Suche:on the water

Audiojack's Gruuv label returns this October with a four-track package from French producer Okain, featuring a remix from Tuccillo. Parisian artist Samuel Thalman aka Okain has quite the standing in contemporary electronic music having been a prominent name as a DJ and producer for the past fifteen years. Playing at some of the leading nightclubs across the globe such as Fabric, Watergate, Space Ibiza, Rex Club and Electric Pickle to name but a few. Thalman's also built quite the respectable back-catalogue in his time, releasing material via the likes of Tsuba, BPitch, Memento and Cadenza, and here we see him add Gruuv to his affiliations.

Kicking off the release is 'Down the Block', seeing Okain offer up a rugged percussion and bass led house cut, fuelled by swinging rhythms, rumbling sub tones, sporadic sax licks and processed vocal lines, opening up the EP on an energetic tip.

'RZ One' follows this, retaining a similar aesthetic with an insistent drive and penetrative low-end, though Okain opts for a grittier production feel here, distorting the drum sounds, instilling expansive, atmospheric reverb tails and drawn out delays alongside hip-hop imbued vocal lines.

On the latter half of the release we have two versions of 'By Your Side', the first of which is the original mix from Okain, which takes on a more stripped-back approach in comparison to the preceding composition's, laying its focus on fluttering synth sounds, a stab-led bass hook and warm motown style vocal chops. 2020Vision artist Tuccillo then rounds off the package with his mix of 'By Your Side', turning in his signature percussive-led style on the mix with intricately programmed drums and a subtle underlying tension that softly bubbles away in the depths over the cuts seven minute duration.

Mathias 'SHOW-B' Schober makes his Pooledmusic debut with the Arps EP. A talented producer & engineer, Schober has been releasing under his SHOW-B alias since 2007, since when he has had EP releases on Poker Flat & Compost Black Label, an exclusive track featured on La Fleur's Watergate 16 compilation, and a release on Delusions of Grandeur with Milton Jackson as Pattern Select. The Arps EP sees SHOW-B blending his various talents in the A side 'Arps To Heaven', a heady deep house track with a swirling melody that recalls the trippier end of Strength Music and Deepblak's respective outputs. On the B1, Ian Pooley follows up his huge Innervisions EP 'Floris' and the Rejected re-issue of his anthem Chord Memory by fusing the original's psychedelic elements with a classic, irresistible Pooley groove. The B2, 'Isifuba', sees Schober focusing on a swinging house beat structure for the early hours dancefloors.

Hot on the heels of his last outing for the Delsin house series comes this, another essential new offering from German producer Erdbeerschnitzel. The experienced producer has many skills in his arsenal and this new EP proves that once again. The title track The Ample Waters is a joyous and lively concoction that fuses curious melodies with busy little piano stabs and more trilling, sunny melodies. It's busy house for bustling dancefloors and next up, Never Tilt slows things down with jumbled, woody percussion falling over lazy drums and stretched, yawning synth smears. Colourful and effervescent, it's a track that makes you want to shake your limbs. With Level Hopes is again characterised by melodic colour, with pixelated patterns stretched over a funky, gooey bassline and clacking percussion. There's a beautifully DIY feel to the loosely assembled track that gives it a life all of its own before closer Yet Unfulfilled pairs slo-mo beats with neo-soul vocal snippets, lazy and stoned summer chords. It's the most emotive of the lot, but all four tracks are truly feel good jams that have come just in time for some serious summer action.

