Anna Funk Damage, an Italian artist, releases his first LP on Lux Rec. Seven tracks which define the musical attitude behind the moniker. Cruel, unforgiving, harsh. Ranging from extremely slow to fast pacing. Through and through a drugged-out weave of misery and hostility. And his lamenting voice that reminds us that only failure is certain.
We first encountered DJ Varsovie back in 2018 when Guillaume Labadie proposed him as the remixer for Walpurgis Night on the I Hate Models / Khemia release Midnight Cults.
So the dark love affair began and developed into an intoxicated obsession, The spores were planted in the dark substrata late at night and the mycelium thread led us to where you are now. The Monster devoured the Labyrinth.
Out Of Romford Records was one of the most underrated old school labels in the history of our scene. Relentlessly innovative and with a unique sound, it was always ahead of the game and perhaps it is only now that the true brilliance of each release can be really appreciated.
This EP contains the absolute classic “Chance To Dance” which back in the day eclipsed the other three tracks on the EP. But years go by, and now all 4 tracks can be re-evaluated. And what an amazing EP this is. Its both a product of its time, and totally timeless in its sound. The remastering has only served to enhance the brilliance of the entire EP. Not to be missed…
Stu Chapman has been one of the most well regarded producers in the old skool and hardcore breaks scene for many years, and teaming up with legendary Perth Dj Rob Fender, he drops this awesome debut EP. Three tracks loaded with a deep underground sound for the proper raves from back in the day.
Kohib is an important member of the Tromsø electronic music scene, equally as a club organizer, DJ, and producer. His debut was on the Prima Norsk 3 compilation in 2005, followed by an album, a remix-album, and a string of highly regarded EPs and singles. Kohib has had success both with his electronica-style releases (the track "Hear This" from his debut album was licensed to the Buddha Bar XIV compilation) as well as his dance floor releases for Beatservice, Sprechen, Cibicaldi, and SpinSpin NYC.
In Mountains is a desire to seek horizon. The album was written and recorded in November, December and January. A time when the sun is absent in Tromsø. However, the origin of lots of the rhythms in the music, are harvested during summer, from the same area. Sound samples are taken from Kohib's surroundings, from creaking in worn-out doors, to ambient silence along the coast. An electronic album, yes. But all the rhythms and instrumentation are analog. The goal has been to give leeway to all elements, by limiting the amount of information. So, if it follows a dogma with this album, it has been to limit the number of tracks to each song to the bare minimum. A sound weighs the most when alone.
The album will be promoted in UK / worldwide by Shine PR (UK) + social media marketing by Beatservice Records.
Exciting new producer Yves Tomas releases on Rekids with ‘Pilot EP’ this May - a bold and versatile debut release exhibiting the artist’s broad range of influences.
Hailing from London but with roots in Bristol, Yves Tomas is a producer, vocalist and DJ brought up in the centre of UK club music. Since experimenting with music through his childhood and early teens he’s gone on to become an engineer, working in studios alongside some of the biggest names in grime and pop music. This has led to him developing his own unique style of electronic music as a reactionary expression to working in the meat grinder culture of mainstream music. He now joins Radio Slave
Rekids - a label known and respected for discovering many luminary figures in electronic music.
With its otherworldly melody and echoing effects, ‘Braindead’ is a downtempo track that remains beatless until the halfway mark, moving onto the beautifully arranged ‘MA1’ with its reverb-drenched breaks, quivering synths, and ever-evolving chopped and looped vocals. ‘River’ then incorporates elements of grime and jungle courtesy of its lively stabs, soulful chords and compelling rhythm built on punchy percussion. Taking things into a spiritual direction, Elephant & Snake’ meanders forward using
syncopated drums, washy chants and elevating organ keys before ‘Callout FM’ follows with its rattling snares, twisted arpeggios, and crystalline pads.
Nearing the end, ‘Pilot’ is a stripped-back affair with sporadic kicks, a fuzzy bassline, and vocoder vocals until digital bonus track ‘Birds Of The Barbican’ ties everything together by generating an uplifting atmosphere destined to elevate revellers for many years to come.
The classic album of Germany's funk champions reissued on surf blue colour vinyl.
Original press release note from 2011:
After almost twenty 45's under various pseudonyms, their thrilling and hugely successful debut album with London-based singer Gizelle Smith and a tour with concerts throughout Europe, Germany's most prolific deep funk formation is ready to step further into the spotlight with their second longplayer.
The aptly titled THE FUTURE IS HERE sees the group explore new territories with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that has long gained international reputation.
Producer legend Kenny Dope (Masters at Work, Bucketheads) picked up the Mighty Mocambos's re-interpretation of the Furious Five classic "The Message" (released under a pseudonym on an obscure phantasy label without proper distribution), remixed it and re-released it on his own imprint Kay Dee Records. This album includes the original version of the "Next Message" – a message that apparently got heard and answered.
Afrika Bambaataa (the Godfather of Hip-Hop) and Charlie Funk (aka Afrika Islam, Grammy- and Oscar-decorated producer of Ice-T and original member of the Zulu Nation) loved the Mocambo vibe and joined the group on stage and in the studio to record "Zulu Walk" and "Battle", two stunning tracks of organic Funk that take Hip-Hop "back to the roots where we started out" (as featured MC King Kamonzi rightfully says) and along the way, leads funk into the future.
Keeping up with the universal spirit and ignoring boundaries of language in favour of the global groove, the Mocambos recorded "Physique", a rousing dancefloor smash sung in French by Caroline Lacaze. "The Sun Shines Tonight" is a cheerful party-in-the-studio session with original German funk and disco queen Su Kramer (who played with Donna Summer in the original cast of "Hair" during the late 1960s) that documents the pure joy of playing and spontaneity of a Mocambo live situation.
The 12 titles on this album showcase the group's collective determination, unified versatility and creative wit. From the drum-heavy, afro-tinged "Calling The Shots", the anthemic "Struggle & Triumph", the romantic melancholy of "French Vanilla Skies", the somber and frantic "Transcendental Express", to songs with an almost cinematic quality like the moody "A Brighter Darkness" and the horroresque "Paranormals Theme", the album offers a broad spectrum of colours, all held together by the unity of a band that has been playing together for years - recorded live in a few takes with simple analog equipment to capture the energy, chemistry and blind faith between dedicated musicians.
The result, mixed and mastered by chief engineer Def Stef with a decidedly modern punch, is a far cry from nowadays vintage soul band replicas. It is a universal and timeless statement: with the knowledge of the past and present, right now, we look into the future - THE FUTURE IS HERE.
In the late 90’s, east-side LA was in the throws of a post-indie explosion; a network of stoned bands ranging from neo-psychedelia to pseudo-country overran Spaceland (our generation’s Troubadour) and the local Silverlake Lounge. I was playing freakbeat records twice a week in dive bars, half of Spacemen 3 was crashing at my house (my drop-out roomate was Sonic Boom’s tour drummer) and it was during this blur that I met Raymond Richards, a clean-cut all-American pedal steel guitarist playing in Mojave 3 (the country-tinged side project of 4AD shoegaze royalty, Slowdive). I was instantly swept off my feet, head over heals in love with Raymond's weeping tone—the most chill-inducing, emotionally responsive dialog I’d had with music since discovering Satie as a child—it was then and it is now, truly haunting. After a year of personnel trials, my roomate and I stole Raymond for our own band, and not only did he smother our songs with his enchanting steel, he was virtuosic with a variety of atypical instruments such as baritone guitar and theremin, he utilized them all. The band was short-lived—I joined Ariel Pink, Raymond fled to Portland and me subsequently to New York City—but in founding the ESP Institute years later, there was always a recurring mental note; we must make Raymond’s pedal steel album. I had managed to wrangle his blessed performance on a remix for Project Club’s El Mar Y La Luna, but it took almost a decade until I once again wore the producer hat and we began working on The Lost Art Of Wandering, a title borrowed from Sam Shepard’s Stories. Spiritually candid, expansive yet enveloping, this is the strung-out, visceral country music that simply radiates from Raymond. Each song is his set of coordinates in a vast open terrain, holding a sentimental familiarity, a truthful longing for the simple comforts that diffuse life’s complications, a place to get lost. –Lovefingers
One thing‘s for sure: There aren‘t many bands with a history as long and eventful as Kreator‘s, who fascinatingly succeed in exploring new horizons while challenging and reinventing themselves time and again.That was perfectly illustrated by their latest record ‘Gods Of Violence’ in 2017. With this 14th studio album of their impressive career, the thrashers from Essen, Germany crafted a work of art of utmost vigor, drawing its unfailing power from the pounding heart of one of the greatest, most versatile metal bands of all time.
Mainman Mille Petrozza’s influences range from Hannah Arendt, Pink Floyd and Tocotronic to Slayer, even though he was born and bred in the metal scene. Nevertheless, he is and always has been open to inspiration from various sources, which is why his lyrics are by no means merely based on corny genre templates but offer trenchant observations of our time combined with a witty aside to long-standing cliches: One of the best songs on ‘Gods Of Violence’ is really called ‘Satan Is Real’.
Formed in 1982, Petrozza and ‘Ventor’ – the only two remaining founding members – have come a long way from playing in a small-scale student band. “In my history book, Kreator didn‘t really exist until 1985“, says Petrozza, laughing. “Although we had already started jamming together in `82, we only entered the stage two or three times up until `85. Back then, our set list consisted of five original tracks and five heavy metal cover songs, we went through several line-up changes and didn‘t really find ourselves until ‘Endless Pain’.Over the years, Kreator, the leaders of the German ‘Big Four’ of thrash, have sold more than two million albums worldwide and have played countless shows all around the globe. It is one of these shows that is captured on ‘London Apocalypticon’. Recorded in December 2018 at London’s legendary Roundhouse venue, headlining a bill with US hardcore pacesetters Hatebreed and Norwegian Black Metal legends Dimmu Borgir. Kreator’s explosive set was quite rightly heralded as “a demonstration of consummate musicianship and stagecraft” by Metal Hammer magazine.
Volker.live ’s debut and final release
“My Love Will Set You Free” Final release? We see the question mark popping up over your head. Well yes, these four tracks are a time capsule, a historic cache which takes you back to one hot summer of 2019. When this care-free boy band formed and made it their goal to climb up the world’s stages to play an all-hardware live set & have f.u.n. while doing so. This endeavor went swimmingly. Festival gigs were pocketed and crowds intrigued. The stand-out track of their gigs was always “My Love Will Set You Free”, an acid-house stomper with uplifting, yet melancholic vocals from their friend ÆN.
Friends and neighbors were quick to re-interpret the song and the idea of a record took shape.
Lehult’s Lucky Charmz propels the listener into the void by upping the acidity. Closing in on a playtime of 10 minutes, we’re readily giving up our sense for time and space. Whirring drum hits meet feedbacking tape delay while riding the rock solid bass line.
Erobique liked the song so much, he quickly drew up two versions of his own. His “Disko Mix” oozes that saccharine, danceable magic mélange of days past. Warm keys, hand claps, and Aen’s intimate voice are stirred into an exquisite cocktail. You know that Carsten Meyer would never forget the umbrella on top. He’ll keep the cherry though.
The “Black Velvet Mix” closes the curtains for a slow dance. This is personal, it’s just between you and the song. Sub rosa.
In the meantime, Volker.live decided to follow separate paths of their adventure, but everyone agreed to release these songs into the world. May they serve as a reminder of what can be created out of care-free energy that’s driven by a deep connection to music. Please check out their other musical undertakings as Echoel and Goodmemory.live .
After releasing their critically acclaimed debut LP “NOW” just last September, The people at Malka Tuti felt it was the time to continue pushing the name SHARI VARI to new realms & territories... A Remix Pack was born. For the remix pack, Malka Tuti chose a few close friends of the family to give new life and new interpre- tations to the now “instant classic” songs by the Hamburg duo.... The Ep begins with Fantastic Twins’s mid tempo, Coil inspired, break-beat groove, slowly building up in emotion with warm pads and 90’s vibe acid lines to- wards an epic catharsis. Benedikt Frey takes it from there, remixing a personal favourite - New York City, turning it into a dark trip- hop inspired journey, cleaning those distinct vocals, echoing Beth Gibbons’s smokey high tones.... On the B-side we find Black Merlin’s 11 minute trippy mid tempo dance floor banger. Cuts and slices from the original vocals of the song Dance Alone, laid carefully on top of a repetitive modular bass line, and sprinkled on top - those out-worldly sounds and FX that makes the track simply HUGE. Last but not least, Düsseldorf’s very own Lucas Croon’s Dub Version, released digitally last year, final- ly sees its day on wax. 90’s Break beat beats, gated vocals and everything else that takes to make a dance floor hit the roof.
The minimal imprint from Chicago is back with it’s second vinyl only release featuring 2 heavy hitting producers Nima Gorji and Christian Burkhardt.
Side A: 2 original tracks by Nima Gorji inspired from the early 2000s. Dusty drums and blissful arp sequences, everything you need to feel good.
Side B: remix by Christian Burkhardt bringing things back to 2020 and beyond with heavy low ends, percolating drums, and eerie effects.
Support: John Acquaviva, Enzo Siragusa, Halo Varga, Primarie, Faster, Dubphone
New SheweyTrax 12"!! Introducing SoCal artist withNme. A-side features three lyric jams full of lush indie-pop, catchy vocals, and electronix. Opener "Early Girl", a young women's struggle to make it and doing what she needs to do for a better future. Feature track "Window Sill" is your favorite cat chasin' birds without a care or just letting the wind in the sail take you away. "Skywalker" closes out sideA as a sneak peak track from the forthcoming withNme album. "Window Sill" is additionally featured on Side B, with club vibes by developing producer Delicate Instruments. Two solid deep house selections: "DELINSTR Chasin' Remix" and bonus instr mix. Vibe record leading into summer 2020!
Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year’s Zoom, a collection of in-situ, spontaneous recordings – Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses. A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera’s soundworld. Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi’s hymnal vocal performances. It’s a more adventurous work than Rossi’s previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.
While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi’s singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic’d and intoning in a loop or in full flight, Maria Rossi’s voice remains in the foreground, set here against a more synthetic backdrop. This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi’s vocal to duel. The effect is often dazzling. On Salvia Salvatrix, an ode to the medicinal plant used to ward off evil spirits, Rossi’s invocation is encircled by a distorted synth sound tearing at the fabric of the composition. It’s an inspired juxtaposition, leaving the listener to appreciate both sounds as separate and as a duet. Anarkian kuvajainen embraces a sense of chaos, an accidental transmitting mobile phone’s pulse is swept up gently with looped synth swells as Rossi’s prayer-like vocal rhythmically teases the composition into loops that embrace and then drift apart. Teerenpeli flirts with a minimal beat rendered by sampler and processed, layered field recordings of capercaillies, while Side A ends with one of Rossi’s most beautiful, simple tracks yet recorded. Varjokuvatanssi is an a cappela recording built on top of a wordless glossolalia, a shadowy interplay which foregrounds the solo vocal.
Pölytön nurkka is the most melodic song yet recorded by Cucina Povera. While it still maintains an off-the-cuff performance style, the synthesized chimes and 4/4 beat are smothered by a distorted synthesizer which almost replicates the bravado of an electric guitar feedbacking into the night. Rossi’s subject matter talks of trying to start anew, getting rid of extraneous material, perhaps still feeling powerless to affect positive change. On Haaksirikkoutunut, the protagonist vocal is lost, a vessel rudderless on the ocean, buffeted by waves metaphorical or real, digital, atonal chords gurgling and splashing against the bow, a storm forever brewing on the horizon. Saniaiset recalls Coil in its eldritch, nocturnal tone and digital-bell like synth, Rossi’s half-spoken/half-sung voice attaining a creepy tone before flipping into flight. Album closer Jolkottelureitti uses an escalating, sequenced synth that splinters into both abrasive tones and harmonising chords creating a kosmische effect, reminding the listener of Kluster or synth-era Popol Vuh, all the while elevated by Rossi’s searching vocalising.
For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.
"Aix" is an outstanding piece of work by Italian electro-acoustic savant Giuseppe Ielasi, originally released in 2009 on Taylor Deupree's 12k label, the follow-up to 2007’s "August" (12k) and Ielasi's first collaboration with Nicola Ratti as "Bellows", also out in 2007 (Kning Disk). Originally only released on CD (12k), the album got a very limited vinyl issue on Czech label Minority Records in 2010. Keplar presents this extraordinary and timeless collection of 9 evocative minimalist soundscapes on vinyl again after 10 years.
From the original press release in 2009:
"With Aix we see Ielasi building his layered, atmospheric music around rhythmic grids. Most of the time these are quite irregular and the pulses are not neccessarily stable or clear. Where his previous work approached sound in a linear fashion Aix imposes a strong vertical development with the aforementioned grid and a production consisting of ons and offs, employing as much improvisation as Ielasi’s previous work, but in a different way.
Despite the self-imposed grid structure, Aix relies heavily on randomization. Not in the traditional sense of sound placement but instead of the spatialization of sounds, echoes, reverbs and the stereo image. As a result, Aix has an amazing sense and clarity of space as the small fragments of sound breathe and find their own place in the mix, thanks to Ielasi’s sublime skills as a mixer and engineer.
Ielasi relied heavily on numerous short samples and combining them in ways that fell into his groove; some found from others' recordings and many more recorded during the past year. We hear fragments of percussive (acoustic) objects, drums, piano, trumpet, guitar, and, of course, synthetic textures. Although there is a distinct rhythmic pulse to Aix, Ielasi manages to mold it into something wonderfully languid and warm... and strangely inviting."
Composed and recorded by Giuseppe Ielasi in Aix-en-Provence, Autumn 2008. Remaster by Giuseppe Ielasi. Cover photograph "Construction, Barcelona" by Taylor Deupree. Layout by Dan Dudarec/Marco Ciceri.
For more than 20 years Giuseppe Ielasi has been releasing his recordings on labels like Erstwhile Records, Häpna, Kning Disk, Dekorder, 12k, Entr'acte or Editions Mego, as well as on his own label Senufo Editions.
The label Keplar has been on a long hiatus and is now back with its KeplarRev series presenting vinyl re-issues of essential electronic albums from the 90's and 00's, as well as new recordings by momentous electronic and ambient artists.
Premisession’ pays homage to the pivotal but now defunct Minneapolis warehouse venue “Premises,” of which Craig Lambert aka Midnight Music Club founded, and where Kajunga hosted their rst ever all night party. The EP showcases MMC’s hardware uency with a lavish cruise through mesmerizing grooves and pronounced warmth.
