelingt Villain of the Story unfassbar gut, diese harten Breakdowns mit poppigen Refrains zu verknüpfen und dabei enorm frische Metalcorehymnen zu kreieren. Dabei bleiben die US-Amerikaner jedoch nie eindimensional.
Im Sound von „Divided“ finden sich mitunter progressive Elemente, die mit dezentem Deathcore Einschlag an Bands wie Veil Of Maya und Born Of Osiris erinnern, was insbesondere durch die dezent platzierten elektronischen Elemente und Synthesizer unterstützt wird. Neben den leicht djentigen, bouncy Grooves, die Tracks wie „Jester“ und „Under My Skin“ zu wahren Moshpitmagneten werden lassen, sind es die unwiderstehlichen Vocals der beiden Sänger, die den Sound von Villain of the Story so einzigartig werden lassen.
Mit „Wrong“ liefern Villain of the Story jedoch auch einen krassen Kontrast, der noch mehr Farbe mit in das Bild von „Divided“ bringt. „Wrong“ ist eine herzzerreißende Ballade, die mit minimalistischer Klavierbegleitung dem Gesang seine ungeteilte Aufmerksamkeit gibt und die Band von einer vollkommen zarten Seite zeigt. Eine Seite, die spätestens aber vom schmetternden Beginn von „Don’t Go“ schnell wachgerüttelt wird. Es ist eben dieser Kontrast, der die Spannung im acht Track starken Album aufrecht hält und es so überzeugend macht.
Villain of the Story gehen mit “Divided” den nächsten Schritt in der Karriere ihrer Band und beweisen, dass Metalcore im Jahr 2022 noch lange nicht auserzählt ist. Stattdessen ist das vierte Album der Band ein wahres Genrehighlight das sowohl Fans von harter, als auch rockiger Popmusik vor allem in puncto Emotionalität bestens unterhält.
Though Beauty is Useless is only his second solo record, James Devane has been producing and performing music for over two decades, both in isolation and collaboratively (most notably as his duo "En" with Maxwell August Croy). While his first record (s/t on Bremsstrahlung) explored digital manipulation of guitar based loops, Beauty finds Devane replacing the computer processing and aural landscape projection for a couple vintage keyboards, modular based effects and most notably a drum machine. Evoking elements of German minimal techno, Beauty is a rich, focused discovery of process and restraint where less is refreshingly more.
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Classic Black Vinyl, DL Card.
LA-based musician Marina Allen’s spectacular debut proper and follow up to last years acclaimed 18 minute mini-opus, ‘Candlepower’. ‘Centrifics’ is a joyful collection of observations and questions about the self, the world, and how they interact. Awe-inspiring reflections accompany mesmerizing melodies while Allen’s extraordinary range and depth of singing showcases a wide array of influences from Karen Carpenter to Karen Dalton, from Joanna Newsom to Fiona Apple, from Cate Le Bon to Waxahatchee, via Meredith Monk and the New York avant-garde. Produced, engineered and mixed by Chris Cohen. Co-engineered by Jonny Kosmo. “A songwriter of rare skill and intensity” Clash // “Exquisite melodies and cool, pure, dreamy delivery" Mojo // “Intensely personal and widely universal” Paste
Gazelle Twin, Lali Puna, This Mortal Coil, Slow Walkers, Atlas Sound, Bowery Electric, Broadcast Press Release: Snakeskin is an album of visionary electronic dream pop, shapeshifting above ambient and industrial undercurrents. It is moody, unsettling, luminous – the culmination of a decade of collaboration and friendship between Lebanese producer/musician/ engineer Fadi Tabbal and singer-songwriter Julia Sabra from Beirut-based indie trio Postcards. The duo began working on Snakeskin in the aftermath of the August 2020 Beirut port explosion, which killed at least 218 people, injured 7,000, and left over 300,000 people homeless. Indeed, Julia's home was destroyed by the explosion and her partner and bandmate Pascal badly injured. The first song that they wrote together afterwards was 'Roots', which closes out the album and was composed for the Ruptured-curated series The Drone Sessions in the fall of 2020. Snakeskin utilizes tape loops, synthesizers, vocals, and drum machines, combining Julia’s pop-inspired melodies and choral roots (an echo from her religious upbringing) with Fadi’s affinity for minimalism and musique concrète. The album seamlessly incorporates the melancholy electro-pop of 'All The Birds', the quiet menace of 'In Our Garden' (long-lost treasures, ancient lies / another buried paradise), and the beat-driven 'Signs'. The title track sums up their frame of mind, beginning as a lullaby and evolving into a glittering tapestry of distortion and feedback. As the artists write, Snakeskin is a