Suche:miss d

After 7 club-orientated releases that have found their way into a wide variation of record bags from Midland, Raresh, Ricardo Villalobos, Ryan Elliot, Craig Richards, to Patrick Topping, INSTINCT goes further into his sound over 10 tracks for the LP. Not to be missed.

Following on from the release of a spilt EP from rising stars Gramrcy and Gaunt late last year, GlassTalk Records returns in 2019 with the sophomore EP from Bristol's Henry Greenleaf, "Patent".

The unassuming producer has been making waves with his bassy 130bpm productions which seem almost custom-made for the later hours of dark club settings.

Since his debut release on Par Avion last November, Greenleaf has been focused on increasing the sonic scale and clarity of his work; something that's apparent on the whole of "Patent" but especially on the opener, "Inch". A true 'creeper' of a track, the groove and harmonic arrangement of the 3-minute build-up is somewhat

entrancing but then gives way to a head-wringing breakdown.

True to his previous output, Henry doesn't sit still stylistically on "Patent". The EP's second track, "Tare", moves away from the 4x4 structures of "Inch" and into more syncopated territory previously occupied by producers like Mickey Peace or Paleman. "Tare" is a masterclass in polyrhythms with all manner of kicks, claps and vox samples skittering over each other. This deft use of drum programming is complemented by serene and uplifting synth sections, cleansing the tonal pallet before the beat forcefully drops back in.

On the B-Side, "Caved" keeps the energy and the tempos high with supremely processed high hats and a rumbling low-end landscape. Here Henry Greenleaf's adoration of Paula Temple's music shines through more than ever. Much like her output, it's kind of hard to know which way is up in "Caved" with its ever-shifting

palette of sounds and grooves.

Closer and EP title track "Patent" is probably the vastest song Greenleaf has created during his recent mission to grow his productions in scale. It's a mammoth techno track with a pulsing low-end juxtaposed against some sporadic & icey synth pads.

This release solidifies Henry Greenleaf's already hard-to-dispute status as one of the leading lights of the 'Bristol sound'. Almost impossible to define; his work sits in that amorphous sweet spot where techno, dubstep, garage and a load of other UK influences bleed into each other to form something unique. Put your headphones on and let the grooves swallow you up.

2x12"

Adam X’s highly respected, deep, science fiction laden, Traversable Wormhole project celebrates its 10-year journey with a first full-length studio album titled Regions Of Time. Lying mostly dormant since 2012, with a cameo appearance on Hospital Record back in 2016 with two tracks, TW is now fully awoken from the long travel through the space-time continuum with eight new songs of thought-provoking, psychedelic, bass-heavy, galaxian techno.Adam X’s back catalog is, of course, vast, spanning over a period three decades under several aliases. The New York native recently released his devious escapade through rumbling EBM and industrial techno in the form of his full-length album Recon Mission, released under his Sonic Groove Imprint. With this project being under the Traversable Wormhole alias, be sure to expect a completely different facet to X’s repertoire of pounding excursions.

Step through the wormhole portal and take a deep cerebral mind trip into “Regions Of Time “

Crepuscule presents The Scottish Affair (Part 2), a vibrant live album by iconic Scottish guitar group Josef K recorded at the historic Beursschouwburg arts centre in Brussels on 8 April 1981.
Pressed in a limited edition of 1000 copies in clear vinyl, the sleeve features original 1981 poster artwork by designer Jean-Francois Octave printed in black overlaid with metallic gold pantone. The inner bag includes period flyers and images, as well as quotes by Paul Haig, Malcolm Ross, Alan Horne, Michel Duval, Annik Honore, Allan Campbell and Bert Bertrand.
Best known for their association with Postcard Records, Josef K also recorded two singles for Belgian indie Les Disques du Crepuscule (Sorry For Laughing; The Missionary), and also taped studio album The Only Fun In Town in downtown Brussels. The group first performed in the city on New Year’s Eve 1980, playing a riotous show with Orange Juice and Marine at legendary warehouse venue Plan K, and resumed their ‘Scottish affair’ with Crepuscule the following April, cutting their album in a matter of days and performing at the Beursschouwburg as well as a small youth club in Lier three nights later.
 At the Beurs show Jokay rattled off 10 songs in just half an hour, with journalist Bert Bertrand noting “several good reasons to get excited” about the visiting quartet. Adds guitarist Malcolm Ross: “We played four dates in Holland on our way to Brussels and then recorded the album in about five days. So we were pretty tight and Paul was in good voice.”
 Recorded from the mixing desk, all 10 songs have now been newly re-mastered for issue as a vinyl only album, The Scottish Affair (Part 2).