Calling Card creates a welcome invitation to the record with sensual synth lines, paired with the drive of undulating tom rhythms. A New Day evokes the feeling of an acid soirée. Rich emotion and improvisational elegance resonate throughout the track.
Five A.M. starts the B-side off with spring-time air; blooming into a Sunday morning daydream. Private Guy seals the deal by providing a more moody take on A New Day, with melodies weaving through playful percussion.
Midnight Music Club has been collecting records for over 40 years, sharing them passionately for nearly 30 and studying music production for 20. This live artist’s timeless yet distinctly old school sound is reminiscent of early Chicago and Detroit pioneers, with a blend of deep house and techno that is uniquely his own.
He has released on Chicago’s Descendants of the Deep label, as well as Headphoniq and his own self titled outlet. His ‘Premisession’ EP is an ode to the pivotal but now defunct Minneapolis warehouse venue Premises, which he himself founded and which hosted Kajunga’s rst- ever all-night party.
dJ FeedbACK:
“Overall cool 12", Calling Card being my fav on here, the remix is nice as well!” - Kai Alce
“Dope!!!” - Fred P
“This record from Focus is off the chain! Analog funky grooves with real rhythms. Minneapolis coming with it on Kajunga.” - Ricardo Miranda
“Dope EP, A New Day does it for me.” - Roman Rauch
KAJUNGA is a record label, party series and monthly mix series formed in 2015; the result of four Minneapolis artists’ shared love for thoughtful music and unadulterated dance floor experience.
Alex Jann returns to Dance Trax after last year’s intense electro workout alongside Assembler Code. Here he fly’s solo showcasing his broad style of electro futurism - inspired by authentic machine funk, Jann re-imagines classic sounds for modern times. Marco Bernadi on flight deck reporting for remix duties - Stay alert!
DJ Support
Nightwave “really digging this and will play in isolation streams lol cant choose a fav tracks, love them all and heavy Bernardi rmx” 5/5
Martyn Bootyspoon “Don't come around is a jam” 5/5
Solid Blake “top!” 5/5
tiga “downloading for tiga, thanks” 4/5
Fear-E “Excellent stuff!” 5/5
Paul Woolford/ Special Request “Y E S Cybernetic Memory bangs, gonna throw it in the mix on my Radio 1 show, can you send me a WAV please? T H A N K Y O U” 5/5
Horse Meat Disco “Love this” 4/5
Extrawelt “Dope!” 5/5
Martelo “this is super wavey.. into it!” 5/5
Len Faki “great vibe - love it!” 5/5
Âme “thanks” 3/5
Mr Beatnick “inward energy is perfect for my NTS show”
Ben UFO “thanks” 4/5
Mosca “Marco always hits that sweet spot of offness” 3/5
anja schneider “THX for the music” 4/5
Barely Legal “Hard” 5/5
Repress!
Cutting edge innovators Rashad Becker and Mark Fell re-work material from Sote’s extraordinary ‘Parallel Persia’ album alongside a killer non-album track by Ata Ebtekar aka Sote himself. Highly recommended if yr into the complex tunings and arrhythmic geometry of Dariush Dolat-Shahi, Autechre, Xenakis...
Last year’s ‘Paralell Persia’ album took the trajectory of his preceding ‘Hardcore Sounds From Tehran’ (2016) and ‘Sacred Horror In Design’ (2017) to thrilling new heights for Diagonal. Turning traditional instrumental music inside-out with computers and modular synths, he arrived at a thrilling mix of sound that stood out as one of the year’s most original and striking releases.
Wrapped around the incendiary core of ‘Artificial Neutrality’ which features Pouya Damadi’s Tar and Arash Bolouri’s Santour sculpted into fiery folk futurism by Sote, the remixes by celebrated mastering engineer and improvising composer Rashad Becker and minimalist rhythmatist Mark Fell exert incredible new spins on Sote’s originals that remain faithful to the material in their inimitable styles.
Rashad Becker’s Dramatic Reenactment of ‘Pseudo Scholastic’ combs and curdles the original into 7 segmented minutes of squirming tones and melted rhythms that, through twists and turns, come to recall Korean classical court music and Florian Hecker as much as they recall the original.
Mark Fell, meanwhile, impresses with his quadruply extended 20 minute Parallel Yorkshire mutation of ‘Modality Transporter’, where he unravels its syncopated flex in endless permutations of laser-guided pulse drops, puckered strings and choral stabs that come to sound like Autechre letting off fireworks at a Dariush Dolat-Shahi show.
a 1. Pseudo Scholastic Dramatic Reenactment - Rashad Becker (06:59)
Parallel Yorkshire - Mark Fell (19:50)
PH001 Slave To Society – Path Of Self Destruction EP Incl. Perc Remix.
Berlin’s PURE HATE launches in style with ‘Slave To Society’ aka Andrew Bowen one half of AnD providing the debut ep on this exciting new label by STRISC.
The ‘Path Of Self Destruction EP’ consists of 4 original tracks which provide the perfect blueprint for the labels debut release. Expect industrial, bleeding edge, razor sharp, metallic, experimental, raw, stomping, broken beats and dramatic soundscapes throughout the EP, cementing everything Slave To Society and PURE HATE stand for.
To complete the EP UK Industrial Techno pioneer Ali Wells aka Perc stepped up to remix lead track Path Of Self Destruction in the style that he has become renown for and seen him and his label Perc Trax at the forefront of the UK and worldwide scene for over a decade.
c b1 Path Of Self Destruction Perc Remix
‘Garlands’ was the Cocteau Twins’ debut album, released in the early autumn of 1982. It was the only album they made with original bassist Will Heggie. Describing it as “haunting,” “spellbound,” “diaphanous” and discerning a “frosting of sweetness,” the critics wore out their adjectives; this was rock music - just - but it was conjured in the unlikeliest environment from the strangest of material.
This is ‘Garlands’ first vinyl pressing in over ten years, remastered from the original analogue tapes, pressed on 140g black vinyl and includes a digital download code. ‘Victorialand’, Cocteau Twins’
fourth album, was released in spring 1986. The largely acoustic, nonpercussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil’s second album.
Dif Juz labelmate Richard Thomas guested on tabla and saxophone. The Guardian said “It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice.
‘Victorialand’ is remastered from the original analogue tapes,
pressed on 140g black vinyl and includes a download code.
Here comes the new EPITETH ETH !
003 like Control 3 !
The sample used here by Sucre Rose on his remix is a vocal that Ingler and Lize'N'Eliaz prononced while doing this dune... Trye vocal sample from them :) A pure hasard as Hardcore sometime requieres to buil a legend :)
The second tune, from Bombardier, is an oldschool truely industrial tune, noisy and unconfortable that stick to the Uncivilized World label... Crazy shit !
B side starts with a remix from DJ Kony of PTH15 from Ingler and finished with a pure jewel from Sucre Rose who opens and close the EP.
Visual is from Hô.
records comes in a shrinkwraped printed sleeve full color !
LTD 300
Active since the late 1990s, Brussels-based Frenchman Sylvain Chauuveau is an unsung pioneer of a now burgeoning scene and was making elegant post-classical compositions years ahead of celebrated current peers like Max Richter, Nils Frahm, Olafur Arnalds, Dustin O’Halloran and Hauschka.
Now reissued in a remastered, first-ever vinyl edition, ‘Simple’ was originally released in 2012 as a CD collection of Sylvain’s works for cinema - a set of out-of-print, rare, and unreleased tracks composed between 1998-2010 that span stark / minimal electronic drones, processed guitar explorations, chamber pieces, solo piano and two 40-piece string orchestra recordings.
Chauveau’s work here sounds as fresh and relevant today as it did back then and its author is long overdue some recognition / reappraisal of his role in helping prepare the ground for today’s scene. His music has been praised by numerous peers - Ryuichi Sakamoto listed ‘Nocturne Impalpable’ as one of his Top 5 records; Hauschka and Peter Broderick have admitted his influence and Jóhann Jóhannsson, Adam Wiltzie (A Winged Victory / Stars Of The Lid) and Fennesz have also praised his work.
“Occupies the twilit area where downbeat, muted experimental electronic music melts into downbeat, muted chamber music” - Pitchfork “One of the most brilliant minds of French Music” - Les
InRocks
For fans of Max Richter, Olafur Arnalds, Nils Frahm, Johann Johannsson, Erik Satie, Arvo Pärt, Labradford, Mogwai, Peter Broderick and Hauschka.
BIG BIG BIG !! superb melodious Doom Hardtechno/hardcore... Splendid Tunes... A True surprise on this very open minded label !! MUST HAVE !
In the deepest hour of nightfall, an explosion occurs on the horizon. An explosion so bright that daylight shows, just for a moment.
For the brief second, the landscape is exposed, vulnerable, like the alb of a high priest. 4 figures stand on a stand of gold leaf, staring out into a slow sea of crude oil. Invoke a violence from the sea, they say. The light goes out, and stays out. She Luv It carries in them an energy similar to a ritual of violence that can be heard in the music of Northern Europe as well.
The recording quality is bright with vocals that chug through an almost cassette-like sound. Bent notes harken back to Northern European scenery of "woods" and "darkness", but where they waded into shit politics rather than better music, She Luv It begins on a sturdy foundation of technical skill and intentional sound. Invoke the violence in yourself, stare into the black sea, and scream until your throat bleeds. This is 'She Luv It'.
Ultraísta is the project of Joey Waronker (Beck/REM), Nigel Godrich (Radiohead/Thom Yorke) and Laura Bettinson (FEMME/lau.ra), initially founded in 2008 on a mutual love of Afrobeat, electronic and dance music, visual art and tequila. Releasing their self-titled debut in 2012, swiftly followed a year later by a remixes project, ‘Ultraísta (Remixes)’, ‘Sister’ is the band's second studio album. Late in 2019, Partisan Records digitally reissued the first and second album for the first time as ‘Ultraista (Deluxe)’. ‘Sister’ is the band’s first album for the label. “Precise drumming, buzzing synths and chilly vocal lines set off in separate directions, producing some cool-sounding disconnects” - The Guardian
LP in single pocket gatefold jacket with printed inner sleeve and digital download card.
Originally recorded in 1977, following a limited release in 1979, Ghédalia Tazartès debut album, Diasporas, introduced listeners to the surreal, mysterious and truly unclassifiable statement of Tazartès and his out-of-time place in the French avant-garde canon. Born in Paris in 1947 to Judaeo-Spanish parents of Greek descent, Tazartès spent his early career as an autodidact utilizing his knowledge of repetition and collage, coupled with his Ladino linguistic heritage, to create some of the most unique recordings of the late 20th century. Interest in the works of Tazartès truly sparked when artist Steve Stapleton included his follow up album, Tazartès' Transports, in his famed "Nurse With Wound List," thus adding endless curiosity to the folklore behind Tazartès and his mystical entrée.
From the onset of Diasporas, looping incantations seemingly pile up at the behest of Tazartès. In almost a prayer-like decree, Tazartès chants to the gods in an undefined whail that is both haunting and spiritually divine. Tazartès unique use of tape loops to capture the disappearing traditions of his family's past creates an atmospheric texture that unexpectedly complements his cut-up, manipulated vocal experiments. While contemporaries within the French avant-garde maneuvered academic theory and rigid tradition, Diasporas strays away from these boundaries, working in Tazartès' invented practice of 'impromuz', a method in which he endlessly records for hours and edits only the moments that display any sense of spontaneous enlightenment. Further emboldening the obtuse nature of Diasporas are the seemingly random recitation of poet Stéphane Mallarmé and the traditional 'Parisian-style' piano accompaniment of experimental composer Michel Chion.
Since its initial release over 40 years ago, both Dais Records and Alga Marghen have released reissues of Diasporas in various formats, all of which quickly fell out of print. Dais Records presents an official reissue, newly remastered by Josh Bonati, utilizing the original artwork of Diasporas in its sole album form, for the first time in over four decades.
Killer 13-track compilation of 70's music from Mauritius that evolved from the original sega genre - the music of the slaves as well as their descendants, sung to protest against injustices in Mauritian society.
Created at the crossroads of Afro-Malagasy, the 70s strain fused Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals. Although the exact origins of sega remain unknown, it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos.
The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and other homemade forms of percussion. Eric Nelson a solo guitarist and arranger, set up the band Features Of Life which, in the mid 70’s, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled beats created by fabulous drummer Raoul Lacariate.
The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega.
Romaal Kultan first caught the attention of listeners with his warm and heavily syncopated contribution to Touching Bass' Afro Chronicles: Volume One compilation back in 2017. Since then, the south London based artist has gone on to remix tracks for the likes of Chicago legend Javonntte and Profusion (K15 and Emerson), as well as releasing a debut solo offering in the form of last year's Off Grid EP on YAM Records. Not allowing himself to be confined to the usual "DJ/Producer" tag, his creative output also encapsulates his endeavours as a visual artist, instrumentalist and vocalist. While his DJ sets draw heavily on fierce bottom end and diced breaks, his own compositions range from frenetic club heaters to lilting breezy lullabies.
Having already received early support from the likes of Gilles Peterson, Bradley Zero and Volcov, Everlasting Romance kicks off with 'Step Inside', a driving acid march delicately accentuated with supple synth chords and a lilting digi-flute. Romaal Kultan keeps the focus on the floor with 'Why Not?', a heavily swung dusty piano house number with a fat sub and a sprinkling of vocal chops throughout. Closing out the EP is the title track, 'Everlasting Romance'. Dropping the tempo considerably, a loose dembow rhythm powers heartwarming chords and skygazing synth fills.
The debut original album from Australian left-field instrumental funk outfit Karate Boogaloo. Combining shades of library music, deep funk and a reverse-engineered hip hop headspace with an off-kilter sense of humour, Karate Boogaloo will appeal to fans of El Michels Affair and Badbadnotgood.
Named for the catch-cry of devoted Karate Boogaloo fans, 'Carn The Boogers' was self-recorded and produced; tracked live to tape in the band's DIY attic studio in Melbourne, Australia. Their debut LP follows their popular 'KBs Mixtape' series.
Karate Boogaloo have seen support from NTS and Worldwide FM, and are billed to perform at Gilles Peterson's We Out Here festival in August 2020.
DJ Woody teams up with the incredible champion beatboxer Ball-Zee to drop one of the most original and useful new scratch records on the market! Box Cutter is made up of 100% original recordings with Woody utilising the phenomenal vocal dexterity of the UK’s Ball-Zee to create an arsenal of incredible new scratch sounds.
Side A (the ‘Scratch Side’) concentrates on vocal phrases, noises, sound effects and tones with 16 skip proof loops programmed at 133 bpm and 100 bpm and ends with a lock groove bass tone phrase. Side B (the ‘Drum Side’) contains a remarkable array of drum rhythms and sounds perfect for all manner of scratch drumming, beat juggling and production!
It features 11 skip-proof grooves and phrases at 66.66 bpm, 133.33 bpm, 100 bpm and 83.33 bpm as well as 3 ridiculous freestyle tracks for more intricate juggle routines. 2 copies are a must for all jugglers!
• 100% original sounds and phrases
• Perfect for scratch jams, drumming, beat juggling and production
• 27 skip-proof loops, 2 lock grooves and 3 freestyles
• Super loud and deep pressing on black vinyl
Les Cooles De Ville is an Amsterdam based alternative Hip-Hop group creating soulful music using elements of Jazz, Bossa Nova and Pop. Recording and performing with live instrumentation and a mixture of samples and electronics they bring a unique, international vibe to the musical landscape quirky colourful, laidback and romantic they deliver a sound reminiscent of contemporaries like The Internet and Tom Misch.
Sometimes referred to as the Dutch equivalent of the Native Tongues the group's sound is inspired by acts like Digable Planets, De La Soul, A Tribe Called Quest, Lucy Pearl and Slum Village.
L.C.V.D.'s new self-titled album is available via digital platforms and vinyl via Season Five Records / Below System Records. The album includes guest appearances by Benny Sings, Roos Jonker, Randell Heye, Delaney Nelom, Benjamin Herman and MARNIX.
Dark industrial ritual doom techno sound... Intercontinental darknesses.
Your fundamental natural nature is pure chaos, without any concepts being added to it. The actions you perform were formed when time began. And so the light is merely a temporary twin of the darkness. And therefore evil is a part of you. Do not try to seperate it from you , for then it is given agency. Permisssion to be.
Embrace the tiger that exusts within you, it will only strike from a distance.
In Zen, the sword that kills is used to kill that which can be killed. To remove that which can be removed.
That which gets in the way of nature.
Veteran Techno producer *’Heretic’ returns with his solo project CATHARSIS and has evidently succeeded in refining his musical vision. With INTO THE HEART OF NOTHING he compliments a soundasthetic which had been initiated with his previous release A Purging of Demons.
Mastered by Black Mononlith Studios…
Honey Dijon was asked the remix her “favourite band” Blancmange and choose the magnificent disco oddity, 1983 hit ‘Blind Vision.’ The result is stripped back, bumping houser that sounds as much Green Velvet as it does Talking Heads. Urgent percussion and oscillating synths drive things forward, allowing a full Blancmange vocal to unfold aloft to great effect. Also features the original and sought after extended mix. The first in a new series of ‘London Records Remixed’ releases on 12” and digital. Now at its new home as part of the Because Music Group the London Records catalogue is being revisited by pioneering, contemporary electronic producers.
“When I was asked to put my hands on the original tracks of Blancmange I was instantly excited. They were one of my favourite Bands when I grew up as a teenager in the 80’s. Listening to their music walking around with my Walkman back then was adventurous. Mainly because I was already in love with the aesthetics of synthesisers and drum machines. But also because it was unusual pop music with an extraordinary energy that made it in the charts. Remixing a favorite Band is challenging but I’ve tried to keep the free spirits and playfulness in my mix that makes Blancmange still so special after all these years” – Roman Flügel
Roman Flügel remixes the cult 1980s classic that is ‘Living On The Ceiling’, and the result is a killer, off-kilter slice of club-focussed machine funk that contains the same wonderfully bizarre cocktail of traits, that Blancmange always boasted in spades. Eerie and schizophrenic but also both bright and triumphant. Also features the original and sought after extended mix.
The first in a new series of ‘London Records Remixed’ releases on 12” and digital. Now at its new home as part of the Because Music Group the London Records catalogue is being revisited by pioneering, contemporary electronic producers.
As Ociya, hardware freaks Tin Man (Johannes Auvinen) and Patricia (Max Ravitz), come together in unholy acid matrimony on a EP (here) and definitive double-album, Powers Of Ten (coming up on april 27).