Hi5 is the latest prank from A Different Jimi, aka Jimi Siebels. It's is a bitchy chicago house smasher in a surprisingly refreshing kinship to New York's hard bop of the 1960s, without ever being in danger of becoming acid jazz. Because in order to create his own definition of jazz-infected-house, Jimi makes no use of already overstrained rare groove samples, but a classic range of instruments and musical friends who he invites to recording sessions in his studio. So we hear RVDS (It's / smallville) at the piano, Hayo Doin (Die Boys / Deichkind) on drums and last but not least DJ Björnski (dérive) on guitar. And yet everything comes together to be pushing electronic music. Hi5 is like the joy of a child over a bucket of water on a hot summer day. And after the refreshment the B side reveals a deep disco pearl in brilliance, plain beauty and a warm, vespertine elegance, that has been created due to the cooperation between a different Jimi and Björnski, the dérive label tycoon himself. 'Hi 5 & Sweet Fancy Moses' is a vinyl-become-south-sea-island in an ocean of tears of joy.

Traversing with an understated technical assuredness, the ambitious shapes of Steely Dan, the popping lounge funk of McDonald era Doobie Brothers, the sweet mourning of the Stylistics and Delfonics, and the exquisite song-craft and flawless harmonising of CSNY, Daniel Collas (The Phenomenal Handclap Band), Bart Davenport and Quinn Luke aka Bing Ji Ling have recorded an absolute darling of an album under the name Incarnations. They are three friends with enough musical guises, side-projects, collaborations and production jobs to fill the annual itinerary of your average musician twice over. When three CVs like these get together on a regular basis, it's only logical they speculate and hypothecate on the possibility of an album together. But, how to make those congested diaries synchronise? Bart lives in Oakland and Quinn and Daniel are in New York, all three of them are on tour for the better part of the year. One sunny day in Madrid, Spain, a plan was hatched and a proposal was made. Lovemonk, a small, eclectic and affable Spanish label, dangled the carrot that clinched the deal; 'find two weeks between gigs/productions/recordings and head down to this little place we know in Tarifa, Southern Spain'. A family-run studio, in a house 5 minutes from a wild beach and a short ferry ride from the coast of Africa; the perfect ambience for the fleeting melody and sultry grooves of the Incarnations debut album, "With All Due Respect". Arriving with bits and bobs of half-songs, grooves and melodies, Daniel, Quinn and Bart, sketched and improvised their way to the most intensely evocative songs you'll hear this year. Punctuated by a day trip across the water to Tangiers, all 9 songs were written and recorded inside a fortnight in October 2009 and laid to rest while our protagonists jetted off to their respective diary appointments. Whether it was the beach, the soft weather, the fact that you can smell Africa from the studio, the home cooked Spanish food or the relaxed environment of the recording room, when the band returned to the songs at a New York studio earlier this year, they found an album as fresh and resonant as the moment it came into being. Quickly mixed down with no over-dubs or re-records, "With All Due Respect" captures the combined gifts of Tarifa and the three very talented friends that paid a visit. Incarnations are: Daniel Collas: DJ, drummer, organist, and one half of production team Embassy Sound Productions, the minds behind The Phenomenal Handclap Band. Plays - drums, percussion, organ and synthesizers. Bart Davenport: Collaborator with Greyboy, General Elektriks and The Phenomenal Handclap Band; Singer-songwriter with The Loved Ones, The Kinetics and Honeycut, and most recently a touring member of the Kings Of Convenience. Plays - guitar, bass and vocals. Quinn Luke a.ka. Bing Ji Ling: Part of The Phenomenal Handclap Band, one half of DFA recording artists Q&A and long time member of Tommy Guerrero's band; Solo artist on labels Ubiquity and Lovemonk among others. Plays - guitars, keyboards, vocals The band are named after Encarnacion "Nini" Sagrista, owner of the recording studio in Tarifa, who housed and fed them during their stay.