With absolute devotion Shook has created an exceptional listening experience in which timeless influences of Hiroshi Yoshimura, Ryuichi Sakamoto, Steve Reich and Erik Satie are honored and thoughtfully integrated in his modern, energetic sound. Shook merges Japanese ambient and Indonesian gamelan with an uplifting mixture of electronic pop, jazz and funk. Inspired by city pop, techno pop and ambient Music for City and Nature spreads a new light on the contrasting balance between what we make and what we are. Shook: “In my 5th album I tried to document my emotional and mental state at this point in my career. It is inspired by the conflict between the energetic and busy city life and the calm, warmth and peace that nature gives. It isn’t a city ‘versus’ nature album though, it is about daily life existing in a gray area in between. I try to find a balance by connecting both sides. We can build a future in the city, but we must not forget that nature is our future.”

LIMITED EDITION 500 ONLY COLOURED VINYL LP WITH DOWNLOAD CODE IN GLOSS FINISHED 350GSM BOARD SLEEVE

Way back in 2004, ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. released the CD only album 'Minstrel In The Galaxy' on Riot Season Records. The decision to make it CD only at the time was down to the epic title track being almost 42 minutes in length. Fast forward fifteen years and new technologies and we have the first ever vinyl release of this classic album, with a new edited especially for vinyl mix by main man Makoto Kawabata.
 
What we said back then ...
 
‘Minstrel In The Galaxy’ is the sound of the newly slimmed down four-piece AMT recorded in their smoke filled basement Studio in Nagoya during summer 2004. The sounds captured on these three tracks are the first post-Cotton Casino AMT workouts. The diminutive beer and cigarettes goddess has upped sticks and moved to the USA to start a new life and plan her solo career. We’ll miss her that’s for sure but we can’t worry about that now, AMT have another ten albums to lay down before New Year.
 
The AMT line up for this album features the core trio of Makoto Kawabata (Guitar), Atsushi Tsuyama (Monster Bass), Hiroshi Higashi (Guitar & effects) and new permanent drummer (and ex-Mainliner man) Hajime Koie (Drums). The free jazz style drumming from Hajime has helped give AMT their sense of improvisation back, most of their work is improvised and recorded live to tape which gives that great loose feel they have that takes them off on tangents and makes each new record that little bit different from the last. And with this new studio album I think we can safely say it’s something of a new direction.
 
They’re joined on this album by Japanese underground queens AFRIRAMPO, who’ve just finished a tour with Sonic Youth and look set for big things themselves in the near future. Musically this album is a slight departure for AMT, anyone buying it expecting a head-melting riff heavy record are going to be disappointed.

To these ears ‘Minstrel In The Galaxy’ sounds darker and more stripped down that any previous AMT release. The title track alone lasts a staggering 41 minutes, over the course of which the band take our heads in a few gentle directions before letting rip towards it’s crushing finale. For me it’s the gentle openings that make me tick, I love the way it rolls for what seems like ever just going round and round in your head. You almost expect it to explode way before it does and that my friends is the art of foreplay AMT style!

Planning the imminent arrival of the 50th release on Touchin’ Bass, label boss Andrea Parker was digging through the warehouse during a stock take and it became apparent that there was something missing. There was a gap in the catalogue numbers. Where was TB036? Searching the archives it transpired that, for one reason or another (not least Parker’s inability to count), there actually wasn’t one.