We know both sides well. Over a prolific run of records for Acid Test and his own Global A, Auvinen has expounded upon the promise of "Nonneo" (recently named one of Resident Advisor's 2010-19: Tracks Of The Decade), unearthing new, emotional vistas from the Roland TB-303. Ravitz, meanwhile, matches Tin Man in studio ethic, establishing himself as one of North America's hardware masters on records for Ghostly and Opal Tapes.
The album was recorded live to 2 track in Patricia’s studio in New York, no edits.
This 12-inch simply called Acid Test 15, ill be released before the album and also features remixes from Plasmic Eddy
New York’s indie disco funk crew is back with a new album. And it’s the right moment: With new acts like Toro Y Moi, Sault, Parcels, The Internet around… the funky, disco, old school vibe is big in 2020. And The Phenomenal Handclap Band fits perfectly. Probably all these new artists are fans of the Phenomenals. Because The PHB popped up for the first time 10 years ago. Some top knotch musicians from NYC’s funk scene playing dirty discofunk. Some of the bandmembers played in Mark Ronson’s projects and in Amy Winehouse’s backing band. Head of the band: Daniel Collás. Their self-titled debut album on Gomma records 2010 made them many fans in the music scene. A nasty fusion of forward-thinking disco, psychedelic prog rock, and classic soul with a splash of yacht rock. Back then the band took the road, supporting Bryan Ferry and Franz Ferdinand, playing shows at Glastonbury, Wireless, and Latitude… as well as getting praise from Sir Paul McCartney about their album! After the album Collás began to produce other artists in Brooklyn. The band paused. Now they are back. With Daniel Collás in the centre, along with new members multi-instrumentalist Juliet Swango, and vocalist and synthesizer wizard Monika Heidemann. Their sound is still essentially analog dance music, with an emphasis on raw soul, vocal harmonies, African percussion, fuzzy guitars and analog synthesizers.
Russia's Nocow refuses to mourn the failed experiment of human contact on his Turbo debut EP, delivering cathartic anthems alongside giant warehouse jams you are free to call "deep" and "cavernous" with full knowledge of the risks involved. ??
On lead track "Never Leave Me," the Saint Petersburg-based creator of "Cloud Techno" runs emotive vocals through a hazmat filter and into the emo-globin contained within your fluorescent-green blood cells. Meanwhile, after-hours love-weapons "Back On," "Avalon," and "Soder" each take different routes to activating the phantom arousal mechanisms of your soul. Finally, some people have been calling closer "Starfall" a "magical ticket to Vocal Sample Heaven" and "a timeless all-inclusive ravecation from the cares of this workaday world." While we would never choose to word it that way, we concede that both descriptions are generally pretty accurate.??
In these times of social isolation and uncertainty, we remind you that it's vital your Restless Heart Syndrome not turn into Reckless Heart Syndrome. Instead of frequenting illicit "Droplet Transmission Parties," why not peep the vast network of Landline Raves we've been hearing about via our vast network of peeper-drones? Also, please try to keep in mind that all of this is simply selection pressure forcing you to evolve new and viable ways of connecting with the hottest singles in your area. So stay inside for now and stay inside our hearts forever.
Disco icon D.C. LaRue and Fraternity Music Group go back to the original multitracks and rework two classics from the Pyramid Disco catalog. With DJ Spinna, Johnny Juice (Public Enemy) and Mell Starr on remix duties, LaRue’s “Face Of Love” and “Indiscreet” are revitalized and tuned up by and for DJs and dancers. Juice’s intense, ‘80s house flip of “Face Of Love” sets things off before DJ Spinna gives the song a classic white glove treatment, extending and dropping drum breaks at all the right times. Mell Starr rounds things out with straight-to-the-point mix.
The flip side sees Juice get creative with it once again, with a dubby, cut-filled version of the break beat classic “Indiscreet.” As a DJ who’s cut the original up a million times, Spinna knows exactly where to freak the beat on his version of “Indiscreet,” lacing it with monster open drums throughout. Once again, a classy Mell Starr mix closes out the side of this jam-packed 12-inch.
Heavyweight pressing and an immaculate full color jacket utilizing the original Pyramid Disco sleeve design makes this a must-have for any funky DJ.
French producer Najem Sworb re-joins Wolfskuil Records with ‘Pergelisol’ featuring remixes from Darko Esser and Doka’s collaborative project, The Leap.
Najem Sworb is an intriguing artist who’s been putting together absorbing techno productions for over ten years now which includes outings on labels such as Days Of Being Wild, Technorama, Clone Basement Series and Wolfskuil Records. ‘Pergelisol’ sees Najem return to Darko Esser’s exceptional Wolfskuil imprint following recent releases from Border One, Architectural, Physical Therapy, Ambivalent and Cadans and features remixes The Leap – a new live project from Dutch producers Darko Esser and Doka.
‘Sorl’ begins with rattling percussion enticing you from the start fused with angelic melodies and undulating euphoria while ‘Egilep’ taps into more of a heads-down kind of vibe featuring tough, modulated drums, robust synth shatters and pulsating bass stabs.
On the flip, The Leap offer up a remix of ‘Egilep’ which blends haunting undertones, airy pads and vibrant rhythms that shimmer throughout before their remix of ‘Sorl’ rounds off proceedings with wavering bleeps, clattering 909s claps and dreamy ambience in the distance allowing for a evocative atmosphere to finish.
Thatmanmonkz returns after his critically acclaimed and just damn good 2nd LP 'Non Zero Sum Game' with a heavyweight remix package !!
Favourite LP cut 'Them Thangs' anchors the EP, with Detroit superhero Waajeed laying down a typically high class interpretation, trademark Dirt Tech vibes abound, with equal parts motor city machine soul and tough rhythms taking the original straight to the floor.
Talking of which, the OG Dubstramental concentrates the irresistible groove into an effortlessly fierce afro-centric House jam.
After the PPF crew submitted their tearaway rewire of one of the LP's tougher moments 'Freaks 'N Prophets' its place on this 12 was assured.
A Chicago style slammer that extends and leans into the powerhouse groove with a nod to the forefathers.
Finally, a previous digital release highlight (which got a lot of love) finishes off the EP, a flute-laden romp for dancin' close.
The collaboration between Gino Pavan and Guido Frezzato began in 1995, with the creation of the soundtrack of Giancarlo Marinelli's movie "Scano Boa - Dannazione".
Gino Pavan recorded and produced, in his own "Noi Studio", the music of Frezzato, then given to an ensemble of 15 musicians, among them a strings quintet, and the folk ensemble Marmaja, along with the ethnic suggestions of the percussions by African Brothers. In the following two years, their collaboration would lead to the production of two albums for African Brothers: "N'der Tangana" and "Voodoo".
Followed by the soundtrack of "Alla ricerca dell’uno” (Searching for the One) with the musicians of the Compagnia dei Popoli, and the music for the dance-theatre performance of Belgian dancer Thierry Parmentier. Also worth mentioning, the album by Luca Xodo & Frezzato "Didjeridu", later to be used as a soundtrack for the movie "Case" (Homes) by Rodolfo Bisatti (Ipotesi Cinema). After twenty years spent piling up autonomous musical experiences, Pavan offered Frezzato to try their hands at a musical project that sees them, for the first time, composing music together.
The result is the "NOT LINEAR" project, a musical dialogue between electronics (Pavan) and acoustic instruments (Frezzato), using an "online" form of composition.
Recorded in separate locations, between December 2017 and February 2018 and subsequently mixed at "New Frontiers” studio by Ugo Bolzoni, "NOT LINEAR" collects, within these first 6 tracks, the fruit of this artistic collaboration.
"NOT LINEAR" is enriched by the collaboration of Pavan and Frezzato with two internationally-acknowledged, exceptional artists such as Giulio Aldinucci and Eraldo Bernocchi, each one interpreting a track of their choice out of all those initially selected out of the studio sessions, in a furrow of continuity of the "non-linear" concept that inspires this work. NOT LINEAR design has been curated by renowned visual artist Petulia Mattioli.
From "Tomorrow" and back to plus thirty years, more precisely in 1987, a teenager named Thomas, Thomas Barnett the full name, released the track "I Can Feel It" mixed by Juan Atkins, one of the first mix by who became the main DJ and producer from Thomas's hometown, Detroit.
Today "I Can Feel It" is a very hard to find record that finally will be available for an official reissue via Omaggio, after a skillful re-master from the original source by Andy Toth former member of Detroit Grand Pubahs.
History says that the '87 was a lucky year for Thomas Barnett, who also written "Nude Photo" the second ever release out on Transmat, credited to Rhythim Is Rhythim, definitely one of the moment to define the genre. Well, we all agree to consider Mr. Barnett an originator of Detroit Techno. From there Thomas travels across the world as DJ and live performer and when at home he is a busy managing multiple labels and still an illuminated recording artist.
Following her 2019 debut Womanhood, Klein Zage makes a triumphant return with new EP Tip Me Baby One More Time. With plaudits and endorsements from Pitchfork, Resident Advisor, Bradley Zero, DJ Python, Mr. Mitch, Femme Culture and more in tow, she presents a record inspired by her beloved service industry. Her cut-throat lyrics, razor-sharp beats and wry humor carry through from the housey menstruations of Womanhood to Tip Me Baby's anthemic exposé of the server/guest dynamic.
Zage sees the restaurant as club, the service floor as a dance floor - a place for performance one in the same. If the A-side presents Zage 'clocked in', on the B-side, she's 'clocked out' - transporting the listener to the inner workings of her mind with the help of Joey G ii on 'I'm (Almost Certain That I'm) Here’ -- hailed by Tip Me Baby remixer Facta as 'one of my favorite songs this year'.
In light of the impact that the Covid-19 crisis is having on the restaurant industry, all profit from this release will benefit Restaurant Worker's Community Foundation Covid-19 Emergency Relief Fund as well as New York's 'Service Worker's Coalition'. Now more than ever this industry needs you to 'Tip! Baby One More Time'.
Puzzlebox Records Classic Electro / Techno Label Returns. Label owner Keith Tucker aka K-1 is back with his own Brand of Electro Funk with infectious bass lines and unmistakable vocals from one of the genres hardest working artist and label owners.
Over the years Tucker has done it all from visuals for live shows , label art work, dj’ing all over the world to also touring as a founding member of Aux88.
His new release is “Modular World “side A is an electro banger with Tuckers amazing arpeggiator work reminiscent of his great Optic Nerve techno alias. Modular World has a hypnotizing arp and Funky bassline that hits your soul and quickly programs your mind to
dance mode. The haunting Vocal and electronic vocoder work is unmistakable K-1 at his best. Listen to the way he combines his
voices to form his own distinct sound.
Side B. “Schematix” brings this special two track ep to A thunderous boom with a more retro bass styling that shows his programming skills, K-1 is able to manipulate his mixes to showcase his intelligent techno side with the street funk of Detroit. “Schematix” dark sci-fi drone vocals kick off the k-1 mix to get any crowd to run to the dance floor.
ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.
LTD. GREEN VINYL
ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.
* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin’ Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.
* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin’ HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin’ vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* Further out from the early 90’s these two 1998 tracks still exemplified the established D&B Junglist vibe that Ant Miles (Liftin’ Spirits) adored and honoured. Only recently located in the DAT tape archives, it’s focused production of twisted up organic bass lines has a foot in the present as well as the past.
Promotion across chosen internet websites and Hardcore/Jungle/Drum & Bass 12” vinyl communities.
In 1981, Nick Robson wrote Stars. The song can pretty much be described as a slow, cosmic disco song. It has an unusual feel, and it comes as Oslo-based Neppås third release. This 12" holds the 12" mix, the 7" mix, and the original B-side Eye To Eye. The original 12" is as rare as they come, and here you get the original material, fully licenced, and remastered. The process of recording the material back in 1981 was not an easy one, as Nick Robson recalls:
"Fame by David Bowie is one of my favourite songs, period. I was 18 when i wrote Stars and i wanted to write something that was my version of Fame and quite honestly, as a tribute to the song. If you listen to the bass lines, there is a hint of similarity in the two. Even the lyric of Stars has a passing reference to Fame.
Stars was one of four songs recorded at Gary's Rock City studio to supply the first two singles and form the basis of the first album. The other three tracks were Eye To Eye, Boys and She'a Like Ice. Although all four tracks were finished, for one reason or another, Boys never made it to pressing and i walked away from the business to pursue a career in film.
Stars itself, was the most ardous and problematic track that i've ever recorded. It took around 14 days to finally get an agreed mix when the budget probably only ran to three days. Part of the reason for this is the enormous quantity of music tracks recorded in the song. In those days, we only had 24 recordable tracks available on the Otari, so once you had recorded 23 or less actually, you had to bounce down sub-mixes to a single track to free up another batch of tracks. I think that there are around 46 tracks of instruments alone on Stars so although that kind of track usage is not uncommon now, back then it was rare. It remains the single most expensive song i ever recorded. The B-side Eye To Eye, on the other hand, was written, recorded and mixed in one day."
Wontime was a 12” single release from the seminal Dah Shinin’ album. Well regarded by fans of gritty and authentic east coast 90’s hip hop, it was especially well known for the attendant video that was inspired by the horror film The Shining.
Remastered and released now for the first on 7” on original Wreck Records label backgrounds.
Repress
Pi Electronics reaches its fourth release with PI04 and welcomes on board the legendary figure of Justin K. Broadrick, also known as JK Flesh. Broadrick, whose name relates to the Birmingham industrial Metal band Godflesh, as well as Napalm Death, Jesu and more, delivers an EP of 3 original tracks under his electronic music moniker of JK Flesh. Informed by industrial, dub, power electronics and the extreme excesses of electronic music driven by beats and bass, JK Flesh presents different sides of his repertoire. California based Juan Mendez aka Silent Servant, co-founder of the ground-breaking Jealous God and Sandwell District imprints and known for his minimal wave-indebted techno sound, offers an atmospheric electro remix of Broadrick's PI04.2.
Repress
+ DJ Sotofett Ultra Vires Dub
SAFT is proud to present the official re-issue of the 1986 Joan Bibiloni Band classic 'The Boogie'. The vocals by Deborah Carter still sound as relevant and uplifting as ever. The sought after guitar licks of Bibiloni have appealed to a lot of generations ever since he started making name for himself in the early eighties. While in recent times some of the more experimental work has been re-issued and compiled through some respected labels, the dancefloor classic 'The Boogie' still remains the pinnacle of the guitarist more dancefloor oriented work.
In this re-release package you can find an original version (A1), that is exactly the same as on the 7" that first appeared through Bibiloni's own Blau imprint in 86'. Also on the A side, an extended DJ-friendly version that spans just over five minutes is present.
For the flipside, Norwegian dancefloor expert DJ Sotofett has crafted a surreal dub tainted experience from the original which spans over 13 minutes and touches a lot of ground. Whilst starting with a percussive intro, Sotofett uses a lot of FX and dub style delays to work slowely towards an intense dancefloor experience. Around eight minutes some grandiose synth work is being introduced while the dub elements keep on singing. DJ Sotofett's version is called Ultra Vires Dub for a reason.
»KAMILHAN; il y a péril en la demeure« is the conclusion of a 5-part cycle of works by artist Grischa Lichtenberger which was initiated with the album »LA DEMEURE; il y a péril en la demeure« in 2015 and continued with the triple EP release »Spielraum, Allgegenwart, Strahlung« in 2016. In addition to the concept of „demeure“, ones residence as a symbol for the joy and artistic possibilities one can find in isolation, Lichtenberger places a further emphasis on the expression of the voice, represented by the word „Kamilhan“. „Kamilhan“ is a non-existent word, an expression that Ernst Bloch once mentioned in an anecdote about his childhood. Fascinated by its sound but without knowing its meaning, it remained vivid in his memory in its purely „material“ form. Lichtenberger also refers to this childish perception of language. Words that we do not know, but repeat in our thoughts until they become insignificant. Lyrics in a foreign language that we do not understand and still sing along and imitate. With computer-generated voices, Lichtenberger tries to reproduce these experiences. In his tracks we hear syllables and phrases that are similar to words and that seem familiar to us, but whose meaning remains a secret. As on the previous album, the tracks on »KAMILHAN« are constantly torn apart and reassembled. Borrowings from hip-hop and even pop are unmistakable, desired, and yet delusive. Rhythms that are repeatedly broken in order to re-organize themselves into new temporal patterns. Melodies that are pierced by precisely these intricate rhythms. Voices that lack any empathy due to their artificiality. Lichtenberger himself describes these tracks as „crooked ballads“, which, by deliberately following classic pop song structures, try to sell us the absurd as the normal, and in turn smuggle some hope of recognition into the absurd. »KAMILHAN; il y a péril en la demeure« will be released on May 08, 2020 on CD and as a limited double vinyl edition including a handmade and signed silkscreen print.
Sepultura’s acclaimed 1989 album, Beneath The Remains, marks the band’s major label debut on Roadrunner. Widely regarded today as a thrash-metal classic, the album perfectly distilled the Brazilian band’s potent mix of piercing melodies and pummelling rhythms.
In December 1988, brothers Max (guitar/vocals) and Igor Cavalera (drums), Paulo Jr. (bass) and Andreas Kisser (guitar) recorded Beneath the Remains in Rio de Janeiro, Brazil with producer Scott Burns. Soon after it's release in April 1989, the album was hailed by fans and critics alike for standout songs like “Inner Self,” “Primitive Future” and the title track. The album has been remastered especially for this collection.
The Deluxe 2CD Edition also features nine unreleased “mixdown” recordings taken from the Beneath the Remains sessions at Nas Nuvens Studios in Rio de Janeiro. Highlights include versions of “Lobotomy” and “Mass Hypnosis,” as well as instrumental versions “Slaves Of Pain” and “Sarcastic Existence.”
The studio tracks are complemented by unreleased recordings of the band performing live on September 22, 1989 at the Zeppelinhalle, West Germany. The concert features songs from Beneath the Remains (“Primitive Future” and “Inner Self”) and the band’s previous albums (“Troops Of Doom” and “Escape To The Void”), along with covers of Black Sabbath’s “Symptom Of the Universe” and the Dead Kennedys “Holiday In Cambodia.”
Founded by the Cavalera brothers in 1984, the group recorded two full-length albums – Morbid Visions (1986) and Schizophrenia (1987) – before signing with Roadrunner Records in 1988. Since then, Sepultura’s dynamic studio recordings and intense live performances have earned it fans everywhere.
