Buscar:modern art

After their highly acclaimed debut album »Decadent yet Depraved«, Berlin and LA-based producers Belief Defect invited a variety of artists to join their »Remixed« project. The following 12' EP is a first four-track release of this project. The original tracks of the album are only an approximate starting point for »Remixed«. In contrast to »Decadent yet Depraved«, largely conceived in song structures, this EP is about transferring the pieces back into abstract space, and each remixer does it in his very own way. Alessandro Cortini's one-take live recording is a lesson in classical ambient music. Telefon Tel Aviv's remix is timelessly modern and extremely delicate sound design. Rather opposite concepts are coming from Surachai's brutal pattern design and Kangding Ray's expressive and analogously saturated repetitions for the dance floor.

PLEASURE ZONE proudly presents F.E.L. - Modern Roads EP
F.E.L. is the artist group from Argentina featuring Franco Cinelli, Esteban Gutierrez & Leonardo Andres. The boys' debut is one of the highlight of the upcoming Autumn vinyl season - worth to check!

Martina Lussi's second album fuses together disparate sound sources with a disorienting
quality that reflects the modern climate of dispersion and distraction. The Lucerne, Switzerland- based sound artist released her debut album 'Selected Ambient' on Hallow Ground in 2017, and now comes to Latency with a bold new set of themes and processes.

The range of tools at her disposal spans field recordings, processed instrumentation, synthesised elements and snatches of human expression. The guitar is a recurring figure, subjected to a variety of treatments from heavy, sustained distortion to clean, pealing notes. Elsewhere the sound of sports crowds and choral singing merge, and patient beds of drones and noise melt into the sounds of industry and mechanics. The track titles manifest as a compositional game of deception complete with innuendos, empty phrases and claims - flirtations with perfume names and ironic assertions.

From the volatile geopolitical climate to the changing nature of music consumption in the face of streaming and digital access, 'Diffusion is a Force' is a reflection on fractured times where familiar modes and models change their meaning with the ever-quickening pace of communication.

A never before released version of a truly, legendary house record from the late great Frankie Knuckles...working in collaboration with The Frankie Knuckles Foundation who will receive 50% of the profits from this project, SoSure Music is proud to present the Director's Cut re-production of 'Baby Wants To Ride'. Alongside this, a vinyl exclusive edit by Jimmy Edgar, which was originally a tribute release after Frankie's passing in 2014, finally gets an official release.

2011 saw the launch of Frankie and long-time production partner Eric Kupper's 'Director's Cut' project, with the aim to release new music, whilst re-producing classic cuts to fit with the modern dancefloor. SoSure Music is now working alongside Eric Kupper and Hector Romero, with the blessing of both Def Mix and The Frankie Knuckles Foundation, to bring a renewed focus to some of this material.

First up, the illustrious, evocative 1987 anthem, 'Baby Wants To Ride'. Rightly regarded as a masterpiece of early Chicago house and a pioneering classic through and through. Knuckles and Kupper extend the intro and outro to allow for those sweeping blends, whilst adding deft touches and reprogrammed lines to give a crisper, more detailed feel to this sumptuous slice of definitive house music. Couple that with newly spiritualised vocals and fresh erotic ad libs from Jamie Principle and prepare to rekindle that infectious energy 32 years down the line.

On the B side, Jimmy Edgar showcases his trademark touch to provide a fresh spin on the original whilst staying true to its essence. Reworking the arps, adding atmospheric drops and crunchy percussive elements, whilst holding off on the iconic vocal till the last section, all combine to give this version a unique, big room character that nods to the past, yet reinterprets for the present. A fitting tribute from an artist whose own productions are clearly laced with influence from Frankie Knuckles.

The great jazz guitarist Kenny Burrell on one of his most celebrated sets of all-time. Recorded live at the Five Spot Café in New York City on August 25, 1959, this is the second set and the band is really cooking. Featuring the brilliant drummer Art Blakey as well as the wonderful, but unfortunately under-recorded tenor saxophonist Tina Brooks, Burrell's band is in tip-top shape on this set of compositions ranging from originals to Gershwin to Gillespie. An essential live jazz set for any fan of the golden era of modern jazz.

