Suche:moo

Vercetti Technicolor joins crimes of the future for the labels first release of 2016 complete with an outstanding remix from Minimal Rome's Heinrich Dressel. The Golden Taurus EP combines vintage Vercetti Technicolor tension and darkness with a real sense of Scott & Tim's love of the dancefloor soundtracking the early evening in the club. Kicking off with Golden Taurus the title Cut, a dark moody building 707 driven future classic. On Topaz Fear the tension keeps building and building over sparse drums and melodic leads. Side B's Death Wish Combines huge reverb, drums and soundtracks a long drive along some dystopian highway hurtling us along with a killer bassline. Finally Dressel takes the controls on Golden Taurus with a beautiful slowed down more emotive take on the title cut and presents 6 minutes of blissed out electronics.

Zeal....Enthusiastic devotion to a cause, ideal, or goal. In our case devotion to deep, dubby, warm mirco grooves.

The label's first release comes from 'Monsieur Georget' which is an alternative alias for well-known French producer Chris Carrier, who many will recognise from his own label Adult Only Records, along with releases on other labels including Robsoul, One Records, OFF Recordings and Silver Network.

The release also features a remix from stellar German artist DeWalta, who along with a number of seminal releases on Meander, is a regular collaborator with Mike Shannon and boasts releases on other labels including Vakant, Haunt and Visionquest.

Track one titled Le Village Flottant' is the first of the three originals on the release. Setting the tone of what's to come, it has stripped back drums with delicate sprinkles of delay that are brought to life with a wonky lead synth and poignant piano stabs. The track fuses intricacy with dancefloor focused energy.

Second track called Mecrant Des Oceans' has gliding synths that line the back of the mix whilst the morphing tones and subtle squelch of an acid line provides the momentum. Murky and mysterious, there's a metallic ring to the percussion and it's a fine example of how less can often be so much more.

Third on the release is the DeWalta remix of Le Village Flottant' and keeping the originals ride, he adds his own dub Techno influence. With new synth parts he cuts the already stripped drums to a bare minimum, which gives his added synths plenty of room to breathe and creates a captivating ambience.

Finishing the EP is the third original track titled Picnic Dans Le Metro' and like the rest of this release, it twists and turns with rippling textures and deep atmospherics. Each drum hit is crafted with expert precision and every textured synth sound merges to create the perfect groove and mood.

* Partial Records return to the vaults of the legendary Jah Works label, originally based in Reading and formed in the late 1980's. The label produced some of the most essential UK roots reggae with a string of artists recording for the label including Martin Campbell, Donette Forte, G.T. Moore and many more.
* Reading-based Mene Man recorded a handful of tunes for the label including `Who Are You' (reissued in 2014 on a Partial Records 10" " PRTL10002) and `Dub Them' (reissued simultaneously with this release on a Partial Records 7" PRTL7036).
* `Save This World' is a slice of vocal roots and indicated by the title, deals with the perils and tribulations of our planet. The rhythm is hard as nails.
* Backed with a different dub mix from the original release in 2002.

EYE is a project from Laurène Exposito from Rennes (France), where she runs the intimate label Waving Hands. EYE's debut album 'Sabine' takes us into Laurène's silk-covered dreamworld, at once mad and serene, sounding like a breeze and a blast at the same time. Bedtime stories or lucid nightmares You decide...

finally repressed

Back in February 2013, shortly after their impressive first release as a label, Music Is Love launched a double VA entitled Lovebox: an 8 track double-vinyl release that included tracks from 8 talented up-and-coming producers on their roster. By innovatively previewing the producers in this way, the label laid the foundations for what listeners could expect for each artists' subsequent EPs. The artists who released on it were not hyped up flavours of the month, but rather emerging talents who sat perfectly with the label's musical ethos - quality and original underground house with a contemporary, dynamic feel. Since the VA, the label have gone from strength to strength and have firmly established themselves as one of the most brightest house labels around in the UK.