The current version of Sepultura (Derrick Green, Paulo Jr., Andreas Kisser, Eloy Casagrande) released a new album, Quadra, on February 7 and will tour the U.S. this spring. Former members Max and Igor Cavalera – who perform together in the band Cavalera Conspiracy recently completed a sold-out European tour in December 2019.
k 2) Inner Self (Mixdown) Instrumental
[l] 3) Stronger Than Hate (Mixdown) [Instrumental]
[o] 1) Sarcastic Existence (Mixdown) [Instrumental]
[p] 2) Slaves Of Pain (Mixdown) [Instrumental]
[r] 4) Hungry (Mixdown) [Instrumental]
It goes without saying that the global metal scene would not be the same without Sepultura. For 35 years now, the Brazilian icons are not only a band revered worldwide; they have been, are and forever will be at the very forefront of Thrash Metal, trailblazing ever since they released their long-since legendary debut album “Morbid Visions” in 1986.
While quickly establishing themselves as leaders of the second wave of Thrash already in the late eighties, to this day they never came even close to stagnation. “Quadra”, their mighty new undertaking, is proof of a will unbroken, a thirst unquenched and a quality so staggeringly high it’s a wonder this band doesn’t implode. Now three albums deep into what may very well be their strongest incarnation yet – uniting the talents of old-school members Andreas Kisser (guitars, vocals) and Paulo Xisto Pinto Jr. (bass), vocal force of nature Derrick Leon Green (vocals) and drummer Eloy Casagrande – Sepultura are an unleashed power to be reckoned with, uniting bucketloads of experience and youthful vigour in a totally revived way.
“On ‘Quadra’, we felt the urge to revisit that old thrash feeling of ‘Beneath the Remains’ or ‘Arise“,’ only seen through the eyes of today,” Andreas Kisser utters the magic words. “Add to that the tribal percussion, the orchestral elements, the choirs, the melodies and the clean vocals and you get a thorough run-through of our entire career, backed by a very contemporary approach.” Fuelled by an energy almost uncanny for a band that has been active for so long, Sepultura storm through a contemporary thrash monument, backed by sublime melodies, a very eerie atmosphere and a fiendishly high level of technicality. Kisser is appreciating these compliments, still maintaining his very down to earth approach. “We don’t heed the past and we don’t try to be preoccupied by the future too much,” he shrugs. “We’re in the now, trying every day to make Sepultura a little bit better. That’s what keeping us strong.”
And that’s what they have been doing for the last 30+ years. Album after album, tour after tour, no gap in between records longer than three years. “Music is all we do,” Kisser states matter-of-factly. “If it wouldn’t be for Sepultura,” he laughs, “I would be a sad and lonely guy. Sepultura is what we are.” And “Quadra” is living testimony to that. The old Sepultura echo through the very fibre of the songs in all its raw and morbid splendour, but yet it’s the present, the experienced and refined beast that is Sepultura in 2020 that’s blasting out thrash metal anthems for a fucked-up age.
With now 15 albums under their belts, Sepultura are the work horses of the metal world, always ready to attack. In many ways, “Quadra” broadens the vision the Brazilian thrash troopers had on “Machine Messiah” (2017), again relying on the impeccable talent of Swedish producing giant Jens Bogren and his Fascination Street Studios. “He is so full of passion, it’s unbelievable, man,” Kisser raves. “He’s really there, he really cares about the projects he’s doing. For Sepultura, he’s like the fifth member of the band. The chemistry was so amazing, 99 percent of what we were trying do to actually worked. That was insane!” Even after more than 30 years at the forefront of international thrash, guitarist Kisser sounds positively baffled by working with Bogren. “We felt like we were in our rehearsal room.”
Bringing together a monumental grandeur and a wild, untamed ferocity, Sepultura stepped up their game musically – and conceptually as well. “We were possessed by the number four, by the numerology of it”, Kisser starts to explain. “I divided the album into four parts as if we were doing a double vinyl. Side one is the pure and raw thrash side. Side two brings in the rhythms and percussion from our ‘Roots’ era. Three is getting a bit experimental and four brings forth the melodies and the acoustic guitars.” With John North’s book “Quadrivium” as a further source of inspiration, Sepultura dive deep into a mystical world full of hidden meanings. “You have four seasons and twelve month in a year just to pick one example. A lot of stuff in our culture is divided like that.”
Plus, Quadra also is the Portuguese word for ‘sport court’ that by definition is a limited area of land, with regulatory demarcations, where according to a set of rules the game takes place,” he adds. “We all come from different Quadras. The countries, all nations with their borders and traditions; culture, religions, laws, education and a set of rules where life takes place.” In the Quadra of thrash, however, we all are the same. And we bow our heads in unison to the mighty leader that is Sepultura.
Golden Days is the late completion of Ethimm’s EP trilogy on Light of Other Days and it continues exactly where the group left off 4 years ago. What started as the groups signature „tension music“, oscillating between dark repetition and moody improvisations is slowly morphing into a production style that features a heavy pop sensibility infused with conciliatory optimism.
The opener and title track of the EP recounts the meeting of a new lover in an autumn sunset. Starting with dreamy piano chords, a rhythmic bass and handclaps, it provides a beautiful musical backdrop for Tizi’s longing voice. During the course of the track, modulating synths and plucked guitars join her vocals as she sings about the „Golden Days“ spent with her lover.
Over & Out starts off in typical Ethimm fashion. Dubbed guitars, minimal beats and a sparse piano melody sets the tone for Elisabeth Thimm’s fragile vocal. In Over & Out Elisabeth negotiates her wish for freedom and how she breaks with her daily constraints. Albeit initially being drained in melancholy, the track ends on a musically hopeful note when a beautiful chord progression suddenly appears, colliding with an extended synth solo from outer space.
On Echoes in the Distance, glorious arpeggios accompany a sophisticated 303-style bass line and haunting vocals. The track follows one of Elisabeth’s dreams into a frantic, nondescript, deserted backdrop and slowly morphes into the most ecstatic piece of the EP. The multi-layered arrangement combined with Ethimm’s yearning voice on top, sound like about 3 tracks seamlessly sticked together. The track ends in pure ecstasy and the listener is left with the exciting feeling of wanting more.
The EPs finale is made up of the hopeful and minimalistic Day by Day, a track reminiscent of the balearic pop from the 1980ies. Gracefully and drained in beachside sunshine, Ethimm reminds us not to waste our days with unnecessary actions and focus on the beautiful small things in life.
Current 909 – Something With Black In The Name Remixed 12″
limited edition of 500 copies
Curtis Electronix delivers his second release. 4 originals from one of the most remarkable and reliable artists in the game, Rotterdam dungeon master DJ Overdose. The A side drops two club ready electro tracks molded with his unique cyberfunk style, punchy analog drums, heavy dystopian basslines and gently spaced out melodies. On the flip side things turn into a murky slow tempo affair. Industrial solid drums and distorted sonic grounds will turn your captivating journey into a dark machine odyssey.
Interdimensional Transmissions' techno sublabel Eye Teeth relaunches with a fresh series of releases featuring the solo and related works of Israel Vines -- a fresh KGIV 12", an EP of remixes, and his debut LP. The triptych begins with the stellar "Regulatory Capture EP" -- a collaborative effort from Vines and Chicago artist Kit Geary presenting their third release under the KGIV guise. Here we find them exploring new ways to own and expand the current style of techno and breakbeat fusion in the title track "Regulatory Capture", while the chthonic "Morgan" twists distorted vocals and synth lines over a bass heavy foundation built to put the sound systems through their paces. "Blue Octavo" extends their evolving ideas into melodic territory, closing the EP out in a deep and refreshing fashion. Don't sleep -- this release is pure power.
First album in 8 years from legendary Dearborn duo . Windy and Carl have been crafting inner space electric guitar and bass vistas for nearly three decades now, but their latest feels as vital and vaporous as any peak opus in their vast catalog. Written and recorded across six years, the songs swirl between shoegaze minimalism and stargaze drift, over which Windy Weber whispers veiled poetic narratives of transformation, isolation, and escape. Allegiance and Conviction is their first album since 2012's We Will Always Be. The six compositions are something of outlier in their catalog, shorter in nature than most on their previous releases. All of the tracks are saturated with Hultgren's signature guitar work, intimate constructions of murmurs, drones and his trademark layered filigree, gently amassed into alternately lighter and heavier than air atmospheres. Despite being their first full-length in more than half a decade,the album fully belongs to the bewitching galaxy of sound Windy and Carl innovated and within which they remain the sole occupants: music of thresholds and peripheries and eternities. Allegiance and Conviction is the multifaceted, contemporary take on their sound.
Portuguese- Italian Producer "Vhycepicks" up where he left off,
once again teaming up with the talentedvocalistYves Paqueton Kraak & Smaak's very own Boogie Angst imprint.
He's already got an impressive list of top DJ fans in the shape of
Pete Tong, Claptone, Gorgon CityandSatin Jackets, and it's no surprise given his clean, pop aesthetics and catchy dancefloor sensibilities.Indeed it has led to releases on some of today's most respected dance labels like Kitsune, Future Disco and Casablanca Sunset.
As well as collaborating on their previous single 'Duran Duran' together, Brazilian born soulful vocalist Yves Paquethas previously collaborated with the likes of Aeroplane,and scored #1 in the Belgian dance charts with The Subs. He provides the perfect foil to Vhyce'sbeats with just the tonic – a melodic toplineall about the good times, having a drink and getting high…
In addition to the original mix there's another special treat as stepping up to provide a stellar remix is none other than PrinsThomas, a true pioneer of 'space disco' and regular bandmate of nu disco royaltyLindstrømin their imaginatively titled project 'Lindstrom & PrinsThomas'.
Yes, he takes his arpsynth lines out for a spin and serves up a prime cut of good time, ethereal, dancefloor fire. With all the hallmarks of his crisp and upbeat spacey productions it's not one to miss out on.
For those who are all about the beats, fear not we got you covered as there's an instrumental safely stowed in there too …
I Am Not A Doctor is the successor of Moloko’s first album Do You Like My Tight Sweater? The duo experimented with their earlier sound and combined it with drum and bass and synthpop. The result of it all is a more entertaining and versatile sound, receiving critical praise all over the world. Although it was not a big seller the single “Sing It Back” experienced chart success after it was remixed by DJ Boris Dlugosch. The song eventually became a worldwide hit and could be heard in almost every nightclub for years. Roisin Murphy and Mark Brydon blended their talents very well and created another noteworthy record.
I Am Not A Doctor is available as a limited edition of 3000 numbered copies on white coloured vinyl.
New imprint Ernest’s Way delivers its first offering with a debut release from Australian based artist Featherstone! The A-Side of this four-track EP offers two highly effective dancefloor cuts that ride the line between many diverse influences of electronic music ranging from acidic electro to the early roots of techno.
The B-Side follows up with two deeper, heavily emotive tracks that drift into an uplifting, euphoric and dreamy atmosphere whilst remaining complimentary to the driving rhythms that open the EP.
In 1981, London-based E.G. Records released the debut album from a young Ghanaian group called Edikanfo. Edikanfo quickly rose to international notoriety following the release of “The Pace Setters” because of the infectious, forward-looking highlife meets afro-funk synthesis the band committed to tape. But the album also caught an additional wind of publicity due to its producer, the already legendary British musician and sound conceptualist Brian Eno. During that time, Eno was researching and openly propagating West African musics. He often mentioned his love of Fela Kuti and called his own rhythm-driven experiments the search for a “vision of a psychedelic Africa.” He had recently been collaborating with The Talking Heads on their Avant-funk masterpiece “Remain in Light” and with The Talking Heads frontman David Byrne on “My Life in the Bush of Ghosts,” an album which foretold the sort of cross-pollination and global music interconnectivity that today we take for granted. Eno and Edikanfo’s work together at Studio One in Accra (Ghana) was yet another inspired morphing of soundworlds and processes and a significant touchstone for both artists. As Brian Eno recently noted: “the actual recording sessions were joyful - the band played with such verve that you couldn't resist.”
But just when the sky seemed the limit for Edikanfo, the coup d’état in Ghana on the last day of 1981, tragically put the brakes on the band’s quickly developing fortunes. For years after that, the country endured enforced curfews at night, which of course ultimately gutted the live music scene in Accra and elsewhere. Because of this and other financial setbacks, the band ceased activity and its members spread out in exile, all over the world. It clearly seemed as though the story of Edikanfo, one of Ghana’s greatest bands of that era, had come to a premature end.
Now, almost four decades later, Edikanfo has returned. And with its surviving members gearing up to reissue and tour their classic 1981 album, “The Pace Setters,” the band is once again excitedly pointed towards the future.
A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.
A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street
B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.
B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!
You have reached the Infolines. Tonight, you will be given links to preview a reverence to the venues that helped shape an industry and generations of musical technological wizardry. ‘Packard’ features a compilation of cuts fitting to the experiences by those who once frequented the halls of Detroit’s urban decay.
Bendersnatch, kicks things off with a ‘Homage’ fitting of the mainstay venue paying reverence to the classic Detroit Techno sound. ADMN’s Machine 8 shows a lust for a bass grind synonymous with the engines machined in the halls of its urban decay. Remote Viewing Party’s minimal break ‘fuxwiddit’ whistles echo to us through the warehouse former machine shops. Maxlow makes sure you ‘heard’ what they must say pushing air from the subs ensuring you feel the room.
Keep an eye on this space and be sure to call in for the waypoint to the party.
Reconnected is compiled from Harold Lucious’ addictive 1990 release Connections, a visionary mix of soulful house, New Jack Swing and RnB, an American predecessor of street soul.
Deeply connected to music from an early age, Harold started his music career in the early 70s at the age of 16. He sang in his first group, The Final Seconds, who pressed a 7” single in New York City in 1973. The group would go on to record a full album called Neo Cosmic Blues, but never had the chance to press it. They would continue to perform and write together throughout the 70’s and searched in vain for a label to work with.
During that time, Harold landed a guest spot on the legendary Brother Ahh record Move Ever Onward, set up by his manager who was Brother Ahh’s sibling. Harold is listed as having played koto, but really he provided background vocals. Throughout the 80’s, Harold worked at WBI radio programming talk shows. On air, he would act out modified scripts to Richard Wright novels like “The Outsider”.
Connections was his effort to finally release a record after years of recording and playing music. Experimenting with dance music he came up with an album that was inspired by his love of house music and RnB. He sold the record out of his backpack, ending up with boxes of copies that were eventually destroyed when he had to move from his long-time apartment in Brooklyn. Few of the original LP remain, and it has become almost impossible to find.
Reconnected is a remastered redux with four songs taken from the original LP, and pressed onto a loud 45rpm 12” for maximum dance-floor potential. Mixed Signals is honoured to introduce Harold’s music to a contemporary audience around the world.
Unglued’s reputation for producing serious bassweight across the D+B spectrum continues in 2020 with his ‘Zen’ EP. He spans through silky smooth sounds on ‘Zen’ ft. Cimone, bouncy funk on ‘Mic Strangler’ with the legendary MC GQ, sharp-edged grizzle on GLXY collaboration ‘Algorithm’, and tearout heat on the soundsystem slayer ‘Datafile’. Setting things in motion is the lyrical weapon ‘Mic Strangler’, with OG host and MC extraordinaire GQ, who’s spent three decades leading the game. Unglued deals out damage on the beat with MC GQ’s playful twists, wrapped up in a big bruiser of a bassline.
Title track ‘Zen’ is a mesmeric stream of atmospherics, rolled out in perfect tandem with the angelic vocals of rising singer/songwriter, Cimone. GLXY joins the fold for ‘Algorithm’ - a techy rattler that’s stripped back in design but packs a punch. Rounding off the EP is the darkest addition, ‘Datafile’, Unglued takes no prisoners as he unleashes this lethal stepper. Unglued has had a steep and steady rise in drum & bass after signing to Hospital Records and releasing his sought after solo material, as well as his iconic remix of High Contrast’s anthem ‘If We Ever’.
This infamous rewiring caught the attention of major players, from Andy C to Annie Mac - who also selected his track ‘Born In ‘94’ as her Hottest Record in 2019 on BBC Radio 1. Unglued’s jungle knowledge has him in regular international demand, in 2019 alone he tore up sets at Glastonbury, Rampage, Boomtown, Let It Roll, ADE and on Med School’s final tour across Australia and New Zealand. He’s showing no signs of slowing down in 2020 with back-to-back bookings, including support at Wilkinson’s London headline show, Kings Of The Rollers’ Printworks Royal Rumble showdown and Hospitality On The Beach 2020.
The sickest French band, a trio called France, drums, bass and amplified hurdy-gurdy. They only performs live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus, and there is something of early rave too, the togetherness, the energy, the euphory. The distorted hurdy gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed. Far Out Far West was the band’s first gig outside of their usual comfortable friendly circle and thus was perceived as a somewhat hostile environment. This was where they met the fellows of Les Potagers Nature who will later release France’s debut untitled album. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). Sales Points: - New album from trio France - All previous releases now sold out and sought after - For fans of drone, rural trance, stoner, psychedelic - 131st release on Mental Groove Music, home of WRWTFWW
Open minded EP opening on a 145 BPM kicker, straight solid and heavy in da bass from Spered... Then comes Ludien with his mental light speed kicks hiding a secret little melodies full of beauty and nostagly... The flip opens with Ito and a solid mental crucher, loud basses and hypnotic hardcore kick. Kebrat finally comes with a broken 165 BPM hardtek tune. Hardfloor loudness ! Fat ! With anonymous style.
Nils Frahm, born in 1982, had an early introduction to music. During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.
The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again.
The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes. As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new Nils Frahm, born in 1982, had an early introduction to music.
During his childhood he was taught to play piano by Nahum Brodski a student of the last scholar of Tschaikowski. It was through this that Nils began to immerse himself in the styles of the classical pianists before him as well as contemporary composers. Today Nils Frahm works as an accomplished composer and producer in Berlin. In early 2008 he founded Durton Studio, where he has worked with Peter Broderick and Dustin O' Halloran amongst other fellow musicians.
The three instrumentals, which make up his debut release 'Wintermusik' are piano led pieces, coloured with occasional celeste and reed organ parts. The record's equal measures of sorrowful refrains and uplifting passages, combined with a real intimacy that makes for an album you'll want to return to again and again. The songs were originally intended as a Christmas present for friends and family, hence its winter release via London-based cinematic music label Erased Tapes.
As the curator of the Swedish boutique label Kning Disk's Piano Series, Peter Broderick invited Nils to record a new album of piano improvisations the result is 'The Bells', which will now be released on Erased Tapes in the UK, Ireland and North America. Perhaps the most stunning aspect of what on the surface appears to be an entirely pre-planned and composed body of work comes with the discovery that these pieces were in fact improvised.
