Suche:n ter

Memento’s label honcho Idriss D is back at the production duties with
a mesmerising super single featuring a shattering remix by the
Norwegian infamous wonder known as Dj Sotofett.
“Lunatic” symbolises Idriss D natural inclination for an incessant
sonic exploration, which on this esoteric cur, has brought him to the
darkest and the most hectic jungle territories; drawing from the early
nineties British tradition but with a long sight into the contemporary
climate, these heavy rattling beats and scattered vocals will simply
leave you speechless.
On the flip side , Dj Sotofett is just condensed cutting edge music
technology wisdom; the straight deep beat and the charming arpeggios transform the original mayhem into a late night anthem.
The splendid picture on the release cover has been taken by Ismail
Zaidy of L4artiste, which is also responsible for the astonishing
video teaser, while the artwork has been as usual an graphic affair of Boogie.

From Norway via Berlin, O.M.Theorem debuts with an EP rooted in 160BPM sub-heavy atmospheric soundscapes, that explores connections between different tempos and time signatures. Side A presents two percussive driven polyrhytmic explorations while side B steps into slightly more familiar dubstep / UK Garage territory.

Light Blue Marbled Vinyl
Memento’s label honcho Idriss D is back at the production duties with
a mesmerising super single featuring a shattering remix by the
Norwegian infamous wonder known as Dj Sotofett.
“Lunatic” symbolises Idriss D natural inclination for an incessant
sonic exploration, which on this esoteric cur, has brought him to the
darkest and the most hectic jungle territories; drawing from the early
nineties British tradition but with a long sight into the contemporary
climate, these heavy rattling beats and scattered vocals will simply
leave you speechless.
On the flip side , Dj Sotofett is just condensed cutting edge music
technology wisdom; the straight deep beat and the charming arpeggios transform the original mayhem into a late night anthem.
The splendid picture on the release cover has been taken by Ismail
Zaidy of L4artiste, which is also responsible for the astonishing
video teaser, while the artwork has been as usual an graphic affair of Boogie.

Flaming Tunes' sole release is perhaps the finest elegy to the '80s home recording ethos that you've never heard. Originally released in 1985 on cassette (with individually hand-colored covers), this self-titled album grew out of the collaboration between childhood friends Gareth Williams and Mary Currie.

Williams is best known as a member of English art-rock band This Heat. After leaving the group in the early '80s, he travelled to India where he studied classical Kathakali dance – an experience that would profoundly shape the music of Flaming Tunes.

In an old Victorian house in South London, the duo recorded during the day while Currie's young son attended school and Williams conducted tape treatments at night. They were joined by various guests including This Heat guitarist Charles Bullen as well as long-term collaborators Martin Harrison and Rick Wilson.

Using whatever instruments they had on hand (clarinet, piano, bells, etc.), Flaming Tunes create lo-fi melodies around simple arrangements, oblique rhythms and densely layered natural sounds. The results are a mesmeric collage of instrumental daydreams and sideways pop songs, floating into one another in a hazy confluence of late '60s Canterbury psych-folk and early Residents experimentation.

All of these beguiling elements converge in a personal manner, quietly insistent in listeners' ears like the blood pulsing in one's veins on a warm summer day.

Flippen Disks follows up their much acclaimed label-debut with an intriguing second release by Yuto Takei.

Throughout the Bells From The East EP, Yuto Takei’s first vinyl release, displays a wide array of sounds with a particular interest in rhythmic experiments and the negotiation of sonic space.

The Tokyo-based producer and DJ takes the listener onto a trip through deep spheres, percussive workouts, jammy compositions and electronic psychedelia, leaving the listener at times startled as to whether humans are manipulating machines here, or vice-versa.
Having worked as an electronic music composer for video games such as Gran Turismo, this uncanny valley is known territory for the artist. It is, however, further explored on this four tracker, staying true to Flippen Disks paradigm of releasing club-oriented music, non-functional enough to not only be danced but also listened to.

While the title track Bells From The East is an 8 minute jam, in which the krauty psych attitude pairs up perfectly with the goofy lead melody, Eclectic Matters is an intense percussive workout, refined with a pinch of Digi-Dub.

On the flip, Karma Fuchi feels like a paraglide through a landscape of tree tops, curious winds passing and entrancing synths and percussion stabs leading the way. Mostica closes the EP beautifully and spaciously, allowing for deep dives into its detailed soundscape and waving the listener peacefully goodbye.