Just over a year later and following in the success of its predecessor, MIL return with their second VA and with that, a chance for listeners to hear the new additions they've acquired, in addition to some already known faces. Liam Geddes opens proceedings with Untitled. A deep sense of soul permeates the whole track as a rumbling baseline imbues the beat with an ever-present sense of groove that never lets the head stop nodding. Geddes has really fine tuned and matured his sound over the past year, and this track is further evidence of his quality as a producer. The subtle percussive rhythms, electronic bleeps and synth nuances give this track a natural flow, as Geddes conjures something altogether more hypnotic, dark and purposeful.
Mr.KS, one of the newcomers to the label, outlines his coolly crafted style with track (Music) Makes Me Stronger. Brittle drums and deep warped synths suck you in and out and shape the structure of the beat, while afflicted chord patterns combine with the hypnotic repetition of a vocal sample to give the track a gesture towards techno but with a flow that pulls in house elements. Cassio Kohl introducers himself with a warm, melodic house number; rumbling synths circulate in the background of the track while ticking hi-hats and snares play off against the sumptuous vocal sample, which builds and falls back nicely into its original path until electronic glitches sporadically ease in and move the beat forward.

Jamie Trench has been making some serious headway of late and his track I Want You with Rebel serves a timely reminder of a producer on top form. A heavy, rolling baseline resonates intently, building against murky vocal samples, shuffling snares and off-beat key stabs that grow in presence and intensity - a track that will no doubt prove a high point in any DJ set. Label boss Oli Furness has a raw knack for creating crisp, heavy sounds and Take Monday Off remains on a similar path, albeit the beauty lies in the subtlety of arrangements rather than bigger hitting sounds. Chopped shimmying keys tease, filter and build fluently with urgent hi-hats and swinging drums that flourish harmoniously together, while an understated baseline adds weight and rhythmic groove typically inherent in Furness' work.

Italian heavyweight Tuccillo has released on some of the most reputable labels on the circuit - releases for 20:20 Vision and Freerange is evidence enough of his provenance - and this time he brings his baleric house sound with the impeccable sounds of DubFlanged Gru. Shimmering percussion shakes meander against the bumping bassline while the endearing, muffled vocals that threaten to break out are superseded by breeze-block keys that filter and descend into a chattering groove. Dutch producer U Know The Drill brings things back into heavier house territory with a no-nonsense, stripped-back stomper, the type of track we've been used to hearing on Dutch affiliates New Jack City's material. Heavy snares kick with a punch, and the deep drone-like vocal swings against the wobbling baseline and tapestry of electronic bleeps. Other sampled vocals and glitches weave in with the juxtaposing elements playing off one another to huge effect, ensuring that sheer energy pervades the track.

Jackson Ryland rounds off the heavy 8 track VA - scattering hi-hats and swirling pads build, while the shuffling drums roll on until fleeting chord flourishes and a musky vocal hook bring the track into wistful nostalgia. The elements of track balance superbly and are propelled forward by the intricate drum arrangements and well-crafted hi-hat/vocal combo.
The difference in approach and outcome from each artist results in yet another highly impressive outcome, with 8 high grade tracks that show another side to Music Is Love. The sounds are tougher and the mood is darker, but the premise of the whole MIL concept remains more apparent than ever with this release: sourcing fresh underground talent, curating original electronic music and evolving artists already on the roster.

Having already issued a few cassettes via his own Harsh Riddims label as well as CGI's sister label DKA Records, Ryan Parks brings his Fit Of Body project to CGI for his debut 12" release. Here we are treated with two previously unreleased original cuts as well as Galcher Lustwerk and TWINS reworks of a pair of older tunes.


Fit Of Body's sound is unique among the current crop of bedroom dance producers in that it can ignite a dancefloor while still feeling deeply personal. This mood is enhanced by the way Parks colours his tracks with his own voice. His approach to adding live instrumentation to the arrangements lends a handmade delicacy otherwise lacking in so much hyper-quantized machine music. These are tracks that will feel at home in the DJ booth, your living room and your bedroom.

Unreleased demos by Craig Peyton & Jolyon Skinner circa 1983-1985. The duo penned Howard Johnson's "Let This Dream Be Real", Melba Moore's "Love of a Lifetime" & Will Collins' "Where Ya Gonna Be Tonight", before they went their separate ways.

In times where a compilation of 12-inch bangers passes as an album, Telephones "Vibe Telemetry" opts for a different approach. Without being a departure from his 12's for Sex Tags Ufo, Full Pupp and yours truly or his brilliant remix work for José Padilla and Vangelis Katsoulis, the Norwegian producer from Bergen who calls Berlin his home, hones sound, skills and aesthetics on his debut long-player.

"Vibe Telemetry" is inspired by the pure feeling of listening to house, disco and techno, prior to knowing what it actually was: ambiguous, euphoric, mystical and melancholic. Sonic and physical experiences, which names and origins were yet to be discovered.

