Buscar:na

WALLS are a band from London made up of members Sam Willis (of ALLEZ-ALLEZ) and Alessio Natalizia (of BANJO OR FREAKOUT).

the 2nd release of french producer anthony collins on mule electronic. anthony collins have released from get physical,freak n' chic, bangbang!, curle and name a few. his biggest track "reeves" was incuded to the compilation of 10 years anniversary of circoloco@dc10.

So at last after all those Andre Lodemann records a new artist on Best Works Records, a fellow who runs by the name of Subfossil (Daniel Ramm).

oining forces with the Minsk-based whiz kid Maxim Samos, who makes his second appearance on Theomatic, AN-2 delivers two mid-paced numbers that naturally blend the elements of funk, rock and disco.

we are so proud of introducing an old friend of ours'label in discograph roaster... Here comes REINCARNATION. It's the joint project of Luca Benini's SLAM JAM and Enrico Crivellaro's NEROLI to release quality records and more.

With the Natural Selction release fresh in our heads Reeko already presents his next big hit on his own label! Very well crafted techno for the serious beats lovers.

1983 machte ein italienisches Duo Namens HYPNOSIS mit den ersten rein elektronischen Disco-Klängen auf sich
aufmerksam und sorgte für Furore. Damit war der Hype um Itlao-Disco eröffnet. Was danach kam ist Geschichte
und jedem Kenner bekannt. 26 Jahre später mixed ASEM SHAMA (Zeitgeist, Kiddaz FM, Nerven Records, Sportclub) PULSTAR im minimal House, Minimal Techno Stil und haucht dem Klassiker wieder leben ein.

Debut vinyl release from Lithuanian electro producer Moon Disco.

Er hat es wieder getan... seiner eigenen Tradition treu bleibend, dem synthetischen Ende von Disco ein modernes Denkmal nach dem anderen zu setzen, schafft auch "Don't go" diesen Spagat zwischen Vergangenheit und Zukunft, zwischen Glückseeligkeit und gnadenloser Abstraktion..

Great follow-up to the 'Soul Trap' ep. Features Giorgio Gigli collaboration on the b-side. Limited edition of 500

Played & supported by Loco Dice, Afrilounge, Solomun, David K, Danny Tenaglia, Matt Tolfrey, Ripperton, Dan Drastic and many more. Superb follow-up to their last EP by Helly Larson & Rik Elmont.

Protectorate is the name of a collective of talented underground international artists who live in berlin. it is a faceless and nameless project: they believe that music itself is more important than faces and names. they do not music for fame or success.

Nachgepresst und mit leicht erhöhtem Preis wieder lieferbar ist die Doppel-LP von und mit der Produzentenlegende Winston Holness aka Niney The Observer, vollgepackt mit 28 Klassikern aus der Bütezeit des Reggae inklusive Nineys Hit "Blood & Fire". Mit allen Artists mit Rang und Namen und den Musikern der Aggrovators, The Revolutionaries und dem Soul Syndicate, eingespielt in Randy's Studio 17, King Tubby's, Dynamic Sounds, Channel One, Joe Gibbs und dem Black Ark Studio!

MonstR AKA DJ Absurd brought us this killer dubstep 10". At first a rowing 4x4 dubstep tunes ravaging every floors the promo's been played. And a bad ass Monsterous dubstep tune named as 4AM Brawl on the flip...

The next burning slab of wax from Alphahouse sees a new name added to the techno world, as a well-established artist releases here in his own private way.

Ellen Allien meldet sich mit ihrem brandneuen Studio-Album "Sool" zurück. Sie zählt zweifelsohne zu den Pionieren der elektronischen Musik und geniesst weltweit ein exzellentes Standing als Musikerin und DJ. Seit Anfang der 90er Jahre ist sie ein Garant und Aushängeschild für den typischen "Sound Of Berlin", den sie mit in die Welt getragen hat und zählt ganz klar zu den weltweit bekanntesten weiblichen DJs überhaupt.