“We have always been very fortunate to meet and know many talented producers. In recent years, we have been exploring those relationships with different remixes and collaborations, and every time something exciting came out. That’s why we started our Synchronicity project. To challenge ourselves making inspiring, fun and beautiful music.‘Synchronicity’ means "the simultaneous occurrence of events which appear significantly related but have no discernible causal connection. This very well describes how our path led to the place we are now – somewhere between the club and indie scenes.” – WhoMadeWho

KOMPAKT welcomes back Copenhagen’s WhoMadeWho. Tomas Barfod’s penchant for electronic music poetically juxtaposed with Tomas Høffding and Jeppe Kjellberg’s respective backgrounds in rock and jazz, gives their music an electrifying combination of sounds, merging a variety of influences to produce a unique sonic fingerprint that is emotive, irresistible and immensely satisfying.

Though we both have yet to strike a note together since the release of their 2012 full length “Brighter” (KOM 254), WhoMadeWho have been remarkably productive. With two full lengths, a DJ mix for Watergate’s series and releasing two of 2019’s most played out club tracks together with Rampa (Innervisions) and Artbat (Watergate Records), the trio have found themselves diving more and more into the world of electronic music, tapping into their goldmine of connections within the scene to spearhead an array of collaborations.

Synchronicity is all about ‘meaningful coincidences’ – bringing interpretation to bear on connections that have no actual causal relationship. It’s a canny concept to pin onto Copenhagen trio WhoMadeWho’s latest album, which sees them return to Kompakt for the first time since 2012’s Brighter.

This re-established connection helps us to understand the synchronicity at play, the way that the WhoMadeWho core ave built an album around collaboration with friends and peers, much as Kompakt is all about cross-connections and family. On Synchronicity, WhoMadeWho call on friends old and new – Michael Mayer, Echonomist, Adana Twins, Alex Boman, Robag Wruhme, Frank Wiedemann, Sainte Vie, Mano Le Tough, Marc Piñol, Rebolledo, and Perel is the cast list; WhoMadeWho direct the material, shaping it into one lovingly flowing gem of dance-pop glory.

There’s something particularly generous about hearing an album as all-inclusive and open-hearted as Synchronicity in the midst of the profound social and cultural shifts we’re currently experiencing. While some songs on Synchronicity were recorded together, in real time, such as the collaborations with Adana Twins and Rebolledo, most of them have taken place via long distance, thanks to the pandemic lockdown. But you don’t need to know who was where to understand either the magnesium-flare melancholy of “Sooner”, recorded with Piñol, which has you holding your breath with the gentle thrill of the song’s lush melody, or the stomping strut of the following Adana Twins collaboration, “Shadow Of Doubt”.

Elsewhere, there’s the stentorian robot voice at the heart of “Hamstring”, where they’re joined by Michael Mayer; the lustrous headsoak of “Twenty Tears”, a tender intervention by Rebolledo; the strip-light, slow-motion disco strut of “Cecil”, produced alongside Echonomist; or the glittering, arpeggio dreamwork that Perel helps sculpt into shape on “Der Abend birgt keine Ruh.”… Really, there’s so much to celebrate here, a panoply of pleasures. From pop revelations to dancefloor delirium to slow-burning brooders, Synchronicity is just that; a space for the joys of the unexpected to collide, and to be given meaning by their coincidental co-existence in WhoMadeWho’s beautiful world.

"Wir hatten immer schon das Glück, viele talentierte Produzenten kennenzulernen. In den letzten Jahren haben wir diese Beziehungen durch verschiedene Remixe und Kollaborationen vertieft und jedes Mal kam etwas Aufregendes dabei heraus. Aus diesem Grund haben wir unser Synchronicity-Projekt gestartet: um uns selbst herauszufordern inspirierte, lustige und schöne Musik zu machen. “Synchronizität” bedeutet das gleichzeitige Auftreten von Ereignissen, die scheinbar in einem signifikanten Zusammenhang stehen, aber keinen erkennbaren kausalen Zusammenhang haben. Das beschreibt sehr gut, wie unser Weg zu dem Ort geführt hat, an dem wir jetzt sind - irgendwo zwischen der Club- und der Indie-Szene". – WhoMadeWho

KOMPAKT freut sich über Rückkehr der Kopenhagener Band WhoMadeWho. Tomas Barfods Vorliebe für elektronische Musik im poetischen Kontrast zu Tomas Høffding und Jeppe Kjellbergs jeweiligem Hintergrund im Rock und Jazz macht ihre Musik zu einem elektrisierenden Konglomerat, in das verschiedene Einflüsse zu einem einzigartigen klanglichen Fingerabdruck verschmelzen: gefühlvoll, unwiderstehlich und immens befriedigend.