So what better way to backfill this now documented gap than to welcome the multitalented guitarist and drummer, mathematician and multidisciplinary improviser Maria Gamboa Perez into the Touchin’ Bass fold with an updated focus for 2019.

Perez combines elements of rage, chaos, tension and anguish to form a visceral style. Her musical terrain and talent is shaped by dissonance and NO art. Under the moniker NonZero!, Perez brings Matrix Equation to the fore; a heavy 8 track EP with electro aesthetics from none other than Carl Finlow Scarletron/Silicon Scally/Voice Stealer.

Beginning her artistic career as a teenager playing as a bassist and guitarist in groups with influences from Noise, Avant Garde and the No-Wave, Perez was introduced into several areas of electronic music during the club culture years in Madrid and opted for styles such as Electro or Industrial, at which point she began to be interested in the introduction of rhythm boxes together with traditional drums.

Her passion for sound synthesis and musical exploration led Perez to introduce electronics into a solo project under the pseudonym NonZero!. Under this name she aims to make electronic music her field of sound research and for years has been continuously searching for existing relationships between sound and mathematics, focusing on the perceptual limit between music and noise.

Matrix Equation indulges in an evidential brooding angst, shifting between abstraction and the kind of elevated introspection carefully harvested over the years. With dramatic frontage in parts, blasts of boisterous energy and machine mayhem, its deployment of surprise, shifting focus and spontaneity operate in an assured statement.

Splintered beats and a foreboding sense of tension give way to a more DJ friendly logic of instinctive introductions and codas of gradual builds and breakdowns as Finlow further reworks the results to great effect.

Having returned from a 4-year break in August with its latest release from GW & Henry, A&R Edits follows up with a debut for Moplen.
With a recent remix of Frankie Knuckles ft. Jamie Principle and a Salsoul Reworks EP, Luca Moplen has been gaining new traction of late, so it felt fitting to release two of his evergreen edits on vinyl for the first time. Moplen’s edit of Tavares’ classic disco stomper ‘It Only Takes A Minute’ coupled with Greg Wilson’s edit of Moplen’s edit of Larry Levan’s mix of David Joseph’s ‘You Can’t Hide (Your Love From Me)’, if you can follow all that!

An all brother group hailing from Providence, Rhode Island, Tavares were a band that evolved with the disco sound, hitting their peak in 1976 when both ‘Heaven Must Be Missing An Angel’ and ‘Don’t Take Away The Music’ became huge club favourites. They scored their first R&B #1 in ‘1974 with a cover of Hall & Oates ‘She’s Gone’ and in 1975 they returned to the top of the R&B chart whilst going top 10 pop and scoring a #2 Disco hit with ‘It Only Takes A Minute’.

In 1992 a cover by boy band Take That would gift them their first top 10 entry, many people unaware that this track had first been recorded 17 years earlier. Rising to prominence in Brit-funk band Hi-Tension, David Joseph soon found his footing as a solo artist after they’d split, with his first release being ‘You Can’t Hide (Your Love From Me)’ in February 1983.

That same month, Greg Wilson appeared on The Tube, mixing between two copies of this very record – the first time mixing had been demonstrated on British TV. It would subsequently enter the UK chart, climbing into the top 20. The track would then be remixed by legendary Paradise Garage DJ Larry Levan, resulting in a #2 placing on the Billboard Dance chart.

Upon hearing Moplen’s extended dub edit, Greg worked further into it reintroducing the song – given his history with the track it was unthinkable that he’d play it without the vocal. The result is a unique version where Moplen’s dub sets the vibe during the first half of the edit before the song is finally introduced.