product of "the disappearance of life as we know it, and with it the decay of nature and living creatures. There is no rebirth, no renewal. It’s about what it means to feel at home in such a place." Some tracks were also inspired by events happening in the surrounding region, such as the invasion of Armenia by Azerbaijan and the Palestinian uprising of May 2021 in Sheikh Jarrah - both events shedding light on relationships to home and land across the wider region. That such compelling art can emerge from unceasing tragedy may be the ultimate testament to human resilience and the pursuit of freedom and justice. "The moon speaks in tongues we can't discern / A plastic dove hangs from a cypress branch / Haven't you heard? / Nothing grows here anymore / The air is burnt / Nothing grows..." Highlights: – This is the second volume in the Corrosion Series, a collaborative effort by Beacon Sound and Ruptured, and the sixth collaboration between the two labels. – Fadi used samples of Julia's voice on his fifth solo album Subject to Potential Errors and Distortions (2020, Beacon Sound/Ruptured) – The Tunefork Studios team, led by Fadi, administered the Beirut Musician's Fund after the port explosion, as covered by Pitchfork, NME, and the Financial Times. – Julia's band Postcards released their third full-length album After The Fire, Before The End on Berlin label T3 Records in 2021 and are currently touring Europe. Credits: All music composed, performed and produced by Julia Sabra and Fadi Tabbal between November 2020 and December 2022. Lyrics by Julia Sabra. Drum samples by Pascal Semerdjian. Recorded by Fadi Tabbal, mixed by Sary Moussa and Fadi Tabbal at Tunefork Studios, Beirut. Cover photo by Lujain Jo. Design by Josette 'ZOoz' Khalil. Mastered by Rashad Becker. Bios: Julia Sabra is a Lebanese musician, songwriter and composer. She co-founded acclaimed Lebanese dream-pop outfit Postcards in 2013 and is the band’s multi-instrumentalist, lead singer and lyricist. Postcards have released two EPs (2013, 2015) and three albums (2018, 2020, 2021) and have been regularly touring Europe and the Middle East since 2015. She has been the manager of Tunefork Studios since 2017. Lebanese musician, producer, and sound engineer Fadi Tabbal’s work consist of minimalist pieces ranging from ambient and electronic to drone and contemporary classical. He has released six solo albums and has collaborated with various musicians, artists and filmmakers through the years. Often referred to as “the hardest-working person in Lebanon’s alternative music scene”, Tabbal established Tunefork Studios, a collective of producers, engineers and musicians, which has helped shape Beirut's contemporary music scene since 2006.
Roman Flügel’s pioneering Tracks On Delivery series returns for a new EP on Rekids.
In the early 00’s, Roman Flugel’s ‘Tracks On Delivery’ releases saw the producer put out four records on Ongaku Music that helped defined an era of oddball minimal techno. Returning to the concept in 2022, the Frankfurt-based electronic music luminary delivers four idiosyncratic techno tracks for Radio Slave’s imprint.
Active since the 90s, Flügel has been at the forefront of electronic music for decades. Founding the labels Ongaku, Klang Elektronik, and Playhouse, Flügel also boasts a storied discography across labels such as Running Back, ESP Institute, Dial and many more, as well as having contributed to both Live at Robert Johnson and fabric’s iconic mix series.
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Cypherphunk debuts on Dance Trax with an incredible 4 machine jack track 12 that draws inspiration from the minimal techno blueprint created by artists like Daniel Bell & Todd Sines back in the early 1990s . Deeply mechanical “body house” cuts set for dance floor annihilation!
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The master of all things creepy, Widow slithers back with his sophomore DDD release. 'Spooky Stories' will take you down the dark rabbit hole into a world of scares, spirits and suspense.
Widow's sound is characterised by a brilliant use of negative space, it's often what's not there as much as what is. Haunting atmospherics, deep bass, minimal drums and cheeky samples complete the picture.
Any fan of Deep, Dark & Dangerous will know many of these tracks from livestreams and shows. We see you hiding under the bed covers.
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"Kontakt Audio and Infinite Fog Productions proudly present the 25-th anniversary reissue of the one of most unique albums on avantgarde/neoclassic music – Ihor Tsymbrovsky – Come, Angel.