Obwohl wir seit der Veröffentlichung von "Brighter" (KOM 254) in 2012 keine gemeinsamen Dinger gedreht haben, waren WhoMadeWho in der Zwischenzeit bemerkenswert produktiv. Mit zwei Full-Length-Alben, einem DJ-Mix für die Watergate-Reihe und der Veröffentlichung von zwei der meistgespielten Clubtracks aus dem Jahr 2019 zusammen mit Rampa (Innervisions) und Artbat (Watergate Records), taucht das Trio mehr und mehr in die Welt der elektronischen Musik ein. Für ihre Kollaborationen greifen WhoMadeWho immer wieder auf ihre Goldgrube an Bekanntschaften innerhalb der Szene zurück.

Bei “Synchronicity” geht es um "sinnvolle Zufälle" - also um die Interpretation von Verbindungen, die keinen tatsächlichen Kausalzusammenhang haben. Es ist ein ausgeklügeltes Konzept, das dem neuesten Album des Kopenhagener Trios WhoMadeWho anheftet: Diese wieder hergestellte Verbindung hilft uns, die Synchronizität im Spiel zu verstehen; die Art und Weise, wie WhoMadeWho ein Album um die Zusammenarbeit mit Freunden und Gleichgesinnten herum aufgebaut hat: schließlich geht es auch bei Kompakt um Querverbindungen und Familie. Auf Synchronicity richten sich WhoMadeWho an alte und neue Freunde: Michael Mayer, Echonomist, Adana Twins, Axel Boman, Robag Wruhme, Frank Wiedemann, Terr, Sainte Vie, Mano Le Tough, Marc Piñol, Rebolledo und Perel stehen auf der Liste. Das Trio führt Regie und sorgt für den Feinschliff. Das Ergebnis: ein echtes Juwel aus Dance, Pop und Glorie.

Inmitten der tiefgreifenden sozialen und kulturellen Veränderungen, die wir derzeit erleben, ist es etwas Besonderes, ein Album zu hören, das so offenherzig ist wie “Synchronicity”. Zwar wurden einige Songs gemeinsam und in Echtzeit aufgenommen – etwa die Kollaboration mit den Adana Twins und Rebolledo – die meisten Sessions fanden aufgrund der Pandemie jedoch über größere Entfernungen statt. Letztlich muss man aber gar nicht wissen wer wo war, um die Melancholie von "Sooner" mit Marc Piñol zu verstehen und im sanften melodischen Rausch des Liedes den Atem anzuhalten. Auch die eher brachiale Energie der darauf folgenden Adana-Twins-Kollaboration , "Shadow Of Doubt" vermittelt sich eingehend über die soziale Distanz hinweg.

An anderer Stelle ertönt die schallende Roboterstimme im Herzen von "Hamstring", wo sich Michael Mayer zu ihnen gesellt; die schimmernden "Twenty Tears", einer zärtlichen Intervention von Rebolledo; der Zeitlupen- Disco-Nummer "Cecil", die zusammen mit Echonomist produziert wurde; oder der glitzernde Arpeggio-Traum, den Perel in "Der Abend birgt keine Ruh" in Form bringt.. Ja, es gibt tatsächlich einiges zu feiern: Von Pop-Enthüllungen über Dancefloor-Delirium bis hin zu Stücken, die sich ihre Zeit nehmen - Synchronicity bietet Platz für all das; das Album spendet Raum, in dem die Freuden des Unerwarteten aufeinanderprallen und durch ihr zufälliges Nebeneinander in der Welt von WhoMadeWho Sinn ergeben.

Krautrock, das fällt einem bei dem Namen Joachim Witt nicht grade als erstes ein, auch nicht hinterher, eigentlich gar nicht. Und dennoch ist Witt ein Veteran des deutschen Kunstrocks der 70er Jahre. Genre-Fans erinnern sich gern an die Band „Duesenberg“ (benannt nach der US-amerikanischen Automarke) und Witt war ein Drittel des Ender der 70er für Aufsehen sorgenden Trios.

