Cerca:one man

"Ken Ishii has risen to be one of techno's biggest names" Bandcamp Daily

"A pivotal moment in the history of techno, ambient and electronic music from Japan. An important milestone in a journey to explore the endless possibilities of music and a precious result of our passion and adventure at the time" Manabu Yamazaki (Sublime Records)

Calm's superb Before album is the gift that keeps on giving as Hell Yeah serves up a collection of the best remixes from it. Willie Graff, Gallo and Aura Safari all step up on a fresh 12" that lands this summer.

Before arrived on double vinyl in 2022 after a CD-only release in Japan in 2021. Since then it has become a Balearic mainstay and go-to record for lovers of lavish downtempo sounds. Now, remixes of three tracks from it all appear on this one record with Ibirican-American Willie Graff going first. He is a deep house don who has held several key residencies around the world while dropping his sublime sounds on the likes of Leng, Music For Dreams and many more. His remix of 'I Love You' is a gloriously horizontal one with blissful piano keys rippling over the bubbly drums and bass. Yearning reed melodies add an emotional romantic edge to make this a standout in any setting. Then comes Gallo, the Balearic Gabba Sound System member and resident at Berlin Balearic nightspot Buena Onda. His 'Tropical Hinterhof' remix of 'I Love You' is expertly exotic and soothing as mellifluous keys rain down over a groove as smooth as silk. It's a heart-achingly beautiful sound that will make for truly special moments on the dance floor.

Italian collective Aura Safari then offers two different remixes. They are master musicians who have served up a superb double album Islands Dreams here in late 2023 where they showcased their escapist blend of dub, jazz, Afro-cosmic, Balearica and boogie. First up, 'Feel It' (Aura Safari Desert mix) is six minutes of oriental melody over loose drums. There's a playful feel to the dancing piano keys and richness in the percussion that makes this one a sophisticated sound for both early evening warm-ups or moments of late-night reflection. 'Kunpoo' (Aura Safari Daydream mix) has a nineties feel with its gentle breaks, hypnotic string loops, and sustained chords. They break over you in gentle rays of earth and euphoria to ensure utterly blissed-out results.

These four versions all bring sophisticated dance floor energy to the timeless originals.

Arp Frique returns with a brand new release on his imprint Colorful World Records in collaboration with Rush Hour. A compilation of 12 Cape Verdean gems assembled with the help and knowledge of Americo Brito, there is a very special story behind it. Americo Brito, who features on Arp Frique’s original Nos Magia, is a proud and important member of the Cape Verdean community in Rotterdam. His story reveals the historical connections between radio, vinyl, Cabo Verde and Rotterdam’s international music scene in the 70s and 80s. Cape Verdean insiders say “we export all they have to other countries, only to import it back again”. Cape Verdeans have migrated all over the world, mainly to cities with big harbours, like New York, Boston and Rotterdam (Holland). Rotterdam became one of the main destinations (next to Portugal) on the European mainland. When Americo, like many of his friends and relatives moved to Rotterdam, he quickly became infected with the music virus. Surrounded on a daily basis by Cape Verdean music in Portuguese pensions and small hotels, this was where sailors ingested a dose of “sodade” through the interpretations of their beloved music by the local Cape Verdean artists. Americo took to the stage with his band Djarama in the 70s and 80s. The live music scene was buzzing and the Cape Verdean community had their own infrastructure for arranging shows, often in nightclubs where the band had to bring their own soundsystem. Interestingly, Americo didn’t stick to performing and recording music. He found another way to help spread the Cape Verdean magical secret of music across Rotterdam, Holland and beyond: “There was this spot in Rotterdam where all foreign radio stations were housed, all these different nationalities together, Surinam, Cape Verdean, Hindustani…Guy Ramos and some of my other friends made radio in the 80s there. I got involved in their radio activities. Later on I started to work as a technician and eventually as producer and radio DJ for “Radio Voz De Cabo Verde”. Radio became bigger and there were around 4 different Cape Verdean stations active at one point in Rotterdam. instrumental in the development of this was the attic of a Dutch friend, where “Radio Babalu” came to life. Radio has always held a special place in my heart.” Americo’s music collection stems from this era, also aided by his many travels across Europe to cities with Cape Verdean communities. Alongside Rotterdam local, Arp Frique, Americo unveils some of these songs: dancefloor hits and beloved radio gems known in the Cape Verdean scene by younger and older generations alike, and so far undiscovered by a “bigger” audience. The compilation showcases the worldly view of Cape Verdean music, incorporating knowledge from their travels in their compositions. It ranges from the obvious funana and coladeira, to the more unexpected influences of deep disco, new wave, uptempo reggae, jazz-funk and Brazilian pop music; demonstrating just the tip of the iceberg, but what an amazing t(r)ip it is!