Recorded in 1995 in Ukraine and released in 1996 just as a small run on cassette on Polish label Koka Records, the album without any promotion little by little became legendary and madly wanted by many fans all around the world. And from the first seconds, you can hear why it is so. Pretty hard to explain what songs play Ihor, moreover that would be senseless. “Come, Angel” is one of those albums which are so unique that takes you in a vacuum of verbal forms in an attempt to describe the record. In a few words, this is definitely very intimate and deeply emotional music with an absolutely incredible voice. The first associations could forward you to Antony Hegarty from Antony And The Johnsons, Marc Almond, Arthur Russell, Baby Dee, Bjork. Experienced listener familiar with these great artist knows that all of them are inimitable and Ihor Tsymbrovsky is totally inimitable as well.
In 2016 well-known German label Offen Music published 3 tracks from the album “Come, Angel” which brought a lot of attention to Ihor’s music. This time we’re excited to announce the first full album reissue on CD, Double vinyl, and tapes. Beside the full version of the album, you’ll find an exclusive bonus song from the cult compilation “Music The World Does Not See” – Nefryt Records 2000.
~
“For me, music is a certain way of cultural survival. Here I do not set myself theoretical problems or experiments.
The connotations of life are important: rhythms, melodies, their connection with language, poetry, real life, virtual or imaginary space. It is very important to me how the recitation of work sounds, how consonant and vowel sounds dissolve in singing, how they combine musically. I understand sound space as a field of my interpretations, preferences, priorities, and I do not use direct imitation. If I hear a melody or a musical phrase, and it is fixed in my memory, later I extract it in my own interpretation, as already formed by this field. In art, the goal is in the work itself, not outside it. For me, the expression “To be is to create a new reality” is another winged reality.” – Ihor Tsymbrovsky
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“Tsymbrovsky – an architect, musician, a poet, an artist; one of the most underestimated musicians in Ukraine’s artistic world. Many critics pulled their hair out trying to get to the bottom of Tsymbrovsky’s music. It has been inspired by jazz, minimal, modern, ethnic, and meditation music. Tsymbrovsky is not a virtuoso, however, he creates whole worlds with his astonishing falsetto. Although Cymbrovsky’s music is simple it is made of many elements. Filled with magic and unusual sensitivity and warmth it can be therapeutic for the listener. This is that kind of music, which can be listened to many times – in a different way each time.” – Koka Records.
~~~
“Igor Tsymbrovsky’s only album “Come Angel” (1995) still remains perhaps the most bizarre phenomenon in Ukrainian music since independence. The story of its author is a vivid example of cultural amnesia. In the pre-Internet era, Tsymbrovsky was a prominent figure in the Ukrainian underground, performed on the “Red Route”, went on tour in Germany. However, he left a minimum of evidence of his activity and became a silent legend for a few. We talked to Igor to find out where he came from and where he was going.
The album “Come Angel” is eight compositions performed with a falsetto to the accompaniment of a piano. (Tsymbrovsky’s falsetto is a legacy of the Lviv Dudaryk choir, where he sang as a child.) It would seem that it could be easier. But, despite such ascetic tools, Tsymbrovsky managed to create a phenomenon unique to Ukrainian culture. Some people compare him to Benjamin Clementine and Anthony Hegarty, but no comparison will be exhaustive. The lyrics of the songs attract special attention: two of them were written by Tsymbrovsky himself, the others demonstrate his remarkable literary knowledge. Here and Guillaume Apollinaire, and Mikhaijl Semenko, and even less obvious poets, such as Mykola Vorobyov or Jozsef Attila.