E-Missions co-founder P.Leone returns to Radio Slaves’ Rekids Special Projects dropping four high grade techno cuts. Known for releasing on labels such as Work Them Records and his own co-run E-Missions, P.Leone has firmly become of the most exciting artists within the inner circles of driving underground music. The Berlin-based American artist and Radio Slave collaborator is now welcomed back to Rekids, bringing his versatile sound that encompasses dark techno and groove driven house. 'Beyond Me' opens with eerie warehouse glitches, cavernous drums that ring out into a huge open space while unsettling pads and textures grab your attention, 'Hard to Find' is a rugged, relentless cut with perfectly forward moving rhythm with detailed edgy synths that keep you in suspense. 'Lenox' continues the energy with distorted drums, hitting hard beneath a blistering groove, 'The Genes is of A Flower' then takes control as an atmospheric track with structural synths.

Italian producer and Fine Human Records label head Dino Lenny lands on Crosstown Rebels for the first time this November, bringing his distinct and personal style to the label on the absorbing Doctor, also featuring a remix from Nuiton. The haunting, emotive vocals of Dino impress throughout on Doctor, chugging groove moves alongside waves of dark electronics and panic-struck, devilish synth. A track crafted to capture the inner workings of Lenny’s mind, transforming them into a hypnotic piece. Nuiton remixes Doctor on the reverse, adding energy to the original with skipping hats and quirky arrangements, building tension that reaches an intense jazzy crescendo of percussion and brass to leave you in a headspin. On the digital release a dub version loses the voice but retains the mysticism. With almost 30 years of releasing records under his belt, Dino Lenny has naturally built an incredible back catalogue of remixes and collaborations. He’s worked with some of the biggest names in the business, yet his productions retain a unique style that is all his own. A true lover of the 80s, when he needs that extra touch he will add his vocals to the music, always trying to deliver something original that will stand the test of time, often opting for imperfect unique experience over precise emotionless never-ending loops. Alongside this, he has remixed huge names like Missy Elliott and Timbaland and has collaborated with legends including Madonna, Wu-Tang Clan, Seth Troxler and Dixon. Lenny has been named as “a wizard of electronic music” by the Chemical Brothers, played live with Underworld, released music on the likes of Crosstown Rebels sister label Rebellion, Innervisions, Diynamic, Cocoon & Correspondant, and is currently signed to Ellum. Constantly evolving his sound, Dino is unpredictable & eclectic.

Back in 2009 My Rules label owner Justin Van Der Volgen released a mix cd done completely with his own edits titled Try To Find Me Vol 2. The mix was received incredibly well and had fans scrambling for years to try and spot the track list. It earned a 4.5 review on Resident Advisor, and had a certain rather known and respected DJ opening their sets with it. Since then the status has only grown and is now considered by some one of the best mixes of all time. So to mark the 10 year anniversary Justin has decided to finally release two of the most requested edits from it.
On the A-side you get a high powered vocal cut from Peggi Blu which comes on like a lost Chaka Khan anthem.
Flip over to the B side and you'll find Gregg Diamond's charging string-laden disco trip stripped back into a hypnotising euphoric roller. Two peak time cuts not to be missed. Fully licensed.

orwegian techno institution Ploink launches annual series entitled Affinity with its debut release featuring names like Skatebård, HndS, Roeglin, Fraunhofer, and Priq. Based in Bergen, Ploink has been flying the flag for Norwegian techno for well over two decades, organising some of the country’s best events and festivals. Co-founded by Thomas Urv and Miss Mostly, the label was born five years ago and has since released music from an array of home-grown talent including Mental Overdrive, KSMISK, Prins Thomas, +plattform, Joaquin Ruiz, Christian Tilt, and more.

Launching the label’s new Affinity series, Berlina Für Techno’s Roeglin is first with “Norm” which opens with glitched stabs, vocals and a tight drum pattern. Picking up the pace, Fraunhofer- formerly known as Dortmund -returns to the label bringing a shuffling rhythm, crunchy cymbals and spacy synths in “Saturn”. Bergen dance music royalty Skatebård remixes “Wake Up” by London-based Scandinavian duo HndS, maintaining the energy with thumping bass and bouncing chords. Tying it all together, Norwegian producer and drummer Priq’s “Area” sweeps in with decayed keys, pulsing percussion and a gripping atmosphere.