Given the underground acclaim heaped on Marie Davidson's previous albums - ultra-stylish affairs that blend elements of minimal wave, dark Italo-disco, off-kilter electro and moody ambient - it's little surprise to see her popping up on Minimal Wave offshoot Cititrax. The album's nine tracks are largely sharp, rough and fuzzy, with sparse-but-dense drum machines rhythms underpinning bouncy, delay-laden synth lines, thrusting electronics and Davidson's sleazy, spoken word vocals. It's an attractive combination that guarantees thrills throughout, from the almost claustrophobic throb of "Denial", to the mutant electrofunk bounce of "Good Vibes".

The first volume of the new remixes series is up next on BLD Tape Recordings. Original tracks previously released have been revisited by artists that support the label since the early days and give shape to this varied and solid 3 remixes EP.

On side A, Eric Cloutier blurs the line between Deep House and Techno with a signature Theorem remix of The Transpose layered with acid basslines and scuffled Dub chords.

Stojche pops up on B1 with an advanced Power House-ish vision of Crawling showcasing drums, chords and leads precisely crafted.

And on B2, Copenhagen-based Anastasia Kristensen delivers her take on Bubble Games bringing us into a trippy and faster dark mood charged by repetition and enigmatic pads.

10 track Album from Willie Lindo released by Dub Store Records

First complete Sonic Youth album is one of Thurston Moore's favorites. Includes live cover of The Stooges' I Wanna Be Your Dog'. Vinyl includes digital download. Originally slated to be a 7' to follow up their self-titled debut, Sonic Youth's Confusion Is Sex blossomed into the band's first album: a brain-bludgeoning, completely fried endeavor of dissonance and disarray, a perfect soundtrack for running from a chain-wielding gang near the SIN Club. This was the sound of 1983 New York City, nothing like the jangly roots of college radio rock starting to formulate in Athens, Georgia. It sounded like no one else on Earth, for that matter. The raw, Wharton Tiers 8-track production is dark, the Kim Gordon- scrawled cover figure art of Thurston Moore is dark, Lee Ranaldo's back cover photo-collage and Catherine Ceresole's crumpled-xeroxed images that adorned the inside are dark. It's an album that moves Sonic Youth forward from their first EP almost by devolving backwards into true ugly, lo-fi primitivity. The bareboned arsenal of junkpile guitars and implementation of alternate tunings was growing, and so were the songs that matched the individual attributes of each instrument: certain ones groan and growl a specific way that the band started to realize itself could become the compositional germ of a song. Herein is the threshold of a new explosion of the band's creativity, replacing the comparatively cleaner buzz of the Sonic Youth EP with guitars that spew fractured, uglier chunks of sound everywhere, held down by menacing minimalist basslines (actually played by Thurston on half of this LP, and for the only time ever on Protect Me You,' Lee) and the brutal-yet-controlled metronomic drumming of Jim Sclavunos, augmented with replacement drummer Bob Bert's notable bashing on Making the Nature Scene' and grotty no-fi live rendition of I Wanna Be Your Dog.' Hearing the crashedwindow intro of Inhuman' and subway-brake screech of The World Looks Red,' you can attest that while Sonic Youth's guitars are not quite yet being utilized in the totally controlled, lyrical fashion seen later on albums like Evol, Daydream Nation et al., they were well aware of the colors and tonalities that were unfolding and the possibilities presented. Also, they were getting a grasp on adding colors to the chaos with tempered, simmering moments like Gordon's Shaking Hell' and Renaldo's chimy, home-taped Lee is Free.' Making the Nature Scene' and The World Looks Red' even toss in glints of hip-hop vocal approach way ahead of its time, albeit through a blender. While its confrontationalism might have put off some critics, time has rewarded Confusion with a truly distinctive air and atmosphere in the Sonic discography, enough to have Moore declare it his fave along with the band's swan-song The Eternal. Brian Turner, WFMU.

Debut album from Pacific NW rising star, named "Best Electronic Act" in 2015 by the Seattle Weekly. ** Past Press Coverage as included: A NPR Weekend Edition Feature, Spin, Stereogum, KEXP Live in studio performce, CMJ. ** Past performance highlights: Bonarroo Decibel Festical, Bumbershoot, Capitol Hill Block Party, Sasquatch Festival, What The Festival, & Bonnaroo, as well as national tours with acts like Emancipator, Blockhead, Blackbird Blackbird, Chad Valley, Yppah, ** First single from the album "What We've Got" feat. Flint Eastwood passed 500,000 Spotify plays and 135,000 Soundcloud plays in a month's time.