So it seems that 2013 was the year Skudge team decided to camp by the pressing plant! The Skudge imprint is indeed growing along its artists as we're now ready to embrace longer formats, a testimony to the future and most than anything a continuous effort to grasp the present's relevancy.
After their wonderful EP from a year ago, the Fishermen are ready to take you on a diving trip with their very first album, an accomplishment in itself With 'Patterns and Paths', Thomas Jaldemark (YTA) and Martin Skoggehall (MRSK, Smell The Flesh) have crafted a rather mesmerizing story of abstract and figurative tropes altogether, and eerie is probably the best word to describe the general mood of this, but hard and raw eeriness! The affair starts with 'Green Horn', a gentle foreplay setting the tone for an imminent journey into the lightless abysses. 'Hope Is gone' further enhances the incoming grim turn of events in a coil-like fashion before 'Serpents' makes our feet and hips take over our fear of the unknown. The trance has indeed begun and we're soon entering a hidden warehouse rave cave of un-earthy shamanism, the unforgiving stomp of 'Get None'. 'Dyspnea' manages to find a path into deeper regions the groove shift towards a darker funk with 'Lost Teeth', a caribbean techno banger that'd wake any zombie in the making! 'The Four Skulls' suddenly hints of a safer journey with healing percs and melancholic pads, but 'Rise' soon shatters those false hopes with an evil lurking motoric groove. Then, you hit 'Scurvy' where the pace slows down a little only to introduce the seductive side of this gloomy adventure, a challenge to you feet inducing lascivious moves. Keeping you in trance, 'In Solitude' kind of combines both previous tracks strengths with an added Twin Peaks value. Now finally reaching the far bottom of the ocean, the mood gets even more claustrophobic with 'Sunken Mosque', the last stage of this trance before maybe getting back to the surface. Indeed, if 'Torments' might let you catch a breath of air, it is filled with minerals, the world above has changed, and you might very well feel safer back under the water, a reverse mirror to Mike Ink's old Gas project. While this tour guide concludes his narration, the Skudge camp proudly hopes to see you embark on it very soon!

With a stellar year in the life of La Fleur coming to an end, the Berlin-based artist is set to close 2013 on a high, with the return to her own beloved imprint Power Plant. After landing a coveted residency with acclaimed Berlin club Watergate, and producing a chart-topping EP as her debut for the club's inhouse label, the Feline EP brings La Fleur back to her roots: unique house music that leaves an imprint on you long after you hear it. A-side track 'Kattflickan' establishes the theme, drawing on the Swedish term for 'cat girl' as its inspiration. It cuts a sleek figure, and is a slower, groovier, quirkier iteration of La Fleur's signature house sound. 'Kattflickan' revealing more detail with every change, and providing a colorful journey through the spectrum of La Fleur's sound. On the B-side, the chiming bell melody of 'Feline' carries it from the outset, and is the genesis of its mysterious and ethereal mood. Punchy drums and layered, meshed chords and its hazy chorus of rising vocal harmonies make it fit for any set. As delicate as it is completely assured, 'Feline' is another irresistible example of La Fleur's balance of dancefloor appeal and melodic richness.

After his stellar 'Stride EP' release (FACES 1210) and his latest offering 'Late Night Blue Sound EP' (on the UK's City Fly's Records/ featuring Andrés remix), Japanese deep house king- Kez YM is back on FACES Records!
Bringing delicious beatdown flavors to the cooking pot that blends Kazuki Yamaguchi into a serving of signature recipe Kez YM.

With ongoing support from influential peers such as Moodymann, Theo Parrish, Rick Wade & Cassy, this is one delicious treat that will leave the fans salivating for more.

His reputation extends beyond his delicious creations, as one of the standout Japanese House Djs currently holding it down in his hometown and Europe.
Mixing ingredients from Detroit, Chicago House, Funk, Disco & Afro and endlessly rocking dance floors and hearts from Panorama Bar in Berlin to Eleven in Tokyo.
The 'Root Bound' EP journeys beyond his past offerings, fresh ingredients and mouth watering grooves, with a sprinkle of that typical Kez YM signature sound!

Second EP from enigmatic electronic popster FKA Twigs (formerly known as Twigs) packed full of turbulent beats and floating vocals that compliment her glitchy striking visuals that accompany each release
Now, following a name alteration to FKA twigs, she unveils the brand new 'EP2', which will be released on the Young Turks label, available on 12' vinyl.

