A selection of 8 exclusive Dub cuts produced in the legendary Genevan squat “Goulet 25” between 2003 and 2013 and cut at 45rpm for deeper basses at Dubplates & Mastering in Berlin.
Give thanks to the Creator JAH RASTAFARI to make everything possible
Andreas Dorau wird am 19. Januar 2024 zum ersten Mal sechzig. Anlässlich dessen legt er sein neues Album "Im Gebüsch" vor. Darin lauern 13 Stücke, auf denen Kaleidoskop-artig verschiedene Pop-Realitäten aufblitzen, erstmals auch auf Englisch: "Touristen-Englisch", wie es Dorau selbst bezeichnet, die Platte als eine Sightseeing-Tour des Pop. Dabei begibt sich Dorau auf einen Streifzug durch diverse Spielarten elektronischer Musik, wobei eine fröhliche Traurigkeit seine treue Begleitung ist. Außerdem wurden für dieses Album u. a. Gäste wie die Musikerinnen Güner Künier und JJ Weihl (Discovery Zone, Fenster) sowie Brezel Göring (Stereo Total) rekrutiert. "Im Gebüsch" ist modern, retro und postmodern gleichzeitig. Das kann nur einer, das kann nur Andreas Dorau!
Lyon-based David Kiledjian is the creator behind a number of projects such as Fowatile, HILA and Dowdelin. Beside that he is producer of albums by Armenian pianist Tigran Hamasyan and Malian band BKO, and collaborator with Talib Kweli, Piers Faccini, Miguel Atwood-Ferguson and Vaudou Game. David is now releasing 'The Otium Mixtape', his first opus under his own name. These ten tracks build bridges between languages and folklore from world, jazz, hip-hop and electronic avant-garde.
These days we are back again in the 60s, as the world urgently needs a new peace movement.
Therefore we ultimately call everyone to hold their hands together and look into the future, - nothing describes better the message we deeply feel being part of, in the own words of Kito Jempere. For ''Let's Hold Our Hands Together'' he already called up the internationally awarded Swedish composer Adam Evald on vocals and the enigmatic Antoha MC on trumpet, backed by Public Possession artist, Eden Burns and our very own, Leonid Lipelis (check his latest 'Function As A Meaning' EP!!!), on the remix duties, Kito Jempere is the ''DJ's hero'' - selector, producer, own orchestra and band conductor (watch Boiler Room from PPF!), who has been delivering quality dance records through decades via DFA, Lo Recordings, Freerange.
Proclaimed as the ''The King Of Collaborations'' by Zweikommasieben, Kito has been working on music with together with Jimi Tenor, Red Snapper, Hard Ton, New Composers and got remixed by Palms Trax, Andras, Ruf Dug, Black Spuma and many more.
Vladislav Delay's complete "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label Rajaton.
Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.
Q&A with Sasu Ripatti:
1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?
Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.
2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?
Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.
3) What kind of thoughts or experiences gave inspiration to this series?
Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.
4) Is it easy for you to be in silence, or around silence?
Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.
All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.
Sasu Ripatti's complete "Dancefloor Classics" series. Music for imaginary dancefloors, released on Ripatti's own label Rajaton.
”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.
He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?
He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.
”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”
New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.
She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”
”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.
Q&A with Sasu Ripatti:
1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?
I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.
2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?
It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.
3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?
I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.
4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?
Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.
All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.
Goldene Deluxe Edition zum 10-jährigen Jubiläum des Debütalbums von Princess Chelsea. 180g goldfarbenes Vinyl in einer gestanzten Gatefold-Hülle mit Goldfolienrücken, Songtexten und einem Poster im DIN-A1 Format. Lil' Golden Book ist das Debütalbum der neuseeländischen Künstlerin Princess Chelsea. Es wurde ursprünglich am 2. Mai 2011 über Lil' Chief Records veröffentlicht. Das Album wurde von Jonathan Bree und Chelsea Nikkel produziert und erzählt die Geschichte des Aufwachsens als Teenager und junger Erwachsener in Neuseeland. Nikkel gab an, dass die Produktion des Albums fast drei Jahre dauerte. The Sunday Star Times beschreibt es treffend als "when cute meets creepy". "Princess Chelsea veröffentlicht anno 2011 mit gerade mal 19 Jahren ihr Langspiel-Debüt "Lil' Golden Book". Darauf regiert kurioser Pop. Mit dem Video zu "The Cigarette Duet" landet sie völlig überraschend einen Youtube-Hit. Der Track handelt von den unterschiedlichen Haltungen zweier Partner zum Thema Abhängigkeit. Die eingängigen Melodien, die sie in vielfältige Arrangements bettet, ordnen viele dem Baroque-Pop bei. Vor allem Klavier und die feengleiche, spröde Stimme der Dame dominieren die Songs, die oft zwischen Sadcore und Ambientpop oszillieren. Darin finden immer wieder entrückte Synthieflächen und vereinzelt elektrische Schnipsel Einzug. Zusammen mit orchestralen Parts ergibt dieser schrille Cocktail einen cinematischen Sound, der in drei Jahren Heimarbeit entstanden ist." - LAUT.de
The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.
