The return of Timothy J Fairplay sees tracks from his 2 EPs on Emotional Response remixed on one special release. Four favourite producers chosen to bring new dimensions to his brooding, shuffling electronics, featuring Scientific Dreamz Of U, Alessandro Parisi, Perseus Trax and Antenna.Part of the label since inception, the last five years have seen TJF's career explode with releases on Bird Scarer, Charlois and Hoga Nord, setting up the Crimes Of The Future label with Scott Fraser and releasing an album alongside Andrew Weatherall as The Asphodells. His EPs for Emotional Response saw some of his strongest, deep and dubbed out productions that marked their own terrain and these reworks have been a long term project. Starting with a trance inducing breaks-dub of Stories of Prison from Scientic Dreamz Of U and you understand why this mysterious producer has become a cult in his own dreamtime, as subs bump this vortexed revision to its own portal.
Next Alessandro Parisi implants his cyber-electro-harmonies to Aim For The Yellow Sector. Fairplay's late night drive-by is respectfully given a future-retro mix, gliding away from East London's dank streets to mysterious plains and beyond. Things take an analogue twist for the flip with Perseus Traxx showing his love for Chi town on his remix of Saco Bay. A bumpin' bass sets the motion, mixing the swirling original to basement vibes x 10. Win win win.
Kindred spirit and fellow Pinkman/Charlois member Antenna closes the EP with a deep retake of Night Ferry. After causing a stir with the killer Odessa EP and subsequent releases on Royal Oak and Beats In Space, a remix was a given. A mellow groove and optimistic keys is the perfect way to end this chapter of Timothy's music and await for new adventures.
Already big support by Oscar Mulero, Shifted, Blawan, Jonas Kopp, Andre Kronert and more. In what is already his sixth release on his own ANGLS imprint, Dimi Angelis unveils his love for loopy, noisey techno. First drop Vector Shift skips the pleasantries and gets right down to it, fusing gritty saws and a rumbling bassline with ominous industrial stabs. On the flipside Dislocated stays with the program, but opts for a slightly deeper approach, riding on an unrelenting hihat. Follow-up and final track Triplicity closes it down in style, sounding almost like some of the machines hardwired themselves. Straight-up bangers, all three of them.
Aula Magna Records presents Atmen by Mekas, a storming record that reveals the artist's latest techno explorations in
full effect, featuring Stockholm LTD label boss P r Grindvik as guest remixer. A techno statement shaped by melodic
and rhythmic interactions that draw the listener into the artist's profound sound world.
The A-side opens with the powerful beat of Clark Nova, a cut that moves forward with a modulating synth line and simple
but cleverly designed percussions. This is followed by Unknown Soldier, an intense techno weapon that reflects the
distinctive sound of Mekas.
The B-side features both versions of Atmen, starting off with P r Grindivik's dance-floor rework of the title track that
combines a fresh arpeggiated motif and a powerful groove with the emotional spirit of the original. Atmen closes the
record, an epic ambient techno track built with deep atmospheric synth lines on an intelligent stripped down breakbeat.
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With The Object Isn't There UK guitar player and producer Jack Allett has made a deeply personal masterpiece based around cyclical guitar parts and electronic percussion. Playing like a half remembered fever dream with an aesthetic that is ragged, hypnotic and spacey, its two side-long pieces touch on minimalism, kraut-infused dub and euphoric dance floor optimism. As comfortable being played after Manuel Göttschings E2-E4 as right before a Terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. Yet for all the references and name-checking, it's a record that is hard to compare to anything else, past or present.
BIOGRAPHY
Jack Allett works as a producer in London and has been active for many years as an experimental guitar player, releasing a solo record on Blackest Rainbow and collaborating with UK avant-guitar player Cam Deas. The Object Isn't There was written, recorded, and mixed in Camberwell and Camden, London, UK. 2012-2016.
INFO
This record is about - insofar as instrumental music need be about anything - hallucinations. The title The Object Isn't There serves as a concise definition, derived from the quote 'An hallucination is a strictly sensational form of consciousness, as good and true a sensation as if there were a real object there. The object happens to be not there, that is all.' (William James, The Principles Of Psychology, 1890)
Having experienced constant tinnitus - a form of auditory hallucination - for the last 13 years, Jack has long questioned the distinction of something experienced as being either there or not-there. Even if, strictly speaking, an hallucination is something that's not there, if the reality of how it affects day-to-day existence is undeniable then to any extent that matters, it is there. But The Object Isn't There is no tale of woe, nor simply a response to this one condition, and tinnitus need not be considered only as distressing or distracting. Allett sees it merely as one example of many things in life that cross this uncertain terrain:
There are obvious parallels here with the notion of active listening. There is room for emotion too, particularly the kind of overwhelming, -all-consuming emotion that, once it fades, is hard to believe was actually how you felt. Essentially the music here is concerned with being overwhelmed by a sensation, never really being sure to what extent you are conjuring it up yourself, to what extent it exists independently of you, but ultimately deciding that it doesn't much matter; the sensation itself was undeniable.
— Jack Allett
A swirling haze with a plenitude of sounds bobbing to it's surface it's a heartfelt
Dutch jungle loons FFF and Coco Bryce team up once again for another Amen excursion on Myor Massiv. Space is the place on this 12', with both jams featuring a short documentary's worth of chatter about giant planets, failed stars and opposing quadrants. Whereas FFF takes a rather intricate and, dare I say it, intelligent approach on the A-side, Coco Bryce's 'More Massiv' goes straight for the throat, with Amen chops and a double tempo pulse bassline being dropped mere seconds after take off.