Von US-amerikanischen Westcoast-Rock mutierte Witt In den frühen 80er Jahren zum Top Star der aufblitzenden Neuen Deutschen Welle. Sein Evergreen "Der goldene Reiter" (Nr. 2), der einen schizophrenen Menschen skizziert wird zu einem der wichtigsten Titel der NDW-Bewegung. Als gegen Ende der 80er Jahre der NDW-Sound langsam verschwand, verschwand sein Star – bis er sich 1998 zur Überraschung der breiten Öffentlichkeit wieder erhebt. Mit seinem neuen Partner Peter Heppner, der sich mit der Band Wolfsheim bereits einen Namen gemacht hat, schickt Witt sich an neues Terrain zu erobern. Das mystische, im angesagten „gotischen Sound“ vorgetragene Opus "Die Flut" begeistert zuerst die Goth Szene, dann schließlich ganz Deutschland und landet auf Platz 2 der Verkaufs-Charts. Auch das Album „Bayreuth Eins“ wird zum Bestseller und Platin Erfolg. Das Album ist noch immer ein Klassiker und gilt zusammen mit dem nachfolgenden Album „Bayreuth Zwei“ als Vorläufer der anschließend aufkommenden Strömung “Deutscher Dance Metal“, oder des auch als “Neue Deutsche Härte“ bezeichneten Trends, deren spätere Vertreter Top-Acts wie OOMPH! oder RAMMSTEIN sind.

Die Original LP „Bayreuth Eins“ ist seit langem vergriffen und „Bayreuth Zwei“ ist nie vorher als Schallplatte erschienen. Zwei Klassiker in der Wiederauferstehung, einer davon sogar als Premiere auf Vinyl.

2X12" repressed !

Welcome to - Industrie & Zärtlichkeit , the raw, quirky yet emotional debut album from Moon! Although the Berlin-based duo is revered for dancefloor bangers such as - Ze power', Johannes Albert and Johannes Paluka (better known as Iron Curtis) have put much effort into making this album a true listening experience without sacrificing their roots in House Music. - Industrie & Zärtlichkeit (which translates into - Industry & Tenderness ) effortlessly achieves what is claimed in its title, namely a fusion of seemingly disparate elements: the rough and the smooth, dirty beats and soothing harmonies, bizarre sounds and comforting chords. The title track is a fine example of this perfectly-dosed blend with its detuned strings that glide over a crisp electro beat and an infectious melody which would make Kraftwerk proud. Cafe Del Landwehrkanal' is a lighthearted and kinky gem while - Light Of Virtue combines warm synth pads (Detroit is not far) with dusty drums and an acid bassline. MFB Nights' and Machine Rhythm Tomorrow' are also illustrations of the duo's undeniable savoir-faire, with the former celebrating garage classics thanks to its cheeky vocal sample and gorgeous rhodes chords while the latter plays out as a dedication to the early 90's, a time when people didn't care about genres and just dived in the novelty of electronic dance music.
But as we all know, there is a dark and secret side of the Moon, an aspect which is best expressed via the freaky organ chords of - Proto and its detuned melody. Not to mention the excellent ambient pieces - Fjordig or - The Bitter End which showcase the duo's ability to venture into uncharted territory.
All in all, Industrie & Zärtlichkeit feels like drinking fresh orange juice gently sparkled with chilli... and it concludes flawlessly with two reworks that prolong the album's laidback yet assured vibe. First off is Black Spuma (Lauer of Tuff City Kids fame and Italian disco legend Fabrizio Mammarella) who rework the title track into a hands-in-the-air boogie monster that will definitely be a festival staple this summer. Finally, Lerosa emphasizes the deeper shade of the album's spectrum with an impressive new wave rework of - Appeal .

In August 2016 Ultramarine created a photo film featuring photographs from Ian Cooper's Survey East website which focuses on a particular stretch of the Blackwater Estuary in Essex.

The film (and accompanying soundtrack) was screened on rotation at the Caught By The River Thames festival at Fulham Palace in London.

For this original Blackwaterside audio/print project, Ultramarine created two new pieces of music inspired by their time working close to the estuary. Glasgow based printmaker/sculptor Bronwen Sleigh visited this remote corner of Essex to sketch and draw, using these visual references to create a lithograph, printed in three colours, which features on the cover of the book accompanying the 7" single.