Diskotopia is extremely proud to kick-start 2019 with Girar, a four-track EP of new kaleidoscopic productions from Lisbon-born, London-based producer Silvestre.

Silvestre is no stranger to Diskotopia, this being his third release with the label, debuting with the gritty noise-and-thump Frank Pike EP in 2014, and following that up with the more buoyant, latinate Floresta EP in 2016. In addition to producing, Silvestre also co-runs the Padre Himalya imprint, putting out 2018's critically acclaimed Focus EP from tombak virtuoso Mohammad Reza Mortazavi, Renato's 2016 Alo Alo, plus his own Sport Theories and All The Things 12"s.

With the Girar EP, Silvestre presents four idiosyncratic cuts: the bubbling psychotropic mutant rhumba of Ir a Sagres, woozy spliff-house Deptford Bus, RC Surfer, a time-stretched reggaeton soundclash and the pseudo-jubilant breakbeat-house Everybody Is Happy; testimony of a truly unique and exciting artist in the modern current of electronic music.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

Colombian musician, Mario Galeano, the force behind the band Frente Cumbiero, and English producer Will Holland a.k.a. Quantic, joined forces in 2012 to create the celebrated Ondatropica project.

Recorded at Discos Fuentes in Medellin, Ondatropica exists to explore and expand the tropical sound of Colombia in its rawest form and to marry it with contemporary influences from around the world. The concept brings together an iconic group of top Colombian musicians representing both the classic and more modern styles of la musica Colombiana. Artists such as Fruko, Anibal Velasquez, Michi Sarmiento, Alfredito Linares, Pedro Ramaya Beltran, Markitos Mikolta and Wilson Viveros joined a group of younger Colombian musicians, members of both Mario's band Frente Cumbeiro and Quantic's Combo Barbaro, to (re)generate the excitement that positioned Colombian music as one of the most influential in South America.

Ondatropica's eponymously titled double album fuses traditional Colombian styles such as cumbia, gaita, champeta with boogaloo, ska, beat-box, MCs, ska, dub, funk and creates a progressive collection of 26 tracks that re-interpret the tropical musical heritage of Colombia with new approaches in composition, arrangement and production.

Vinyl limited edition, includes lyrics booklet, white vinyl, silver layer printed on cover art, % donated to charity.

To be released on World Mental Health Day, part of the album's proceeds will be donated to a UK-based mental health charity. 'I often wonder how sadness moves through people,' Emika says, 'through time, through stories and history, and if it's something that becomes us rather than coming from us.'
% of album sales will be donated to charity Help Musicians UK
emikarecords. com Invites fans to anonymously share their experiences of depression and create a waterfall of comments inspired by the song Wash It All Away
Studio video promoting the album via Soundcloud, Autumn
Live / DJ video, promoting the album with Beatport, Autumn
Live streaming of the album from Emika's studio via FB, Insta, YT, September.
Bookings by Christopher at Melt Bookings. Team chose to give fans time to listen to the album first, shows starting early 2019, special album show with live band and dome visuals planned in the Berlin Planetarium Feb 2019. A few promo shows summer / fall 2018.
Boiler Room live show as part of Open Dance Floor series tbc
* Given its years of manifestation behind the scenes of other projects, Falling In Love With Sadness reflects a renewed understanding of Emika's own genealogy, kindred lineage and its connection to modernity. Marking a drastic departure from the menacing, stripped-down qualities of albums past, Dva and Drei, Emika has surfaced with a new upwelling of sound gracing the bittersweet, melancholic and sanguine.

* With the interplay of myriad genres both rhythmically and melodically intertwining between spacey, dub tinged Promises, lush synth pop hooks on Escape and the title track's soulful electro, a full spectrum of musicology remains primary to the ever-evolving chroma of Emika's umbrous sound.

* Further characterised by the breathy sibilance and sultry tones of Emika's noirish, vocal aesthetic, the album navigates through the morose and trappings of misanthropy by illuminating a narrative of emotional resilience and recovery.

* Co-produced with Robert Witschakowski of The Exaltics, and continuing her collaboration with guitarist Chris Lockington (as heard on Drei and Dva), Falling In Love With Sadness provides a fifth solo album for Emika, but moreover, defines itself as an overture for her future works.

"Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.


The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds. It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow. From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint. It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.


Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.


This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

To throw a CANDELA is a popular expression for hosting an impromptu encounter revolving around tobacco, fire and music. CANDELA and fire are used as metaphors of passion, warmth and love, and this is what CANDELEROS transmit in their live performances, delivering their very own unique Afro-Caribbean vibes with a strong identity: folklore and psychedelia given a modern twist in a ritual of catchy drums, surf guitar riffs and South American percussions.
Infusing punk energy into their remarkable interpretation of traditions, the six-piece band embarks on a journey through the vibrant and immensely rich musical culture of the Caribbean, fusing merengue, champeta, salsa, and son, with bullerengue and cumbia; constantly reinventing themselves.
William, Fernando, Urko, Sergio, Alex and Andrés, come from different regions of Colombia and Venezuela. Their paths crossed in Madrid, Spain, where the Latin American family comes together through art and culture, gathering in diverse groups that focus on bringing their common cultural heritage to the world.
Their passion for endless musical improvisation, always crossing the thin line between genres, can be felt in these two tracks selected by Galletas Calientes Records .
A-Side 'La Cumbia Del Chinche' is an experimental, mind-bending cumbia, driven by a heavy mix of electronic and acoustic drums, hissing guacharacas and hallucinogenic guitars.
B-side 'El Boleta' is a totally freaked-out, uptempo merengue; a clever blend of subtle electronic drums, organic and hard-hitting percussions, psychedelic guitars and keys with the iconic ghostly tremolo and trippy reverb of seventies Peruvian cumbia.

D-Leria returns to the scene more than a year after debuting on Berlin-based label Delirio, releasing a collection of work produced between 2014 and 2018; ten tracks which mark a new beginning for this young Italian producer, sweeping between heavy ambient excursions to hypnotic/ tribal techno, modernized and polished off in his own way.'Driving to Nowhere' is the summation of an extended journey; a year-long hiatus due to unforeseen health concerns allowed time to meditate and consider his past experiences in Italy's various underground electronic music scenes, and the potential directions inspired by thriving Berlin.
From 2014 to 2017 he released several EP's, each developing upon this new style, until joining the young label Delirio as both a musician and a manager. With Delirio he has hosted artists such as Stanislav Tolkackev, Roberto Bosco, Plaster, Retina.it and more, with a unique agenda to record precisely produced music live, instead of laboring in the studio to achieve over-polished audio. His first album inaugurates the beginning of the new DLP catalog, which will be dedicated to LPs, albums and other projects released on 12-inch vinyl. Through these 10 tracks D-Leria experiments with various production methods, as in 'Makumba' where he precisely combines the kick drum with a tight bass line in a 12-step sequence, making the track fluid and never predictable. 'Reborn' is an even more ambitious undertaking, initially recorded on tape before being sent back to the mixer via Hi Fi stereo, D-Leria modulated the cassette coil with a bic pen to create a unique 'detune' effect. 'From the Ground' and 'Driving to Nowhere', both made through the same setup, combine tribal voices and moans, combining an ethereal ambience with drums and analog percussion, connecting the rhythm directly to the soul. The opening track 'Libero' is dedicated to himself, while 'Her Smile' and 'Uragano' are both dedicated to the person that was closest to him in his last period of stop and realization of the album, where he expresses his most deep moments in the first, and more difficult in the second.
Just like in most of the EP already released on Delirio, Giuseppe Tillieci aka Neel took care of the mastering of the tracks, while the artist has taken care of the smallest details from the production, to the mixing, to the graphics and also to the titles of the tracks, which refer to personal thoughts and events that happened during this long journey to nowhere.

F*CLR are hugely excited and honoured to present Moscow producer/DJ Mutenoise aka Alexander Bannikov and his masterful 'Midnight' EP - available on digital and limited 12 Inch, the vinyl has the bonus track, 'Northern Lights' is a Vinyl exclusive!