This is the second appearance on our Various Artists catalog for both Berlin-based acts, featuring individual and collaborative tracks from the artists.

Infamous for their industrial/EBM-leaning techno signature sound, Unhuman (Manos Simotas) and New Frames (Mathis Mootz/The Panacea/Squaremeter and David Frisch) join forces to elevate their production style even further.

Dancefloor killers for heads of diverse tastes, featuring one solo track from each artist per side, along with three complementary collaborative compositions. Side A showcases New Frames' fresh-sounding crossover of industrial and dubstep with the track "Dubplate", accompanied by the hard-hitting collaborative stompers "Commander" and "3rd Eye Cataract".
On the flip side, Unhuman delivers his own broken beat-industrial techno beast, "Cerberus", while the release concludes with the final collaborative techno track, "New Force".

Industrial techno heat brought to you by long standing specialists of the genre!

Welcome on Vibes Addikt !!
Label Owned by N.O.B.A, An artist with a large number of tracks that have been lucky enough to top the Beatport Top 100, but also the support of big names such as Amelie Lens, Mark Sherry, Nusha, Frankyeffe, Klaudia Gawlas, Frank Biazzi, Charlotte De Witte, Mha Iri, Sebastian Groth, Steve Shaden, Yves Deruyter ... and many more...

This 3rd Vibes Addikt present Dimitri Cooman
Belgium Techno and Hard Techno artist who play on all events from the legendary Cherry Moon Club (Lokeren.Be)

Born near Brussels, Dimitri fell in love with music early on.
The interest in house –and techno music grew since the start of going out to small venues and raves at the age of 16.

Soon he visited one of the mayor Belgian clubs, Cherry Moon, there everything changed.

Impressed by the "the club, the people, the music" he quickly fell in love with 'The House of House' and that love for the club would not change until this day.
During this period he started mixing himself, playing the music he loved from his homebase.

Since a while ago he is an official resident and one of the driving forces behind the Cherry Moon events, runs the techno imprints Cherry Moon Records & Nachtkabarett Recordings, manages the brand and parties of 'Techno Avenue' and tours with all of this all over Belgium whilst also playing on numerous techno events.

His EP's and remixes have also been released on Cherry Moon Records, the Berlin based Db130,the italian labels No Response Records and SMR Underground, Strohm Records, Dark Distorted Signals, Bonzai & Ithica Records, Sonaxx Records and soon Reload Records, DIKI records and Vibes Addikt.

He present on Vibes Addikt "Vanished Technologies" an Underground EP including a remix from Fhase87, French Artist who have support by Mark Broom, Ben Sims, Dj Rush ... and others big name

EP already supported by Frank Biazzi, Frauleinz, Samuel Sanders ... and many more

“In my opinion, the greatest UK street soul tune ever made! It’s all about the message of unity” - Delasy StudioEight.

Penned during the summer of 1991, 'Got To Make Sure' was recorded at H.Q. Studios in Manchester and released in October of the same year on a limited white label for Raggas Records. "H.Q. had just opened its doors, I think it was one of our first-ever sessions", says founder and sound engineer Michael Vindice: "Basically, it was Hughie and friends in the studio tinkering about until something stuck". The record has remained the most coveted of street soul white labels. Not only because of its rarity and not just because it epitomises the genre with bass-heavy independent production, but also because it emerged from Manchester's early 90s underground club scene that embraced street soul like no other; U-Bert's message made vocal for all his homegrown listeners and beyond.

We take the same and start again
A winter week at One Buck studio, 4 musicians. Ocman Dread and Ras Salam once again call on Jolly Joseph and Dr Charty to accompany them on guitar, bass, keyboards… The recordings of this session do not suggest the negative temperatures and the frost outside, the riddims are sunny and sound warm. Pinnacle Sound’s 5th album is in the wake of the previous ones, roots that make you smile.

Breath is life
The rest takes place at the Bat Records studio. The Dub Shepherds refine these takes where breath and grain mingle, in search of the authenticity that has made Pinnacle Sound special since its beginnings. With the help of vintage machines and magnetic tapes, the album takes shape and begins to take shape.