Amidst the lush environs of his northwest roots, Manatee Commune has fermented an organically molded electronic sound that has been teasing the synapses of audiophiles over the last few years. While not a stranger in the Pacific Northwest, Grant Eadie's tracks have grown tentacles that stretch deep into the dance floor, fueled by natural overtones that he extracts from field recordings. Following the head-turning EP 'Thistle' on Brooklyn-based label Bastard Jazz Recordings (Illa J, Lord Echo, & others) from earlier this year, he comes to the label armed with violin arrangements, nuanced programming and pressure-sensitive LED drum breaks peppering the audio-visual experience of his participatory live performances. His debut album Manatee Commune is set for a September 16th release on Bastard Jazz, and displays the elevated confidence and deft touch of a producer truly finding his footing. Already opening for Bonobo, and recently touring with Chad Valley and Blackbird Blackbird, Manatee Commune has been featured on NPR, Stereogum, and Spin, amongst other outlets.

Eadie describes the inspiration behind his approach: "Learning how to share my creative process with my friends completely revolutionized the last of year of music for me. Inviting those I trusted and loved into my studio to spend even just an hour talking or jamming opened fountains of inventive energy for me, especially from the ones who lacked any musical knowledge. I soon found myself incredibly inspired by the originality of even the smallest interactions with people, and so I pointed my field mic at anyone who had a story, a melody, or a stumbling beat they had been absentmindedly drumming, all in the hopes of capturing their individuality and framing it with my ever expanding insight into audio production."

Reimagining his musical approach by opening his studio and microphone to friends, collaborators and loved ones, Eadie was able to release fountains of inventive energy from these deeply personal interactions, inspired by anybody who had a story, a melody or a stumbling beat to share. Key elements are amplified that get Manatee Commune audiences bouncing, while cultivating his warm and textured production aesthetic to further complexity, layer by shimmering layer.

* Manchester's Walton returns to Tectonic following last year's explorations in grime flavoured house/techno offshoots on the killer 'Bulldoze EP'. This time Walton leads with a dance floor crushing anthem that cruises a cool line between grime and tribal dubstep. Featuring a looping Riko Dan sample, 'Gunman' sets a stone cold tone from the offset, hi-hats setting up the groove before a grime flavoured melody cuts in preparing you for the drop. When the bass and drums come crashing in they bounce off each other to produce a disorientating tribal rhythm that will set the dance floor alight!

* Flip for a slower, more gentle mood with 'Caught In A Trip'. Rolling at 126bpm, 'Caught In A Trip' builds around a developing melody played on a glockenspiel-esque instrument, backed with tribal percussion and a driving kick pattern. Ethereal in mood throughout, this one provides a lighter moment for the dance floor.

Collapsing Horizons is the third full length album from Netherlands based deep ambient duo Tangent.

Limited clear with white splatter and blue with white vinyl. NON-RETURNABLE

This album much like the two preceding it—2013s "1mk2" (Mindtrick) and 2014s "Transience" (Tympanik)— is a sonic journey with arching atmospheres and themes. An aural representation of the formation of matter and it's disintegration in unison. The music, much as the album's namesake, could very well be the soundtrack to new universes being created on the ashes of collapsing ones.

Ralph van Reijendam and Robbert Kok who are the two behind Tangent moonlight in a long list of paradoxical musical projects. Fire Walk with Us, Rob Klerkx and the Secret, Disavowed, and Synesis Absorption are all quite different from Tangent's sprawling yet steady ambience.

This such daily musical juxtaposition allows Tangent the immersive focus on the ideas that make Tangent what it is. It would be a misnomer to think that with all the extra curricular time spent in more extreme forms of music that Tangent is a frenetic force. They are exactly the opposite. Dense pads, rolling beats and brilliant shimmers of resonance punctuate their electronic based instrumentals in just the correct manner to stargaze, day-dream, bliss-out, or even brood about starting over...

When LA label Acid Test decided to start the leftfield imprint, Avenue 66, they looked to New Jersey house mystic Joey Anderson for an opening salvo. He delivered the modern psych-dance masterpiece Above The Cherry Moon.' Now Anderson's back again with more of his beguiling dreamlogic. On If One Cares, They Act Different' Anderson works with a lead that could score an unsettling '80s horror flick, eventually introducing his signature quicksilver synths and abstract, jacking drum patterns. Peace There' starts with the square-wave basslines and raspy hats Taking us to a psychedelic far away place. On The Vase", Anderson reins things in, but even his bittersweet, relatively straight-head deep house tracks present an odd paradox. His music so alien and human all at once.