The young performer’s first performance took place in 1987 in the club of the Forestry Institute. It is quite symbolic that this room used to be a Jesuit church because such a chamber environment suits his songs about angels much better than the noise of big festivals. However, there were also many festivals in Tsymbrovsky’s career: in 1989, Chorna Rada and Chervona Ruta, in 1991, Kharkiv’s Nova Scena and Ukrainian Nights in Gdansk, Alternativa in Lviv. Ihor calls his first performances musical performances and notes that they sounded completely different. Unfortunately, we will never know exactly how.” – Amnesia
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“The magicians at Dusseldorf’s Offen Music pluck a madly beguiling pearl of late-night songcraft by Ukraine’s Ihor Tsymbrovsky to follow their vital releases by Toresch and Rex Ilusivii. Come Angel was first recorded in Lviv, Ukraine, in 1995, and issued on cassette by Poland’s Koka Records in 1996. There appears to be no prior mention of the release or artist on the internet and quite how it came into of Offen Music possession is not disclosed, and that only ratchets the record’s enigma to astonishing degrees once you’ve heard the music. In a quivering, high register, androgynous trill, Ihor Tsymbrovsky beckons heavenly beings in the remarkable A-side Come, Angel against a swirling backdrop of phasing, subtly delayed organ. It was recorded in one take (this is the 2nd version), and, if we’re not mistaken, you can hear the keys being pressed rhythmically in the background, which seems to be the song’s only tangible connection to this mortal world as Ihor vaults octaves high and close-in-the-mix with the sort of alien, dreamlike vocal that requires pinching oneself to make sure you’re awake. Spellbinding is definitely the word. On the other side he (we’re assured it is a ‘he’ in the promo text) sets two poems by Mykola Vorobyov and Mykhal Semenko, respectively, to emphatic piano keys, this time more shy of FX save for some delay, placing that willowing, avian vocal at a dreamy arms reach in Roses for the Poet, and with a sort of liturgical dark jazz feel, sorta like Lewis repenting his sins as a castrato monk, in the spare atmosphere in By the Sea. This is gold-seal business, we tell ya. Clock the clips and clear some swooning room.” – Boomkat
Italy’s rising star Mauro Venti will arrive on Hot Creations for the first time in July with the three-track Sirens EP. It continues a stellar 2022 for the burgeoning artist, having released on EMI and Snatch Records already this year.
The title track leads the charge, blending minimal-laced bass elements with a rolling lead groove. It’s a modern house cut through and through, building cleanly into the futuristic sounds of Prison. Signature synths create a bladerunner-esque feel, transporting us to far away realms, before Symphony ends proceedings on a techy, late-night note courtesy of four-four bass patterns and gritty, hard-hitting percussion.
Mauro Venti is fast-becoming one of contemporary house music’s leading forces. His releases speak for themselves, with appearances on Green Velvet’s Relief, Superfett and Gorgon City’s Realm Records already under his belt. At just twenty-five years old, such feats are made all the more impressive, proving there’s plenty still to come for the young Italian talent.
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Invisible City Editions returns with an official repress of a fantastic double-sided private press rarity from 1989 Detroit. Featuring two legendary Inner City alumni Producer/keyboardist Engineer Art Forest and Inner City background vocalist dancer/singer Shawn Pittman. On the A side a lush slow modern soul slow burner “Dreams'' features a deep,spatial throbbing bass line with glistening synths floating underneath cool angelic hypnotic vocals by Ms Pittman.” 'Dreams are only Dreams till you make it real' chants Shawn Pittman and we’re lead down a dazzling maze of mirrors. With “I'm Losing Control (Extended Bass-ment Club Mix)” on the flipside a wild late night warehouse dub remix features sci-fi vocal effects,fostex tape loops and ultra-heavy bass and driving drum machines. Minimal lush soul perfect for early mornings and the post-club world and a wild sci-fi house winner for late night club sessions. An IC fave! Remastered by Brandenberg/The Carvery (Note: we’ve also removed the drum machine going out of sync that was on the original press) Official Repress via Art Forest and his label Wildboy.Essential stuff!
Art Forest is an Electronic Engineer and production wizard from Detroit Michigan. He originally recorded 2 of Inner CItys’ Biggest Hits “Good Life” and “Big Fun” and continues to record to this day. Art Forest still finds and repairs equipment to add to his studio today. He also recorded for Paula Abdul “Straight Up” and Madonnas’ “Justify My Love” Shawn Pittman was a singer and dancer from Detroit who was a good friend of Inner City vocalist Paris Grey. Shawn Pittman sang backing vocals and harmonies on “Good Life” and “Big Fun”.
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Uit de Hoogte goes raw on new release “Λέων” with 15 analog jams made between July 23 and August 22, summer 2022. All tracks are written, recorded and mixed off the cuff, straight to 1/2 inch reel-to-reel tape which gives the tracks a deep and warm vibe. Some additional editing and mastering duties were done in the box. The Belgian producer doesn’t hesitate to explore new grounds with tracks ranging from house to garage and acid till techno. These 100 minutes of bangers are printed on a limited number of 50 cassettes. Download option included*.