Willkommen in der Allien Welt! "SOOL" ist subtil, geheimnisvoll und minimal. "SOOL" ist das NEUE Album von Ellen Allien. "Entstanden im Winter 2007/2008 in Berlin, als mein Ventil, mein Ausweg. Die Winter in der Stadt sind für mich schon immer eine sehr kreative Zeit gewesen; vor allem nach diesem heißen, durchgedrehten Sommer und Herbst 2007 in der Hauptstadt. Ich habe keine Gigs, ich bin sonst nie so lange an einem Ort. Ich drehe stattdessen im Studio an Knöpfen und Reglern und singe. "Yeah! Minimal - was bedeutet das für mich?" Minimal ist einfach da. Das umzusetzen, diese Unmittelbarkeit mit meinen Händen zu formen, das lag mir am Herzen. Ein Hauch von positiver, abgründiger Energie soll Platz für die Ohren schaffen. Für meine, deine, eure. Was ist SOOL? Wer ist SOOL? Wie ist SOOL? SOOL ist alles, Alles und Nichts davon - SOOL ist ein Fantasiewort, eine Schöpfung, die für mich die spezielle Atmosphäre des Albums reflektiert, aber auch meine eigene Person. Ich bin ich, ich bin aber auch das, was ihr aus mir macht, mit mir macht, was ich mit euch mache. SOOL ist Neugierde, Raum, Architektur. Skizzen, zeichnend! Festhaltend!" (Ellen Allien)

On May 11, 2008 the Turbinnenhallen (Oberhausen, Germany) was the location of the first edition of THRILLZZ!

A slammin' jumpstyle production based on the all time CHICAGO classic 'Hard to say I'm sorry.... contains the original vocals, brought in a massive jumpstyle arrangement so this is a guaranteed floorfiller!!

Altercat proudly presents the definitive reissue of one of the crown jewels of South American jazz. Essentially the brainchild of Argentinian jazz's leading figure Jorge López Ruiz, the project Viejas Raíces marked López Ruiz's departure from the traditional forms of jazz. The trio that recorded this album, consisting of López Ruiz joined by his life-long friend drummer Pocho Lapouble and gifted Chilean pianist Matías Pizarro, created a thrilling blend of jazz and Uruguayan candombe, surrounded by an undeniable cinematic feel spurred by López Ruiz's long experience in the soundtrack field. When read as one element, the cleverly chosen combination of group name and album title (in English: 'Old Roots of the Colonies of the River Plate') readily hints at the kind of sounds the listener will be challenged with when diving into this LP.

Recorded in 1976 in the wake of the "Proceso de Reorganización Nacional", the bloodiest period of dictatorship in Argentina, the album was initially frowned upon by critics and public alike, both still firmly rooted in jazz traditionalism and obviously not ready for the new ideas that musicians like López Ruiz were experimenting with. Despite being a commercial flop upon its release, the album has been enjoying a growing reputation over the last two decades, acclaimed by jazz enthusiasts who value it from a different historical perspective and embrace its experimentation during this revolutionary period of change.

Forty-five years after its release, the album receives the Altercat treatment with a much deserved deluxe reissue, with sound direct from the master tapes and an accompanying 12-page booklet with previously unpublished pictures and bilingual liner notes telling everything you ever wanted to know about the album and those who made it possible.

In 2006, Dutchmen Bert Kroes & Krijn van Heuseden teamed up to explore their shared passion for techno house music under the name K-DRIVE & GINMAN. This resulted in a remix for the upcoming German dj/producer Daniel Melhart on the Manual Music imprint. Their musical style covers about the whole spectrum of techno music, raging from pure techno do more minimal sounds and electro.

schliesst nahtlos an die border communty an!!

(A) big elephant
(B) refute

inkl. remix by kenny dope !