These two friends share a common affinity in that they both possess an absolute mastery of melody, composition and performance able to deliver with devastating effect. The modest Mr. Broderick states 'I remember thinking to myself as I lay there stunned, that I could spend ten years trying to write an amazing piece of piano music, and still it would never be half as good as these improvisations!'
Recorded in a rented, beautiful old church in the heart of Berlin over two nights, Nils 'just played' with the occasional instruction from Peter 'I spouted "Make a song using only the notes C, E, and G", or "Make a song that you could imagine me rapping over the top of" (Track 8 'My Things'). At one point I was even inside the piano, laying on the strings, asking him to make a song called 'Peter Is Dead In The Piano'. The resultant work 'The Bells' shares the same excitement and air of playfulness.
For a musician this early in his career, Frahm displays an incredibly developed sense of control and restraint in his work. As the recognition continues to grow for both, 'Wintermusik' and 'The Bells', we are pleased to announce that 2010 will also see his next album release on Erased Tapes.
Der in Berlin lebende Komponist und Produzent Ben Lukas Boysen meldet sich mit seinem bislang progressivsten Album zurück: Mirage ist ein wahrer Formwandler. Zuvor unter dem Alias Hecq bekannt, handelt es sich bei Mirage um den mit Spannung erwarteten dritten Longplayer, den Boysen unter seinem eigenen Namen veröffentlicht, und Nachfolger zu den Alben Gravity (2013) und Spells (2016). Letzteres bescherte ihm nicht nur sehr viel Kritikerlob, sondern begeisterte auch die Fans und viele seiner Kollegen: Es gab u.a. Remixe von Max Cooper und Tim Hecker, während Jon Hopkins einen Titel von Spells zum Eröffnungstrack seiner Late Night Tales-Compilation machte. Wie schon auf seinen Alben Gravity und Spells, wird Ben im Verlauf von Mirage von mehreren Gästen unterstützt: Mit dabei sind unter anderem die Cellistin und Komponistin Anne Müller sowie der australische Saxofonist/Komponist Daniel Thorne. Beide sind auf dem ersten Vorboten "Medela" zu hören, der die Zuhörer*innen auf eine Reise durch kaleidoskopische Klangräume führt, in denen verschiedene Genres ganz spielerisch ineinander übergehen. Das geht so weit, dass man hinterher kaum noch sagen kann, was man da eigentlich gerade gehört hat: "Ich wollte experimentieren und versuchen, diese Aufnahmen mit 100% künstlichen Elementen zu verbinden. Dabei ging ich oftmals so weit, dass ein Instrument zu einer Abstraktion seiner selbst wurde, dass sich der Beitrag eines Musikers an einem Song eher wie ein zentraler DNA-Strang des Stücks anfühlt, aber nicht mehr wie eine deutlich erkennbare Spur." Insgesamt fühlt sich Mirage, wie im Titel bereits angedeutet, wie eine klangliche Illusion, eine vertonte Luftspiegelung an: Jedes Stück vereint Klänge und Techniken, die dermaßen bearbeitet und verändert wurden, dass sie wie überbelichtet wirken. Das allzu filzig wirkende Klavier von "Clarion" etwa, Daniel Thornes Saxofon auf "Medela", die einzelne Gesangsnote von Lisa Morgenstern, die sich im Verlauf von "Empyrean" in unterschiedliche Akkorde aufspaltet. Man kann diese Elemente durchaus erfassen, kann sie aber auch ohne weiteres übersehen - wie auch die beiden Klaviere von "Kenotaph", die man für ein einziges Instrument halten könnte. Genau genommen sind es zwei Instrumente, die sich in unterschiedlichen Räumen, ja sogar in unterschiedlichen Ländern befanden. Eins ist digital, das andere akustisch.
London's On The Corner Records proudly present "Son Of Sun'' - the new EP from Morroccan producer Guedra Guedra. Having previously turned heads with his mind-bending Boiler Room performance at last year's Atlas Electronic Festival, as well as delivering a storming remix of On the Corner signees Penya, Guedra Guedra (aka Abdellah M. Hassak) returns with six genre defying cuts.
His earth trembling debut is a relentless barrage of euphoric, high-energy, future dance music, demonstrating the rich product of North Africa's fertile club music scene. Hailing from Casablanca, Guedra Guedra is a DJ/Producer exploring tribal polyrhythms of the past-
and dancefloor innovations from the underground.
His productions are defined by high energy tribal bass, psychedelia that is rooted in the cadence and mystery of ancient rhythms.
Set for release on 17th April, Catching Flies presents 'Silver Linings Remixed', a remix album featuring versions of tracks from his debut album reimagined by DJ Seinfeld, Andhim, Soundbwoy Killah, Laurence Guy, Ron Basejam, Grandbrothers and more.
Support for 'Silver Linings Remixed' so far from Mixmag, DJ Mag, Crack Magazine, Pete Tong, Gilles Peterson, Mary Anne Hobbs, KCRW, Bonobo, Solomun, George Fitzgerald, Mall Grab, Hernan Cattaneo, Kolsch, Nick Warren & more.
George King began Catching Flies in late 2012, drawing inspiration from a wide-ranging palette of music including jazz, soul, hip-hop, house and electronica. His debut album 'Silver Linings' was released in July 2019 and was hailed as "a soundtrack to summertime" by The 405 and awarded Album of the Month by Future Music who described it as "a brilliantly eclectic record…a moving journey that will last long in the memory".
Clash Magazine praised the LP's "killer beats" and "artfully orchestrated introspection" whilst London In Stereo praised its "exceptional production". Other coverage for the album included
The Guardian, Complex, Dazed & Confused and Nowness, with radio support across BBC Radio 1, 6 Music, Worldwide FM and more. Artist support for 'Silver Linings' has come from the likes of Bonobo, Jungle (BBC Radio One Residency), Loyle Carner, George Fitzgerald and Lane 8.
a 1 Opals (Analogue Dear Remix) feat. Analogue Dear
c 3 Kite Hill Theme (Freddie Joachim Remix) [feat. Freddie Joachim]
[d] 4 Opals (Andhim Remix) [feat. Andhim]
[e] 5 New Gods (Ron Basejam Remix) [feat. Ron Basejam]
[f] 6 Satisfied (Soundbwoy Killah Remix) [feat. Soundbwoy Killah]
[g] 7 Silver Linings (DJ Seinfeld's Drum Dream Remix) [feat. DJ Seinfeld]
[h] 8 When The Sun Bursts (Grandbrothers Remix) [feat. Grandbrothers]
[i] 9 Z (Laurence Guy Remix) [feat. Laurence Guy]
Telfort’s seductive sound returns with three new cruise missiles from the faultless producer. Deep house done with a dazzling expanse, his imaginative and charismatic influence on the genre have previously piqued the attention of the more creative DJs and diggers who’ve dug the producer’s umami-esque palette: intangibly savoury, hard to define but unequivocally tasty.
On his fourth release via the sporadic yet impactful TLFT imprint, the producer retains his playful touch as he delivers three bright, optimistic dancefloor vistas that shimmer and shine like sunbeams off a dappled ocean. “As Though It Were” immediately injects energy and light into our minds and bodies with its candescent bass riff and catchy three note melodies. Synth-strings are arranged with perfection, hinting at a brave New World full of compassion, love and unity; while its driving and buoyant beats urge us into a hips’ n ’shoulders workout comparable to a high-octane gym session.
“It’s A Phase” is as finely crafted a piece of Telfortian house as one can hope for. With a direct and rugged B-line, peppered with light perx and decorated beautifully by one of Telfort’s trademark, textural synth patches. It’s further garnished by a dreamy, weaving lead solo that should draw heartfelt feelings of desire and nostalgia out of all who experience it.
“MSR Dub” completes the session and deep bass plumes and breathy flute melodies give us Big feelings as we floor the speedboat’s accelerator and splash across the rollers and swells at max speed. Achieving a tranquil and calming terminal velocity, time appears to stand still as gorgeous scenery rushes past our eyes. It’s a picturesque and evocative end to the trip which should etch itself into one’s memory hole, full of jubilant and joyous sentiments and overwhelming positivity throughout.
Evoking ambrosial notes and feels throughout, reminiscent of spending life affirming time with top friends in exotic locations and holiday house music splashing in corals. You only live once; ensure it’s spent enjoying tunes like these loaded with carefree abandon. Telfort’s In A Good Place right now…
On his new record "Companionship", London-based Soft-Rock, Soul and Disco artist Joel Sarakula keeps the mood easy and the grooves deep. Ten new songs see Sarakula develop a deeper, more introspective lyrical style from his previous works as he celebrates and laments friendships, love and loneliness. Interspersed with a few standout up-tempo tracks to keep the ship sailing, "Companionship" is a chill-out album and listening experience of the highest order.
"Companionship" opens with "Midnight Driver", a driving soft-rock fantasy where the narrator laments his partner's nocturnal habits: 'When she's coming up, it gets me down'. The Californian sun-kissed guitars, vocal stylings and percussion all help to set a cinematic mood which unsurprisingly also makes it a great driving song. On the introspective "King Of Clowns", Sarakula creates a pop song that calls to mind the craftmanship of Hall & Oates and Elvis Costello. Both an admission of guilt and an unapologetic statement of intent, his low vocal careens in the dangerous divide between self-pity and self-parody: "My bad decisions worked out for a while, I'd do my dance tried to make you smile, I'll never wise up it's just the way I am". These confessions all occur over a down-tempo funk groove complete with some vintage synthesizer musings that makes the track ready to be sampled for a hip-hop record.
"Sunshine Makes Me" steps straight out of its mid-1970s swimming pool, heavily dripping in jazz fusion to dry off in the cold light of today's sunshine. The chorus is a mantra of desire, needs and reality that sees Sarakula sing 'Sunshine makes me lose my mind, thirty degrees and my eyes get so wide. Dreaming big and living slow, don't you know that time is on our side". On "Companionship", Joel Sarakula, prolific writer, producer, performer and multi-instrumentalist finally unleashes his chill-out pretensions. In this follow up to the critically acclaimed "Love Club" (2018) he develops a deeper and more mature compositions and production style. His love of all things vintage extends to a devotion to analog synthesizers and on "Companionship" you can hear a genuine love of synthesis that at moments is reminiscent of 70s synth production pioneers Todd Rundgren and George Duke.
Joel Sarakula will tour "Companionship" through Europe and the UK this Spring and Summer 2020 with his musical companions. Born in Sydney, based in London and a true internationalist, Sarakula tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is a sly nod to the golden era of the 1960s and 1970s when travelling US pop, soul and blues artists would do the same.
Theo Kottis’s celebrated ‘Turning Around’ and ‘Clear’ get a joint 12” vinyl release on 24 April on Skint Records, alongside the Gerd Janson remix of ‘Turning Around’ and an exclusive remix of ‘Clear’ by Hubie Davison.
‘Turning Around’ was one of 2019’s stand-out tracks, receiving top reviews, Annie Mac’s ‘Hottest Record in the World’, and played widely at festivals. One of the main supporters was Running Back label boss and “the DJ’s DJ” Gerd Janson who gives the uplifting disco workout a high-octane sheen, with a cascade of shimmering
beats and a poignant, powerful refrain.
On the B-Side is ‘Clear’, born out of a sample clearance issue which inspired TheoKottis to write an original piece of music that was ‘clear’ of samples. The end result is an exciting fusion of Italo disco and ‘80s synth-pop, complete with a euphoric vocal.
Exclusive to the vinyl release, acclaimed Irish-born and now London-based producer Hubie Davison delivers a deeper and tougher reworking, which is perfect for peak-time dance-floors. In Hubie’s words: There’s nothing better than being given a load of quality source material and license to have fun with it, and that’s exactly what happened here. I’ve been following Theo for a while now, so it was a joy to open the hood on ‘Clear’ and have a go at it. Having Gerd Janson on the other side makes it even better. Hopefully people enjoy these mixes as much as I do.”
Part I (Disc 1)
The Taiwanese artist Yutie Lee covers six Chinese folk songs about Flowers.
Tuberosa, Rose, Jasmine, Plum Blossom, Orchids & Chamomile all are odes to the beauty of the plant. The flower also being a metaphor for something we are desperately longing for, but can never quite get. However you may want to interpret the songs, they are all telling a story of something pure and indestructible. In the end nature will prevail?
Romantic thoughts created in a time long before the current state of the world.
By artificially mutating her voice, Yutie Lee successfully manages to transfer the songs into 2020s arguably much more complex, dystopian reality. She does this not without a bow to the past, prevailing something of the original songs sweet essence, even adding a layer of humour… in the end leaving the listener with a feeling of good hope.
Part II (Disc 2-3)
To complete the package Yutie Lee’s versions have been remixed by, Alva Noto, Bell Towers, Laura Groves, Oceanic and Suzanne Kraft.
TERANGA BEAT proudly presents Vol.2 of Kyriakos Sfetsas' 1976 "Greek Fusion Orchestra" project. Sfetsas' vision behind the formation of GFO, was to create a piece of work that would expand the boundaries of Greek traditional music. The result was a Progressive-Jazz Fusion masterpiece comprising complex and intriguing compositions, performed by Athens' best musicians of the day.
Following the success of Vol.1, Vol.2 is a compilation of musical pieces Sfetsas recorded with the group right upon the completion of the Vol. 1 material. Vol.2 is still reflective of his ambition of bringing together progressive jazz and traditional music, but it does so in a different manner. Although the element of traditional music remains present, it does not provide the compositional foundation for the songs (e.g. most pieces are no longer based exclusively on traditional musical forms). More jazzy and more complex than Vol.1, Vol.2 has a darker feeling, presenting Sfetsas not only as a musical experimentalist, but also as a demanding and distinctive composer, who truly puts his musicians through the test.
Following the success of Vol.1, Vol.2 is a compilation of musical pieces Sfetsas recorded with the group right upon the completion of the Vol. 1 material. Vol.2 is still reflective of his ambition of bringing together progressive jazz and traditional music, but it does so in a different manner. Although the element of traditional music remains present, it does not provide the compositional foundation for the songs (e.g. most pieces are no longer based exclusively on traditional musical forms). More jazzy and more complex than Vol.1, Vol.2 has a darker feeling, presenting Sfetsas not only as a musical experimentalist, but also as a demanding and distinctive composer, who truly puts his musicians through the test.
French Duo "Dub Striker" make their debut on 'Happiness Therapy' with a solid 5-track EP backed by a remix by Chicago based House producer- and Smart Bar resident Garrett David.
'Dub Striker' reignite the French House scene on their latest release with their raw sound influenced by artist like Gerd, Milton Jackson and Fabio Monesi. The opening track to the Birds Of A Feather EP, Wild Rhythm, showcases the duo’s diverse style with this tropical infused track featuring tribal rhythms, light and airy chords and bright melodics. A refreshing opening track that transports you to another place.
The following track is "Mood Pt. 2", a raw loungey house track with Icey high hats, a punchy kick drum and hypnotic chord sequences.
Opening on the flip side of the EP is, Computer Games, with a change of pace from the A side with its pulsating kick drum, floating bassline and spacey chords and melodies. ‘Would You ?’ follows, again showcasing the duos diverse style with this Jazzed up house track with its rhythmic raw percussions, classic house chord progressions, trippy vocals and dissonant synth stabs.
Closing the EP is Garrett David’s take on Wild Rhythm, his interpretation takes you deep into the jungle with this upbeat percussion driven track, with it's soothing bird calls, tropical
melodies and enchanting chords.
Brand new release from Parisian crew Coquelicot Records. French DJ and producer Mario Penati delivers here a 5 tracks EP, focused on his love of house music, including an acid remix from Herr Krank. A side contains 3 classic house tracks, influenced by italian and chicago 90's vibes, from deep to most clubby ones; 909 drums, percussions, synths combined to make you move... First track on B side is a simple vision of a more intimate and deeper feeling but asking to be played loud, and last but not least a rework by Herr Krank, providing banging acid beats!
One Sided 7", Limited edition of 200 copies on black vinyl, handstamped whitelabel with additional photo inlay.
Tribe'n'Bass? Tech'n'Bass? Drum'n'Tech? Whatever you might call it, the first ever vinyl release of the freshly launched imprint Freebreakz.FWD is a quite trip, a journey into the unknown and unexplored.
For their conjunctional studio effort that is „Alien Swamp“ we see Hamburg's baze.djunkiii and Berlin-based Donna Maya draw influences from spiralling TribeTekno and the freeform approach of the teknival scene, pay homage to their love for advanced, experimental Drum'n'Bass and fuse these elements with a stripped down high tech vibe somewhat reminiscent of early Minimal Techno coming out of Motor City Detroit. Imagine all these bits falling together at breakneck speed and with a well psychedelic notion and you'll be
captivated by one of the most unique dancefloor cuts from a space-exploring future, the electroid soundtrack for illegal raves taking place under the two suns of life-bearing exoplanets in binary star systems far far away.
180g
Council Work returns with the next installment of their journey, this time with the Militant EP. Two original tracks from the label bosses Frankel & Harper, and keeping in theme with the previous releases, obtaining remixes from their favourite artists in the scene, they've enlisted 2 big remixers, this time from Salty Nuts boss and Cocoon regular Fabe, and Orbital London head honcho and rising UK star Jack Michael. The EP sticks to the signature Council Work sound, showcasing underground UK flavours with lots of garage and jungle influences, whilst showcasing more minimal and breaks textures and vibes
Faze Action return with the 3rd instalment of their 4 part series featuring Zeke Manyika. "Sununguka", sung in Zeke's native Shona, is literally translated to mean, "To unravel oneself and unlock yourself".
It's set over an infectious reggae, boogie rhythm, with an early proto house feel. Featuring backing vocals from Sharon Manyika and heavenly keyboard solos from Rob Lee, this EP is set to take us into summer and beyond.
The package comes with a stunning remix from Alan Dixon who has been lighting up dance floors with his releases on Running Back and more. Here he turns the original into an Italo/electronic Aend of night classics, managing to seamlessly Amerge Zeke's African vocals with a serious bass line, ahead of the curve, contempory production whilst placing the release firmly in the credible main room department.
On "A2" we have Rwendo where Zeke really stretches his songwriting skills as the whole track manages to fuse a variety of rhythms together to create a beautiful downtempo masterpiece.
Finishing off we have the "Special Extended Dub Mix" which strips back the original and turns it into a balearic house gem made for the summer ahead.
It was 50 years ago that a talented local musician named Lamont Butler started to create an album that would combine love, happiness and joy. Lamont’s only official album release It’s Time For A Change has been very popular for record collectors around the world but never saw the wider success it truly deserved.
Born 1949 in Louisville, Kentucky; Lamont Butler was drawn to music and dance from the very beginning. He was the son of a well-known gospel, blues and R&B singer and pianist Clifford Butler Sr, receiving an early education in what’s required to be a touring musician.