Italy meets Miami via Holland - A truly international and classic feel all over this latest essential release from high Fashion music!
Disco powerhouse Moplen takes on this true-blue Disco classic from the legendary TK crates and turns in 2 brilliant and fresh reworkings of T-Connection's anthemic 'Do What You Wanna Do'. The A-side 'extended vocal mix' is a killer new version of this now cult record, as always Moplen's deft touch is felt in the tidy rearrangements and respectful tweaks, don't get it twisted though, this is prime-time dancefloor dynamite, it twists and turns in all the right places and still sounds huge. This new version and mix breathes some new life into this cut, a surefire inclusion in any DJ's bag for the next 30 years for sure. Don't forget, on the B-side, there's the mammoth 'Rollercoaster Dub', again Moplen steps up the heat on this version, it's exactly what you think it is, just under 9 minutes of dubbed-out T-Connection chaos, making this 12" a 'do not miss' release.

The “Under Frustration” project takes stock of the contemporary Arab electronic scene, and highlights its astonishing diversity, by deconstructing Western clichés that are still fantasizing about a culturally homogenous Arab world.
In a context of post-revolutionary disillusion, this ambitious trilogy sets itself as a manifesto of a new, futuristic, underground wave that aims to uplift the Arab voice, once again. With this new release, Arabstazy allows the listener to walk among Shiite, Shaabi or Stambali lands - revealing new mystical sounds, reserved for trance ceremonies and ancestral rituals; all vivid in the eyes of the collective members, musicians, producers, videographers and photographers, nowadays, scattered between the United States, Tunisia, Germany, France, Sweden, Irak, Lebanon and Poland.
Vol2 includes unreleased tracks of Dj Haram, Praed, Hello Psychaleppo, Okydoki and many more.
Curated by Arabstazy, produced by Shouka, published by InFiné.

We love pop music. You’ve probably noticed. Witness our vinyl love-ins with Kylie, Róisín and Cassie if this has somehow passed you by. So when Lou Hayter (London-based musician, style-DJ to the stars, one of our besties) asked us to put her sumptuous funk-lite hit “Cherry On Top” on vinyl it felt like a neat fit. But this isn’t just any old Be With record. We decided such a monumental track would make the perfect inaugural release on Be Pop, our new, most likely sporadically active, side-label.

For those not paying attention in 2005, Lou Hayter was the keyboardist in Mercury nominated electro-pop outfit New Young Pony Club (who were a really good band, beyond the hype, and arguably a little ahead of their time) and she is currently one half of electronic duo Tomorrow’s World, a project with Air’s Jean-Benoît Dunckel. Her comeback single “Cherry On Top” originally appeared in late October 2018, but as a digital only concern. Unsurprisingly it caused a blog stir (Gorilla vs Bear correctly gushed) and what seemed like 6 Music’s entire roster of DJs had it on repeat.

But it’s not a proper single unless you can buy it in a record shop. So accordingly we’ve issued it as a full picture sleeve 12", pressed on white vinyl. And just to make certain, the instrumental and a cappella are on the flip. This is our homage to the classic dance/pop 12" singles of the late 80s and early 90s.

Riding an infectious sample of Marc Jordan’s yacht-rock classic “Generalities”, it’s a glistening, sun-soaked daydreamy jam, perfect for convertibles, pool parties, and roller-discos. It’s quite delicious. Whilst it’s pop without question, it wouldn’t be a Lou Hayter track without ice-cool nods to other magical genres; with Italo flecks and dream-pop vocals, this is cherry coloured funk indeed.

“Cherry On Top” screams “Mighty Summer Pop Radio Anthem”. We might have just missed the end of Summer 2019, but this 12" comes out just in time for every summer from now until the end of time.