On October, 20, 2017, ambient shoegaze duo Aris Kindt launch the new Kingdoms imprint with their second album, Swann and Odette. Picking up where their first record (2015's Floods) leaves off, Swann and Odette is an evolutionary leap forward for the duo. The sonic palette is deeper, the grooves more sparse and the melodies are given more room to seep deep within a mix so expansive it feels almost tactile. This is heady, opulent stuff. The album is immaculately produced and cunningly arranged to sidestep easy classification while not sacrificing accessibility and authentic feeling. Aris Kindt is the collaborative project of Gabe Hedrick and Francis Harris (Scissor and Thread). Harris has previously released the albums Leland (2012) and Minutes of Sleep (2014), both of which have been lauded for (their) extensive use of live instruments, a contrasting feature to his work done before' (last.fm, 2016). Building on this approach, Hedrick adds his own sonic signature in effects-laden layers of electric guitar and modular synthesizer. Collectively, the album swells and reverberates to create a seamless interplay of synths and instrumentation cast loose from their origins and awash in oceanic delay.
In 2005, a new zoo opened in Lausanne, Switzerland. Its wild animals have been going bananas in their quest to create a more dancefloor-friendly world. Now released, the zoo residents can be tracked by their heavy funk smells. Follow their scent past retro-psychedelia and turn left after organic garage.
"Released!" is the debut album by Kind & Kinky Zoo. It is a collection of brand new tracks, early singles as well as remixes and features a guest apperance by rapper Afu-Ra.
HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.
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Optimo Music is delighted to release a first album by Fantastic Twins (formerly known as The Twins). We'll let them tell you the story behind this inspired and beguiling record -
Obakodomo (Au Balcon Du Monde) is a soundtrack I created for a piece of contemporary dance, performed by two dancers for a young audience from the age of 4. It is the story of an imaginary journey in Antartica where two explorers go on an adventure. They encounter a colony of penguins and will progressively learn to understand their habits and respect their environment. Essentially, Au Balcon Du Monde is a metaphor of how to exist next to each other, how to share a territory, how to learn to live together and share resources.
The scenography and stage accessories were designed in a minimalistic and non-obvious form to leave all the space for imagination. The penguins were made of translucent material to provide light effects and were programmed to move in a swaying motion, allowing interaction with the dancers and the music. LED system could be wireless piloted.
With the soundtrack, I wanted to create an atmosphere that would immediately transport the children into this terra nova - a poetical space, like a cold sphere, where the strange meets the frightening and the playful. Translating the immense vs the small, the far-off vs the near, the collective vs the individual, the strange vs the familiar or the cold vs the heat. My intention was to follow the thread of the story in a narrative, yet non-caricatural way. Music for children doesn't have to be 'childish'. Children love to be scared or even just challenged. They love to love and react instantly to what they hear through their emotions. Ultimately, the soundtrack aims to provide different levels of 'reading' so that it becomes something more universal. So we, adults, just have to accept the invitation.
Earth Patterns is a new journey into sound by London based Australian born musician Ben Davidson, best known for his disco tinged house singles as Ben Sun, that were championed by the likes of Gerd Janson and Larry Heard.
The Earth Patterns concept presents a more expanded instrumental sound with live rhythm sequencing and synth work, sitting alongside Vangelis Katsoulis, Lars Bartkuhn and Soichi Terada on Alex Bradley's Utopia Records.
Davidson joins the dots between Detroit by way of Tokyo techno on 'Sunflower' to Dream II Science deepness on 'Horus Rising' and some worldly organic rhythms for a modernist and dare we say it Utopian sound on 'After The Rain'.
The analogue sound from his London studio comes through on the gentle and harmonic B-side opener 'Transit Pan', perhaps the start of a journey beyond the dance floor for the producer.
Artwork and liner notes by Davidson himself, all pressed by bespoke pressing plant The Vinyl Factory on heavyweight vinyl.
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Soundway Records presents the debut solo album from the ever-energetc Diron Animal, lead singer of the band Throes + The Shine. Born and raised in the ghetos of Cazenga in the Angolan capital of Luanda, the Portugal-based artst is known for his incredible stage presence and unique fashion sense. Infuenced by traditonal African music, Diron brings modern electronic producton and multlingual vocals to his album, which explores the realites of growing up in harsh conditons. The impact of such a life on himself and his local community is thematcally apparent: pessimism, greed, and ambiton feature - and yet the overarching message is that of opportunity, hope and channelling one's struggles into creatvity. Spell-binding rhythms, bass hooks and original lyrics abound, spanning Portuguese, Kimbundu and English. Lead single Don't Stop', out 7 July, is a fast-paced funked up anthem with a contagious saxophone rif, to be followed by an equally mesmerising video to boot.
Black Truffle is thrilled to announce the first ever vinyl reissue of legendary performance and sound artist John Duncan's forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan's earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory.
Opening with 'Delta', which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding 'The Immense Room', where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt.
A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan's friends and collaborators Jim O'Rourke and Christoph Heemann and is a must for anyone interested in their work.
- Francis Plagne
For our 13th release, Subaltern is proud to present a selection of various artists compiled on one record - different styles of sound, blending together like a Kaleidoscope... For the avid vinyl junkies the first 300 copies have been pressed with locked grooves from each artist and come in a full colour sleeve.
* Alter: Opening the release is Japanese producer Helktram, who debuts on Subaltern with a relentless hypnotic roller. Distorted drums and percussive interludes complete this banger, which has proven to mash up the dance every time.
* Fibers: Being the only resident Subaltern artist on the release, D-Operation Drop doesn't fail to prove why they have returned to Subaltern yet again with this trippy masterpiece.
* Bomb: German producer ILL_K makes his first appearance on the imprint with this mighty stomper. "Bomb" is probably the most accurate title this powerful tune could have been given.
* Landfall: The only collaborative track of the EP, - Landfall' concludes the record in style - dark and eerie atmospheres mark the signature sound of German producer Shu and Belgian producer Zygos.
Excise is a vinyl-focused label based out of San Francisco, California. Each release pairs a regional Californian techno artist and a local visual artist, thus serving as a platform to fuse the two local creative scenes. Its first release features label co-owner Muon with 3 hypnotic raw analog tracks. Many of these tracks received heavy play time in the San Francisco underground, and now are seeing a broader release for the first time.