It quickly became apparent that Lamont had a wonderful voice and was pushed to the front despite no being fully confident yet of his singing ability. Lamont performed on the gospel circuit for a number of years cutting his teeth with groups such as The Enterprise, The Dynamics and The New Beginnings eventually going solo with Lamont Butler and The Spirit of Truth.
It was whilst he was singing and performing during this period that he started to write his own songs and think about putting together an album bringing together all of his influences from R&B, jazz, soul and of course gospel. The result is very raw, almost low-fi sound of It’s Time For A Change, released nearly 10 years after Lamont started to pen the first tracks and it gained relative success. He toured the album around churches in Louisville with tracks such as Love One Another, Time For A Change and Ungodly War quickly becoming firm favourites within the churches of Louisville.
Miles Away Records are pleased to working with Lamont and to be issuing a long overdue album reissue of It’s Time For A Change on LP and CD. Remastered with care by Nick Robbins at Sound Mastering and complete with in-depth sleeve notes.
German veteran Marc Romboy is back on André Hommen’s These Eyes imprint with a stellar two track release entitled Elka, showcasing Marc’s effortless ability to portray alluring and emotive characteristics through music. This offering follows up from Trapped In An Orbit, which he released on the label in 2017 and remains a label highlight to this day.
The title track Elka provides a stirring and suspenseful journey that plays out as it’s melodies unfold over a bassline that pulses gently and impels the listener. Unreal Sun ups the energy with a groove thats ready to fall into and chords that lead the way, dictating the pace as their intensity undulates.
Marc Romboy has dedicated 30 years to the scene, with an impressive history of releases on labels like Innervisions and his own Systematic Recordings, collaborating with artists such as Stephan Bodzin. It is a point to be made that the A side to this release is one of Marc’s personal favourites to date and it is clear to see why.
kniteforce head honcho and all round oddball Luna-C drops an eclectic remix EP, featuring tracks spanning his entire 3 decade career. Shoreman takes “Bomb Da Bassline” and makes it as mad as you might expect from the mastermind behind “On The Edge”. Success’n’Mistreat meanwhile is remixed back to the early 90’s sound of MARRS and that sample heavy era. The Wislov remix of “Edge Of Madness” is perhaps the standout, being a classic anthem remixed into an even more formidable style, and the EP is rounded off by KF newcomer Dj Beeno, who takes the obscure “Hurricane” and blows it away…
Following the success of their last collaboration with Isaac Chambers and Dub Princess, their multi-million streaming remix of ‘Kryptology’, they’ve returned the favour and refried their 'Back to my Roots' track, adding their own special dubwise flavours to the easy skanking original.
This Record Store Day Dubmission Records are releasing a limited run 7” vinyl featuring both vocal and dub cuts.
Thembisa’s Hot Soul Singers were formed in 1975 by promoter and producer Sam “Jiza Jiza” Mthembu. In the early years the trio was called the Thembisa Happy Queens and consisted of sisters Ntombifuthi and Nombuso Mabaso and Lindiwe Ndlovu. The trio would start out playing Jive, Zulu Disco and other popular sounds of the 70s . In 1979 they became the Hot Soul Singers and would begin a career in the emerging Disco scene which their group name was now more fitting for.
Their first single under the new name was a tribute to their producer Sam, and their first album “Together” would come 2 years later in 1981. It contained their Lamont Dozier rip off from a year earlier, and biggest hit to date “ Give Me My Love Back” which was playing in jukeboxes across the country. At this time the Hot Soul Singers were also gaining popularity due to their demand as an opening act for American groups. Sam’s ongoing pursuit to be a successful promoter also helped to ensure they were always in the headlines and playing shows. It would be in 1983 that the group would temporarily step away from a major label and go onto record their first Maxi single with the independent Raintree Records new Lyncell Imprint.
Like most places in the world the early 80s was a fast changing time in music for South Africa. Although the Maxi had a disco standard for years in other parts of the world it had only recently been popularized in South Africa. Thanks to the Brenda and the Big Dudes smash, Weekend Special, the maxi took over as the preferred format for pop music, replacing the cheaper but time restricting 7” single. Singles were being pushed to the limits in the early 80’s with running times of 4+ minutes a sides by some labels. The Maxi allowed for groups to extend their grooves onto a full side and later album art containing smiling musicians infant of cheesy backdrops became the norm. Synthesizers had been used in pop music for years already but the DX7 wouldn’t land in the country for another year. Drum machines were being used but had yet to fully replace live drummers like would happen in the years to come. The recording of this new single would require a full band resulting in it being one of the gems of the crossover period before the complete midi takeover. Durban’s Graham Handley was recording some of the best upcoming Disco sounds for labels like Heads Music and groups like Kabasa and Masike Mohapi and was tasked as engineer. Other known musicians in the session would be Jimmy Mgwandi from the group Image, who’s signature bass playing can be heard on both songs. A young Daniel Phakoe aka “sox” was also present and took care of the male parts of the vocal line. Both musicians have writing credits along with lead singer Nombuso. Other possibilities of musicians would be Thami Mduli aka Professor Rhythm who had been with the group since their early days as well as a young Chicco who was best friends with Jimmy at the time.
The single, which was packaged in a customized but simple company disco sleeve, went on to do quite well. Less than a year later they would feature on a track with Sunset which would lead to them singing with Sounds of Soweto records label. The group would enjoy the growing fame when tragedy struck in 1984. On their way to a show in Mpumalanga they were involved in a car accident which took the life of Nombuso and left her husband Sam with a leg injury he limps with to this day. Upon recovering Sam would organize a tribute concert at Soweto’s Jabulani Amphitheatre. Even though the tragedy left the group broken and without a member the band went back to work to record their second full length album. They worked with Mac Mathunjwa who had written Nombuso’s favourite song “Going Crazy”. This album would be released with two different names and covers. One took the former singer’s favourite song as the album name and used a photo consisting of all three girls where the other released under the name “ A Tribute” and would only have the remaining members on the cover.
Although the tragedy never halted the group, moving forward the trio of singers would see a few members change. Lindiwe would leave to join Freeway and then become Linda “Babe” Majika so by the time they were ready to record in1986, now with Teal records, the only original member was Ntombifuthi. She would also shortly leave the group and provide backing vocals to other artists including her old band mate Linda. The Hot Soul Singers would be kept alive by Jiza Jiza and go on to record 5 more albums before calling it quits in 1990 after a successful 15 year career. Today the only core member left is Sam Mthembu who still lives in Thembisa and is occasionally promoting live events. Even though he did produce a handful of artists back in the 70s, his most significant additions to the music industry were the Hot Soul Singers and his event promotions, which is what he is best known for and will most likely be the legacy of his career.
• 180g Picture Disc in Die-Cut Sleeve • Best of Bowie’s legendary performance from the Universal Amphitheater, Los Angeles • Broadcast on KMET-FM • Digitally remastered for greatly enhanced sound quality • Background liners
“Come out of the garden, baby”, and revel in the sounds of David Bowie’s spectacular Diamond Dogs Tour. Protus very proudly brings together the best of Bowie’s gig at the Universal Amphitheatre in Los Angeles, 5 September 1974, broadcast live by 'KMET' radio station, which featured an extraordinary set list showcasing work from several key Bowie albums including Ziggy Stardust and the Spiders from Mars, Aladdin Sane, Hunky Dory, and of course, Diamond Dogs.
One of the most expensive tours in popular music history, the tour and the album helped the star to crack the North American market.
David Bowie – Vocals
Michael Kamen – Electric Piano, Moog Synthesizer, Oboe
Mike Garson – Piano, Mellotron
Earl Slick – Guitar
Carlos Alomar – Rhythm Guitar
David Sanborn – Alto Saxophone, Flute
Richard Grando – Baritone Saxophone, Flute
Doug Rauch – Bass
Greg Errico – Drums
Pablo Rosario – Percussion
Gui Andrisano – Backing Vocals
Warren Peace – Backing Vocals
Ava Cherry – Backing Vocals
Robin Clark – Backing Vocals
Anthony Hinton – Backing Vocals
Diane Sumler – Backing Vocals
Luther Vandross – Backing Vocals
DJ Die Soon is a local legend and ongoing inspiration in the Berlin underground electronic music scene. Remaining largely unknown outside the city, with only a handful of releases and appearances to date, the man behind the mask delivers truly freakish beats built from chaos driven crushed drums and eerie horror style basslines.
KAPPA SLAP wrenches the Morphine catalog by the neck, takes it off it’s feet and slams it back unsteadily in front of the fans who loved the Container, Metasplice and Hieroglyphic Being output of the label. DJ Die Soon delivers extreme work here. The album is a mixture of instrumental pieces and vocal tracks featuring the talents of five contrasting MC's. Three Ugandan lyricists feature: there’s MC Yallah, with whom he worked during a residency for the Nyege Nyege Festival , Lord Spikeheart from the Duma hardcore pressure band, and the mighty ECKO BAZZ. Long time friend and collaborator Infinite Livez (Ninja Tunes) appears on the cosmic & eccentric Ranthworth, and finally there’s Japan’s MA, who recently dropped the incredible AMA album on the label. Incidentally, the pair (both Japanese) decided to collaborate after acclaimed performance at the Morphine Showcase Berlin’s Berghain in 2019.
KAPPA SLAP contains a lot of our favorite sounds all in one album. Stunningly, DJ Die Soon manages to paint the Morphine picture in one hard stroke.
Artwork courtesy of Lorenzo Mason Studio
Clear Smoked Vinyl
180 gram clear with smoke vinyl w/download card.
In sharp contrast to McCagh's commercial work for Huawei, Acura, and Volkswa-gen, "Altered States" is a detailed opening statement of experi-mental aural vignettes by an artist that has clearly spent the time to master his craft. Digitally manipulated acoustic instruments form the backbone for McCagh's wall-of-sound aesthetic painting pictures of bleak futures where the tracks dance, or more aptly, shiver their way to sharp collapse.
In short, McCagh makes ambient music with teeth. A form of experimental music with soul, or faded formation of industrialized machine music shrouded by layers of aural gauze, each piece emotively twist-ing and turning in and out of focus. "Altered States" is a brilliant inaugural proclamation from artist to watch.
"I'm Always Right“ by Imagination is an unreleased jazz rock LP recorded in 1977, 3 years before their sought after “Shake It” debut from 1980. Comprised of five tracks with a playtime of roughly 30 minutes, you will hear one of the finest German late-70s rock-tinged electric jazz albums of the era. The recording is a delightful stand-out with unique compositions, aspiring solo work, and a soulful spirit throughout. Additionally, the album veritably glows with exceptional sound quality, as it has been remastered from original tapes that were cut more than four decades ago at the WDR Funkhaus, Cologne.
Tom Shopper and Sektion Tanz in a strong collaboration on Beatwax Records. After Tom Shopper has already released several celebrated releases on the Nuremberg label, it is a debut for Sektion Tanz. A perfect tech house EP with lots of groove and driving flow - remixes from Franconia are provided by Beatwax owner and founder Homebase, Der 8.Sinn and Bastian Fuchs. Steve Cole, owner of the Schallbox label, delivers a fantastic mix from Switzerland. But that's still not enough - Sascha Kloebers (We Were Young) Remix perfectly rounds off the multifaceted and harmonious disc. The title "Board" came from the shared passion for snowboarding between the two artists but can also be understood as the typical German jargon „Brett“ for a perfect song. And that definitely fits with each of the 6 tracks.
Back with his third EP for Dave Harvey’s forward thinking Futureboogie label, Kiwi serves up three pulsating jams on ‘Charlie’s New Vision’, backed with a remix from Johnny Aux.
Drawing upon his many influences across the house/disco/funk spectrum, South London based Kiwi has been illuminating the more discerning dancefloors of late with a strong of releases for Cin Cin, Needwant and his own new label venture, Crossbreed.
A low-slung groove is explored on ‘Charlie’s New Vision’, incorporating tripped out film dialogue, bleeps and dubby tones, and a serpentine bass riff, all forging an off kilter yet infectious & hedonistic chugger. Johnny Aux follows up recent appearances on Man Power’s Me Me Me, Party Central, and Multi Culti with his own take on the lead track. Churning over a bleepy and epically transcendental remix of the highest order, this is the stuff of sunrises and enlightening moments!
The sprightly ‘Ghiaccio’ draws together a kaleidoscopic array of opulent synth melodies with an compelling rhythm, whilst ‘Italian Heat’ doffs its cap heartily to the Italo disco choons of yore that always strikes a potent chord to this day.
Founded by ordained bishop Larry H. Jordan and his brother-in-law Frank Tinsley in the early 1980's, Enlightment was among the first groups to fuse modern R&B production with gospel themes.
After providing the group’s ultra-rare debut album Faith Is The Key with a proper release, Nature Sounds is now making another lost classic from Enlightment available to the world. “Agape Love” was
a 1988 promo-only 12” single pressed in anticipation of a second Enlightment album, which unfortunately never came to fruition.
Previously only available in extremely limited promotional quantities, “Agape Love” has been re-pressed off the original vinyl parts and will now be hitting record shelves worldwide. “This is well-deserved reissue,” says famed DJ and record collector Kon, who calls the record “a lost gem that slipped through the cracks of obscurity.”
Originally released in 2008 as a limited edition CD. ‘Sniper Beats’ is now finally available on vinyl from KingUnderground. ‘Sniper Beats - Underscores for Drama & Action’ Contains 13 instrumental tracks from Mr Parker’s vast production collection. Each track was originally selected by Lewis and recorded raw, straight out of the SP-1200 (with no external samplers involved). Those same tracks have now been remastered for this much anticipated vinyl release.
Alex Figueira, the man behind Music With Soul, Fumaça Preta & Conjunto Papa Upa, has teamed up with Maxado, Brazil's leading rocksteady vocalist, to create another impossible crossover, connecting the dots of the vast tropical music map that have remained appart for far too long.
What if the now-legendary producer Lee Perry had recorded & produced the nascent Wailers trio of Neville Livingston, Bob Marley and Peter Tosh, not in Kingston, the scorching hot Jamaican capital, but instead in Belém, an even hotter city, at the heart of the Brazilian Amazon.
Whilst Kingston's airwaves and street parties were dominated by the locally produced rocksteady, ska and reggae, Belém was dancing to it's own beat of carimbó and siriá.
Alex Figueira and Maxado, two avid fans of both musical traditions, entered the Barracão Sound Studio, Amsterdam's famed vintage recording studio, determined to find an answer to that hypothetical question. The result is not only tangible and unprecedented, but incredibly emotive & hypnotic too.
The chorus of "Quando Será" is unnervingly apt for our times tool, "Quando será que eu vou te ver?", or "When will I see you?" the song asks. Well until we see each other, Music With Soul offers some musical relief in the form of this collaborative song.
The B side offers a beautiful touching instrumental version, led by the impeccable flute rendition of Brazilian multi-instrumentalist Gabriel Milliet, a prominent member of the Brazilian music scene in Amsterdam and Alex's long time collaborator having shared the stage countless times in the past 3 years. His delicate phrasing will give you goosebumps.
Alex Figueira is well known as the man behind experimental tropical rock-outfit, Fumaça Preta, and more recently the psychedelic tropical dance band, Conjunto Papa Upa. Meanwhile, he has become a staple of the Amsterdam scene, having either played with, recorded or produced everyone from Mauskovic Dance Band to Altin Gün. São Paulo-based musician & singer composer Maxado made his mark fronting Firebug, Brazil's leading, if not only, rocksteady band, also featuring influential musician, producer and mix engineer Victor Rice. The two musicians met during Alex's first trip to Brazil, when he was already a massive Firebug fan, and quickly formed a firm friendship. Finally over the course of Maxado's first visit to Amsterdam, the pair had a crack at writing & recording together, quickly discovering that their chemistry extended to the studio. Now you can hear the first fruits of their blossoming musical relationship.
Pitto is not one to flood the scene with new music considering he’s only released two ep’s in the last three years. He takes the time to let ideas evolve and it’s clearly noticeable on last year’s EP on ‘Something Happening Somewhere’ sublabel ‘Ooshaa’, where his feel for an almost poppy hook is perfectly combined with his love for darker electronics. On the ‘Baila baila EP’ –his return to Heist after his last ep in 2018- he explores this path further. The EP is filled with live percussion, a dark and rolling acid line, chopped beats and catchy piano riffs. The three originals are accompanied by a remix courtesy of Pete Herbert that has ‘summer’ written all over it.
Opening track ‘Sammie’ has a beautiful sense of melancholy to it, where an emotional piano riff is combined with some 80’s tinged vocals and loads of live percussive elements for a smile inducing experience.
‘Discko’ takes a darker approach with a deep and ‘dubby’ low end and a guitar riff that wouldn’t be out of place on a Caribou track. The horn section and synth lead give it a real crossover appeal and it’s the kind of track you imagine working just as well on a summer festival as in a dark basement.
On the flip, there’s the title track ‘Baila’, a proto inspired acid stomper with a nice wink to early 90’s dance music vocals. An acid line gives the track its backbone, but it’s the combination of Pitto’s chords and instrumentation that give this track it’s unique edge.
The EP finishes off with Pete Herbert’s remix of ‘Sammie’. Pete’s version has that full-on summer appeal with his recognizable style of modern day island disco. He adds a bit of drama to the track with some big breakdowns, changeovers in the piano riff and turns the Balearic vibe up a notch with an added dreamy solo.
We’re happy to have Pitto back on Heist and this unique and diverse EP is one we hope will create a lot of smiles on the dance floor in the coming months.
Yours Sincerely,
Lars & Maarten
A brand new studio album from Gorillaz titled The Now Now will be released by Parlophone Records on 29th June.
The Now Now is 11 all-new songs from the World's Most Successful Virtual Act, produced by Gorillaz, with James Ford and Remi Kabaka, and recorded in London, in February this year.
The album sessions for The Now Now saw the band largely eschewing guest stars, taking it back to the core creative crew: blue-haired, sweet-natured dreamer 2D on vocals, whip-smart Japanese badass Noodle on guitar, not forgetting Brooklyn-born philosopher and the meat-behind-the-beat Russel Hobbs on drums. And with Murdoc Niccals temporarily indisposed, bass duties on the new album have been taken up by erstwhile Gangreen Gang member Ace.
A sun-drenched new video for first track Humility, starring a roller-skating 2D and a busking Jack Black, was directed by Jamie Hewlett and filmed entirely in Venice Beach, California last month
Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.
Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.
A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.
The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.
“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.
A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.
The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.
As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.
Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.
Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.