The book features a series of Ian Cooper's original photographs, alongside poetry by the writer Philip Terry, inspired by the Essex coast, taken from his book Quennets.

- Originally released by publishing imprint Random Spectacular

- Re-released by Blackford Hill with obi strip

- 7" vinyl single

- 28-page booklet of photographs and poetry

- Wraparound cover by printmaker Bronwen Sleigh

- Digital download card (including an extra 16 minutes of bonus audio)

- Limited edition of 350 copies

- Played by Nick Luscombe on BBC Radio 3 'Late Junction'

- Played by Gideon Coe on BBC Radio 6

We are very pleased to finally present you a new Lorenz Rhode release, for the „Sandpaper EP“ Lorenz Rhode and Jamie Lidell get together again. Their first collab „Any Kind of Pressure“ was followed by Lorenz joining Jamie’s world tour and a remix of „Big Love“ for Warp Records. Jamie performs with an amazing energy, and his
soulful voice is carried by a warm and playful house backing: Minimoog bass, Rhodes piano and just some sparkles of a very old Roland synth that Lorenz had just bought, and which is now broken.
The second new jam „On the Nightshift“ is a fun stabby tune based on a spiraling chord progression. It loops every three-and-a-half bars, just to make life harder for DJs. A real nice warm groover.
The remix for „Sandpaper“ is a true family affair! Sound Support is the all new project by Lars Dales better known as 1/2 of Detroit Swindle and Lorenz himself. They’ve just released their debut EP on Prins Thomas’ “Internasjonal” label in October this year, here they take Jamie’s vocal into a more dramatic and electronic territory touching
electro grounds. To close things out we also added an instrumental on the vinyl and radio mix on the digital version of this new EP. Enjoy as much as we did putting this together for you!

Blue Marbled Vinyl

Raving this order asks you to be put in your basket because it's a fucking bomb !:)

A year before Wild Pitch Records properly introduced us to the trio of Queens native Large Professor and Toronto’s Sir Scratch and K-Cut, the soon-to-be-legendary group self-released their own debut single. Dropping on Actual Records, the 12” of ‘Think’ and ‘Atom’ was soon a sought after rarity, with scarce originals still fetching upwards of three figures.

On it, they only hint at the greatness to come, while simultaneously showing that they’d already mastered the three-minute rap single – this is concise brilliance with no flab whatsoever.

Engineered by the late, esteemed Paul C, ‘Think’ is a study in how to turn well-worn samples into something new. The combination of several James Brown snatches, along with bits lifted from Lyn Collins and Jimmy Castor Bunch, could have been tired and almost parodic by 1989, but instead the group weave something interesting from old fabric.

‘Atom’ is arguably even better, built around a brace of elements from Marvin Gaye and Tammi Terrell’s 1967 duet ‘Little Ole Boy, Little Ole Girl’. On it, Large Pro gives the first real hints that he’ll not just be a super-producer, but a committed MC to watch. Mixing threats with humour, positivity with braggadocio, it’s a calling card performance on a track that could have still sat comfortably on 1991’s ‘Breaking Atoms’ album.

Heavily bootlegged, this is the first official double-sided 7” release bringing together both these foundational cuts.

Relapse Records is proud to announce the first ever fully-authorized reissue of GISM's landmark debut LP, ‘Detestation’. Originally released in 1984, Detestation has since remained one of the most innovative, bewildering, extreme, and wildly influential albums in the punk and metal canon. To say ‘Destestation’ was ahead of its time would be a huge understatement -- it incorporated elements from so many genres: hardcore, punk, heavy metal, glam, thrash, industrial, and experimental. It was almost as if listeners didn’t know what to do with the record’s music but gravitated to it nonetheless as they recognized it was something unique and special. Maximum Rocknroll’s Jay Bentley’s 1984 review of ‘Detestation’ made that sentiment clear, describing the record as "Churning Metal-punk, or perhaps even speed-metal, depending on where you draw the distinction. GISM are undoubtedly a heavy metal band who've been heavily influenced by hardcore, but the music is so intense and the vocals so ominous that even I’m in a state of shock. These guys make VENOM sound like the KNACK, especially on side 1."

