Buscar:one hand

It's only early July, but 2013 has already proven to be a landmark year for production/DJ duo Deep'a & Biri. With a couple of their tracks being released on Transmat Records and appearing on Derrick May's mix compilations on the one hand, while on the other, getting signed to DJ Hell's International DJ Gigolo Records, where they released a single in April and have a full album forthcoming mid-September - it seems that all corners of the techno diaspora are ready to catch up on their sound. But it doesn't stop there, as they now launch their own Tel-Aviv based label, Black Crow. With a successful series of parties operating under the same name, bringing to Tel-Aviv a tasteful selection of the world's top class techno DJ's and live acts, Black Crow, the label, is set to counter-match this high standard with its musical output. Inaugurating the label is the imminent release of 'Redshift", produced in collaboration with their long-time partner and excellent producer on his own right, Gene. 'Redshift' has the signature Deep'a & Biri sound, a pumping Detroit-indebted roller, with shout snippets riding in & out the keys-led workout. Keeping it in the Mediterranean, Greek producer Argy provides the remix, accenting the baseline and adding a spoken vocal that takes 'Redshift' all the way to Chicago. Rounding off the package is 'Blueshift", which demonstrates the team's melodic tendencies, with its more spatial arrangement perfect for those deep space moments.

imited edition 10" vinyl, serial numbered
Short info: You're going to feel relaxed and ready for summer after listening to fenou #19. On this 2-tracker the Swiss guy Benotmane skillfully combines groovy basslines, melodic synths and carefully adjusted vocal parts. - Somewhere' is one of these tracks that carry you out in the morning sun. Later on when you listen again a melody snippet triggers memories of a perfect moment. The B-side is certainly no less exciting. Although the mood of - Submarine' is more quiet, almost dreamier. Eyes closed, you'll get wrapped in the sounds just to slowly drift away. As usual the 10 vinyl release is again a limited edition and numbered by hand.

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.

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.
*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.
*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.
*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.
*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

Repress

PRSPCT XTRM 007 by Dither will be hitting the streets soon.

2 banging tracks of XTRM-ly epic proportion by the handsome, sexy, talented Dutch producer: DITHER

On the A side we have: Digital Chemistry
Need a bomb to get the party started. This 180 BPM monster track is guaranteed to do this.
Industrial Hardcore Drum & Bass designed to put a smile on your face! J

On the flip of this release we have: Adopted The Dark
Dither really adopted the dark on this one. 175 BPM Dark and heavy Industrial Hardcore Power!!!

Hope you guys enjoy this release as much as we do and play the fuck out of it!!!!

Native-Detroiter Terrence Dixon's longtime alliance with Godfather of Techno Juan Atkins has helped forge his own powerful sound in the world of minimal Techno. Originally released on Claude Young's Utensil Records in 1995. Both Sino (Hong-Kong) and Thema (New-York) join hands to re-release this classic which many consider as one of the early foundation in the minimal techno movement. Thema presents part.1 featuring remixes by Mike Huckaby, Silent Servant and DVS1 Sino presents part.2 featuring two remixes by Ben Klock and one by Edwin Oosterwal (Rejected)

irst remix single cut from latest eddie c album "country city country". we invited two favorite new producers. one is italian edit master "marvin&guy". after the big success of their record on let's get lost, they are into more original production. their remix is simply killer for dancefloor. brightest hope from australia "tornado wallace" reconstructed original of kraut rock oriented tune to excellent psychedelic slow mo house. it's for the fan of quiet village or andrew weatherall. vol.2 of remix single with kza&young marco is coming very soon!

The bomb that should have dropped way back when. After a career spanning almost two decades DJ Overdose debuts on Creme with his first full length album, upon which we remark with carefully considered understatement: 'A veritable tour de resistance in film noir electronics, Bizarro World is a dank and dark alley made flesh. Overdose's heavy soulful beats and soundscapes snatch your dreams right from under you like a shadowy kleptomaniac, masterfully pairing melancholy and ennui with fear and voyeuristic tiger-lurking-in-the-bushes paranoia. So lock up your future plans or you might very well find yourself without any'. For those who don't know, DJ Overdose is one of the OG's of the La Haya underground, one half of Novamen and the other half of The Hasbeens with classic and sought after releases on Bunker, Viewlexx, Murder Capital, Clone and Strange Life to name a few. In his spare time he doubles as a hand model for Bruce Willis.

Alex Font is a serious guy who knows that now is his time. A multi-instrumentalist, as well as a producer and DJ, he can sometimes be seen on stage in trademark shirt and bow tie. He declares himself a lover of vinyl and, above all, what he calls real house. I think that says it all.

