Spazio Disponibile hits release number 13 in style with a collaborative effort between label co-founder Donato Dozzy and longtime friends Retina.it. It is a typically experimental release that features five weird and wonderful tracks, seeing the label taking yet another dip into the more leftfield areas of electronic music.
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On this joint EP with Reggie Dokes, Gari explores the world of deepness without hesitation. He takes us on an intergalactic mind trip, while keeping it true to the dancefloor.
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On the A side is Reggie Dokes, who gives us deep house, then without shame moves us into that Detroit style of techno, cultivated by the Motor City. Mr. Dokes likes to walk in both worlds of house and techno, and not confine himself to one particular genre. This EP is the perfect
marriage of two creative producers, who bring excitement and inspiration to the dancefloor.
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Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018.
The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature's own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit's recordings, they volunteered to edit the lead track Illogical Lullaby.
Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit's accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.
It was at the age of 16, during a trek in Nepal to the Buddha's birthplace, when she realised singing was her calling. While staying at a women's temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice, a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.
The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side, the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.
The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature's many sounds, a language that isn't logical. Yet it forms a beautiful conversation that isn't restricted to words like the human language is. I want my music to remind us of that.' — Hatis Noit
Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit's own vocal chords.
The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit's full range and introduces a truly original artist.
Previously only available in Japan, Illogical Dance will receive a worldwide release on 23rd March 2018 including a first edition on 12' vinyl. After participating in a ceremony for memorial and appreciation tailored to the withdrawal of the evacuation area in Fukushima on 31st March 2017, Hatis Noit collaborated with renowned visual artist Nobumichi Asai on a project titled INORI (prayer) which they premiered live as part of an Erased Tapes showcase at Mutek Japan in Tokyo.
Having recently moved to London and performed a first string of UK shows, followed by a special live performance at the Milan Fashion Week and Mutek Japan appearance, Peter Broderick has invited Hatis Noit to support him at the Jazz Cafe on April 15th. She's also been announced as part of this year's Sea Change Festival line-up, and asked to participate in a workshop with the London Contemporary Orchestra.
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Detroit producers Omar S & Brian Kage team up to bring you Thru the Madness EP.' Thru the Madness' has all the elements of a classic dance music collaboration.
The tune showcases Omar S raw and funky analog bass playing and drum programming combined with Brian Kage signature warm melodic synth lines and chord structures. The clever use of a catchy 90's vocal sample helps solidify and unify the composition.
Thru the Madness (Honk & Nik Mix)' takes a deeper approach by adding a deep Detroit-style DX pad, Nile Rodger-esque funk guitars parts, and vintage drum breaks that will keep the party moving into the late night hours. Like Dutch & Dillon from Predator, some times you gotta Get Thru the Madness!'
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Since the release of their critically acclaimed debut album in 2013 on Names You Can Trust, La Mecánica Popular has quietly been contemplating the evolution of the group's sound, philosophy, and overall approach to making music. Band leader Efraín Rozas' experimental nature has continually pushed the boundaries of his own definition of not only Latin American music, but its broader relationship with music's global culture and history. The sound of "psychedelic salsa" that LMP helped capture in their debut was destined for further outside-the-box interpretations, and with the formation of a new quintet lineup over the last few years, LMP began to incorporate a more free, improvised and instrumental-focused performance of Rozas' increasingly radical compositions. The band subsequently took this liberated approach directly into the studio, recording Roza Cruz live, in its entirety. It was a cathartic experience, a necessary methodology for the new album's concept that embraced the intimate performance of its players and did away with standard techniques of isolation and overdubs.
The evolution of the band's sound on Roza Cruz brings forth a blend of styles rarely heard together, a touch reminiscent of electric-era Miles Davis or Eddie Palmieri at his most experimental, as the driving force of timbales and congas provide a bed for a wave of lush, analog amplification that mirrors the dueling leads of fuzz guitar and electric piano. But as far out as those instruments take the listener, the raw rhythm — the clave — always keeps it tethered to the earth and the dance, a cerebral yet visceral gift for the mind and feet.