Artist biography:
US based artist, Muon (real name Marc Kelechava) spent his formative musical years in Brooklyn, NYC, but has resided in Northern California since 2013. His initial release on Excise is an attempt to combine hypnotic synth work with heavier dance floor elements: music to get lost to.
As a DJ, he now co-manages the iconic Direct to Earth crew, which started as an Oakland underground rave in 2011. The group's primary goal is to help bring international stars to the San Francisco community for the first time. This year alone they've hosted (or will host) Phase, Cosmin TRG, Yan Cook, Ansome, Marla Singer, and Ben Sims. Muon's an opening mainstay with his hypno-aggressive mixing work.
Anthony Georges Patrice is back with a whole EP on Lossless and it sounds like an overall artistic start over. Fantastic variety on all tracks and he opens a new part in his musical universe with electrofied and africanized tracks...really refreshing and great to play!
Music From Memory's final compilation of 2017 sees the release of the double album 1 by 1', which brings together the works of American experimental musician Geoffrey Landers. During a period spanning from 1979 to 1987, this Denver, Colorado based multi-instrumentalist, composer, record producer and engineer, conceived several solo albums. Only two of these, The Ever Decimal Pulse' and Habitual Features' along with the single Breedlove' were ever released on vinyl.
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Being heavily involved in the local industrial/punk/new wave scene and wanting to create a recording studio available to record artists regardless of their financial circumstances' Landers set up The Packing House Studio' in 1981. This analog 8-track recording facility was located in a former slaughterhouse in the stockyards of Denver and was a place of significant activity for the next three years with the studio releasing recordings from numerous artists most notably Allen Ginsberg.
It was here that Geoffrey Landers also started his own aptly named Cauhaus' label. Indicative of the underground/DIYculture, Cauhaus' was a subsiduary of a label called Local Anaesthetics which was started as an in-store label by independent Denver record store Wax Trax. Typically Cauhaus releases were only pressed up in small quantities and independently distributed, making Lander's music essentially elusive to a wide audience. After relocating in 1984 to an art district of Denver Landers opened the Cauhaus Institute of Recording' studio where he continued to produce music for soundtracks, art and multi media projects for the next three years, after which Landers stepped out of the music industry entirely. He currently creates and exhibits mixed-media glass art.
Throughout the twenty tracks of "1 by 1", of which six previously appeared on CD only, we are submerged into a wide diversity of musical approaches from Geoffrey Landers. From the proto-house track Logarhythms' and the heart breaking New-Wave Boogie/Funk of Say You'll Say So' to the more contemplative pieces such as the oriental insprired Nisei' and the drenched in sunshine dub/reggae track Mack' Landers shies away from musical expectations again and again, searching continually for innovative and new forms of expression.
Secret Operations enter the new year with 'Heavy traffic'. A heavy roller from Sweden's finest Seba teaming up with San Franciscos finest Method One. Heavy bassline, steppy beat, and chopping amen breaks is what this track is all about. The flipside 'Mr. downstairs' is more laidback, and draws the memories back to the Good Looking days, back in 96-98 era. Watch out for secops 016. This time Seba collaborates with Finnish Producer/DJ Physics. It's already got support from Storm on her Ministry of sound show
Brazilian mid tempo boogie double header. We've been playing these two out for the last couple of years and they are firm favourites.
'E Novamente Mas Que Nada' is the opening track from Reseda's 1979 album on Som Livre. An ultra catchy vocal hook, boogie guitars and synths lead into a piano and cuica breakdown and horns to finish. One of the finest in the genre in our
opinion.
'Ginga' is taken from Robson Jorge & Lincoln Olivetti's self-titled
masterpiece, reissued on Mr Bongo. Arguably the most immediate and club friendly track from the album, it always turns heads. Another premium example of Brazilian boogie from the masters of the sound and producers for the likes of Rita Lee, Erasmo Carlos, Don Beto, Marcos Valle, Tim Maia, Gilberto Gil, Gal Costa, Sandra Sa, Painel de Controle and many more.
Autotomy is a collaboration between Belgium's Sleeperhold Publications, Brooklyn-based musician Patricia (Max Ravitz) and the Dutch artist Louis Reith. This output is the result of a long process of contemplation, discussion and elimination which gave us a record that encapsulates both Patricia's sense for hardware production and dance floor rawness. Describing this release is not a simple task. So we'll just tell it like it is: it's a record that slows down and, in this process, reveals its mystery. Referencing the title of this release, wunderkind Max Ravitz seems to provide the listener with the possibility of transformation, a way to shed part of your own being.When running though the tracks, one discovers the essentials of Patricia's sound architecture: the presence of lightness, of longing, mixed with the ability to deny it in the next instant. Sonically, there's a careful balance in these productions that belies their fundamental function as body music. It's ambient yet danceable, approachable despite it's often deconstructed layout, and ultimately warm and inviting.The entire record is made using Ravitz collection of hardware, which gives it its uncompromising texture. The presence of kicks, beats and soundscapes does not originate from a clean digital source but from a physical action, an excerpt of movement, a tick of the human hand. It is floating versus rhythmical movement, visceral versus strict. But above all, it is alive.The artwork used for Autotomy's sleeve design and the etching on the B-side was provided by Louis Reith. (All three tracks feature on the record's A-side.) Just as Patricia, Reith tries to resist technology in favour of physical and craft-based media, though the contrast between digital and analog is always present.Dutch artist Louis Reith produces works through a variety of different media, ranging from collages to wood sculptures, to paper objects and ink on paper works, always keeping an interest in simple abstract shapes and their combination. With an interest in materiality Louis resurrects found footage and creates new landscapes of shape and color, celebrating the human hand at work. Deliberate compositions form an illegible visual language where hidden words are portrayed as abstract sculptures.Reith also co-runs Jordskred, an independent publishing company worth checking out.Ravitz certainly is unstoppable and releases in a relentless and uncompromising fashion.Besides many collaborative projects with an array of artists (released under monikers such as Masks, Pulpo, Inhalants, DSR.MR...) he's released music on labels like Opal Tapes, L.I.E.S., Russian Torrent Versions, Ghostly Intl.,... 2017 has been quite a year for him so far. He not only founded his own imprint, Active Cultures, but also released a triple LP. Ghostly Intl. describes the release as a 'kaleidoscopic, a multi-faceted techno trip' and we couldn't agree more.