'NOW IS MY TIME' is the fifth release on the Oblack label and is available in black vinyl and digital. It is undeniable proof that Alex Font has arrived and is now a permanent force on the House scene, mainly in soul and dance, but who also knows how to reinvent his sound using new tech. Always with an eye on the future of sound innovation, he still manages to keep hold of his roots and respect his great influences. Well, nothing less would do. On this EP you can tell that Alex Font (remember, this is one serious guy) knows what he has in his hands and spinning on his turntable. His knowledge of musical composition, harmony and engineering skills jump out at you as soon as the first beat of 'Now is my time' hits the speakers: darkness, sophistication, soul and groove. There's a perfect command of tempo, of where, when and how. You pick up on the instrumental skills which allow him to do what he wants, when he wants. That's what's so great about this: you're struck by the ease of how such perfect technique and astoundingly good taste come together. Digitally analogical (or is it the other way round), this is the deeply profound vs. the dancefloor. It fascinates and liberates, carrying you off through different dimensions before breaking out of itself, with no need for artificial fanfares as it's so perfectly defined by Chicagoan pianos, hi-hats, funkoid vocals, etc. He's simply extraordinary: Alex Font signed by Oblack 005.

The remix by Martinez gives this track a technical edge and club splendor. Leaving out the more classic elements of house that are present in the original, the Swedish producer slows things down so that it doesn't lose any of its elegance, but at the same time the track gains punch on the dancefloor, and there's no doubt that it works. As cool as it is effective at inciting dance and everything else that comes with gyrating your pelvis in the early hours of the morning.

Finally, the Argentinian Shall Ocin plays the scoundrel here by adding diverse electronic elements that take the track into a new dimension. By giving the vocal more prominence, here it takes centre stage, and over a well-layered tech-house base, it makes the tremendous savoir faire of the original literally surf, while at the same time respecting and completing it.

In the end, it's great that you know that this is your time and that you want to share it, through Oblack and on vinyl, with all of us. Thanks comrade.

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.

Kavinsky is back with a first and long-awaited album, OutRun, available on February 25th. But before that, here is the first single, ProtoVision!

Red Sky Mix feat. STS (vinyl exclusive)
It was no easy job to tackle this epic instrumental. When he heard Sugar Tongue Slim's version of Nightcall last summer, Kavinsky knew he had found the man who could turn Protovision into gold. After burning up the underground rap scene for several years, STS is now one of the fastest rising artists around. He gave a big blow with this one and literally took Protovision to another dimension.

Boys Noize remix
Berlin's notorious producer put his hands on Protovision and turned it in into a nervous and elegant club hit. Get ready to rave on that sweaty bass and dark beat. 'If it's too loud, you're too old', they said

Blood Orange remix
Between producing tomorrow's pop talents (Solange, Sky Ferreira, Theophilus London) and working on his solo project Blood Orange, England's talent of note Devonté Hynes took the time to add his very own touch to Kavinsky's new release. Giving a fresh and girly feel to the original track, he delightfully transformed it into a groovy pop ballad.

Sébastien Tellier Version (vinyl exclusive)
Taste and simplicity is what it took to Tellier to create this version of Protovision ; highlighting hypnotic strings and heroic guitars, the French maestro offered a timeless reinterpetation of the original.

Alex Niggemann's 2012-defining long player 'Paranoid Funk' dropped in June to a rapturous response from DJs, dancers and home listeners alike. Here, Poker Flat Recordings revisits some of the exceptional highlights of that record, and deliver a remix package sure to be as equally sought-after by those in the know. 'Paranoid Funk' saw the Berlin resident explore a variety of grooves and textures, an experiment that won him many new admirers and a great deal of critical acclaim. Here, some of the hottest remix talent in the scene get their hands on the originals and twist them into new shapes. Following on from releases on Cocoon, Kling Klong, Circle and two strong EPs on Poker Flat ("Dinosaurs' and 'This") renowned producers Alex Flatner and LOPAZZ take on 'Don't Wait' and drop a growling, main room monster that will standout in any set. Francys, the young Italian making quiet a name for himself on the underground house and techno circuit, lends his skills to 'Back 2 Basics feat. Benji' - channeling the spirit of the early 90s into seven ecstatic minutes. Next up is Salvatore Freda - the highly respected Swiss DJ and producer who injects Niggemann's 'I Don't Care' with a narcotic groove that sits somewhere between Detroit and Berlin - the dubbed out vocals adding an element of otherworldliness that work in perfect compliment to the track's twisted (paranoid) funk. Berlin's own Andre Lodemann picks out 'Lovers' for his excursion, a deep bomb that grows and grows around an exceptional vocal from John Rydell - this is one for the very late nights or early mornings. What is clear from this release is that Alex Niggemann's star continues to rise - the classical pianist turned producer and DJ extraordinaire is moving on to the next phase of his career - and with the slew of outstanding releases to his name already, who is to say where that could lead. Tracklist:

Terror Danjah's second Hyperdub album is 'The Dark Crawler', a well-paced and much more upfront and energetic journey through his musical world than his debut 'Undeniable'. The album revolves around the 'Dark Crawler' theme, a blistering grime track that pops up several times, vocaled by MC's Riko Dan, Mayhem, Deadly and Saf One, and then lastly Trim and Kossie. That's not to say the album is one dimensional or relentless. It's subtley balanced with the 'Dark Crawler' thread of tracks allowing the album to spin off in a web of directions without losing any focus. It's a much more contained body of work, paced to keep the listeners interest. From the 'Dark Crawler' intro into the cartoonish horror soundtrack of 'Mirror's Edge', which tricks you into thinking its just any dubstep tune, before scattering into Terror's signature broken kicks and claps. 'Dark Gremlinz' featuring D.O.K. is a classic peak-era asymmetric grime instrumental. The album then drops down into the 130ish speed of 'Air Max 90' featuring Champion, which builds from a soca-like drum drill stretching the rhythm to the point of collapse with a wonky synth, before concluding on a driving baseline house 4/4. The first 'Dark Crawler' vocal is next, with a ferocious performance from veteran Roll Deep MC Riko Dan, who drops bloodthirsty threats at a breakneck pace. Next, the tempo drops down again to the drunk funk of 'Full Hundred', with criss cross claps and a rasping bassline breaking down into live drumming and tight trap door edits. Things speed up a little again with the intricate 8 bar funky of 'Rum Punch', a hard drum tattoo rolling out over a heavy detuned bassline and intense bleeps. On the second 'Dark Crawler', mic duties are shared by Birmingham MC's Mayhem , Deadly and Saf One. Their hard vocals contrast with lush styled R'n'B of 'You Make Me Feel' featuring Meleka. The album then rolls out into the galloping drums and smooth G-Funk synths of 'Baby Oil'. Trim and Kossie drop the final 'Dark Crawler' vocal, with Trim dropping deadpan threats contesting with Kossie's focussed hysteria. Next up 'Delicately', with Ruby Lee Rider, starts in slow motion R'n'B mood, sweet Rhodes chords drift and bubble up as the track doubles up into dreamy drum and bass with a fluttering tabla keeping the time, and Ruby's tender vocals tempering the pace and aggression. Overall, it's a brilliant exercise in breathless rhythmic arousal. 'Moschino', on the other hand is a darker, chunkier and grimier mirror image to 'Delicately', switching up into a ferocious metallic riffage, before the album closes on an outro of 'Dark Crawler' again. Form, function, energy and talent fuse perfectly over 'The Dark Crawler' s length. Enjoy the ride.

With the homespun warmth of his album still keeping us toasty as the temperature drops in the Northern hemisphere, Dave Aju offers up two choice cuts from Heirlooms to receive surgical treatment at the hands of dear friends and respected practitioners in our beloved corner of electronic music. The divine boogie-fuelled electro pop of 'Caller#7' stood out as one of the most flamboyant and earsnagging tracks on the album, so who better to entrust the remix to than Seth Troxler and Subb-an Seth of course is a long-time partner of Circus Company, stretching back to 2008 when he first recorded an EP for us with Patrick Russell. Subb-an may be a new cat to us, but there's no denying the impact he has made with his releases for some of the strongest tech house labels around. In the hands of this formidable duo, 'Caller#7' gets sharpened and honed into a peak-time floor-filler. The vocals from Dave and dOP's Jaw and that inimitable bassline remain intact, with the focus switched to boosting the rhythms that propel this party-starter while a disgruntled caller drops in on Radio KAJU to speak her mind like a true soul sister should. On the flipside, we take great pleasure in inviting the maverick Swede Axel Boman to work his magic on 'Away Away'. After exploding onto the scene in a flurry of hedonistic imagination and cheeky originality, Axel has charmed all that come before him with his releases and his Studio Barnhus label. He treats us to a glorious, soaring version of Dave's track that shuns shortening days and worsening weather, and instead places you at the top of a mountain as the sun rises in a cloudless sky, gently building but never peaking in a truly life-affirming concoction of house music for the heart.