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2x12", high gloss photo like gatefold sleeve, 180g Vinyl , WAV&MP3 Download code included
Following their debut EP with 'Ezra Was Right' and support from the likes of Gilles Peterson, Grandbrothers are presenting their debut album 'Dilation". Twelve modern Experimental / Ambient / Piano pieces, whose sounds are generated completely out of a grand piano using small electromagnetic hammers. Grandbrothers are Erol Sarp and Lukas Vogel. After meeting at university in Dusseldorf, Erol and Lukas formed Grandbrothers to tie together their respective musical backgrounds and disciplines: Erol is a trained jazz pianist, while by day Lukas constructs synthesizers at Access Music. Together, they create a sound that combines classical composition with modern, experimental production and sound design. Their first song, 'Ezra Was Right', earned an early supporter in the esteemed Gilles Peterson, who included the track on his Bubblers 10 compilation and played it numerous times on his Worldwide radio show for BBC Radio 6 Music, with the song eventually being voted #7 by listeners in his end-of-year poll in 2013. A full EP on FILM followed - backed by remixes from legendary Manchester DJ Greg Wilson, Optimo's JD Twitch, and Kim Brown - which sold out its initial run within ten days. Now, Grandbrothers present their debut album, Dilation. The product of two years work, Dilation builds on some of the ideas established on 'Ezra Was Right' while exploring further elements of minimalism, ambient music, IDM, and techno.
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Chicago-born composer, producer and arranger Charles Stepney is known to some for his work with Earth, Wind & Fire, Deniece Williams, and Ramsey Lewis, or for his work with Chess Records in the 1960s, where he was an essential creative force behind seminal recordings by Rotary Connection, Minnie Riperton, Marlena Shaw, Muddy Waters, Howlin Wolf, Terry Callier, The Dells, The Emotions, and many many more. In the decades since his untimely death in 1976, the presence of his name in liner notes and on vinyl labels has become a seal of quality for record collectors, music historians, and aficionados, while his sound has been used by countless samplers in the hip-hop world including Kanye West, A Tribe Called Quest, The Fugees, MF Doom, and Madlib. But in comparison to the post-mortem renown of his sound, or the music he created and the artists he supported while he was alive, Stepney is a greatly under-appreciated figure... a genius relegated to the shadows.
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Dinah Washington has been cited as “the most popular black female recording artist of the 1950s”. The jazz vocalist passed away in December 1963 at the age of 39. Just a few months after, in February 1964, Aretha Franklin released her fifth studio album Unforgettable - A Tribute to Dinah Washington. Aretha never personally met Dinah, but she was a good friend of Aretha’s father. Washington always had a major influence of the blossoming style of Aretha. Several covers are, to this day, considered as some of her greatest hits due to Franklin’s timeless voice.
The album was recorded at New York’s Columbia Studios. The recordings were made with the assistance of a small and sympathetic accompanying group for which producer Bob Mersey supplied minimal written guidance.
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Sanna Mun debuts on her imprint, Katabasis, with a three techno cut EP (vinyl & digital).
Sanna Mun is an interdisciplinary artist based in Berlin. Her approach to production is inspired by her work as an archaeologist, using digital modeling and field recordings of ancient sites to extract their psychoacoustics. Sanna's multifaceted sound ranges from ambient to mental and classic techno. Her sense for organically evolving motifs drives her live sets, which resolve to induce a state of meditation. Sanna's music has already received support from O Phase, Developer, and other mainstay techno names.
Katabasis started out as an experimental techno event at Sameheads in Neukolln, Berlin in collaboration with local musicians and visual artists. The vision behind the project is to springboard underrepresented artists reinventing minimal, hypnotic and early techno. Its name and imagery derive from Western esotericism, rooted in Sanna's experience as an archaeologist specializing in occult sciences. The label's first release features tracks exploring Pythagoras' musica universalis, planetary frequencies informed by her studies with Luz Peuscovich.