The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.
For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.
COUGH return with their first album in over five years. Produced by Electric Wizard’s Jus Oborn and recorded by Oborn and Windhand’s Garrett Morris, Still They Pray is the kind of monolithic cosmic doom that will take the listener to the heights of despair and the bottom of the abyss. With Still They Pray, COUGH summon psychedelic feedback-driven melodies just to deconstruct them to their core. This is easily COUGH at their most focused: pessimistic riffs and tortured grooves collide in melodic agony alongside a hallucinogenic blend of harsh and clean incantations, crushing and cathartic yet utterly mesmerizing. Step through the gates of madness and stare into the void. FFO Windhand, Electric Wizard, Pallbearer, Sleep, YOB, Uncle Acid & The Deadbeats
Known for weaving together complex rhymes with style, Elzhi has been rapping circles around the competition for more than two decades. After years as a member of iconic group Slum Village, Elzhi’s impressive solo career has included projects produced by acclaimed artists like Black Milk, Georgia Anne Muldrow, Khrysis, and Will Sessions. Now, the Detroit emcee is linking with California beat maestro Oh No for the new collaborative album Heavy Vibrato. A multitalented underground hip-hop luminary, Oh No has built a formidable resume behind the boards, crafting tracks for Mos Def, Freddie Gibbs, MF DOOM, Action Bronson, Talib Kweli, Ab-Soul, Danny Brown, and more. Heavy Vibrato is a thrilling showcase for Elzhi’s lyrical wizardry and cinematic storytelling, as Oh No breathes new life into a compelling tapestry of jazz samples, producing the entire collection. “The only thing you need to absorb this experience is an open mind,” says Elzhi. With guest appearances by Blu and Guilty Simpson, Heavy Vibrato taps into an undeniable frequency.
Consisting of MCs A+, Phesto, Opio and Tajai (with production by A+, Domino, Del the Funky Homosapien, Jay Biz and Casual), East Oakland’s Souls of Mischief burst onto the scene in the early 90s with an impact that few other West Coast artists had at the time. Culminating in the release of their classic debut, they created a bouillabaisse that was most parts West Coast swagger but - similar to The D.O.C. and Cypress Hill - with a sonic approach that could just as well have stepped off the streets of New York City. Recorded in less than two weeks at San Francisco's Hyde Street Studios, 93 ‘til Infinity doesn’t suffer from a single freshman jitter or misstep. It’s a fully-realized effort, packed from start to finish with ridiculous lyricism - all carried out in impressive four-part, tag-team style - and backed by a wide range of musical possibilities, from hard boom-bap to 70s CTI-jazz-sprinkled grooves. But without worthy music, the group’s high-level lyricism could have fallen by the wayside. Digging deep into crates that other producers had yet to mine, the production crew gave the quartet exactly what they needed, with unpredictable rolling basslines, dusty drums and jazz keyboard and horn stabs and swirls. Non-singles like Disseshowedo (produced by Domino and Jay Biz), Batting Practice (Casual), Limitations (Jay Biz, with Del and Casual contributing verses) and What A Way To Go Out (Domino) made sure that the fast-forward button remained untouched. Get On Down is proud to present a 30th Anniversary pressing of this west coast Hip-Hop classic on cloudy blue and cloudy yellow vinyl, packaged in a gatefold jacket with liner notes and a commemorative 30th Anniversary stamped numbered OBI.