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Black To Comm's Marc Richter returns under his Jemh Circs guise for a 2nd album of sonic abstractions. In contrast to Black To Comm's analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations.Using similar esoteric methods as on his 2016 debut album but with very different results the record deconstructs the hypermodern sound of Pop Music with a Post Punk attitude, energy and primitivism. Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style."(untitled) Kingdom" converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives, completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.Some press clips for previous releases:The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We'll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred / The Sound Projector) In that way Jemh Circs is a record about process - not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they're pulled from their original context. (Marc Masters / The Out Door) Recycling random audio off YouTube, Jemh Circs' process couldn't be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne / Pitchfork)
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rRoxymore returns with the latest instalment in her Thoughts of an Introvert series. The first part, which hit stores in 2017, was born out of introspection and a yearning for solitude. Tracks like 'Prodrome,' which refers to symptoms indicating the early onset of an illness, seemed to reflect a global weariness, a head-nodding, late night search for comfort and respite. On part 2 though, a new energy is evident in the tracks.
'This Is Not What You Think' shrugs and fizzes with resilience, it feels like a maniacal, primal release from frustration and anguish. 'Run... Feet' finds an even more optimistic, upbeat bounce, not far from the stomping house euphoria of her first outing for DBA, Organ Smith, but with the newfound confidence of an artist who is pushing both technology and style to the outer limits. 'Mythical Technology', meanwhile, is a dancefloor-ready paean to techno's own futurist manifesto.
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Wave Stu might just be the Platonic ideal of icy, emotionally fraught synth-pop. On his debut release for Origin Peoples, Stockholm-based musician Michel Isorinne puts paragons of this style like Orchestral Manoeuvres In e Dark in his slipstream. Laced with spoken-word passages from films and television shows, Wave Stu weaves a loose tale about the nature of time, physics, and mortality that can be summarized by the key phrase, uttered by a woman scientist somewhere throughout the album, 'magic is in the molecules...'
Isorinne essentially creates introverted minimalist symphonies in which sprightly synth leads peacefully coexist with melancholy, drone-y undercurrents. Throughout the record, Isorinne's melodies bear a fruitful contrast between the morose and the jubilant. He repeatedly places exceptionally delicate and beautiful tunes amid subliminal waves of pensiveness. It truly is a masterly balancing act. e zenith of this approach is Side A's closing track, in which gorgeous countermelodies intertwine like lovers on a tropical beach while a pistoning rhythm pumps up the libido. It's instant paradisiacal bliss.
Side B contains Wave Stu 's most cheerful, uptempo track yet it never bursts into full-on euphoria. Elsewhere, Isorinne reverts back to more somber moods: an eerie, methodical chiller full of quiet wonderment and subdued sparkle reminiscent of Casino Versus Japan, Plone, and others of their gnomic ilk; a low-key anthem in which '70s Vangelis grandiosi meets the workmanlike bass-synth chug of Ulrich Schnauss; an elegiac piece that conjures an intimate majes ; a bass-heavy dirge festooned with forlorn wisps of melodiousness.
The complex, paradoxical happy/sad pendulum at the heart of Isorinne's music lends Wave Stu a tingly resonance that will reward repeat listens. Please welcome an extravagantly rich synth-pop classic.