This is the first release on secret operations by Seba since his album in march 2013. It's a four track EP available as part 1&2 on two separate vinyls or as a four track digital download.
The EP includes "Mesmerism", played by Doc Scott on three separate Future Beats sessions, and "Life is" which was the climax of Seba's set at Sun&Bass set in 2013. "Science Fiction" and "Physickl" are both brand new techno inspired tracks straight fresh from the secret operations bakery!
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Record Kicks proudly presents "A little taste of Soul" / Unwind Yourelf" a little appetizer of the much awaited new album by James Brown's protégée Martha High produced and recorded in Tokyo by mighty Osaka Monaurail. This 45 vinyl is limited to 500 copies worldwide and anticipates Martha High's forthcoming new album "Tribute to my soul Sisters".
The "funky diva" Martha High has been an integral part of James Brown's life and career for more than 30 years. After a lifetime spent shoulder to shoulder with the Godfather of Soul, she flew to Tokyo and teamed up with Japanese funk ambassadors Osaka Monaurail to pay homage to the great Soul Sisters of the JB Revue.
Born in Victoria, Virginia and discovered by rock and roll pioneer Bo Diddley, Martha took off her career with soul band The Jewels, with whom she scored the national hit 'Opportunity" in 1964. Soon The Jewels caught the attention of James Brown in the same year the group joined the "James Brown Revue". Martha stayed with James Brown and continued to work with him as his personal vocalist for 32 years. Mr.Brown produced several Martha's singles on his own label "People" such as "Georgy Girl", "Try Me" and "Summertime",meanwhile Martha launched her solo career in 1979 with the self-titled debut LP for "Salsoul Records". Since then she released five albums under her name and, being one of the "hardest working ladies in the show business", she became as well the lead singer of the legendary funky music machine Maceo Parker. Throughout her career Martha shared stages worldwide with some iconic artists like Little Richard, Jerry lee Lewis, The Temptations, Aretha Franklin, B.B. King, Stevie Wonder, Prince, Michael Jackson and George Clinton to name a few.
After nearly half a decade since their monumental Make It Good, DJ Tennis and Fink re-collide on !K7. Inspired, recent studio sessions have bore two breathing, sonic landscapes, entitled Certain Angles. Glimmering pianos, droning machines and captivating songwriting take form, wrapping the Berlin-based singer's voice in subtle melancholy. Both humbly understated, yet party-ready, Certain Angles perfectly summarises the Life and Death founder's recent etching in the DJ Kicks stone. DJ Tennis has also called on four of his most trusted allies to reinterpret the 12', with four digital-only remixes: The/Das deliver a pensive moment of bubbling body music. Francesco Leali appears with a timeless, genre-bending re-perception as OPUS 3000. Lee Jones salutes the faithful dancers. Mentrist's unclassifiable excursion challenges the towering borders of techno.
Greenlight by DJ Manny is the fifth release from TEKLIFE Records. This 10 trackLP is a masterclass in footwork production by one of TEKLIFE's leading figures. Born and raised in Harvey on the South-Side of Chicago, DJ Manny has been footworking since the age of ten. The Footwork sound has developed in unison with the dance style that accompanies it, and Manny embodies this synergy.DJ Manny is without doubt one of the best dancers on the scene, harnessing control, grace and power in every movement. So when he steps into the studio, he knows instinctively how to create tracks that make you want to move your feet.Instead of relying on chopped up samples, DJ Manny is more inclined to pickup the microphone himself, and this gives Greenlight an original and individual personality.On the opening track titled Way you Move, his flow is soulful and almost vergingon melodic. His laid back drawl sounds equally great on club bangers like Life in This Bitch and If U Want It. As a young man, DJ Manny was the protégé of the late great DJ Rashad, and Rashad's influence reverberates through classic - sounding footwork tracks like Boop Me Down and I'll Hurt Ya Baby.Elsewhere on Greenlight, DJ Manny explores different moods to great effect.Ghost Out is atmospheric and menacing, with a sparse, minimal rhythm and fearsome lowend pulsing through siren synths. Life In This Bitch is a defiant statement of self-affirmation, and Zancrash feat. DJ Taye is uplifting and dreamy,with complex rhythmic patterns evocative of vintage jungle records.DJ Taye makes a significant contribution to this record, collaborating with DJ Manny on 5 productions including the title track. A fellow TEKLIFE squad member, Taye is a highly accomplished producer in his own right, Expect to hear more from him very soon on HYPERDUB Records. Greenlight also features guest appearances from DJ Lucky, Gant-Man and Sucia.
Somne debuts on Just This.
The Italian producer, whose real name is Federico Maccherone, presents his first release of 2017 - a solo EP marrying the same ethereal, wide-angle synthesis and intricate drum programming that appears on standout work for Boddika's Nonplus imprint and the Afterlife label. More than ever, Maccherone shows his range - rolling, meditative recordings sit comfortably alongside some more overtly dance floor material, with both approaches bound by the same high-end production values listeners and DJ's alike have come to expect from the Somne project.