But meanwhile, back to the EP - kicking off with Mutenoise's original version of 'Midnight', rooted in the deep tradition of jazz dancers, has a toughness that crosses over and aligns itself to modern house with a warm, soulful vibe. On the remix tip, Ashley Beedle ramps up the drums with a nod towards the classic sound of 90's New York and MAW releases and along with the 'Stripped Back' + 'Mixers Delight' edits, he adds an extra element of remix goodness for the heads. 'Rules of Monopoly' is proper late night tunage, perfect for those 5am sets, with its crisp handclaps + percussion, rising chords underpinned by an unwavering bassline - house music at it's very best. And just to tease you - 'Northern Lights' (bonus vinyl only track) - another jazz soaked house track with beautiful chords, ephemeral vocal samples - echoes of downtown Moscow after dark....

Originally from far flung Western Siberia, Mutenoise gravitated towards Moscow and became an integral part of the vibrant Russian electronic dance scene rubbing shoulders with the likes of Lay Far and fellow F*CLR artist, Stan Serkin. Mutenoise has released on such labels as Raw Underground Records (UK), Vesna (UA), Underground Sources (TN), Smile for a While (DE).

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

James Clarke's Mystery Movie was released in 1974 as modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema flm where music is used to create the mood and carry the action'.
So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to fnish.Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme Car Patrol', the fuzz rifng and ARP soloing of The Heavies' and the slow-mo strut of Mystery Moll'. Study In Fear' and Empty Streets' are horror soundtrack fodder of the fnest sort.
However, it's the understated, plaintive pieces that we fnd the most rewarding.
Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies.
Music that evokes the 'downlifting' Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise Waiting Game' from being sampled by melodic downbeat masters Express Rising.
Check Relaxed Theme', Quiet Girl', Routine Procedure' and Quietness Sustained' for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976's The Voice of Soul.
The sensational uptempo dancer 'That's What Friends Are For' is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end.
Its once generic-sounding title is now deservedly defnitive.
And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn flm. Indeed, parts of it did. 'Love Is All' and 'You've Got What It Takes' both featured on the infamously banned Pretty Peaches from the same year.
As is usual with library records, The Voice of Soul was hard to get even when it was frst released. It's next to impossible now. So here's your opportunity to own what is in our opinion one of the fnest rare soul LPs of the late 70s, and a superb example of Madeline Bell's superlative vocal talents.
But that's not the whole story. As well as pitching the record as 'a varied selection of modern female vocal features which are equally suitable for background or radio programme usage', the original release notes go on to explain that 'the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.'
So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn't re-issue one without re-issuing the other.
As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Die Zeiten, In Denen Herausfordernde Musik Die Charts Stören Könnte, Sind Längst Vorbei, Aber Es Wird Immer Leute Geben, Die In Musik Mehr Als Nur Hintergrundgeräusche Sehen. Es Wird Auch Immer Leute Geben, Die Musik Spielen, Die Man Hören Sollte.
Blackberries Nehmen Diese Herausforderung Seit Geraumer Zeit An, Und Während Sie In Der Deutschen Psycho- Und Kraut-szene Eine Art Geheimtipp Bleibt, Wird Die Welt Langsam Aufmerksam.
Ihre Energetischen Und Intensiven Live-shows Brachten Ihnen Einen Schnell Wachsenden Ruf Als Einen Der Interessantesten Acts Derzeit Ein. Große Festivals In Amerika, Kanada Und Sogar China Erhielten Die Nachricht Und Luden Die Band Ein, Ihre Eigene Farbe In Den Mix Einzufügen.
Während Ihr Letztes Album "greenwhich Mean Time" In Magazinen Wie Rolling Stone Gelobt Wurde Und Eine Ihrer Amerikanischen Shows In Shindig! Eine Begeisterte Kritik Bekam, Haben Blackberries Keine Zeit Verschwendet, Um Ihr Drittes Album "disturbia" Aufzunehmen, Das Im November 2018 Auf Unique Records Erscheinen Wird.
Ihr Letztes Album War Ein Neuanfang, "disturbia" Ist Eine Natürliche Entwicklung. Die Erfahrung Von Hunderten Von Live-shows Ist All Diesen Neun Brillanten Neuen Songs Zu
Verdanken, Die Immer Noch Auf Ihren Kraut- Und Psych-wurzeln Basieren, Aber Auch Eine Frische Und Moderne Dringlichkeit Haben. Während Die Melodische Stärke Immer Noch Als Eines Der Schlüsselelemente Hell Leuchtet, Sind Die Themen Dieser Neuen Stücke Deutlich Dunkler Geworden.
Die Band Ist Sich Der Gefährlichen Veränderung Des Politischen Klimas Bewusst. Die Aufzeichnung Reflektiert Diese Beobachtungen In Düsteren Songs Über Gewalt, Ignoranz Und
Einsamkeit, Ohne Die Uralte, Aber Immer Noch Relevante Botschaft Zu Vergessen, Sich Gegenseitig Zu Verstehen Und Das "wir" In All Dem "ich Mir Mich" Zu Finden.
Alle, Die Musik Mögen, Die Einen Aufrütteln Und Mitnehmen Kann, Sollten Definitiv Diese Vier Jungen Männer Im Auge Behalten, Die Sich Blackberries Nennen.