Limited Transparent Blue vinyl. “Pop” is a tag that’s been assigned to Minus the Bear throughout their career. It’s been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP, and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It’s also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it’s a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Beer Commercials is the evolutionary step between Minus The Bear’s first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track “Fine + 2 Points” remains one of the band’s strongest opening tracks in their discography, charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue’s “Can’t Get You Outta My Head.” If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with “Let’s Play Clowns” and “Dog Park”—nods to Highly Refined Pirates’ formula of frenetic clean guitar work, bombastic choruses, and Jake Snider’s lyrics of detached romantic nostalgia. These tracks may represent Minus the Bear’s original trademark version of pop but on songs like “I’m Totally Not Down With Rob’s Alien,” the band eschews its restless energy for atmosphere and dynamics, creating a sound that’s inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out “Pony Up!” the listener has watched the three-year sonic transition between Minus the Bear’s first two full-lengths transpire within under half an hour, with their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn’t fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus the Bear became one of the most important and influential indie rock bands of the new century
LP - 180 Gram Vinyl Jasper Blom, a revered figure in the Netherlands' jazz scene, presents `Polyphony 3,' the latest installment in his acclaimed Polyphony cycle. With a versatile quartet featuring guitarist Jesse van Ruller, bassist Frans van der Hoeven, and drummer Martijn Vink, Blom welcomes guest pianist Pablo Held and collaborators Ben van Gelder and Joris Roelofs on select tracks. Drawing inspiration from post-tonal tone-clock theory, Blom's intelligent compositions create an absorbing and free-flowing musical journey. `Polyphony 3' showcases the tight-knit quartet's remarkable interplay and highlights Blom's distinctive voice, documenting the ongoing evolution of his esteemed career.
LP - 180 Gram Vinyl / Handnumbered, marbled Edition limited to 200 Units Jasper Blom, a revered figure in the Netherlands' jazz scene, presents `Polyphony 3,' the latest installment in his acclaimed Polyphony cycle. With a versatile quartet featuring guitarist Jesse van Ruller, bassist Frans van der Hoeven, and drummer Martijn Vink, Blom welcomes guest pianist Pablo Held and collaborators Ben van Gelder and Joris Roelofs on select tracks. Drawing inspiration from post-tonal tone-clock theory, Blom's intelligent compositions create an absorbing and free-flowing musical journey. `Polyphony 3' showcases the tight-knit quartet's remarkable interplay and highlights Blom's distinctive voice, documenting the ongoing evolution of his esteemed career.
Futurismo present a deluxe vinyl package of the never before reissued 1987 avant industrial album: Bad Mood Guy by Severed Heads.
With an oeuvre of electronic experimentation that dates back to 1979, Australia’s Severed Heads rawly garnered everything from the sources around them: the sounds of the city, tape loops, old machines, distortion.
Although essentially one man, chief noisemaker Tom Ellard, he was joined here by film maker/homebrew video synthesizer operator Stephen Jones, and effects producer Robert Racic: who had worked with New Order. The result is a punishing view of pop, all crunching rhythms and electronic juxtapose. By incorporating popular tropes such as consistent rhythms, melodic vocal lines and drum machines this was perhaps as near to alittle “boogie-oogie-oogie” as Severed Heads were likely to get, but the outcome is a striking hybrid of the avant-garde, EBM and Synth-pop, an industrial vortex in which the sounds of the 20th century are sucked in and spat out around a monstrous dance beat.
Never pandering to expectations, Ellard saw dance music as a benchmark area where exploration was still possible. Big ideas and big sounds, notto mention big headaches when the original CBS mixes were left in a taxi cab. Whilst many of their contemporaries persisted without dignity, Bad Mood Guy’s cool melancholy assured a fanbase in America and dance floor loyalty with ‘Hot With Fleas’, which dares to sit alongside classics like ‘Dead Eyes Opened’. The unique inventiveness inherent in Severed Heads work makes this release essential for fans of Throbbing Gristle, Kraftwerk, Skinny Puppy and Cabaret Voltaire.
This remastered version of the original CD contains lost original versions and remixes and comes with a fold-out artzine booklet with liners by Ellard.