Kenny Gino and Big Mike a.k.a. the Solid Gold Playaz both started playing records in the late 70's/early 80's. Having family from Chicago, who were DJ's and down with some of the big guys at the time, "heavily influenced our music and production styles" both say. "Living so close to the city, we could go down to all the legendary night spots. The Rainbow and the Warehouse, the Box, the Shelter... places where you could just feel the vibe. And you could hear guys like Farley Funkin' Keith, Ron Hardy, and Jammin' Gerald (the Chicago DJ/producer who is Kenny's cousin) play these incredible records". They both were hooked on the house sound, and would bring it back to their home, a small city named Racine, Wisconsin, located about an hour and half north of Chicago. They continued to develop their DJ and production skills into the 90's, but musically, weren't taking things very seriously until they met Chicago producer Louis Bell. He introduced them to many of the people who were building the mid-90's Chicago sound. "Louis gave us access... access to places we hadn't been before. He took us into the offices of Cajual/Relief Records and Underground Construction, and suddenly we were face to face with guys who were doing what we wanted to do... Cajmere, Paul Johnson, Glenn Underground... showing us that we could do this too. We did a few releases just to get our name out, and soon we had some pretty big named DJ's playing our music. We had DJ's actually looking for our records, and telling us how much they liked our sounds... that just blew us away, especially with very little promotion and in the limited numbers we were pressing... our music just started to build a name for itself."

na ist das wieder was nettes!!! check it out!!!

was für eine scheibe !!! grummelnd und schuffelnd !!!

The Berlin based Alexander Kowalski is responsible for projects like DisX 3 (Tresor, Konsequent), Mr. Discoteque (BCC), as Double X together with Stassy (Sender Berlin) and last but not least under his real name Alexander Kowalski exclusive for Kanzleramt. After his debut 12inch for Kanzleramt titled "Live" featured two unchanged live recordings, Alex released his second 12inch "Dark Soul" in 2000 which includes the first solo-studio-recordings for Kanzleramt. This 12" gives you a taste for Alexander Kowalski's follow up LP "Echoes". The acutely harmonic tracks on "Dark Soul" are a tribute to the dark side of Alexander Kowalski and may belong to one of the best productions without a doubt in 2000. Alexander released his really successful long-player "Response" in 2003 and his 12inch release "Alexander Kowalski With Funk D'Void And Joris Voorn" on Kanzleramt at last.

limited 6 track mini lp in transparent orange vinyl !!!

zwölf starke technotracks mit detroiteinschlag !! aber immer nach vorne !!!

nach jetzt erst recht, nun recht erst jetzt !! A a-side

now back on stock!!!

Pale Desert is the first release of the Australian born, Berlin based producer Ryen March. The name resonates not only the dry outback of his hometown, but it also mirrors the soundscape of the tracks - being completely raw and sweaty at the same time. The five track strong EP has it's core in the techno swamp but with the aesthetics of punk and EBM.

We're happy to have found a new friend from down under and beyond excited to be releasing March's first EP!

12” LP Sampler with Hype Sticker (350 Copies Worldwide) - DJ Milo AKA DJ Nature (Milo Johnson) has been producing his fourth-coming LP “The Human Stain” (LU013 Love Universal Music) over the past five years. This 12” LP Sampler (LU008 Love Universal Music) gives a glimpse of DJ Nature’s artistry.

Under their exael moniker, Berlin-based producer Naemi makes highly imaginative music that can be seen as a study in contrasts - precise, hyper-detailed drum programming sits atop fuzzy, organic pools of ambience, virtuosic futurism is wrung from a falling apart laptop. Following a string of excellent releases, both solo and in group settings, “Flowered Knife Shadows” features eight productions that feel like the full realization of the project, demonstrating the artist’s range and knack for vivid, pressurized productions. From the dextrous, chops-flexing “Koch Metish” to the sanguine “Reality’s Sweetheart,” Naemi’s clarity of vision and instantly recognizable aesthetic are delivered here with remarkable potency. Frost on the window, whispers in the dark.

Hui Terra. The dreamlike shape of the half-heard word, abstracts with faint impressions of bucolic landscape, or handfuls of translucent and brightly-colored gemstones that hold odd, elusive, asymmetrical form. This enchanting, gently surreal debut album from Alex Cobb's Etelin project explores the power and playfulness of impulsive action diffused through electro-acoustic and ambient sound.