Composer, Synthesist And Producer Matt Robertson Is Set To Release His New Album 'entology' Via Tape Club Records On 16th November 2018. It Follows His Warmly Received 2016 Album 'in Echelon', Described By Mojo As "nils Frahm's Modern Classical Meets Jon Hopkins' Grainy Techno", "an Album Of Symphonic Electronica And Leftfield Techno Thats Cinematic In Scale" In Mixmag And "magnificent Wild Sound" By The Line Of Best Fit.

As Musical Director For Björk, Cinematic Orchestra And Anohni As Well As Working With Lamb, Emiliana Torrini And Bat For Lashes, Matt Has A Wealth Of Experience Collaborating With Some Of The Most Exciting Artists In The World. Working With A Collection Of Vintage, Modern And Diy Synths, And Combining Electronic Music Production With Classical Composition And Cinematic Soundscapes - Artists, Producers And Film Composers Alike Seek His Enveloping And Distinct Sound.

"i Love The Idea That Not So Very Long Ago, The Idea That A Species Could Become Extinct At All Was Laughed At. In The 17th Century, Fossils Were Believed To Be From Mythical Creatures Like Dragons. In 1796, George Cuvier Presented The Idea That A Species Could Have Existed And Now No Longer Existed, And He Was Laughed At By Scientists. Darwin Then Suggested That Evolution Did Not Need Catastrophic Events To Explain Extinction - More That It Was Due To Perpetual Competition In An Overcrowded World.

I'm Adopting The Word "entology" To Be An Awareness Of Our Current Period Of Geological Time Being An Extinction Period, Where An Extinction Period Is Defined As A Time When A Significant Proportion Of Species Die In A Geologically Insignificant Amount Of Time. I Was Trying To Imagine The Obvious Desolate Spaces Of A Post Apocalyptic World, But Also The Slightly More Opaque Vision Of The Fact That So Many Things Are Becoming Extinct Around Us Without Us Noticing, Or Even Being Aware Of Their Existence In The First Place.

The Idea Is Of Desolation But, Because Of The Awareness, Also Of Hope."

- Matt Robertson

The Quiet Master Breaks His Silence! Deason's "life" E.p. Is An Homage To The Classic Detroit Sound By One Of Its Most Respected Artists. "life" Takes Familiar Detroit Techno Elements And Delivers A Fresh 4 Track E.p. Of Dancefloor Pounding Peak-hour Modern Classics. Limited Edition Clear Vinyl.

30 Years Ago This Month (nov 1988) Humanoid - Stakker Humanoid Was The Uks No.1 Song In The Dance Charts - It Would Stay No.1 For 5 Weeks Also Charting In The Uk Top 20 At No.17.

Now Regarded As An Acid House Classic Anthem And Hailed As The First Real Uk Acid House Track To Break The Uk Top 20.

Humanoid Music From 1988 Was Also Used In Stakker Eurotechno - Now Housed In The Museum Of Modern Art (new York) And Sighted As A Major Influence On Early Aphex Twin Music / Reflex

To Celebrate Humanoid (brian Dougans Fsol) Has Reworked The Original Into A 2018 Breaks Monster With Two Equally Killer Tracks On The B Side Skatter And Blunt 

Original Futuristic Uk Acid House Music Circa 1988 :) 

With Not A Single Cry Of 'acieeeeed!' One Record, Humanoid's Stakker Humanoid, Has
Blown Apart The Uk House Music Scene. It's The Most Uncompromisingly Acid Track To Be
Produced So Far In This Country.