'So, so amazing ethereal dubstep pop from Gloucestershire... The UK's best example to date of ethereal, twisted R&B.' - The

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

As with their first various artist compilation EP, Let's Play House has chosen to grab tracks from a handful of artists both new and old to the label and party. Portuguese duo Johnwaynes released the I Can See EP on the imprint in July of 2012 and Belgium's Mugwump has been part of the company's NYC party stable since 2010. The newcomers here—montel and Last Waltz—are obvious shoe-ins for inclusion in the roster.

As with the last V/A, this one tells a cohesive aural story. montel kicks the thing off with a no-nonsense jackin' house boogie, underscored by a slightly-out-of-tune and elastic bass that infects your whole body. Johnwaynes darkens the mood a bit without loosing montel's sense of urgency. The track throbs forward with the assistance of another thick bass, scattered synth ditties, herky-jerky hats, and breathy overlaid effects, giving it a cavernous vibe.

Brussels-based troublemakers Mugwump start the flip with a tune that seamlessly fits into their cannon—it sounds so familiar that it's hard to believe it's only just come out. As always, the duo's foundation is a choppy, hook-laden bass that's wrapped in playful synth lines, water-submerged effects, and big drums suitable for the largest of rock stadiums. Then Last Waltz wraps the whole affair up with their own melodious house boogie. As with the A2, theirs is more somber and spooky, yet just as catchy and addictive as the brighter montel and Mugwump songs. Imagine this EP as a miniature rendering of one of LPH's warehouse parties: it's big, bold, and lots of fun, while still having an obvious sense of a buildup, peak, and comedown.

'Little Drummer Girl' is a stunningly rich, diverse and futuristic 4-track EP from the Brooklyn duo Tiger Fingers. A collaboration between Jordan Lieb (also known as Black Light Smoke) and Asako Kujimoto. The cheekily-named pair have assembled three unique remixes of their title track - each as bold and refreshing as the other. The A side kicks off with the original - all bubbling synths, arps and effects, and a subtle yet disturbing vocal from Asako. Beats and thunderous synth riffs combine with speak 'n' spell samples to produce a mesmerizing brand of 22nd century electro pop. Next up is the 'Night Plane Club Mix' - one of two remixes the Texan William Rauscher provides for this release. The club mix straightens out the groove and develops the track into a crisp house groover, finding plenty of space for old school sub bass, chiming 808 percussion and washed out, ethereal vocals - huge vibes for the floor. 'The Night Plane Remix' sees Rauscher explore more glitchy, post-everything, acid-flecked waters - an atmospheric, twisted stormer. Last but by no means least is the Hotflush man-of-the-moment, Jimmy Edgar. His take on 'Little Drummer Girl' uses the original as a springboard, from which he constructs a slamming electro-boogie-space-jam. Deeply funky, highly charged, and immensely inventive club music. 'Little Drummer Girl' is taken from Tiger Fingers debut minialbum which is due for release on hafendisko in December. About Tiger Fingers: The upcoming self-titled debut album by Tiger Fingers, the duo of Jordan Lieb and Asako Fujimoto, almost never saw the light of day. Recorded in the aftermath of their first collaboration, the aggressive electro-rock band Dead Radar (2005-2007), Tiger Fingers yielded six decidedly more dance and pop inspired tunes filled

B-side comes with big "X" etching! Guillaume & The Coutu Dumonts 'The Drums' is an exclusive and limited 12" with an "X" etching on the B-side. The track is part of the Watergate X - Ten Year Watergate anniversary compilation and only available on Vinyl on this 12 release.

Amsterdam's wild-man San Proper is unleashing his inner beast! The results are being served up on his debut album 'Animal', due out spring 2012. The whole album was mixed by San & Ricardo Villalobos...sounds GREAT! TIP!

Hochwertiges Digi-Pack des Debut-Album !!!