We’ve worked with Ian Willson to reissue his insanely good, self-released West Coast classic “Straight From The Heart”. Privately pressed and originally released in 1985, this is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colours.
You might already know “Straight From The Heart” for the dubby-disco paranoid-balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But trust us when we say it’s definitely not. This is an impressively slick record from start to finish, just ask those modern soul DJs and AOR collectors who’ve managed to find a rare copy in the last 35 years. It could’ve (should’ve?) been number 1 all over the world back in 1985.
Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk / half Dâd-Funk).
The shimmering, spiritual Bossa-Jazz of “If I Were You” serves as the album’s soaring centrepiece. A gorgeous suite of Cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio.
Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour we spend our days longing for. It all adds up to the ultimate BBQ record.
Almost all of “Straight From The Heart” was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982.
A “full time poor musician” at the time (and he says he still is), Ian produced the album himself and played all of the instruments, except for guitar. That’s Peter Fujii you can hear, his good friend from growing up together.
Tower Of Power, Average White Band, Earth Wind & Fire and Stevie Wonder was the list of influences Ian gave us when we asked. No wonder the record’s just so easy on the ears.
And why did he put the record out himself? Simple, he had no idea how to go about getting a record deal.
When we first got in touch with Ian he had no idea that “Straight From The Heart” had become something of a cult record, let alone that there were those of us out there that thought the album deserved to be pressed again. The original tapes have long since been lost so this re-issue was only made possible by remastering Ian’s one and only pristine copy of the finished LP.
The end results have been worth the work, including reproducing the original’s unmistakeable sleeve. Ian Willson’s “Straight From The Heart” is yet another Be With release that will find an easy home on the shelves of those of you who up to now have only dreamt of finding a copy and also those of you who who never knew it even existed.
“Miss Honey” by Moi Rene was an underground New York anthem during the early 90’s. While the artist and the song never fully got the acclaim it deserved, it’s originality and authenticity was strong enough to sustain its reputation as a must have track for any DJ who wanted to inject some raw and real NYC underground vibes into their set.
Through a series of memorable releases, the production team known as SRVD has emerged as one of the worldwide DJ community’s most original and innovative talents. Consisting of renowned producer Radio Slave and Performance arsist Partrick Mason, SRVD has done a remix that retains the New York-in-the-90’s edge of the vocal, while adding a techno – laced rocket fueled beat and synth that have made the track an immediate favorite of headlining DJ’s worldwide. Entitled Moi Honey, the SRVD remix package consists of a vocal and instrumental version.
Planetary Notions boss Joe Rolét debuts on Infuse to open April with his ‘Maximum Width’ EP, backed by a remix from Rich NxT.
A rising name within his home city of London, Joe Rolét is a DJ and producer whose passion for subbed out club music with a cosmic twist has seen him become one of the scenes hotly tipped talents – a sound that’s also reflected in full via his bubbling label, Planetary Notions. Releasing music from artists such as Per Hammar, Lopaski, stevn.aint.leavn and Desert Sound Colony whilst welcoming the likes of Vlad Caia and more to join as guests on the imprint’s Rinse FM show, 2020 now sees Rolét follow up releases via Beeyou, Courtesy Of Balance and his own Planetary Notions imprint as he makes a debut label appearance on Infuse with ‘Maximum Width’ EP this April, accompanied by a remix of the title cut provided from FUSE resident Rich NxT.
Lead cut ‘Maximum Width’ sees Rolét introduce his blend of slinking, reduced grooves atop of bumping low-ends whilst working an infectious vocal throughout, whilst ‘Rounding’ sees warped synths, off-kilter melodies and further tripped out vocal snippets come to the fore. On the flip, FUSE favourite Rich NxT puts his stamp on the title track in impressive fashion as he raises the tempo and introduces sizzling bass stabs and rolling hats, before rounding out proceedings with the hypnotic ‘Amber Road’ – a paired back cut that harnesses soaring sci-fi leads and wriggling percussion arrangements to great effect to shape up an impressive debut offering.
Sardinian “Claudio PRC” is a well renowned name in the scene, known for the peculiar, meditative and introspective sound he’s delivered over the years. Claudio is no stranger to our label, kindly gifting us his beautiful track “Void” on the AWRY005 compilation early last year.
With his forthcoming release “Insel,” he shows us different sides of his sound, creating 3 tracks with varying moods, each dedicated to experiences during his time in the city of Berlin. The B side features a remix of “Ost” from label owner Wrong Assessment, marking his return to AWRY after his “Asa Nisi Masa” EP release."
Palette 71 kicks off with legendary Warp artist Plaid on remix duties. Transforming the title track, re-synthesized 909 samp-les and lua scripted sequencing, Plaid builds melodies and ar-rangement to epic proportions in classic Plaid fashion.
Tejada’s new EP is an homage of sorts to the sample heavy production style of the late '90s. "Limiting the options and just creating and manipulating a batch of samples is my happy place,” says Tejada. The title track hints back to a personal favorite, Optical’s "Moving 808s." While the sound is quite different, the approach is similar: samples, editing, some fil-ters and not a whole lot more opens up a lot of creative possi-bilities without too much getting in the way. Of course, the bass plays an important role. Combing through some older influences of varying styles, the production became more in line with Tejada classics like “Timebomb” and “Western Star-land,” both sample collage pieces focused on groove.
The final track, "Infinity Room" also follows this production process while resulting in a slightly moodier sound.
Something is stirring in downtown Tucson. That's no great surprise perhaps: Calexico have been sending out missives from the desert for 20 years now, Giant Sand for even longer than that, and the Green on Red revival is surely overdue. Let us remind ourselves that this isn't a big city in the American sense, but that its hinterland is indeed as big as it gets. For an hour south, Mexico starts. And this is where things get interesting.
Born in Nogales, Arizona, raised in Nogales, Sonora, multi-instrumentalist and band-leader Sergio Mendoza grew up listening to the Mexican regional styles jostling for headspace in a young, music-mad mind - cumbia mainly, but mambo, rancheras and mariachi too. The border is always a fierce arena of exchange, both commercial and cultural, and so there was American music too. At one point 'rock and roll, the classics', as Mendoza himself deadpans, seemed to win out and he stopped playing those 'Latin styles' for a good decade and a half.
The return to those sounds was a strong one in 2012's Mambo Mexicano, co-produced by Mendoza and Joey Burns of Calexico - a band for which Mendoza has become an increasingly integral touring and recording member. While that record had a studied air, tentative in parts (as befits the renewal of an old love affair), ¡Vamos A Guarachar! is another beast entirely: by turns raucous ('Cumbia Volcadora', featuring Mexican electronic pioneer Camilo Lara), tender ('Misterio', surely Salvador Duran's finest moment with the band so far) and plain serious fun, as in 'Contra La Marea' and 'Mapache', it also bears a robust electronic edge, a keen pop sensibility and all the hallmarks of Mendoza's love of 60s rock, with the closing track, 'Shadows of the Mind', sure to be included if anyone decides to update the Nuggets collection for the 21st century. This is roundabout way of saying that it appears to have everything, but never too much of anything. Focused, fierce and beautifully executed by a superbly drilled set of musicians, it is a record that fully matches the band's explosive live performances.
You could, of course, take the trip to Tucson yourself, to the home of this essential set of field recordings. The scene hangs out together, so ... if the stars align and their frantic tour schedules permit, you might see any number of folks from Calexico, Giant Sand or up-and-coming cumbia rockers Xixa deep in conversation somewhere in town with a quiet young man in black. That's Sergio. Right now, in this endless game of Tucson tag, Orkesta Mendoza are IT.
During a karaoke-fuelled haze in the seedy parts of Oslo, Legs 11 was formed based on a shared love of synth pop, post-punk, new wave and house music. Drawing on these influences, the band has created a diverse musical universe, ranging from dark repetitive guitar driven tracks, via infectious pop gems, to deep yet melodic dancefloor-orientated grooves. After exploring the indie-dance themes on their debut album "Another Wave" (2017), it's now time to dive into the world of (electro) pop!
Legs 11 have drawn on many different influences throughout their 15 year history. Still, at the heart of the band's musical universe, there has always been a deep love for pop-music! On their new ten-track album "The Colour Of My Heart", Legs 11 show us ten shades of their brightly pop-coloured heart.
Brave Wave’s first 3-LP vinyls colored (Red, Black and White) set , Samurai Shodown The Definitive Soundtrack will come in a box set featuring three LP sleeves decorated with artwork from the game, with the box set featuring the original iconic Japanese cover drawn by famed illustrator Shinkiro. Both 3LP and 2CD version includes booklet.
SNK and Brave Wave Productions are proud to reveal their fourth collaboration, Generation Series 010: Samurai Shodown for both CD and vinyl.
Known as Samurai Spirits in Japan and originally released for NEOGEO in 1993, Samurai Shodown is one of SNK’s most classic and timeless 2D fighting games, featuring fast-paced gameplay, beautiful graphics and catchy music.
The soundtrack, composed by Norio Tate, achieves the difficult task of producing traditional Japanese sound comprised of instruments such as the shamisen and shachihata while maintaining a distinct NEOGEO vibe. The result is a beloved soundtrack that is simultaneous timeless, yet historical.
There are two variations of the soundtrack: an AES version and a NEOGEO CD arranged version. Samurai Shodown The Definitive Soundtrack will include both versions, featuring the entirety of the original soundtracks remastered and restored to the highest possible quality, in collaboration and consultation with SNK.
The CD and vinyl editions will feature a booklet containing artwork from the SNK archives, in addition to in-depth liner notes written by some of the original creators of the game, including series creator Yasushi Adachi, as well as Tate. In addition, the booklet will feature an in-depth essay by Greg Kasavin of Supergiant Games on the impact of Samurai Shodown on video game culture and history.
Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.
LP SKY BLUE VINYL/LOSER-EDITION
Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.
Alien Recordings was born in the late 80's by Andy Panayi and
Alec Stone, out of a love of music and DJing. They also ran a
night around London called Alienation, playing a mix of house,
electro, breakbeat and techno. They're back as (An) Alien with
new material for your listening pleasure; alongside music by
legend Terry Francis as well as Panayi and Stone themselves
(A²), the likes of Stopouts (Rob Collman + Navigator) were
staples of the imprint and they front up for "Tales From The
Archives Part 2.2". There's the brooding Drexciyan electro funk
of "Kill All Humans" originally from 1998, a remastered version
of "Sandstorm" from their release on Robin Ball's
Groovepressure imprint in 1999 and on the B side is the
underwater cybernetic epic "Freaks" by A².
Outta Sight’s collectable ‘Classics’ series continues with two real heavyweight’s of the rare soul scene, face-to-face for the very first time. Together, these two icons helped define, not only Northern Soul, but the soul music genre… and now, almost sixty years on, they go head to head.
In the blue corner is former commercial artist and amateur heavyweight boxer Mr Roy Hamilton who set the dancefloors trembling across the North of England when his 1962 “Earthquake” was finally unleashed on the Northern Soul scene. Hamilton was already a huge star in America scoring two R&B No.1’s in 1954 and ’55 with the standards “You’ll Never Walk Alone” and “Unchned Melody”. But, he will forever be remembered in the U.K. for his Northern anthems “Crackin’ Up Over You”, “The Panic Is On”, “You Shook Me Up” and the explosive “Earthquake”.
In the red corner is the multi-talented actor, pianist, arranger, producer, songwriter and singer Mr H. B. Barnum who’s early belter “It Hurts Too Much To Cry” belies its 1962 recording date. Barnum also scored on the rare soul scene with “Three Rooms With Running Water”, “The Record” and the awesome “Heartbreaker”.
But his contribution far exceeds his personal output with writer, producer and arranger credits on a slue of floorfillers inlcuding Judy Street’s “What”, Earl Wright’s “Thumb A Ride” and The Magnificents’ ”My Heart Is Calling You”, to name but a few.
Protoelectronics psychedelic Mexican Holy Grail rediscovered by Glossy Mistakes. Inspired by Vangelis, Tomita or Kraftwerk, this unknown rarity gets a second life sounding fresh and pioneering today.
Tito was born in 1946 in Ciudad de México, the son of two Spaniards. Since he was a youngster, he had felt the passion for music and instruments. In the meantime, he started a career as architect. Since his early years, he joined various teen rock bands, where he played bass and guitar. Slowly but surely, his interest in synthesizers started to grow. And the rest is history. Tito defines himself as an “electronic sounds fanatic”. Quetzalcóatl is a truly authentic cornerstone in those terms: an inspired and eclectic artist gives shape to a unique sound through legendary synthesizers such as the MiniMoog or the Arp Odyssey. His passion was so embedded that he even built his own guitars and equalizers; some of which appear on this LP.
Quetzalcóatl, his debut solo album, was originally recorded in 1977 (now remastered) in his bedroom using a four-channel Sony recorder in a truly DIY way. This álbum could be considered as a rarity. But if we listen hard enough, we find a pioneering treasure. Somehow, Quetzalcoátl anticipated the sounds of future decades with simple but inspired compositions. It is a mythological trip to the Pre-Hispanic México. This album is an allegory of the Aztec world. Quetzalcoátl is the most important God for Mesoamerican cultures: it represents the inherent human dualism between the body (represented by the snake) and soul (the feathers). In the song “Profecía”, Quetzalcoátl emerges, announcing the end of the world at the hand Spanish colonialism. Limited edition, 600 copies, remastered in Amsterdam by Wouter Brandenburg.
Seit einiger Zeit arbeitet die deutsch-brasilianische Künstlerin Gloria Endres de Oliveira, die auch als Filmemacherin (Musikvideos, Kurzfilme) und Schauspielerin (u.a."Babylon Berlin", "Die Pfeiler Der Macht", "Counterpart" und aktuell in Christian Petzolds "Undine" (Berlinale 2020)) aktiv ist, an der Verwirklichung ihrer musikalischen Vision. Zuerst gemeinsam mit spampoets im Duo Lovespells, seit letztem Jahr als Solo-Artist GLORIA DE OLIVEIRA. Nach Auftritten beim Further Festival und der c/o pop veröffentlichte sie in der zweiten Jahreshälfte 2019 die beiden EPs "La Rose De Fer" und "Lèvres De Sang" auf ihrem eigenen Label La Double Vie. Abgemischt im Hamburger Studio Cloud Hills Recordings, definieren sie Gloria de Oliveiras betörendes Soundspektrum zwischen Dreamwave, Ethereal und Goth Pop. Nun veröffentlicht das Kölner Label REPTILE MUSIC die Compilation der beiden EPs als "Fascination" (sprich Französich fa·si·na·syon) erstmals auf Vinyl und CD. Die LP beinhaltet die 10 original Songs der beiden EPs remastered und in neuer Reihenfolge, die 17-Track-CD-Version sowie das Digitale Album kommen mit zusätzlichen sieben Remixen von u.a.Gudrun Gut (u.a. Malaria, Monika Enterprises, Greie Gut Fraktion) Box And The Twins, Fragrance., Tellavision und The Wide Eye. Unterstützt wird die intime Atmosphäre ihrer Songs dabei durch eine entsprechende Visualisierung in bisher größtenteils selbstproduzierten Videos. Zur Vorabsingle "The Only Witness" erlaubt ab Anfang März der von der Hamburger Regisseurin Julia Ritschel aufwändig produzierte Videoclip einen weiteren faszinierenden Einblick in Gloria de Oliveiras universelles Kunst- und Klanguniversum. Parallel dazu wird GLORIA DE OLIVEIRA Ende März das US-Duo TEMPERS (DAIS/Secretly) bei fünf Konzerten ihrer anstehenden Deutschlandtour begleiten. Für Liebhaber von Cocteau Twins, Lebanon Hanover, Stina Nordenstam, Hilary Woods, introvertierter Marie Davidson Genres: Independent | Dreamwave | Synthwave | Ethereal | Electronica
Heralded by both mainstream and indie press on it's release as an instant British classic, this seminal album rocketed from the underground to five-star acclaim right across the board.
A tense yet energetic journey through the highs and lows of living in the British counterculture of the time, it effortlessly mixed the old and the new, rock and roll and electronica, the past and the future- and brought this eclectic sound to a global fanbase. Now available as a 15th Anniversary Remastered Edition.
1970’s best-kept Bossa Nova secret. Surrounded by mystery for nearly 50 years due to its obscurity, this is one of the most honest, personal and unpretentious albums of it's genre.
A selection of 12 exquisitely crafted songs supported by measured, subtle arrangements. The list of musicians born or raised in the Tijuca district of Rio de Janeiro is long and illustrious and includes names that have shaped Brazilian music: Tom Jobim, Roberto Carlos, Tim Maia, Milton Nascimento, Jorge Ben or Erasmo Carlos – to mention but a few.
We can now add to that list another name: Werther. In 1970, a man by that name recorded an album unique in its personality, its honesty, and its lack of pretense. In a time when Bossa Nova had become a global phenomenon and its main characters were already household names in Brazil, Werther assembled a collection of songs that uncannily – almost naively – remind us of the time when Bossa Nova was just a group of youngsters making music. His songs are about simple things: bohemian life, the sea, love.
Despite Werther and his friends being only in their teens, without any previous experience recording music, those working behind the scenes were not equally amateur. Producer Peter Keller had already worked with Aloysio De Oliveira in the quintessential Bossa Nova label Elenco, and was also an initial partner in Roberto Quartin’s cult label Forma.
Studio owner Bill Horne was a very loved character in the Rio jazz scene who had regularly taken part in the legendary meetings in Nara Leão’s apartment and befriended some of Brazil’s most respected musicians. Some of these musicians were, for example, Naná Vasconcelos and Edison Machado, who provided small contributions to Werther’s album.
It's album release time for this Madrid-based soul/jazz organ trio who have been burning up stages and festivals throughout 2019 and who have already had a successful single out on Rocafort Records. Beat Bronco Organ Trio have not rewritten the Hammond musical handbook, but they do what it says on the tin rather splendidly – a Road Trip that grooves, swings and sashays around the familiar but much loved funky jazz theme.
Although it's impossible to listen to the album without summoning up the ghosts of Jimmies McGriff & Smith and the like, nearly all tracks here are originals and shout out personality, verve and respectful homage to the tradition. Featuring the usual leitmotifs: Shaftish film sountrack, lo-fi lounger, gospel-tinged toe-tapper, the hip shaker and much wah-wah frenesi, there's nothing not to like if the genre is your bag.