In various ways, the EP offers a certain degree of insight into Maccherone's dual identity as a producer of both clinical, dance-floor fare as well as a cerebral, leftfield work - and in turn, how the artist draws together these two strands of creative endeavour to craft unique and profoundly emotive electronic music. Nods to classic IDM and Ambient sit at the periphery of the recordings, although the main focus is on the propulsive, contemporary Techno derivatives - from warping, half-time opener Divided Love, with its crisp, white noise washes and clinical use of distortion - through to Endgame's exacting, peak-time drive. And whilst the form shifts across the EP from half-time, polyrhythmic work to more direct 4x4 compositions - everything remains bound by the same exquisite, otherworldly atmosphere that touches on the grandiose whilst maintaining a gloriously introspective bent.
Balance comes across as a principle theme on the record, both in terms of production aesthetic and track sequencing, but there is a wonderful contrast between the elements - with the sounds ringing strong and true. The two versions of lead Metropolis that perhaps appear to illustrate in the best way the powerful dichotomy within Maccherone's work, with the A side version conjuring up a distinctly brooding sentiment - a quintessential example of rolling, contemporary Electronica, whilst the Alternate Mix of the B side offers a more direct, cathartic interpretation - expertly executed for maximum dance-floor effectiveness.
Mature and accomplished, Metropolis is a fine addition to the growing Somne discography. The record paints a picture of a producer in full control of his art, definitely working to create a powerful three-dimensional space of his own within the genre.
Shaun Reeves & Tuccillo present a new facet of their ongoing collaborative efforts, with a collection of works that took root in the woods of Ibiza. SHANTU's first record opens with 'Primero', a classy ride through dreamy melodic elements and a relaxed groove with a steadily rising pace. 'Ingenue' moves things into 2nd gear with a deep and funky bassline that is soon propelled further with a variety of organic percussion elements. The long B side 'Zissou' would certainly be at home in the team Zissou minimalist playlist, a mysterious and psychedelic underwater trip populated with strange echoed synths and steady precision drum machine work.
After the first successful record, Danish label front man Gaze ill pursues another excursion through the ever-growing Dubstep-spectrum. He returns to his own physical outline of Cue Line Records with four hefty cuts that surely make up another stellar record, however he s not alone. Last time it was his partner in crime RDG, this time its frontline support from the Dutchman & bass mammoth TMSV , who s given Space-Time a completely different spin.
CLV002 opens up with a serious wobbler: one that is reminiscent to the golden days of the fundamental Dubstep sound, but housed in a completely different straightjacket. It swiftly sets the pace, as the wobbles escalate into the leading element of the destructive Space- Time . The second cut by the Danish producer adds the step to dub music so to speak and lively resembles King Tubby on a Dubstep flex. Watch out for that naughty second drop, which holds
nothing but booming vibrations that ll hang fans upside down. Spirit Of The Forces unveils an equally refreshing take on bass music thanks to the creative structuring of both low-and-high melodies. This allows listeners to take flight
easily and fly away from what we call reality an excellent track for both spring and summer time. TMSV s spin-off is as bright as its forerunner, but far more up-tempo and hypnotic. Utrecht s producer instigates a spacious stepper that defeats time & momentum by incorporating his raw remix techniques. The right remixer for the right record: Cue Line Records at its best!
For their second release on the label, DGTL Records asked another one of its festival shows regulars: Fort Romeau. After playing at three different DGTL editions, and an upcoming fourth during ADE, the organization also wanted to propagate his sound with an EP on their imprint. The release consists of two multi-layered compositions, Untitled II and A Familiar Place, and will be available both on vinyl and in digital stores on the 13th of October.
Fort Romeau came into the spotlight with releases on Running Back, Live At Robert Johnson and Ghostly International amongst others. The British talent gained recognition with his cultivated ear and apprehension of all genres of music, that brought him to add something unique to the widespread spectrum of electronic music, both as a DJ and a producer. In 2015 he also set up his own label, Cin Cin, releasing split EPs from established names and newcomers alike, with a diverse musical policy that reflects Fort Romeau his open minded and inquisitive approach.
'Untitled II' is a luminous house tune, with a soundscape on top that takes you on a journey, while 'A Familiar Place' adds a little bit of darkness to the EP. This B-side is made up out of raw elements, a high tempo kick and hi- hat create a sturdy flow that makes it hard to sit still. All in all, it advocates the vision of the festival and its label, in every way.
You could be forgiven for thinking Basso's been hitting the plant food of late. Last time out we took a trip with Trance, and now our esoteric expert nods his head, rolls his shoulders and drops a h-h-h-house record on our unexpecting asses. That's right folks, roll up the rug, push the sofa back and enjoy some ‚Personal Growth' from James Booth.
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Operating a million miles away from the kick and hiss of the trendy lo-fi folks, the Berlin based producer favours subtle rhythms, delicate textures and tender melodies - turning out a string of sophisticated dance floor winners for 100% Silk, Church and No Bad Days. Now he brings his organic house stylings to the Growing Bin with a fresh five-tracker packed with all the warmth of a Tempelhof picnic on a balmy July afternoon.
Emerging from the watery depths of the Drexciyan ocean, opener ‚Mood' strides calmly through the morning dew, stretching those loose limbs and seeking out Hardcastle's rainforest. Drifting freely
through immersive, aquatic pads and soft focus melodies, the track takes in a little R&R before snapping electro percussion, cascading synthlines and a rolling rhythm up the intensity. The deepness continues on the A2 as ‚Dream Precipitation' offers a medicated vision of Debussy doing P-Bar while Lynch rolls the cameras. Syncopated hi-hats, jazzy keys and star-gazing sine waves wrap themselves around your cerebellum, expanding your mind as a steady kick moves your body into the pleasure zone. Booth takes a Derren Brown tip on the flip, imbuing ‚You' with the kind of mesmeric rhythm that can make the staunchest wallflower pull a Pink Panther on a packed dance floor. The exotic tumble of woody percussion and hissing castanets keep up a fascinating rhythm, driving the titular mantra and snaking synth melody through bursts of slapped bass and subtle 4/4. ‚Dhoop Stick' stays on board with the boogie hypnotism, weaving its way through celestial melodies, squelching bass and toasty Rhodes before ‚The Chorus' brings down the curtain with wailing FM vox, military snares and the dreamy synth pop charm of a lost Sheffield classic. Warm, woody and entirely organic, this is the birth of Green House...you heard it here first!