It is a privilege to present to you, our esteemed Daptone Family, a selection of fan-favorites by thee legendary Sharon Jones and her Dap-Kings available for thevery first time on 45!
Over the years Daptone H.Q. has been flooded with suggestions and requests for certain album tracks to be available on 45, so we've gone ahead and pressed up a few that are consistently at the top of the heap.

First up we have "Keep On Looking", a track that debuted on SJDK's breakout album 100 Days, 100 Nights,which subsequently became a staple in the groups live set. The incessant backbeat and tight horn arrangement, coupled with Miss Jones' powerful plea to a lost lover provides unadulterated dance-floor fuego!

On the flip is a new discovery of sorts. While digging through the tape archive we stumbled across a box labeled "Natural Born Lover- Instrumental with Strings". Much to our delight what we found is precisely that: an unreleased instrumental version of the SJDK classic, featuring a string arrangement that was cut from its initial release. And as if the nasty drum break at the top wasn't enough to make this a shoe-in addition to Dj boxes and playlists alike, the gorgeous quirky string arrangement places this one soundly into "must have" territory.

Nach der gefeierten Premiere des Dokumentarfilms „L.A. Originals“ in diesem Frühjahr erscheint nun der Offizieller Soundtrack zum Netflix-Film.
Die Geschichte dreht sich um den Hip-Hop-Fotografen Estevan Oriol und den Tätowierkünstler Mister Cartoon (Mark Machado).
„L.A. Originals“ folgt den beiden L.A.-Einheimischen von ihrem ersten Treffen im Jahr 1992 bis hin, dass sie zu den größten und einflussreichsten kreativen Chicano-Künstlern der SoCal-Straßenkultur, des Hip-Hop und darüber hinaus wurden.

D Leria debuts on Avian.

Giuseppe Scaccia shows his range on a new six track EP, arriving late 2020.

Produced diligently across the last two years, the record showcases a range of styles. Tonally, the material is bound by a recognisable engineering palette – driven, but not to the point of corrosion, tight and focused in the low end with caustic, percussive synth patches driving much of the more dance floor material.

In the terms of the form, though – Scaccia draws for a disparate arrangement. Opener A Life On The Run clocks in at over 140bpm, with a demented lead synth line providing the action buoyed by a simplistic drum machine rhythm. Divergences offers a more immersive experience in terms of tempo – again letting the lead do the work, while shifting hats operate around the sonic periphery to break up the recording. On Il Giardino Degli Unicorni the artist utilises a single, staccato sequence, letting the sends do the bulk of the business with careful processing and live articulation helping to build the intensity. On the flip, pulsing workout Noises from The Room develops surreptitiously over its run time – fathoms deep kicks are submerged under a heated sequence and Red Flowers, an exercise in careful reduction reintroduces a little musicality to the record, before warping closer Tribalism places the listener back on the dance floor with a half-time rhythm driving the droning sound design.

A careful meeting point at which the multiple styles that underpin Scaccia’s D Leria project meet, Still Standing offers insight into how future work might manifest whilst remaining a valuable document on the current state of both left field Techno music and the artist’s own creative identity.

Over the course of three EPs this year alone, Stones Taro has affirmed his skills as a producer with a rare talent for taking old school breakbeats and UK garage into fresh territory. Now the Kyoto-based artist raises his game with his new EP ‘Pump’, which will be released on October 23rd by Highball Records (HB003), the London-based label that exports forward-thinking music from Japan.

If you were enamoured by the playful rush of energy that Stones Taro captured earlier this year on ‘To Rave’, ‘Pump’ takes it to the next level. The title track quickly sets the agenda for what’s to follow: a maddeningly addictive loop, a flurry of breaks that emerge at an anarchic pace and a stuttering vocal sample that takes you back to early ‘90s house. Somehow Stones Taro has glanced back at the sounds that have preceded him and pushed them forwards.

The second track ‘I Want’ is more direct, again echoing ‘90s house but this time from the NYC scene. But still Stones Taro hasn’t peaked, with the manic beats of ‘Ride On The Ride’ recalling the intensity of Metalheadz’ ‘Platinum Breakz’ compilation. The closing ‘Understand’ changes the mood with fevered breaks contrasting a more melancholy ambience.