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His latest release I KNOW from Elypsia Records is a quintet of Detroit inspired remixes of the song 'I Know'. Inspired by Kevin Saunderson, his original TECHNO MIX (7:06) is a hardcore and high energy track with intensity to match the wildest of crowds. The EP also contains 3 remixes of the track, each exposing and accentuating the brilliant aspects of his complex tune. It begins with the LUCIEN FOORT REMIX (6:41), a lively big room hit with a punch fit for an epic Saturday night. UK MIX (6:46) follows with subtle electric melo-dies and rhythmic drum and bass patterns that give listeners the feel of wonder and excitement under a clear starry sky. With a clean and gravitating groove BIT FLOAT REMIX (7:42) would fit perfectly in any Ibiza party with flair and style. This release is a masterpiece of its own and nothing less than the product of a man who was born with beats and melodies ingrained in his soul. For Orlando Voorn, making music is more than a way of life, it's a necessity. From the early age of 9 his natural intuitions became apparent when his drum teacher told his parents he could play everything that was shown to him, even though he had no ability to read a score. He began to DJ at the age of 12, and 3 years later won the World Mixing Championships of 1983 at just 15 years old. Steve Clisby, from the popular American band 'American Gypsies', recognized Voorn's ability and taught him chord structures, which gave him the tools to begin composing tracks using keys and bass. His artistry then took off, making a name for him-self with his vibrant dance tracks under the alias 'Frequency". Today, he's known as one of the Netherland's most inventive and ingenious producers in the world of electronic dance music. Having produced a wide variety of music under a number of monikers including 'Fix', 'Format', 'Urban Nature' and 'X-it', his diverse ability stems
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AB SYNDROM, the Berlin Duo, is coming with their third album. PLASTIK is a bit like the coming of age album of the band. It tells stories of growing up emotionally and being played into a hard and post capitalistic environment. Nevertheless you will find some quite romantic lyrics and songs between lyrical metaphors and a rough and urban reality in Berlin Neukölln, their neighborhood. The music on PLASTIK is mainly a percussion driven and electronic laden journey. Not your average pop arrangements but subtle compositions and laid back vocals with a certain chopped and screw twist. The bands musical projection is a most consequent advancement of their three albums and their body of work so far. Bennet Seuss, singer and composer is defining his own style in writing autobiographic lyrics with a certain twist to the obscure and umtransparent. A great album for sure. Tracklist LP A Seite Keine Geister Feng Shui Patchwork Waterboarding U8 B Seite FFM Fake Starring Contest 2009 Hattori Hanzo Schwert Deephouse und Tiefenrausch
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"Emotional Rescue begins the first in a series of reissues looking at the music of guitarist Carl Weingarten and his Multiphase Records label, starting at his highly sought after collaborate album with Walter Whitney, Dreaming In Colors. With an early interest in photography and Super 8 film leading to a degree in cinema production, Weingarten's other, self-taught, love was the slide guitar. Taking its blues roots and merging them with his visual arts background created a unique "painting in sound" style of playing. While looking to break into the film industry he began writing and recording his own film scores and other music for modern dance companies. From this, he founded Multiphase Records in St Louis in 1980. By the time of Dreaming In Colors, the label had released a series of cassettes and vinyl albums offering abstract, experimental, jazz-fusion, new wave and increasingly, new age compositions. Throughout this period the work of engineer, keyboardist and programmer, Walter Whitney was often present and by the 1985 release of Dreaming In Colors the duo had collaborated for a number of years and released several projects together, most notably as members of the Delay Tactics band. Recorded during off days from the Delay Tactics sessions, the album came together at Whitney's Subterranean Sound studio with a focus away from the bands guitar driven instrumentals to explore a multilayered approach to synthesis, blending textures with Whitney's original samples and sound design, while Weingarten's guitar moved from shining solo moments to complimenting the overall oeuvre, all with heavy washes of delay. This ecumenical approach led to the creation of this compelling album. A masterful conceptual whole that is linked by rich melodies and a concise playing style, heavy on substance while never forgoing the uplifting vibrations. "
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The Fame-Beats' Davey Lane and Rusty Hopkinson are known to some as long time band mates in celebrated Australian rock-and-roll group You Am I. These two plucky charmers share a keen interest in Hamburg era British pop and it was on a stroll down the Reeperbahn that they decided to commit their love of all things BEAT to tape.
The Fame-Beats motor along a Cuban-heeled path from Merseybeat via the Medway, doffing their caps at favorite big-beat-acts, such as Bern Elliot & The Fenmen, The Milkshakes, Russ Kruger and of course that most Fab Four, along the way.
DON'T TELL NO LIES is the sad tale of a young man spurned told with the aid of chiming chords and soaring harmonies.
THE WATFORD STOMP is a reckless Cavern styled romp that demands you to DANCE.
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The turning point between Pumpin tribe and « back to techno »... X-tech have always been a bit electro and on this EP he defently goes for it... This is the successfull turning point for his artistic choice. Even if you can still feel the acid, and the pumpin and the breakbeat of a classic tribe tune, there is here already the elcrto (this is a Marseille thing), the down pitch to more reasonable speeds, and aslo the variety of style into a single, witch was kind of a revolution and will always be ! A breilliant record that deserved a descent repress ! Was mastered and cut at DK Mastering, near toolbox. Brightening old this old DAT before it's too late !