(words by Patrick Ryder)
ick Lenoir and Larry Thompson aka Black Traxx dropped several volumes of their own brand of chopped up Disco sampling, deeper side of House. From 1991 through to 1994 the Black Traxx EP's were showing up in record stores, obviously giving respectful nods to other Chicago DJ's and producers the tracks included on the EP's contained a DIY spirit and rawness that were key ingredients. Lenoir, with the technical assistance of Gary 'Jackmaster' Wallace has revisited these classic releases for 2017 and the pair have turned in some special, exclusive extended versions of some of the highlights from the series.
This, the second sampler of Black Traxx cuts culled from the various volumes picks up nicely where part 1 left us off. If it's that raw, deep, basement Chicago House sound you're after then these guys have you covered. Kicking off with the 1993 remix of 'Dreamin' which is a sublime late night organ driven groover, this one ticks all the boxes if you dig that NY / NJ Garage sound, but with a Chi-town twist! 'Soul' is up next, lifted from 1993's 'The Soul Package' collection. A stripped back, vocal led jam steeped in atmosphere. This one is for the dancers for sure, no nonsense House music for heads and hips.
Flip it over and the B-side opens with 'Shake', a tough, gritty, percolating banger with a tribal-esque edge. This one's a weapon and almost fits into that Baltimore / Chicago 'ghetto House' mould. A proper club track, no prisoners taken. This one has been gently extended by Rick and Gary for maximum club pressure! EP finisher 'Party' is a much more subdued groove giving a respectful nod to the JB's with that infamous 'Paaaarty' chant. No frills in the best possible way this one's another solid club groove, pure food for hungry turntables and sound-systems. All of the tracks included on these samplers have been carefully selected, arranged, edited and extended for precisely these reasons!
This reissue has been realised with the full involvement of Rick Lenoir and Gary Wallace and is 100% legit! All exclusive extended edits have been made by Rick and Gary specifically for this release. Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2017 - You can't stop it!
Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Jaime Read is something of an unsung UK legend. An original, unique producer who has been making noise in the underground in his own way, emanating from the South coast of England, since the mid 90's. 'Relief Sevensixty' is a collection of Read's rarer tracks that have appeared in a roundabout way, on a legendary Chicago label in a tale that has by now been widely documented. But that's a story for another time. The real focus here is the music, of course. Across 4 tracks this EP shows what a dynamic producer Read is, the music contained within has a depth and maturity and of course it's some funky as, futuristic, space Techno that sounds like it's just escaped the warp drive and landed here on earth and implanted itself in our eardrums. From the joyous, glorious, electronic funk of 'Douch Me' to the curiously monikered piano driven, subterranean stormer 'Droopy Dancing' the whole EP captures a real insight to a remarkable UK talent operating from under the radar. 'Relief Sevensixty' is the first part of a 2 EP set covering Jaime Read's amazing music. Keep your eyes open for the second installment, winging it's way to us through the cosmos as we speak.... soon come!
The 'Relief Sevensixty' EP has been legitimately released with the full involvement of Jaime Read for 2017 and remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!
All the beats, tracks, and harmonies that Vega Records release have a story behind them, 'UNION DANCE (LOUIE VEGA REMIX) - DJ CLOCK FEATURING MADAME-X's begins where most great things do as far as we are concerned.... under a mirror ball in a dark club! One night, (well really EARLY morning to be honest) while Louie Vega was vibbing in the booth, listening to Timmy Regisford work it out for a packed NYC dance floor a wild beat caught his ear. As Louie looked over and saw the crowd confirm exactly what he felt he turned to Timmy with a smile and said "that beat is hot, let me get that", and from that moment UNION DANCE's story began with Louie Vega.
No surprise to Louie, DJ CLOCK of Durban South Africa was the mastermind producer behind this fiery beat. DJ CLOCK is practically a house hold name in S.Africa since he first got into producing and djing in 2007. He's collaborated with some serious heavy hitters including Fistaz Mixwell, Euphonik, Oskido, Chynaman et al and has become the go-to producer for compilation albums across his continent and now with Louie Vega he's making his way to all of us. This gritty beat captured every emotion that makes you go in even harder at 3am... It had heat pumping out the system but it was missing something as far as Louie was concerned.
The missing element was the incomparable force that is MADAME-X, known to many as a sexy sultry vocalist by all accounts but there is a force living within HER expressed only as MADAME-X. She interprets the words of Maya Angelou with the utmost confidence and conviction. A powerful woman, with her raw, unapologetic edge MADAME_X pro claims "I WANNA DO THIS MY WAY" transforming a hot beat Louie heard one night into a FIERCE TRACK to ignite crowds around the world today!
UNION DANCE (LOUIE VEGA REMIX) - DJ CLOCK FEATURING MADAME-X reminds us that not only is it ok but its necessary to OWN THE DANCE FLOOR! This right here is for the djs, the dancers and all those who truly understand that HOUSE MUSIC IS A FEELING!
AVAILABLE AT YOUR NEAREST VINYL OUTLET. DISTRIBUTED BY ABOVE BOARD DISTRIBUTION, UK & MANUFACTURED BY OPTIMAL, GERMANY
'Exit Entrance' is the DFA debut for Kohei Matsunaga aka NHK yx Koyxen.
Kohei has been making / releasing music since 1997 and has recorded for such iconic labels as Mille Plateaux, Important, Pan & Diagonal.
His latest recordings explore intricate drum programming, lush melodies & sparkling arrangements. Touchstones include the legendary 'Clicks & Cuts' compilations from the 1990's as well as Aphex Twin & Autechre. RA called his music bombastic techno funk....unpredictable but rarely disappointing'.