This music was created with digital synthesizers and a sampler in the four months immediately following the birth of his first child, a hazy period marked by a lack of regular sleep and a diet of INA-GRM, Nuno Canavarro's "Plux Quba", and Microstoria's "Init Ding" - records that appeared to produce both stimulating and soothing effects on a newborn's nascent consciousness. Recorded and arranged at all hours, this is an album that reflects on moments of tumult and fragility. Cobb sews small sharpnesses and surprises into its movements to uncover different aspects of each sound source, doubling as hypnic starts cast to advance and variate the narrative in subtle and unexpected ways. Sound and atmosphere manifest in eccentric, alchemical fashion, as though forming in processes of sublimation - solids dissipating into vapor - and deposition - clouds resolving and dropping to the ground in piles - to an obscure and domestic rhythm. There's the purveying sense of moving within the boundaries of small, hermetic ecosystem. This is underscored and doused by a slow, blooming sense of warmth; growing joy without bombast. Even the more startling textures conceal this same truth and emphasis, such as the alien, sour salt-butter electronic babble in "Little Rig", largely sampled from Cobb's son's voice at just a week old. It is emotional music - devoted, affectionate, and playful.

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.

“A Typical Night in the Pit” is a collection of new music by Los Angeles’ Nick Malkin. It is an album that finds the artist absorbed in the density and chaos of the urban complex. It is unquestionably an “LA album”, but not the LA of hi-fi listening bars and twinkling, Instagram-ready New Age. Rather, Malkin navigates something more akin to the LA found in the films of Robert Altman or Alan Rudolph — overheated, tense, hazy, frayed — with blue-lit, nocturnal compositions that at times recall Mark Isham’s noirish scores for those subversive (anti-)Hollywood pictures. Enlisting a revolving cast of LA experimentalists, Malkin has assembled a record that is as chameleonic as it is cohesive, offering up vignettes ranging from the skewed MIDI-jazz of “Sixth Street Conversation” to the skulking menace of “Estacionamiento Privado,” before giving way to the wide-eyed, cloudy closer “View From Two Perspectives.” C’mon, let’s go in here and get outta this heat.

Mastered by Kassian Troyer at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint (Bass Clef), further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

Over the past fifteen years, Florida-based multi-instrumentalist Eric Lanham has quietly generated a diverse and remarkable body of work both as a solo artist and in group settings. From the disorienting drone/collage ecstasies of Caboladies, his trio with Christopher Bush (Flanger Magazine) and Ben Zoeller, to wildly divergent solo flights under both his own name and as Carl Calm, Lanham’s carefully meted out recordings display the talents of a chameleonic composer who is as capable a sound designer as he is unconcerned with trend in experimental electronic music or notions of prolificness. “Objet Dirt” arrives ten years after “The Sincere Interruption,” his excellent longplayer for the now defunct Spectrum Spools imprint. Captured live, these compositions are brimming with kinetic, elastic, off-grid rhythms, an articulate and enigmatic language that restlessly darts around the stereo field. Of the collection, Lanham says "I haven't made a single piece of music that sounds like this since and it is hard to imagine doing so again.” If this is the case, the 20+ minute closer is a formidable final document. At once chaotic and tightly controlled, it is a torrent of coiling low-end, submerged and stretched rhythms, and seething high-end filigree that is as indebted to the hungry ghosts of free improvisation as it is anything resembling techno.

Australia-based musician Mark Gomes presents the debut full length under his own name for Soda Gong. “Alphane Moods” finds Gomes employing strategies that will be familiar to listeners of his work as Blue Chemise – elegiac, loop-based modes of composition and a predilection for concise etude forms – that manifest here with a strikingly different scope and intent, shifting from expressive abstraction into more conceptual terrain. Over the course of fourteen widescreen tracks, he navigates the gap between nostalgic and futurist sensibilities, concocting elusive, romantic, and sanguine settings that feel both plucked from the past and beamed in from a time still to come. Gomes describes his approach on the record as a “practice of ‘constructed ambience’, deploying sounds and track titles with pop-psychological associations of escape.” The result is a vivid, cinematic album that splits the difference between the worldbuilding retrofuturism of the best vaporwave music and the shadowy, homespun tape vignettes for which Gomes has become well known.

Written and produced by Mark Gomes
Master + cut by Kassian Troyer at D&M
Artwork by Alex McCullough