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Auf ihren neuen Album 'Two Sisters' präsentiert Sarah Davachi, Komponistin und Interpretin minimalistisch-elektroakustischer Musik, zusammen mit einer beeindruckenden Gruppe von Musikern und Interpreten neun erweiterte Kompositionen für Kammerensemble und Pfeifenorgel solo (darunter mit einer seltenen italienischen Traktororgel aus dem Jahr 1742). Die erweiterte Instrumentierung umfasst Glockenspiel (das drittgrößte der Welt samt einer 12 Tonnen schweren Glocke), Chor, Streichquartett, tiefe Holzbläser, Posaunenquartett, Sinustöne und elektronische Drones. Der konzeptionelle Faden der Kompositionen ist die ewige Balance von Zurückhaltung als Lust und Notwendigkeit. Das Album ist durchzogen von gespiegelten Klang- und Strukturbildern, die sich auch in der Ikonographie des Covers widerspiegeln: der Satyr und das Subjekt, der gemeinsame Blick von Kopf und Körper, der Dialog zwischen zerebraler und physischer Reaktion, wie oben so unten. Es ist, als gäbe es zwei Schwestern des Glaubens und des Zufalls."Two Sisters" erscheint als 2CD im Hardcover mit 24-seit. Booklet und als 2LP im Gatefold-Sleeve mit 20-seit. Booklet und DL-Code.
After the 2021 Re-Release of “Schwingungen” (MG.ART612) we proudly announce “Seven Up” as Part 2 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001.
We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th 2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos from the recording session. ->continued on page 2->continued on page 2 As for the music itself we again refer to Julian Cope´s review and remarks from his book "Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
“When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues !
Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality.
The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic.
7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers.
The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the grandest of traditions.
In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though,
Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W.
Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away.
In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”
Ash Ra Tempel – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown
Sub Pop are excitedly finally repressing vinyl versions of three scorching ‘90s
psychobilly classics by Reverend Horton Heat. All three have been out of print on
vinyl since the mid-1990s, with original pressings going for considerable amounts at
the ol’ junk shop.
1994’s ‘Liquor In The Front’ gets even more aggressive - heavy, even - sonically,
with production by Ministry’s Al Jourgensen and the high-velocity opening pairing of
the high-velocity instrumental ‘Big Sky’ and the blistering lament ‘Baddest Of The
Bad’. The highest selling of the Rev’s first three albums, ‘Liquor In The Front’ was
originally co-released with Interscope Records, with the album hitting #18 on the
Billboard Heatseekers chart and the single ‘One Time For Me’ hitting #40 on the
Modern Rock chart. In the words of AllMusic, “for sheer crank, nothing in his catalog
can touch it.”
»Mediocrity and the Master Narrative« is about coming to terms with having grown up with unrealistic expectations of life. Moose Malloy spent multiple years crafting this many-layered 19 minutes masterpiece by masterfully molding a plethora of reference points and influences. Ranging from minimal music to free-form sampling and the more spiritual kind of Jazz, to geographical influences they never visited (like Mongolia or Mali) and paintings by Lucian Freud or the film Koyaanisqatsi. In a way, this album is not even an album, it's many stories all at once. And they all tell us that our very own life's mediocrity can only be paradoxically dissolved by fully accepting it.
Kill the Moonlight is the fourth album by American Rock Band Spoon released on August 20, 2002. The Album features a stripped-down, minimal sound that incorporates various different instruments such as tambourines and pianos along with an idiosyncratic production style. The Album together with the Single "The Way we Get By" ist regard as Spoons Opus Magnum.
The 40th Anniversary Edition of Fairytales is the final of many incarnations of singer Radka Toneff and pianist Steve Dobrogosz’s jewel of a duo album. In the course of the 40 years that have passed since its release – on LP in 1982, CD in 1986 – Fairytales has sold well over 100 000 units, making it the top-selling Norwegian jazz record ever, and was also voted Norway’s best album of all time in a poll of Norwegian musicians in 2011. For four decades the sometimes delicate and sometimes robust melodic intimacy between the singer and the pianist, and the fragile strength with which they imparted their lyrics and music, has cast a spell on listeners from all music scenes. Constantly new generations are enthralled by the 41 auditorily minimalist but eloquently narrative minutes, and this final version, with improved sound quality, brings us closer to the magic of the Toneff/Dobrogosz duo than ever before. Fairytales had a solemn epilogue when Radka died under tragic circumstances a few weeks after the album was released and had begun to go from strength to strength. In retrospect, though, it is not the memory of the loss of an incomparable singer, but rather the content of what Radka