'Exit Entrance' is a collection of new songs that snap and flicker unlike anything Kohei has done in the past. There is a clarity and beauty to these tracks that bursts out of the speakers in a three dimensional way, matching the 3D glasses that the artist wears during all his live performances. The elegant arrangements and crisp drum breaks match the concise song titles - Kohei foregoes the typical impenetrable track names made up of numbers and shorthand, and opts for a more direct emotional sincerity through the sonic themes of the record. Not all the music here falls into the same exact formula.
As the album heads towards a close, after several tracks of harmonious beauty, we get 'Outset (for Mika Vainio)', a sombre hushed techno tune, dedicated to his late friend and musical collaborator, who unexpectedly passed away earlier this year as the record was being completed. What follows after this track is perhaps the real catharsis, as 'Dented' ominously kicks off with acidic stabs and rolls into a tumultuous dirge of gritty techno.
In this regard, 'Exit Entrance' can play out like a life cycle, a mini opera of birth and beauty, of sorrow and mourning.
It is one of the most direct and honest records Kohei has ever made, and DFA is beyond proud to present this work from such an esteemed creative force in the electronic avant-garde world of music.
For fans of Aphex Twin, Actress, Zomby, Kraftwerk, Four Tet.
Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records softer, more melodical and experimental side.
Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time! We warmly welcome the Dutch duo Dennis Pors & Stephan de Bruijn to OrbisX. New fresh talent, ready to conquer the world. We feel obliged to support these
fine gentlemen to get their music spread across the globe. Dennis & Stephan know each other through their musical perspectives.
They share a similar taste for music, Detroit techno. Before they worked together, Dennis experimented with deep house through digital synths and learned the ins and outs of programming music in Logic.
Stephan was well known with the detroit techno scene. His passion goes out to well balanced electronic music with hypnotizing emotional feeling to it. Add a layer of atmospheric grooves on top of that and you have the perfect blend to potential timeless music.
Soon enough they made the switch to analog gear to be able to create a cleaner and better sound. After three years of hard work, they have reached the sound they were looking for. And this is it!
Their debut on vinyl. D&S servers a full EP called Thoughts EP. A great cocktail of dreamy and diverse electronic tunes. This EP fits well in the back of any DJ bag to warm up the place or fix the atmosphere on roof-top bar in NYC. Smooth cruising, roof down car music or background music on a spring night with a summery breeze This EP is amazing and works best on a big sounds systems and major festivals! Childs play , what s in a name. Nothing like that melody. Creating a generously opening atmosphere, but actually brilliantly mixed creating the perception of simplicity. Groovy, acid touches and funky. Can t keep still when being played. A-track for sure! Thoughts might have a dark feel to it but evolves in a very uplifting track in just a few moments, making
it very bright and fun to play. Shed light to the place, should have been a great title as well, but thoughts is the best name for this track. The story in this track is definitely there to be told and listened to. Edge Of Insanity kicks of the B-side. Goosebumps, as from the start. Building up slowly to a very melodic and yet simply track, it s the perfect translation for a sunrise at the beach. Potential
Ibiza hit if you ask us. Submission is a track straight out of a movie. Clever, nice build up, dreamy, spacey and above all so amazingly subtle. This is what falling in love should sound like. We re humble. We re amazed. We re honoured to host D&S. We hope this duo gets the attention
Finally, the long awaited third part of the EXTRAWELT trilogy on Cocoon Recordings is on the way, and with this advance 12 release of 'Fear Of An Extra Planet (Blackout)' and 'Hail The Whale' we are given an incredibly strong first impression of EXTRAWELT's third Album. "Fear Of An Extra Planet (Blackout)' in particular, has the potential to become a monumental club hit. The title track from the new EXTRAWELT album is, strictly speaking, more than just a maxi-version, it's almost a separate EXTRAWELT remix of the original, fully optimized for the clubs. Arne Schaffhausen and Wayan Raabe have let loose a real bass and drum monster on us. From the very first second, the doubled-up kick bursts from the bassbins to signal the journey into this new EXTRAWELT adventure is underway. The acid-heavy bassline completes the pressure-packed arrangement until the track suddenly stops dead. Sometimes it's just so simple and effective to completely hit the brakes before re-energizing and building up to full speed again. The 12 version of 'Fear Of An Extra Planet (Blackout) 'is a powerful techno bomb and for us - one of the highlights of the year! The exclusive, non-album cut 'Hail the Whale", starts off a little more subdued. However, the cool old-skool cowbell intro with light Chicago house touches soon develops an energy through a driving electro bassline that shakes us from the initial calm. Although 'Hail the Whale' doesn't appear on the album, it perfectly represents the science fiction sound aesthetics on EXTRAWELT's new LP. Sci-fi FX, distorted vocals and dramatic synth lines envelop us in an extremely intense soundtrack atmosphere. From warp speed space travel to misty wastelands on strange planets and breathtaking pursuit scenes, 'Hail the Whale' conjures up all manner of images as it hammers from the speakers. To be honest, the notion of 'grand cinema' has already been used too
Swiss-based, Jamaican producer Ezikiel returns to Cadenza for his another outing, this time dropping the 'Tales Of Roots' EP. With this new EP he demonstrates his flair for the musical side of club compositions, imbibing his productions with sultry atmospherics, deep emotion and organic keys and strings. The title track 'Tales of Roots' is a 15-minute opus, which unravels slowly but surely, working from a soft yet persistent bassline and a hypnotic rhythm. Samples of tribal singers add a distinct human element, entrancing you with their organic vibrations. As the voices continue to sing out you're transported to a vibrant sub- Saharan landscape, captivated by the irresistible guitar riff... On the flip we have 'Makha Poetry', a more experimental workout with a variety of warped and twisted effects spluttering and wobbling away at its foundation. The jaunty yet slightly eerie low end gives this track a naughty allure, as those strange bleeps and whirrs continue to bounce in and out of the background. There's a controlled restraint about 'Makha Poetry' which gives it a devastating simplicity and a very unique aesthetic.