The steaming horn section on "Hard Play" thickens the sauce à la JBs and the Meters, aided along by a unique orchestra of handclaps. Vocalist and guitarist Alberto Palacios Anaut storms in with "Hey Hey", an old Dave Bartholomew classic from New Orleans, just to remind us where Fats Domino and Ray Charles got it all from. Chip Wickham makes two welcome appearances on flute, adding an extra jazzy touch to "Squirtly" and "Electro Pi" – the latter a fabulous trippy, spacious head-nodder that demands in our opinion some kind of a wigged out drum'n'bass remix. Every track is clearly dominated by variations on the vintage keyboard, be it Hammond, Clavinet or Minimoog; all roads lead to that sexy, sacred sound.
Spain is already prominent on the modern-day Funk map thanks to groups like The Sweet Vandals, Speak Low and Mighty Vamp – and it comes as no surprise that our hero trio featured at various times in all these bands. Gabri Casanova (keys), Lucas de Mulder (guitar, percussion) and Antonio "Pax" Alvarez (drums, percussion) have been busy reviving the funk gospel for some time now. Road Trip is an elegant culmination of their efforts in keeping alive a revered and timeless tradition that still today serves as a reference to where all the good stuff came from: The Church!
Distorted Sensory Perception is back with a journey of deep space exploration in the form of their 2nd Various Artists release ‘Outer Solar System’. Featuring a diverse selection of deeper Electro and Techno of the broken beat variety.
The A-side boasts a nostalgic stripped back yet progressive cut ‘Persistence’ from Maltese duo Moodex. Next up, a deep ethereal musical statement ‘Early Morning Hours’ from fellow Maltese producer Sound Synthesis in his unique style.
The B-side opens with the moody, new school heavy hitter ‘Impulse Control’ from French producer and label co-founder Oshkossh. The penultimate track ‘Brainacid v2’ comes in the form of dusty machine music from Italian newcomer Caramel Chameleon that is reminiscent of AFX ambient works. Last but by no means least the record is brought to an epic conclusion with the frantically emotive and intricate ‘Grny89’ from France's Foreign Sequence.
Taken from a Detroit Underground CD on FAMILIAR RECORDS (FMLR 001) first issued in 1999. Only available direct from DETROIT, USA as part of a very small run of self released CD's. All music is by local Artists. The original FORWARD Album was 10 tracks. We selected our favorites and remastered four tracks for release on the Preservation Sound label in 2020. The music spans Club Techno and Electronica. Cover Art are photographs of "Detroit In The Rain" by Chrissie Clees, who originally sent me a copy of the Album. Ltd Edition of 303 with Full Art Cover.
F.S.Blumm enters Andi Otto's studio with a whole palette of strings and a mission to create quirky, peaceful soundscapes. The artists intertwine acoustic and electric guitars, harps, electric bass, psaltery and cello in eleven electronica compositions ranging from neo-classical gravity ("Entangleland") to spaced-out dub jams ("Active Fault Map"). "Yukiyama" evolves in multilayered patterns braided over warm tape-noise. "Kilani" reminds of Rabih Abou Khalil's ECM recordings, with its oriental scale and a beat that counts to seven. The tunes shine most when silence takes over, when the sounds find space to unfold and decay. Far from being trivial ambient lullabies, these compositions burst with detail: Bells rattle, a kalimba resonates, and vintage synths induce their voltage into the acoustic framework. Andi Otto and F.S.Blumm have been musical collaborators in the studio as well as on stages between Berlin and Tokyo for more than a decade now, the heyday being their previous duo album "The Bird And White Noise" in 2014. On "Entangleland", Andi Otto contributes the cello, harp and synth recordings and takes care of the mixing. Compared to his recent releases on Multi Culti or Shika Shika, these tracks are less dancefloor oriented. The calm of this album is a flourishing environment for Otto to pluck the acoustic cello which we usually hear in a more processed way in his solo works. F.S.Blumm contributes guitar and bass recordings as well as saturated percussion echoes from his self-made spiral box. Blumm is famous for his acoustic solo productions since his early outings on Morr Music or Tomlab. He has also appeared on Pingipung a few times, for example with his album "Up Up And Astray" or as a Lee 'Scratch' Perry collaborator with the "Quasi Dub Development" project. He recorded three duo albums together with Nils Frahm and is a member of the mighty "Jeff Özdemir & Friends" collective in Berlin. "Entangleland" sees the two artists weave together a mass of acoustic motifs, synthetic melodies, riddims and improv jams where the magic emerges from the sum of the parts. "It's not about accompanying a cello theme with the guitar or vice versa," Andi Otto says. "Entangling sound means letting go of hierarchies, that no one is first. Our studio is not a control room, it's a place of imagination where we take things apart and make things whole."
The longtime portuguese dj-producer Dedy Dread lands on DJ's CHOICE label for his first full-on original production. "Don't Wanna Wake Up" kicks off the collaboration with the soulful Hawaiian-born singer Olivia Ruff, a velvety warm r'n'b banger which will certainly tear through the airwaves. On the flip side, a "bikini-dub" version by The Rebel – helped by the sax of Danilo Desideri (Funkallisto) – which will make you wish summer comes sooner rather than later.
It's number six for Tessellate and this time they're shining the spotlight on France's Xavier Dusclaux AKA Armless Kid. After a number impressive outings on the likes of Rekids, Let's Play House and Traxx Underground, Xavier turns to the London based label with three original tracks plus a remix of the A1.
The title track, Drop Down (Club Edit), eases in with broken beats and a gentle bassline before eventually building into a euphoric, 5am acid banger. Opal Sunn, who are regulars on Nick Höppner's Touch From
A Distance, have dialled up the 303 from the orignal to give it a whole different energy. Flip the record over and we have two tracks aimed straight at the club.
Category, which features MJOG (Daydream/Recordeep), combines shuffling percussion over wiggling basslines. The final track mixes shivvering pads, punchy organs and skippy drums over a wonky sub. It's called Les Bo Jours (Wonky Funky).
2026 Repress
Four standout remixes to celebrate the 20th anniversary of iconic Australian duo Madison Avenue’s classic, ‘Don’t Call Me Baby’ from Patrick Topping, Spencer Parker, Mousse T and Super Disco Club. Be prepared as one of the world’s most prominent vocal tracks just got bigger.
Australia’s Madison Avenue continue to celebrate their 20th anniversary of ‘Don’t Call Me Baby’ a certified UK, European and US Billboard hit that returned late 2019 to cement no.1 positions across Aria Charts, Beatport and Traxsource. Now Patrick Topping, Spencer Parker, Mousse T and Super Disco Club take it to a higher level that’ll see it dominating clubs for many years to come!
A tale of two halves the A side see’s man of the moment Patrick Topping and veteran of the scene Spencer Parker provide two tech-y interpretations, the former an acid tweaked destructive whirlwind and the later a looped-up dub stomper. On the flip it’s nu disco at its best with a pair of remixes from Mousse T and Super Disco Club.
On Patrick Topping / Spencer Parker remixes:
Ben UFO - Very Nice Acid Mix
Danny Howard (BBC Radio 1) - Absolutely ripped it to shreds and turned into an absolute club weapon for 2020 (Patrick Topping’s Remix)
Annie Nightingale BBC R1 - Great reworks!
Black Madonna - Nice! | Change Underground - Premiere
Hannah Wants - Both bangaaaaaaaas. nice packageeeeeee
Just act like it didn’t happen…
Reznik & Mikesh crack open a fine vintage bottle of conspiracy with the scorching truth bomb ‘The Moon
Landing Was A Hoax’. Following their remix of Telepopmusik last year, the freshly-formed duo of
Keinemusik affiliates deliver such an acid weapon Justin Strauss insisted they release it after it caused
total Panorama Bar meltdown for him.
In case you missed the inaugural edit, ‘The Moon Landing Was A Hoax’ takes off with pure 303 bounces
before sharp vocal cuts pepper the mix leading to a heaven-opening breakdown. Total euphoria; it’s so
powerful it totally misses the lunar landscape and spins us back around our own planet faster and faster
with every emphatic layer. Reznik & Mikesh’s ‘Area 51 Infinite Mix’ adds three more minutes of feels,
creating this immense drama that sits somewhere between Chemical Brothers and Two Lone
Swordsmen.
It’s backed by a giant leap of a remix by Justin Strauss himself. Teaming up with Throne of Blood’s Max
Pask, they take it up through the gears, ramping the rolling acid tension until the last two minutes pays
out the euphoria jolt we’re waiting for. File under rocket-fuel.
There are no small steps elsewhere on this trip either; ‘The Nostromo Swerve’ goes intergalactic with
such tense, epic acid techno thunder it could dodge entire black holes while ‘Kiss My Axe’ goes all-out
Stingray-style electro with its gravity-defying breakbeat swing and sweeping layers of melancholy
synths. Total celestial immersion: in space, no one can hear you scream, dream or even make up
hoaxes… Happy landings.
Breaking onto the scene with a new label and new music, the Belgian based Cri Du Coeur has released a powerful 3 track EP, comprised of an original mix and 2 guest remixes named Diaphragm.
Teasing what more is to come from both him and his label, Diaphragm (Original Mix) is an eerie and fast-paced techno beat, designed to leave you breathless as the manipulation of volume builds suspense as it minimises and maximises the elements. Accompanied by 2 other high-calibre versions, the Truncate remix brings the DJ's recognisable touch to the stand-out hi-hats and overall hefty vibe of the track, while Kaiser's take is a little more abstract from the original; bringing pure transformational and industrial grit to the forefront.
Repress
Melodies Of Ancient Beats Depth or Deep, (with Dep also meaning beautiful in Indonesian) is the meaning of this newly created persona from the artist DemoDc. After many years of experimenting with music making, releasing digital eps and albums, Demo has come to an end of a cycle arriving to a mature state of craftsmanship, ready to deliver his dream onto the vinyl medium.
This is the 2nd ep that continues a volume of a 5 ep project. Its own kind of album type edition so to speak. Everything Eye Love is a piece of electronic music that embodies much of what is personally loved when it comes to innovative techno. Broken beats with a gentle gallop of hop, whisking away into what seemingly can be taken as over melodic madness at 1st, yet when letting go of any expectation, a delightful swim of glistening magic dances with dedicated playfulness expressing a deeper emotion of heart felt delivery. Behind the scenes are a very reminiscent display of Detroit techno chords combining to give the track the old yet new skool vibe. Heart Tribal, is exactly that. Cutting through the ego, battling the darkness with dark undertones seeking to find the jewel of light through the denseness of dark reality, to find true centre. With tribal reflections and electric ground of beats, Heart Tribal extends itself into bridging the soul from dense reality into light. It also pays respects to the fact that when finding clarity in any given moment in everyday life, it doesn’t last long within this complex world of manipulation and dark intention that we seem to be living in. However, this is the meaning understood by MOAB DEP, does it resonate with you? Or does it speak to you entirely differently?
Electronic / acoustic wonder band KUF deliver a special surprise for their third album: eleven sizzling hot takes on tracks drawn from the Macro label's stellar catalog, as originally crafted by some of today's most respected artists in electronic music. KiNK, Patrick Cowley, Peter Kruder (of K&D), Stefan Goldmann, rRoxymore and more get the treatment. With a nod to the label's previous highly original compilations and mixes from the Macrospective and Vinylism series, Re:Re:Re captures more new ground.
KUF's previous albums presented an astonishing inversion of the typical extended electronic set up, in that they paired a plethora of disembodied, sampled voices with acoustic real time interaction on bass, drums and keys. Re:Re:Re shifts the focus of sampling altogether to scanning entire tracks and compositions which are then reimagined with the band's singular approach. Neither just remixes, nor faithful reproductions, KUF engage in careful sound archaeology. From re-programming key sounds to holistic granular deconstructions, the originals's sound palettes are reproduced to serve as a springboard towards entirely new instalments. The resulting tracks range from intimate ballads to full power dance floor movers, spanning a highly engaging arc of sheer listening pleasure.
Vinyl Only
Emoi is an independent label founded to display our dreamy vision of music. We seek to make people feel lively emotions such as euphoria, melancholy, sensuality, excitement, surprise, joy and love throughout our releases.
KOGNITIF is back with MONOMETRIC 2020 EDITION, 6 years after the first edition. He totally reinterprets this deeply Trip-Hop album with a very wise and sharp ear and invites you to rediscover his classics , such as “Bande de Dégénérés” or “So Let’s Begin”. Jeannette Robertson’s gorgeous voice being delightfully enhanced by this remastering.
The most important pieces are still the 4 original tracks scattered across the album so just get ready, open ears wide and check this out !
After Nu Guinea’s LP, Nuova Napoli, and Napoli Segreta first compilation, NG RECORDS follows up with an exploration into the unknown groovy side of Naples by releasing Napoli Segreta Vol. 2 Famiglia Discocristiana, DNApoli and Nu Guinea team up again selecting more tracks from their archives, for a new compilation containing 9 mysterious Neapolitan tracks, found in the most hidden corners of remote flea markets around the Vesuvius.
But forget classical Neapolitan songs, "'O Sole Mio" or "Luna Rossa"... Forget about what you expect to find once you land in town … Oh and also forget about Google Maps.
Take a dodgy local guide, keep your eyes open, and follow it to enter the secret downtown, the underground, the routes that no satellite can detect, but beware there is no easy way out.
Napoli Segreta Vol. 2 is a musical journey into the sonic landscapes of Naples that you have never heard of before. A variety of genres merging soul, disco, funk, blues, new wave, afro-beat and boogie, including lyrics in Neapolitan urban slang, instrumental tracks with progressive flavour, and also some unexpected covers!
Produced by Leon Michels. Features vocal and guitar by Kevin martin of Brainstory. When Lizette and Quevin visited Leon Michels at his home in upstate New York an impromptu recording session gave birth to 'Grow Forever', the first ever song from this top-notch duo.
Quevin (aka Kevin Martin) is one third of Brainstory and the man behind the honeyed voice that blessed their hit singles Dead End and Mnemophobia. Lizette is a talented ceramics artist whose voice has a certain 'je ne sais quoi' that is reminiscent of records by Little Ann and Rosie and The Originals. 'Grow Forever' is a mid tempo ballad that will have most collectors buying doubles. Lizette & Quevin trade lines over beautiful chords, fluttering guitar, and crushing drums.
The B Side is an instrumental of the track entitled 'Now It's Your Turn To Sing' that we will be using for a talent contest of sorts. We will be inviting people to write and sing their own songs over the track and sent them into us via Youtube, the three best versions will win Big Crown prizes.
Ten years on from its digital-only release, Utter presents the legendary third Mu album on vinyl for the first time! What can we say? This is possibly the most bonkers and 'out there' Maurice Fulton has gone production-wise, from sub-heavy Hip-Hop to Country (!) to Thrash-Metal (?!) alongside a sprinkling of his signature genius House/Disco magic thrown in for good measure... all with Mutsumi's infamous vocals over the top. Limited pressing with fluorescent pink sleeve & insert. Remastered & cut by Rashad Becker at D&M.
"Who Sent You?" by Irreversible Entanglements is an entire holistic jam of "infinite possibilities coming back around," a sprawling meditation for afro-cosmonauts, a reminder of the forms and traumas of the past, and the shape and vision of Afrotopian sounds to come. Stay on it! This is the future! This is the spectral dreaming, the reshaped soundwaves of post-Katrina, post-Osage Avenue, post-Obamacare that we borrow from to do this work, so stay on it. Who Sent You? they said from their liquid cryo-chamber, from a low-light induction field cobbled together with lithium rods, with melted down Romare Bearden and Howardena Pindell paintings, stitched with chaos fibers and placed in the center of the carrion husk of a burnt out shanty town. They took time to scrape ashen samples of what was, their souls the residue thick and caked on, that still climbs those new high-rise condominiums like moss - the only evidence that they were once there, that they were baked into the fabric of this planet - they were there fixing elevators and tossing wrenches into quantum fields until they were stopped! frisked! and turned into weird, 100-foot martyr murals on the backside, the north side, of supermarket walls-Who Sent You? is how the matrix modulation works. Dig it: Who Sent You? is the punk-rocking of jazz and the mystification of the avant-garde, a sci-fi sound from that out-soul-fire jazz quintet Irreversible Entanglements.
Maxx Mann were the gay New Wave duo of Frank Oldham Jr (vocals, lyrics) and Paul Hamman (music) from New York City formed in 1981. Frank studied voice and acting at the Herbert Bergdorf School idolizing Eartha Kitt, Nancy Wilson, Johnny Mathis and Shirley Bassey. Paul was playing piano for a cabaret singer at a bar in Greenwich Village where Frank met him and their friendship began. Paul and Frank worked together 3 to 4 times a week recording their debut self-titled album released in 1982, limited to 500 copies.
Songs provide interesting insights into the homosexual experience before the AIDS crisis: cruising backroom bars, BDSM and one-night stands. The music is "Neo-realistic rock" heavily influenced by punk, titillating, synthesized body and soul with Frank’s dramatized vocal stylings. The original press release sent to radio stations stated, "Because this is a completely innovative sound, we hope you will give it several listenings. It is adventurous, daring, and certain to cause reactions from your listeners.” For this first time vinyl/CD reissue we’ve added two bonus instrumental tracks, so the album now contains all four original vocal cuts and their corresponding instrumental versions. Paul sadly passed away in 1986 aged 33 from AIDS-related illness and we dedicate this reissue to him. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in an exact replica of the 1982 jacket and includes a fold-post poster with photos, lyrics and notes by Frank Oldham Jr.
It’s more than a year since his last EP on the label but it feels like right on time to deliver his most powerful tracks up to date. He hasn’t been quiet all this time, with remixes and appearances on labels like Obscuur Records, Konflkt or Enotaktik, 2019 was a prolific year for the spanish producer.
Four dancefloor oriented cuts including a massive remix of the rising Irish artist and labelfriend Tommy Holohan. Ladies and gentlemen, this is what we call techno. From the driving bass of “Spontaneously” to the rave anthem “Die Suppe”, these tracks won’t let your feet stick to the floor.
Limited release. 250 Copies
The first imprint on SHERELLE and NAINA’s label Hooversound brings together Surrey based DJ /producer Hyroglifics and Detroit DJ/ producer Sinistarr for an exciting dancefloor-ready EP.
‘BS6’ sees two of the most consistent and exciting names in the underground electronic music scene joining forces on Hooversound’s highly anticipated debut release.
Having both released on iconic labels in the past (Sinistarr with Exit Records, Hospital, Metalheadz whilst Hyroglifics with Critical, Astrophonica, 1985 Music - to name a few), the two producers shine in this new collaborative EP which merges together elements of footwork, jungle and techno.
The EP has two collaborative tracks that stand by two solo tracks from each producer. Electronic pioneer and legend Scratcha DVA brings his GQOM and moody percussion on the official remix.