The time has come. The funky nerd and knob-handler Erdbeerschnitzel alias Tim Keiling is releasing his first physical album on Mirau. The young producer, who has moved from his hometown of Mittelfischbach to Bonn, tapped into the lode of versatility early on, and has been extracting one surprise after another ever since. After single-handedly releasing a first digital album that was obviously bursting with ideas ('Pathetik Party', 2009), Erdbeerschnitzel rapidly made himself a name with first-class single releases in the following years on 3rd Strike Records, 4 Lux and Mirau - a name not easily forgotten. The release of the much-celebrated single 'To an End' on Mirau made clear that this was but the beginning of a work together. In the wake of anticipation created by the digital single 'Through the Night', the album 'Tender Leaf' is now available on beautifully packed double vinyl. 'Tender Leaf' is a collection of 12 wonderful tracks, splashing at the edges with Erdbeerschnitzel's signature deep, driving vibe throughout the entire album, pulling us into a pool of swinging, iridescent oomph. Each elaborate audio-bouquet is full of spirit. Sometimes weirdly romantic and introverted, then breaking out into raucous assemblage, flaunting sonar reverb. Keiling's production makes these gems sound like an essence of all the music around us today, which calls out to us in echoing vocal traces. In 'The Mattress Excursions', guest singer 'The Drifter' steers his soulful voice through the escalating arrangement and broken beats as we remember from early Jamie Lidell tracks. Erdbeerschnitzel frequently gives things a humorous turn, flashing us winks from the midst of the fray. His characteristic beat programming, clever and exulting, makes otherwise bland patterns swing into pulsating vivacity; picking up on contemporary styles and aesthetics, he re-animates sounds within his own parameters. Multifacet-flow

Now, a year after he celebrated the success of his LP Good Morning Midnight, Niko Schwind ups the heat on Stil vor Talent with the versatile We are the Future EP that showcases a specatacular sonic progression while remaining true to what Niko does best: melodic house music. On 'All I Want', Niko lures you into a deep abyss aided by a straight groove and rapid vocal stutters until a swampy bassline, subtle piano melodies and a promiscuous female voice swallow you to the point of no return. Beautifully melancholic, yet floorfriendly, this A1 is bound to leave its mark on international dance floors. The same can certainly be said of 'We are the Future', a Schwind anthem that boils over with positive engery. While the excellent percussion highlights Niko's craftsmanship, Lil' Magdalene's jazzy voice should enchant even the biggest doubter. The flip side is equally rewarding: while a cheerful interplay between a piano-based groove, serious bass line, choppy vocals and one hell of a break invites us all to throw our hands in the air on ‚Fellow', the final track ‚Get Down' should literally take down the last man standing at the after hour due to dubby chords and wonky snyths. The future is looking bright this summer!

Unusually for a record (for me, at least), 'Constants' collects tracks written in four very different moments in time: some are recent - so recent I've only had the opportunity to play them out just a handful of times - while others are over one year old. I really wish the story behind this EP would be a bit more interesting so this text could completely blow your mind but I'm afraid there were no dragons, no sex, no drugs and definitely no rock'n'roll involved. All four were mostly produced by me while sipping coffee and wearing boxer shorts in front of a computer. I could somehow try to describe the music on here but it would probably take less for you to give it a listen. However, if you happen to be one of the humans that prefer reading about music, you might want to wait a little bit longer: hopefully some smart blogger will skip through the SoundCloud previews for you and describe them in detail using words he learned a few minutes prior to posting it on the internet. Anyway, I'm really happy to see these finally out, especially on a label I have always looked up to like Vakant. I really used to think Smoke, Kaden and Ozer were aliens at some point. Hopefully you will enjoy this music as much as I loved writing and playing it out. T PS: I was kidding about the blogger thing. Bloggers, I love you.

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.

A long lost gem back in stock again for lovers and collectors of true
skool ELECTRO sounds. About seven years after it's original release
one forgotten box with 30 copies of this limited to 300 hand-stamped
7" pressing suddenly and surprisingly re-appeared from the vaults of
Intrauterin Recordings.
Sascha Müller, one of Germany's most active underground producers with
a large release scale on several digital labels, serves a nice MINIMAL
ELECTRO re-lick of Paul Hardcastle's anti-war anthem "19" plus
"Travelbox", a storming ACID ELECTRO piece for The Hague's underground
Bunker parties. For those who know...

Hey is Helmut Erler, one half of Hey--Hansen. In "Wuzlguzl" he presents a children's song from Austria.
In his original dialect he sings about the five fingers on the hand and what they have to do with the plums on the tree! The flip turns the song into a psychedelic lullaby.