Many guests
Another Pinnacle Sound trademark, numerous guests behind the microphone are present on this disc as on the previous ones. We find the essentials: Marcus I and Jolly Joseph, to which are added new voices, like Payoh SoulRebel who opens the album with the unequivocal “Downpressure”: we are here to have a good time! Big news on this album, the presence of female voices! The trio The Steadies delivers the brilliant “Thank You”, and Nina Murple signs the ballad “By The Train”.

You will have understood, Pinnacle Sound unveils a rich and generous new album, 10 tracks from the most kitsch to the most profound, which will leave no one indifferent.

Adam Beyer and Green Velvet’s behemoth co-production ’Simulator’ gets a trio of fresh remixes.

Something special happens with Beyer collaborates with Curtis Jones aka Green Velvet, with last year’s ‘Simulator’ a timely reminder of their musical synergy, following the 2019 classic ‘Space Date’ with Layton Giordani.
A year on from its release, Drumcode treats us to three contrasting interpretations that epitomise the sonic breadth of the label in 2024.

Mha Iri is first up having established herself as one of Drumcode’s most vital go-to producers in recent times. The Scottish artist turns in a blazing masterclass, taking the nasty bass stabs of the original and utilising them as thunderous motifs throughout her remix, as she brings intensity in spades with plenty of thrilling builds and drops along the way.

Emerging Australian artist Odd Mobb is next, whose music has been championed by the likes of Fred Everything and Skrillex. He brings the energy throughout the four-minute rework, amplifying all the low-end elements, while adding fresh bursts of colour. It’s a dynamic reinterpretation that will keep listeners on their feet.

Chris Avantgarde, whose contributions to Drumcode have so far comprised an outstanding collab with Kevin de Vries ‘Mind Control’ and an A-Sides contribution ‘The Last Time’, returns with the goods and lives up to his boundary-pushing pseudonym. This has more sides than a rubix cube and shows the German’s sound design class, encompassing elements of breaks, bass, electronica and techno, yet still manages not to sound like anything else out there.

Pressed on Limited Edition Neon Green Ripple Effect vinyl in the DC House bag.

Seattle's own Manatee Commune (aka Grant Eadie) makes his long-awaited return to
Bastard Jazz with his fourth album, 'Simultaneity'. Lush and vibrant production is
familiar to his previous works, though Eadie has significantly matured in the activation of
space and character. A step away from standard songwriting, and a total disassociation
from lyrics at all, has made this record closer to the ambient genre than anything
Manatee Commune has released, all the while keeping one solid foot in the realm of
dance music.

'Simultaneity', as a whole, is an exploration of the collision between texture and time.
Captured recordings reminiscent of wind in wheatgrass, soft rain showers in the open
plains, and cascading beach sand wash over the mix, splashing into warm drones and
ascending melodies that cleanly syncopate against a steady rhythm. Though decidedly
electronic at times, a raw human element is ever-present in the form of a vocal motif:
just tiny moments of a loving voice lost in a sea of reverberation.

The album is a noticeably positive evolution from previous works. All nine tracks depict
a calmness and subtlety in musicianship, relying primarily on tenuous snippets of live
instrumentation and synthesis that hypnotically coil and coalesce with one another.
'Love Tone', the opening track, features Eadie's partner, a small voice memo clipped
and expanded into an ethereal vocal melody. A crisp felt piano delivers a complex
arpeggiation in 'Mosaic', a warm sonic bath scape reminiscent of Olafur Arnalds or
Kiasmos. Simple, undemanding bass lines drive tracks 'Path' and 'Faulted', though their
simplicity is contrasted with a variety of patterns that combine to create unique auditory
shapes, both building and landing in satisfying climactic movement. The album
culminates in the final track, 'Touch Theme', where a block of sound in the form of a
broad, open synthetic chord warms the ears, eventually twisting and shifting to rhythmic
chunks that shove against a familiar house rhythm.

Formed in Edinburgh in 1992, The Kaisers set out to bring the excitement and joi de vivre of the early ‘60s beat era back to the Scottish music scene. Armed with junk shop guitars and tiny amplifiers, they quickly gained a reputation as one of the country’s most exciting live bands, belting out forgotten rock ‘n’ roll gems and their own period-perfect compositions with unsurpassed rawness. As their fame spread, they were soon firing their beat salvos at audiences from America to Japan. The broadcasting authorities took notice and radio sessions for John Peel, Mark Radcliffe and many others followed, both at home and abroad. The Kaisers released seven albums plus many singles and EPs – all on vinyl and always in mono. One EP was recorded during a particularly wild night at New York’s famous CBGB. Although their records featured plenty of the good-humoured sonic violence that their fans craved, heartfelt yet visceral ballads were never off the musical menu. After a 13 year hibernation, The Kaisers returned to the stage via the festivals circuit and continue to appear at festivals across Europe. The resurgence of interest in the band has led to the writing and recording of a brand-new album ‘More From The Kaisers’, due for release on the 28th of June, 2024.