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The new release features 6 tracks and follows Julien's critically acclaimed debut album, Fallen. Released in 2016, the autobiographical LP was a bold new direction for Julien, and the first release under his birth name. Over the years, the Apron Records boss' bold, experimental electronics, jagged club cuts and outside-the-box collaborations have seen him carve out a lane all of his own making. His debut LP was divided into two musically contrasting sides, and told the tale of a fallen angel though jazz-fusion, chiming soundscapes and dark acid-tinged techno.
Since his album release, Julien has continued his creative streak by playing across the globe, from Tokyo, Seoul and Shanghai to Montreal and Melbourne, and further developing his label, which released a string of underground 12's in 2017 from the likes of Max Graef, Hanna, Molinaro and more.
On 'Bloodline', Steven continues the soundtrack style mood of 'Fallen' - channeling ominous analog techno, drifting synth-house masterpieces, warm soul and hints of new age. Both the title and artwork is a nod to the influence of Julien's family on his rich musical world and distinct nonconformist style, explaining how: 'the influence my family has given me growing up and my ancestors from Africa to native Indians from the Caribbean, has all played a big part in the music I create.'
Recorded in Apron Studios based in East London, each track on 'Bloodline' also features a tr808 or a piece of a 808, as a dedication to the iconic Japanese engineer Ikutaro Kakehashi, who passed away April 2017. The much-loved Roland founder and TR-808 creator revolutionised electronic music in the 1980s and 90s.
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· Bart Davenport's 7th album since his 2002 solo debut
· West Coast yacht rock meets '80s English pop
· Produced by L.A. Takedown's Aaron M. Olson
· Confirmed live dates in Los Angeles, San Francisco, Portland, Seattle, San Diego, Vida Festival (Spain)
Recorded in Boyle Heights, Los Angeles, Blue Motel is the new album by Bart & The Bedazzled, a brand new musical enterprise by Bart Davenport and his seventh album proper since his solo breakout in 2002. Alluding to Los Angeles with the lights down, it's an amalgam sound of '80s English pop and West Coast yacht rock jams, sprinkled with cinematic flourishes clearly influenced by the understated production of L.A. Takedown's Aaron M. Olson. The jangly pop aesthetic, resplendent with choppy chorus tinted guitar, snappy snares, sax and bass is underlined with life trodden stories about day jobs, dating, financial insecurities, lost innocence and most prominently, time travel.
The album lives somewhere in an imagined past (or future) that is curiously both the 1960s and 1980s conveying the groups's nostalgia for a fantasy world with a cheeky cynicism, despite a perception of a world that is, for Bart, on the downfall. To that end, Davenport's songs are, as always, delivered with a happy and sad sensibility reminiscent of the great Burt Bacharach. From the surreal yet humorous 'The House That Built Itself' to the sad surf music of 'Halloween By The Sea' or the romantic L.A. noir of the title track, Blue Motel arrives with a spoonful of tears, a nod and a wink.
The Bedazzled band lineup, united by their love of the 'Elegant '80s', includes the guitar of Wayne Faler (Dream Boys), drums, percussion and beats by Andres Renteria (Jose Gonzales) and post-punk bass lines from Jessica Espeleta (L.A. Takedown). The four friends from Los Angeles, united in their affection for the more sophisticated sounds of English '80s groups like Prefab Sprout and Style Council give the setlist a more distinctively pop flavour compared to Bart's soulful last outing on his album Physical World, also released on Lovemonk. Blue Motel features regular appearances from female vocalist Nedelle Torrisi (Domino, Asthmatic Kitty) who notably adds the lush layers of harmony on 'The Amateurs'. Saxophonist Billy McShane is also featured on three songs with improvisations that evoke the scene of whales in outer space.
Producer Olson often incorporates soundtrack and avant-garde elements in his own work. His gift for song arrangement, understanding of the synth and penchant for subtlety all shine brightly on Blue Motel.
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Med School's most innovative release series returns. Responsible for delivering the drum & bass scene early stories of Etherwood, Royalston, Stray and Whiney, 'New Blood' is definitive of Med School's ethos when it comes to discovering and nurturing quality talent. With artists constantly redrawing the boundaries of 170BPM, this '018' edition breaks the mould showcasing the weird and wonderful sounds from the genre's most promising new talent.