With their profound take on electronic music, Animistic Beliefs have steadily solidified their spot in the global underground. Influenced by cultural concepts such as ancestry, animism and mythology, as well as the languages of political techno, punk, bubbling and IDM, Linh Luu and Marvin Lalihatu consistently translate their visions into sensitive productions as well as high-octane live performances. On MERDEKA, the artists explore and embrace their cultural heritage in all of its pride, pain and complexity. It symbolizes Animistic Beliefs' breaking free, coming to terms with their changing selves and letting go of external expectations. The record rethinks childhood memories, confronts the generational trauma left by (post-)colonialism, and re-connects Linh and Marvin â?? respectively of Vietnamese-Chinese and Dutch-Moluccan descent â?? with their formative cultures. MERDEKA marks their first step in an overall departure from western club music. For its layered sound, Animistic Beliefs once again draw from the past, present and future of global club music, creating a sonic space where fast techno, warped breakbeats and ambient soundscapes make way for the augmented influence of (Southeast Asian) tribal music. The record incorporates Indonesian scales and recordings of the Tahuri (a wind instrument made out of a conch shell), Totobuang (Gamelan-like gongs) and Tifa drums, known as â??the Moluccan heartbeatâ??. In true Animistic Beliefs fashion, MERDEKA will set fire to sweltering clubs and (sleepless) dreams. Yet, for the artists, it is essential to amplify the stories that spark that flame and keep it burning. The release of MERDEKA follows CACHE/SPIRIT, their ongoing collaboration with visual artist Jeisson Drenth, which extensively explores the artistsâ?? intersectional identities. As such, the latest album is the next step within a bigger, introspective investigation. More unapologetic than ever, MERDEKA embodies a turning point on Animistic Beliefsâ?? ongoing journey towards self-acceptance â?? fuelled by the sound of urgency.
Part 1[14,50 €]
Shadow Child returns with his Connected collaborations album.
Album sampler 2 of 2 features his official rework of The Future Sound of London's seminal 'Papua New Guinea', 'Err' offering it's bouncing bassline and skippy 909 hats with Huxley and finally 'Gacid', which is possibly the friendliest Acid tune you'll hear with the elusive Supertanker.
2024 Repress
Silvana Noris, Italian-German singer, is an artist who has embraced theater, sport (she has been awarded on various occasions in various martial arts disciplines), writing and singing.
The cult song "Din Don" published under the pseudonym of Evo in 1983 for the Italian label "Cultura & Musica".
With Silvana's voice in a very deep and dark intonation, accompanied by synthesizer chords creating a sort of melancholic cosmic-disco, defining an underground hit that has been only recently rediscovered by DJ-Harvey and played into his exclusive "Sarcastic-disco" sessions. Today Best Record Italy presents it again in a limited
edition remastered from the original master tapes at the highest level of quality possible!
Number 6 is a special one. The new Kri record goes back to the buzzing 1980s in Yugoslavia, where numerous art projects, including bands such as Laibach, were testing the censorship and unity of the Communist Party. One such project was a punk and later post-punk/industrial band called O! Kult which took a hard stance against bureaucracy, technocracy and alienation. Their test was successful as it brought censorship and surveillance by the state and media authorities.
O! Kult’s late industrial-ish period started in the second half of the 80s after Brane Zorman experienced the British Summer of Love firsthand. The track Zvestoba (Loyalty) has never been officially released until now. Kri Records are bringing the track to life after digging it out of the cult Radio Študent archives.
The track and its mystical vibe have been reimagined by Silent Servant, Christian Kroupa (1/2 of Black Dot) and 198319831983, adding fresh EBM, electro and melancholic techno edge to the record. We want to thank Brane Zorman for trusting us with O! Kult material, all the producers and the Ministry of Culture of Slovenia for the support with the release of KRI006.
repress !
A single sided repress of All I Remember - hand-stamped centre with the Astrophonica Logo.
'I was introduced to Damian’s Ghost by a mutual friend and what struck me immediately was how simple and clean the tracks were. The vibe and intention was clear from the outset and ‘All I Remember’ went straight into my radio show that week. Vangelis meets Jungle. Atmospheric and drawn out but ruff with it. Delicate but weighty. There’s more too so watch this space . . .' All I Remember takes the scenic route and drifts over peaks and valleys before ascending into the stratosphere. A positive outlook for your day and beyond.