The label say 'Just think Moodymann meeting Floating Points and MCDE with an Akai MPC on the table in front of them and a vast record collection within reach.'

Ben Sun returns to Delusions for his 4th release on the label including three more tracks which show the Australian via London on his best form yet. Full Moon kicks off the Tides EP at full throttle with a muscular conga-led disco house roller. Slurping 909 hats and the most twisted of synth solos courtesy of regular collaborator Fantastic Man (and his beloved Juno 60) provide the icing on this simple bass-cake which never fails to energize the dancefloor in the most special of ways.
Star Ritual drops next, going heavy on the percussion once again for a minimal stripped back drum tool which packs a mighty punch. Dubbed out vocal hits punctuate the beautifully loose groove with subtle hints of afrobeat implied by the bassline making for a warm summer track dripping with tropical vibes.
Finally we have Glass Waves bringing the EP to a glorious close, all chiming synths, bouncing moog bass and waves of chords layering on top of a heavy drum track. Ben repping an early 90's blissed out Nu Groove mood on this one and managing to sound as fresh as ever in the process.

It means Noisy Stars'' - Fergus Lawrie.

So it's coming up for the 20th anniversary of the We Are Urusei Yatsura' album, so what better time to look back at the broken Woolworths guitars, damaged eardrums and bleeding knuckles of Glasgow's lo-fi, Tokyo dreaming geek rock quartet

You could say it all began at the Glasgow Sound City event, when legendary BBC DJ John Peel came along to check out Urusei Yatsura at the 13th Note at the invitation of future Franz Ferdinand front-man Alex Kapranos. Liking the chaos that he saw, Peel invited the band to record a session for his show, asking live on air while guitarist and singer Graham Kemp was visiting the studio to talk about his Kitten Frenzy' fanzine the next day.

Peel arranged for us to record the session in Glasgow' says Kemp, We didn't have any amps or any money to get to London.' Producer Stewart Cruickshank told the band that it was the first Peel Session recorded outside of Maida Vale since the Undertones. So no pressure there then.

This began a long association with John Peel and the BBC, which saw the band record 5 Peel Sessions, 3 Evening Sessions for Steve Lamacq, play live to air for Mark Radcliffe, and appear regularly on Radio Scotland for John Cavanagh and Mark Percival. Digging through old C-90's that had been partly taped over with that week's charts, the band have pieced together a compilation of the best tunes for you, the discerning 90's indie rock aficionado.

..they sounded a bit like the Saints' - Thurston Moore, SELECT

Some of the recordings we did for the BBC, I think, are better than what eventually made it onto vinyl. We did Kewpies Like Watermelon' live in the control room for Radio Scotland and we had just learned it so it sounds really fresh and exciting. The version of Siamese' is the best we ever captured, and I love the Dice/Nae Dice' tune we wrote especially for Peel'. - Kemp

The challenge of recording and mixing four songs in a single day brought out the best in the band, and suited their impulsive, DIY rock n' roll spirit. The album, available on CD and vinyl, features 11 songs, including session versions of 6 singles, choice album tracks and live favourites from the only band who have been threatened by both the Yakuza and the Mafia (the latter incident generating the hilarious headline Nerds Threatened With Death' in the Sun newspaper'). The band have decided to call this hand-picked selection of the highlights of an eight year career', You Are My Urusei Yatsura, BBC Radio Sessions.

Other highlights of said career include, a number one indie single with a video shot in a Star Trek themed bar (Phasers On Stun), a Peel Festive Fifty placing (Kewpies Like Watermelon) an actual top 40 hit (Hello Tiger), numerous chaotic tours of Europe, UK and USA ,narrowly surviving a collapsing stage at Benecassim and a tent fire at Phoenix Festival, releasing three studio albums and 13 singles (including splits with Mogwai, the Delgados and the Blisters), taking Mogwai, Eska and Pink Kross on their first UK tours, supporting Super Furry Animals, Pavement and Teenage Fanclub, playing at Roskilde, Reading and T In The Park festivals, The CMJ festival in New York and MIDEM in Cannes.

The band consisted of the writers Fergus Lawrie (guitar and vocals) and Graham Kemp (guitar and vocals), with brother and sister rhythm section Elaine and Ian Graham on bass and drums respectively.