Interdimensional waveman Lakeway has mustered up a jukey-jungle hybrid in the form of 'Lock Off'. Panpipe synths and some big beat steps combine to make the ultimate banger. Keeping things correct is Bristolian serpent Constrict. Choppy snares and flirty 8-bit synth stabs slither together to create 'Tight Coil'. Both choice cuts for any DJ looking for that D&B curveball.
This internationally spread line-up also features some of Russia's best D&B exports. A.Fruit's 'Tender Love' is a delectable fusion of footwork and techno rolled into one and Soela's 'I Wish You Would Come' is an ambient spaced out down tempo number.
A myriad of styles from across the globe are the key ingredients for the 'New Blood 018' LP. Med School has once again proven its A&R prowess, signalling to the world there is no better home for fresh talent.
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From the redwood forests of Big Sur and the industrial warehouses of downtown Los Angeles comes PFEIFFER, a label dedicated to quality and a diverse musical output. Pfeiffer follows in the footsteps of labels such as Svek and Kompakt, known for releasing a wide range of techno and house with a common thread of unique and unpredictable energy. Looking to bring this type of eclectic curation into the modern era, Pfeiffer draws inspiration from the raw simplicity and effortless magnetism of its namesake location on the central coast of California.
The sophomore release from Pfeiffer is here, and with it new sounds and styles from the label's anonymous lead producer. 'Forgot' kicks things off with an off kilter, swinging groove and clever zany synth work to match. Shifting basslines bounce under classic Robert Owens vocals, evolving into a huge riff over the course of the tune. On the flip, 'Feel The Love' follows suit with a sub-heavy, stomping groove, staying in the deeper end of the spectrum. A playful synth riff grows throughout the track, weaving throughout the combination of chopped vocals, analog sounds and hand played percussion.
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The band Gruppenbild was named after Heindrich Böll's famous novel and was the first musical output by the versatile Stijn Meuris (Noordkaap, Monza). Drummer Frank Coonen would later go on to be a member of 90ties indie powerpop trio 'The Romans'. Also joining in here are Luc Vrancken (Bass), Marc Guffens (Guitar) and Stijn's brother Koen Meuris on the Keyboards. As legend has it Meuris got the idea of starting his own band through his history teacher in the small provincial town of Overpelt. Said teacher was the bass player of 'De Brassers', a by then already notorious new wave punk band who had made it to the finals of Humo's Rock Rally in 1980. Blown away by the sheer simplicity and power of De Brassers music, the teenage 5 piece Gruppenbild was formed that same year. Taking inspiration from both British postpunk cornerstones as well as Belgian bands like 'Siglo XX', 'TC Matic' and the Dutch band 'De DIV' 2 years later they too found themselves in the finals of the Rock Rally. Noordkaap (Stijn's future band) would win the contest in 1990. Onbereikbaar On the Gruppenbild 7' one can already hear Meuris' melancholic singing style and his ability to write excellent lyrics in Dutch that would define the future of his musical career. The Tranquillity EP was originally released on Blitz Records in 1982, this was the band's first & only release & has become quite the rare collectable that is fetching hundreds on the second hand market. Now finally back available as a limited 7' EP (500 copies), released exclusively for Record Store Day Belgium 2018.
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Cryovac Recordings enters a new sensible era of home grown production focusing on strong statements of personal style. Cryovac stresses a minimal approach to basic production with a simple soul to shape a tale of sound. The Broke Lighter E.P. is a versatile mix of characters that come together and combine their visions into one vista. This shared space of consciousness is translated to vinyl for your inspection. Cryovac Recordings continues to shine light on every corner of the Detroit Underground to expose a depth of talent that is overlooked.
The 19th edition of the Cryovac series is a moody stab at the heart of techno. It starts off with Disc Detroit's upliftingly melancholy 4/4 groover that transforms synth and turns percussion with a steady patience. Dutch Mike executes a smooth assault lead by a 303 harmony, backed by a heavy baseline and flanked by tricky programming that shifts cymbal formations. Vontell C. and his son Vontell F. sneak a dark vibe into the mix with a manic and excitable minimal ballad detuning and nodding out while detailing the burning of pretty things. Andy Garcia applies a minimalized Motown sound via strumming guitar, vintage vocals, and easy beat that rises and falls creating a serene phonic envirorment. Every track on the Broke Lighter is an opportunity to go in a new direction.
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