A solitary shed by a lake. Surrounded by woods coated in ice. It's the deepest winter and the Pentatones quartet finds itself in the deserted nature of the Mecklenburg-Vorpommern County. They are searching for sounds pulsating beyond instruments and machines. Inaudible Music this is, made sound by them only. By night the four move over the frosted lake, play the clarinet and put themselves in a chilly trance. Months later they will remember dimly these moments in the woods and cast them atmospherically into their album debut 'The Devil's Hand' with icy romance. Highly attentive to details, they have worked on it for 3 years. Since 2006 the Pentatones tinker with their tessellate electroacoustic sound, in whose center the voice of singer Delhia de France is floating. To friends of club music she might be known from her collabs with techno producers such as Marlow, Douglas Greed or Robag Whrume. With the Pentatones she combines her emotional timbre in various forms with the raw basslines by Hannes Waldschütz and the analog and electronic beats and samples by Julian Hetztel a.k.a. Le Schnigg. Albrecht Ziepert creates melodic moods on the keys, whose appeal one can hardly elude. Their kaleidoscopic arrangements dance between susceptibility and experi­ment. Enticing pop structures melt with crackling analog electronics - a mixture laid out to make dance at times, at times to chill. The ambiance of her compositions is gloomy, yet light-flooded in a certain way. It is most notably Delhias voice, which outshines everything, never standing still, meandering and spinning, opening up a new emotional space with every bre­ath. The computer with its infinite production possibilities is used in its function as another instrument. Together with the sampler it forms the center of action, processing everything, from voice to keys, which needs an artistic distancing effect. A contrabass is setting the pace at times, then again the brass accelerates the tracks highly emotively. In stylistic regards their compositions are never predictable. A touch of organic jazz here, a subtle hip-hop allusion there, accompanied by a moving club rhythm structure and Delhias captivating voice, which sings, then talks, and whispers in the next moment.
It's not only the infinite world of sound, which inspires them to their adventurously twisted compositions. For all members being equally active in the visual field, art plays an impor­tant role in the act of creating and in the overall concept of the Pentatones. This is being reflected in their life shows, acknowledged with much applause on festivals like 'Sonne, Mond und Sterne', the 'Fusion Festival' or 'Ars Electronica'. When they sample themselves during their concerts, modify their sound in real time and vividly interpret their songs, Delhia dances audaciously in extravagant, self-designed costumes in haughty reserve and effuses eccentric pop magic. Sometimes she takes the megaphone and by hereby altering her voice, she infuses her music with another exotic tone. With their self-produced videos the Leipzig residents by choice create an artistic universe, which stages the dramatic lyrics of the lead singer in a sublime way. After all they see themselves as an artificial band, operating beyond the conventional patterns of presentation, bypassing intuitively and creatively common pop stereotypes. Twisted-Pop which gets straight under your skin, without ever grooving stream­lined. You can dance to it, lose yourself in it or step into new worlds. There is only one thing difficult to deal with after you enjoyed 'The Devil's Hand' and that's to release yourself from its overwhelming emotional impact.

The next various artist release on Houseworx "Lost Housetracks vol.3 " welcomes 4 new artists to the Houseworx family!

Siggatunez from Germany, Anton Mayer from Russia, Freischwimmer from Japan and last but not least, Rhymos from UK.

In a career of myriad highlights Nightclubbing remains the high water mark of Grace Jones's imperial years with Island Records. It is indisputably the album on which her musical legacy rests, and rightly considered one of the greatest albums of all time. A sophisticated melee of sound, blending post-punk cool with a hot Caribbean vibe and a catwalk Studio 54 sensibility, it's a perfect example of artist and musicians working in complete accord.

It contains the all-time Grace classics in "Pull Up To The Bumper", "Walking In The Rain", "Demolition Man" (written by Sting) and of course the Bowie / Iggy Pop-penned title track. There is magic in its every groove. In keeping with its reputation as one of the best sonically sounding albums of the '80s and for the first time since its debut in 1987, Nightclubbing has been comprehensively remastered using the latest studio technology.