Autarkic describe himself as first and foremost a songwriter but he has also made a name for himself as an international DJ. Over the past three years the musician based In Tel Aviv has, with great success, played clubs throughout all of Europe. One extra memorable gig was on last year's edition of Convenanza in the amphitheatre in Sete, France. Rumour has it that the sea living mammals of the area flocked in large groups in the waters below during Autarkic's gig.

This 12'' record is his first release on Hoga Nord Rekords and the slightly psychedelic, sample- and synthesiser based club music that has become Autarkic's trademark sound is captured by an impeccable production. The music is playful, yet stripped down to the essentials and not overloaded. The vocal elements works more as percussive elements than the carrier of the storytelling in the music.

If you missed him live or just don't have the means to go see him, this record give a taste of Autarkic's hypnotic live performances!

We’re proud to introduce “Afroderrick EP” by Voodoo Sound Club, the brand new 12” release on Mondo Groove. Afroderrick is a storming afrobeat track with special guest legendary italian trumpeter Roy Paci that originally came out on Guglielmo Pagnozzi’s Voodoo Sound Club project’s debut CD album on Cinedelic Records, “Same”, on 2011. The track became kind of a cult during the years with many DJ’s asking for a vinyl version. And here it is, in its full glory, the original itself opening the B side, followed by a solid breakbeat “Voodoo Strange Fruit Remix” by Detox, with the A side massive with another couple of interpretations, an euphoric house “Fresco Remix” done by Leo “Fresco” Beccafichi, DJ and producer and collaborator of Italian popstar Jovanotti, and another remix this time in trippy Afro style by heroes Daniele Baldelli and Marco Dionigi. You can’t miss this!

Moon Diagrams is the solo recording project of Deerhunter co-founder and drummer Moses John Archuleta. Two years after his acclaimed debut album Lifetime Of Love, Archuleta returns with Trappy Bats, a mini-LP that interweaves three brilliant new Moon Diagrams tracks with radiant reworks from Shigeto, Angel Deradoorian and Jefre Cantu-Ledesma. Trappy Bats was largely recorded in a single night as a means to process the intense intersection of Archuleta’s social, political and personal hysteria. Having been arrested for an unremembered missed court date, Archuleta spent 24 hours in a holding cell, offering ample time to reflect on his life, the current state of the nation (the jail televisions were showing a constant feed of the then-active Unite the Right rally in Charlottesville) and the other inmates. Upon being released the next day, Archuleta found himself suffering from a bout of insomnia and feeling the need to process everything through music. Here, Archuleta is in his freest and most grateful state, channelling the turmoil and confusion he was experiencing into an unencumbered fit of creativity. It’s pure, unadulterated escapism with an even more callous palette of sounds than before, clearly split between two moods. On what you might call the ‘up’ side, the title track could be the sonic spawn of Not Waving and Terrence Dixon: a snarling mix of percussive clatter and washes of orchestral tones coalesce into a pulsating groove across its almost 12-minute runtime, the underlying ’80s aesthetic making it feel like a turbo-charged Shep Pettibone remix of New Order, looped to infinity. Detroit electronica don Shigeto goes even further and implodes the track into a kaleidoscope of bone-jarring, viscerally giddy dance music. Over on the ‘down’ side, ‘Wipeout’ is a slow-motion waltz of dusty piano and clattering percussion loops that coolly stumble along with the woozy, nocturnal flare of The Caretaker or Philip Jeck. The haunted reverie ventures even deeper with a beatifically electrified ambient re-imagination by Jefre Cantu-Ledesma. Daisychain’ goes almost completely off the grid, offering up a sweetly submerged slab of constantly evolving murkiness in the vein of Demdike Stare or a dosed Andy Stott. The sweet shuffle levitates even higher with a celestial re-interpretation by sonic visionary Angel Deradoorian, formerly of the Dirty Projectors. The end result is an extended traipse through Saturday evening fever-dream techno, Sunday morning cigarette jazz-pop and every blank thought in between.