Stones Taro began his career in 2014 and debuted for Scuffed Recordings (ran by High Class Filter and Ian DPM) in 2017 with the acid house meets 2-step EP ‘Spiral Staircase’. Subsequent releases have largely been split between Scuffed and his own label, NC4K. His tracks have been included in mixes by the likes of Yaeji, DEBONAIR, Qrion and Pinz & Pelz, while media support has included Clash, Hyponik, Inverted Audio and The Ransom Note.

2022 Repress

Raster presents »Il Quadro di Troisi«, a project by Andrea Noce (Eva Geist) and Donato Scaramuzzi (Donato Dozzy). The record is a colorful ode of an Italian scented vision, overflowing of details and profound intensity. The contemporary world condition, the pandemic in Italy and around the world define »Il Quadro di Troisi« as a unique and right-on-time release.

This record is a enigmatic collaboration between the two Italian natives Andrea Noce and Donato Scaramuzzi. Andrea Noce takes lead on the vocals, with Donato Scaramuzzi carving the dreamlike soundscapes of the record. The record was born with a correspondence between the two artists about the late actor and director Massimo Troisi, and this exchange soon became an inspirational source of identification. Andrea Noce’s lyrics are sensitive and multi-faceted, they perfectly cling to the musical phrases and flow like a filmic monologue from the oeuvre of that very Troisi.

In a highly creative and confident manner, entire decades of national music history are comprehended and transformed into the here and now. The record takes its cue from the italo-disco, synth pop tradition corroborated by the contribution of artists such as the legendary Twilight Music co-founder, Paolo Micioni, as well as Stefano Di Trapani who wrote »L’ipotesi«. With »Il Quadro di Troisi«, Noce and Scaramuzzi prove their eclecticism, and passion for their home country.

»Il Quadro di Troisi« is a collaboration between Raster and the Milan-based festival Terraforma. With this release, the first with a purely Italian focus on the label, Raster celebrates its long standing relation with Italy and the Italian audience, encapsulated in the label's project ›Electric Campfire‹ held in Rome for ten years. Terraforma is an international experimental and sustainable music festival taking place since 2014 in the park of Villa Arconati, where Dozzy has been invited at every edition in different forms, DJing, live performing both in solo and with Voices from the Lake (together with Neel).

Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.

Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.

Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

By 1995 Kwaito was already a well established and distinguishable sound compared to the International House Remixes that preceded. The tempo was slowed down, Soulful vocal samples were replaced by catchy and repetitive hooks and versus sang in vernacular. The new hit sound had a template and studios worked around the clock to pump fresh releases into the demanding market.

After the successful 1995 release of Import mixes Vol 4, The Groove City team behind the productions now decided to venture into the territory of Mid Tempo. They would craft an album for a young frontman with the help of Kwaito pioneer Oscar Warona, and without much trouble, the team had their first hit on their hands. Filling the boots of their cars with copies of the cassettes and taking the stock to various townships around Johannesburg the tape quickly circulated and sold out every new batch that was printed. Demand was high for the release but as with much of the music at the time, the fast paced demand for the music moved on. Without a follow up release Scotch failed to ride the momentum built by the debut and remained largely unknown although he is still in the music industry to this day.

Even with their first artist release being a success, the following years proved more difficult in reaching such a large audience for the Kaleidosound studio. With popularity for the genre growing, the simple templates for early classics were changing as Kwaito fused with hip hop. Rapping took over as the preferred vocals for the masses. Mysterious production teams and labels that served as guides for music lovers were eclipsed by frontmen and groups that could draw crowds. The fight for fresh sounds continued as the airwaves became the main battleground for artists and the more club oriented music was pushed back underground, eventually evolving into some of the earliest examples of Deep House seen on the continent. The Kaleidosound production team would finally strike gold again in 1997 when reviving Groove City for vol. 5 which acted as the debut for the newly formed group Chiskop. The group would become superstars of the new commercial era that followed, sparking solo careers for the members and creating some of the biggest hits the genre knew.

To this day Scotch remains one of the best albums to come out of the golden era of Kwaito. Although it was outperformed by other groups from the time it has a special place for those who knew it and can still be found as a treasured piece in many collections. The various people involved created a one off fusion of sound that has remained fresh for 25 years. Playful lyrics over floaty grooves resulted in favourites like “Jam Alley” which uses catch phrases from the beloved TV show and “Bafana Bafana” guaranteed to get the boys on the dance floor. Here you have these two tracks taken from the album pressed on a club ready Maxi Single for the Deejays