2024 Repress! Comes in Meander label cover.

'Lyra π' from DeWalta is a long-player with 5 synthesizer and score-like modern ambient works that mark the first release of the new 'Horizon π Series' by Meander, which is a departure from the label’s well-known dancefloor releases.

This more than 45-minute long record is also the second part of the complementary Lyra album project. The full album contains a double LP (Lyra) on Meander as well as this Lyra Pi LP.

Lyra is a star constellation in the northern hemisphere which is highest in the midnight sky in the early summer months. It contains one of the brightest stars in the sky - Vega. Many of the songs on this album were produced during these warm and gentle months during an inspirational creative time in Portugal.

In Greek mythology, Lyra represents the lyre of Orpheus, Apollo’s son. Made by Hermes from a tortoise shell, it was given to Apollo who then passed it along to Orpheus. It is said to be the first musical instrument ever made.

microCastle’s second offering of 2024 welcomes Upercent back to the label for a new EP. Since first appearing in 2011, Valencia based sound architect Upercent has developed a distinct brand of electronic futurism. An enthusiastic attitude towards experimentation, coupled with extraordinary creative vision has made the Spaniard one of the more unique artists to emerge in the last decade. Upercent’s first microCastle project, 2018’s 'Vuit', not only served as the imprint's second ever vinyl release, but continued the Valencia resident’s mission to create contemporary club tools and destabilizing sound explorations. Seemingly in constant motion moving forward, Upercent would go on to record projects for Diynamic, Kompakt and Watergate, amongst others, firmly establishing his place amongst the underground’s premiere talents. Now more than five years on from this elusive string of projects, it has been Habitat, Innervisions, Sum Over Histories and TAU which have been vehicles for his creative swell over the last two calendar years, reminding us of the niche he carved out during his initial rise, as he continues to maneuver himself through the confines of electronic music. With 2024 being highlighted by ‘Falling’, a two-track collaborative project with Germany’s Adana Twins, Upercent now returns to microCastle with ‘Persevere’.

Beginning with the organic monochromes of ‘Oracle’, Upercent’s craftsmanship reveals itself across the slow-burning piece, one where funked-up beats and rubbery basslines get peppered with skittering rhythms, thought provoking vocal samples and glitched-out electronics. Its subdued yet swing-heavy suspense while perfect for an astute dancefloor, also acts as an ideal segue into the hopeful qualities of ‘As It May See’. Paul Brenning’s vocals feature here, falling like raindrops atop woody kick drums and clustered sonics, eventually giving way to an interlude of soulful phrasing, coaxing beautifully with granular textures and ghostly swirls of wind, before tastefully moving forward as panoramic arps emerge for a mesmerizing finale.

Upercent’s distinct aesthetic continues on the fourth selection ‘Cult’. Perhaps the most direct composition on the EP, its six-minute running time quickly sets you adrift in a techno-inspired wasteland of deconstructed vocals and retro chord stabs. Both intimate and wide-ranging, it's a series of crystal-like drones which engulf your attention whole, creating a sombre, ceremonial backdrop for misty glitches and fog-like swells to create a scenic storyboard. Reverberating hits and twitchy rhythms fill the space of closer ‘Blau Cel’, a production where Upercent crafts a trek through mountainous dancefloor trails. Unbound by gravity, orchestral gestures sweep across mossy plains and frost-filled sighs, offering listeners another immersive journey into the uncharted realms of musical expression.

Continuing its streak of lit releases, Modeight Records now shines a light on an exciting new Romanian talent Raz, based in Manchester. Injecting some sick minimal house grooves, infectious energy into 4 original compositions. The young artist captivates the listener with his raw and rollicking flow. From the mega fun, head bobbing bassline jam and smooth vocals on "Time Chamber", to the slick electronic riffs of "Fun Ensemble". The deep, sub sonic wiggle of "A Sharp Delay", Raz carves out a sophisticated and hella enjoyable sonic journey diving into "Orange Glide". A breakout release for an artist who's definitely gonna be one to watch in the future.