accomplished together with her American duo partner that keeps Fairytales alive. “It’s not just the sound itself, but it’s also about how Radka sings, about the sensitivity in her voice,” Steve Dobrogosz has said. The pianist describes Radka as a superb, forthright and genuine interpreter who was “at her best” with Fairytales, and he rejects any implication that she sounds especially lonely or depressed, or that the album can be construed as part of any autobiographical timetable. The sum of singer Radka Toneff was, naturally, more than the parts she was able to display on Fairytales. But when practically all subsequent singers in Norway, from Sidsel Endresen up to the young talents of today, get a warmth in their voices and eyes when they talk about Radka as an artistic ideal and a source of inspiration, it is not least because they heard Fairytales at some point, and were sold. The fact that the album has also been the impetus for an interest in Radka that has produced posthumous records, books, radio documentaries and countless articles only confirms the strong position the album still occupies in the Norwegian music scene, a position that this 40th Anniversary Edition will further reinforce. Terje Mosnes, January 2022 01 The Moon Is A Harsh Mistres (Jimmy Webb) 02 Come Down In Time (Elton John/Bennie Taupin) 03 Lost In The Stars (Kurt Weill/Maxwell Anderson) 04 Mystery Man (Steve Dobrogosz/Fran Landesman) 05 My Funny Valentine (Richard Rodgers/Lorenz Hart) 06 Nature Boy (Eden Ahbez) 07 Long Daddy Green (Blossom Dearie/Dave Frishberg) 08 Wasted (Radka Toneff/Fran Landesman) 09 Before Love Went Out Of Style (Dudley Moore/Fran Landesman) 10 I Read My Sentence (Steve Dobrogosz/Emily Dickinson)
The Outer Edge (formerly known as The Artless Cuckoo) is proud to present a second vinyl release by Ghia. The first single is sold out for a while and already became a collectible item. Now, we present a piece from Ghia's past - a very limited 7" with two unreleased recordings from 1985: "Down At The Hilton" on side A and the equally fantastic tune "Curacao Blue" on the flip side. This is just the beginning of a series of more unissued songs by the band. Two albums are currently in the works - and there will be more material to follow.
For now, here is what label founder Günter Stöppel a.k.a. John Raincoatman says about the project: "For the past three years I've been asking Ghia about further recordings. Lutz Boberg and Frank Simon, the two original band members who later joined with Lisa Ohm as a singer, always were communicative, friendly and interested in releasing more music. But at the same time nothing really happened. Accept for a bunch of newer demo tracks they offered on their Bandcamp page for a while, I never was able to hear anything more. Anyway, a few month ago, I suprisingly received a picture by email. A photo showing a box of 11 demo tapes by Ghia with basically all tracks they ever recorded. I couldn't believe my eyes! After a few complications the package with the cassettes arrived in Berlin. I didn't really know what to expect. Everything was taped chronologically, the first cassette included early recordings from 1984 and 1985. I put it in my tape deck and I couldn't believe what I heard. It started with a minimal electro funk track, the next song was '80s funk with rap vocals, and then came a track entitled "Down At The Hilton". This was EASILY the best Balearic jazz funk track I had ever heard. The warm sound, the melodies, the drum computer beats, the solos - everything was almost too unreal to believe. I really didn't understand why Boberg and Simon never considered that some of their early works could be of interest to other people. But they simply thought of it as some sort of learning curve remnants or simply forgot that the music existed."
The story goes on - but we are going to end it here for now. The vinyl single "At The Hilton" is now available. Once you hear the songs we are sure that you'll agree that the music by Ghia needs to be heard and shared with the world.
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»HD+« is a data dvd, documenting uwe schmidt's aka atomTM's visual aesthetics for the first time. the conceptual engagement with and the critical yet diverting examination of pop music that's always delivered with a twinkle in the eye is a central topic of the musician's diverse creative work and cer- tainly included in this visual presentation of it. together with the second remix ep »riding the void« to be released this summer, »HD+« marks the provisional completion of atomTM's »HD« cycle. besides tracks from the »HD« album (r-n147), the video collection does as well contain tracks from other atomTM recordings such as »streuung«, originally released on »winterreise« (r-n140), and tracks taken from external releases such as »praezision«. in order to present the video material in high resolution and at the best quality, no special format- ting was used, but for playing the videos, the following system requirements have to be met: OS: Mac OSX 10.5 or later, Windows 7 or later processor: 2.4 GHz Intel Core 2 Duo or faster RAM: minimum 2 GB video RAM: minimum 512 MB furthermore, we have to thank the following people who helped realizing this complex work:
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![Camilo Gil & [ONE+1] - Panorama EP](https://www.deejay.de/images/l/2/3/996323.jpg)