Asteroid Records' catalogue keeps expanding exponentially. Label chief Blasted brings you more of his purely analogue creations. Italian producer continues series of EPs titled Aelien, and Aelien II is presented thusly - two new originals by Blasted backed by two reworks from Monolith Records owner Sirio Gry J and Paul Birken - a one-man techno army from Minneapolis.
Ethereal bassline will kick off the opener Reborn, but the serenity of intro will be quickly interrupted by heavy-duty drum kicks, synthetic fields and high-reaching, chirping drops of reverberated acid. In his vision of Reborn, Sirio Gry J leaves no window open for light - it's a grim, completely disarming ode to warehouse-held midnight sessions, intended to instantly penetrate the mind's defense system with oppressive kicks supported by tightly compressed low bass. Next up is Arkham - its resonant, uncanny bassline will give you the thrills while acid-soaked, syncopated kicks will keep providing the energy required for some boundaryless dancefloor frenzy. Lastly, Paul Birken elevates Arkham to a faster pace, straightening out the kicks, and making them more bouncy, while reshaping the bassline into a less sinister, more lively undertone.
Version Galore is a newly found label, deeply rooted into the music culture. We are bringing you the selected reworks / re-edits from the top producers in the game, showing lots of respect and care for the original, but elevating it's spirit and taking it somewhere else. It's all about the dialogue of cultures and the idealistic desire to pass the music legacy on! No half-measures, played-out tunes, lazy cuts, or boring "808-kick boosting" biz!
On the first release of the label we are delighted to bring you the chosen cuts from the man that needs no introduction - Opolopo. He knows a thing or two about making a personal version of a track that can easily overshadow the original, and we guess that's the case with the two cuts he prepared for us on this
records. Things escalate fast. On the A-side you will find originally a midtempo mild jam "Go Get It", which is turned by Opolopo into an effectively-upbeat stomper that will inject true feeling and groove in any house or disco set alike.
It's one of those rare occasions when a soulful tune turns out to be super dance-floor efficient no matter what!
The B-side is all about the raw and emotional funky madness of "American Promise". It's infectious groove, pinpointed with growling sub-bass is just devastating. Epithets are irrelevant here - just play it loud, but with caution! "Version Galore - play some more!"
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Last delivered 21 months ago available to reorder, subject to availability
The return of Brain Machine, with their Peaks album, was one of the highlights of last year for Emotional Response. Juan Tripp (aka Jon Tye of Seahawks), Guido Zen (Vactrol Park) and Kyle Martin's (Spectral Empire/Land Of Light/Vactrol Park) acclaimed kosmiche opus is followed up with 2 remix EPs featuring some of the best proponents, peers and friends of deep electronic music.
Remixes One is given over to a quartet of trusted hands including man of the moment, Tolouse Low Trax, ambient visionary Gigi Masin, afro-techno-dub specialist Harmonious Thelonious and stalwarts Ronny & Renzo.First Detlef Weinrich shows his mastery of a unique percussive sound that has seen his identity become as respected outside of his native Dusseldorf as he is in it for his role as one of the founders and curator of Salon des Amateurs. A brooding, propulsive culmination, the original's haunting ambience is retained for a subtle, driving rework that hits the mark.
Surprise of the EP is Gigi Masin's remix of Crystal Clouds. Eschewing the original's celestial soundscapes, scattered percussion interplays with sub-bass to change the context, giving a rhythmic dimension while retaining the shimmering guitar and arpeggio infused cohesion.Starting the B-side is another Dusseldorf elder statesman, in the afro-visions of Harmonious Thelonious. Solo, as well as one third of The Durian Brothers, Stefan Schwander, has carved a distinct sound. Chrematistic percussion is matched with an atmospheric, dub-techno feel that perfectly fits the EP. Play loud for full understanding.
Finally, Remixes One concludes with the return of Ronny & Renzo. Long time associates of Brain Machine, their 10 minutes plus remix takes the glacial original's ambience to a darker plain, fusing rhythmic pulses with alluding acid intent.
With the label's 10th anniversary celebrations now done and dusted, Claremont 56 returns to action with something rather special: a magical debut single from a previously unknown talent.
There's not much we can tell you about Ferdi Schuster, other than that he is a talented young producer from Augsburg in Germany. As Claremont 56 is one of his favourite labels, he speculatively submitted some tracks for consideration. Label founder Paul Murphy was astonished by what he heard and believes the two tracks showcased on this 12' are amongst the best things the label has released for some time.
A-side 'Little River' is breathtakingly good. Opening with the sound o a babbling brook, it sees Schuster wrap plucked, sun-kissed acoustic guitar licks and jaunty vintage synthesizer motifs around a languid, samba-infuenced groove. As the track progresses, further magical musical elements come to the fore, including blissful electric piano solos and more mazy synthesizer solos, seemingly played on battere old equipment from the turn of the '80s. Schuster's love of the acoustic guitar is explored further on similarly impressive B-side 'Befreit'. Here, gently strummed chords and fuid Spanish guitar motifs catch the ear, as hushed cymbals and gentle hand percussion lap at your feet like the sea at sunrise. The German producer adds atmosphere through a combination of leisurely Hammond organ solos and a touch of Jew's Harp. When all of these immaculate elements combine, the results are little less than spellbinding.
Schuster may be taking his frst steps into releasing music, but his
compositional, playing and production skills are already fnely tuned. We can surely expect to hear more inspired music from him in the years to come.
No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots.The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options), ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence), radiophonia and zoned-out guitar improv (Seven Virgins), even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown). Over the five years since Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he's hoarse preacher, sage scholar and ravaged bluesman, blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe. Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."