Upon examining the eventful life of Can bassist Holger Czukay,
one might conclude that this intrepid musician was a loner. His
turbulent career exuded an enduring eccentricity governed by a
boundless free spirit. Yet Czukay, who passed away
unexpectedly last year at the age of 79, constantly emphasized
that his creativity was always contingent upon a musical
partner, whether that was a skin-and-bones counterpart or an
anonymous manifestation that interacted with him through
radio waves or, as happened later, the internet. Nonetheless,
most of his partners were of flesh and blood.
His oeuvre, which is in itself cinematic in nature, boasts a cast
worthy of a Martin Scorsese film. Only the most interesting
character actors were cast: Brian Eno, Phew, Rolf Dammers,
David Sylvian, Annie Lennox, Jah Wobble, his Can bandmates...
the list could go on and on.
Many of these masterpieces are now out of print, so Groenland
Records, who already released the highly acclaimed
retrospective 'CINEMA' to mark the occasion of Holger's 80th
birthday at the beginning of the year, has taken it upon
themselves to release reissues of Holger's music in order to
make it accessible once again.

The criminally underrated Sangre Voss kicks off the Third Place Dance Discs series in fine style with the aptly titled 'Dance Class' EP.

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

CMDRPX and RPX16035 present the first various artists in collaboration and unite the two souls that were already traveling on the same vibrations, opening the v.a is an iconic figure from the underground world, @francescofarfaofficial who with his "Soul Engineering" drags you into his world hypnotic, a fusion track that combines his unique style that looks to the future with bleep and acid sounds with a non-invasive groove that encompasses everything and makes the track one of a kind.

Also on side A we find @niki_ilb with his "Acid lover" track which focuses on an IDM sound and which opens the doors to a conceptual acid and Deep style.

@gianluca.pellerano opens the B side with "Stanza di musica", a record projected onto the dancefloor with hypnotic voices, sounds and textures that will drag you towards new musical horizons.
The B2 side was entrusted to @giuseppe__angeloro with his track "Mentalism dance" with a raw sound reminiscent of the 90s, an acid texture and present percussions that make the track evolve in a more introspective direction.

Lastly we find the duo @gianluca.pellerano & @caciotechnology with their "Mango bet" the two combine their styles perfectly the track has an Electro base with a texture projected into the future experimentation in this track is the key word.

Happy listening everyone.

With Australia‘s dance music scene being more prolific than ever, it‘s only fitting that one of the continent‘s hottest tickets appears in the Running Back universe. Sam Alfred‘s debut on it’s subsidiary Misfit Melodies melts the old with the new, swings the hips with the hits and unites the past with the future. The man with the adorable underground white label mp3 Shine II Dawn under his belt, is not only a DJ to die for, but also a witty, interesting and most of all enchanting studio talent. Aptly titled Roadblocks, this 5-track-EP once more underlines his appeal: his-speed house and sprinkles of retro rave meet the melodies of tomorrow.
While My Heart and Back To sound like Strictly Rhythm tracks played by UK Garage DJs, Drift and Fortune are prime examples of Sam‘s production powers. last, but not least the title track is the result of a trip to Dekmantel and a nod to the proggy bounce of the 90s. Built with love and made to last.

2024 Repress

Deep Sleep Robot returns with another throwback excavating some of the rare finds. The second chapter of the series, a Various Artist four-track EP, timeless cuts from the archives.

The A-side, Ronin (aka. J. Axel) the man behind several albums on PlackTown Sounds, Plastic City and Driftwood brings us "Mysterious City", classic Ronin sound here folks this being one of the first releases by the artist back in 1998. Followed by Swedish producer Johan Bacto (aka. Johan Svensson) responsible for labels such as PlackTown Sounds, Everyday, Mankind, Zync, Countdown 2000, with his "Takemountain" the combination of these creates the reunion of the tracks previously released 24 years ago, sounds just as fresh now as it did back then.

The B-side Van Delta (Christopher Bleckmann & Hannes Wenner) a German duo in charge of EP's on Groove Attack Productions, M_Nus, Archipel, and Krush Grooves, gives us a nostalgic trip from 1999. "Adjust", with hypnotic keys and solid bass line building up the tension slowly but steadily creating the groove. The final track by Dav (aka. Davor Stosic) a Croatian artist B+Positive, Cove Recordings, and Sensei labels that regularly has been on Swag Records store shelves. "Flight", a fantastic example of late 90's tech-house. Hypnotic soundscape, variety of layers and a slow build up, giving the track an otherworldly feeling.

All tracks were produced between the years of 1998 - 2003, timeless and rarer then rare.
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