Search:pro tech

Another Interplanetary STAR CREATURE team up for a Chicago Tokyo expedition across a soundscape ranging from bossa nova lounge to pre-vaporwave exotica; new age city pop to minimal library boogie. JUNE CHIKUMA is best known now for her ground breaking Video Game soundtracks throughout the late 1980s and early 90s, most notably the now cult-classic status Bomberman Hero OST for Nintendo. During this same period she produced many recordings for a wide variety of clients including Japanese Public Transit Commercials, Video Game Arcades and VHS Nature Documentaries. STAR CREATURES combed her archives and selected a nice mix of tracks as entry point into her work. These tracks have been rescued from obscurity, remastered and waxed up for contemporary universal enjoyment. 500 Copies. Pressed in Detroit.

An exercise in control of auditory limitations and possibilities, GAEL redefines techno production with their comprehension of cold atmospherics and meticulous world building. Exemplified in their first solo EP ‘Frozen White Horse’ released on BITE Records, fervent, hurtling drums are underpinned by hopeful euphorics and circulating, breathy cybernetics. A culmination of sophisticated sonic dialects reared from the intersections of soundscaping and electronic music, the berlin-based DJ/Producer from Dagestan (by-way-of Kyiv and Odesa) commits their practice to the inclusivity of borderless, capricious and emotive dance- floor synergy. This energy was previously captured on BITE last year with their appearances on the Shedding Skin VA and The Soft Moon’s Exister Remixed. GAEL’s harmonic and organic approach to techno production echoes the heartbeat of dancefloor resistance,captivating audiences across venues from Berlin’s Berghain to Kyiv’s ∄ as a resident at the queer event series XITb. Delivering thunderous feeling through experimental sounds and masterful pacing, the 4-track-EP blurs the margins of moody techno exploration with remarkable attitude and a foreboding sense of uphill struggle. For the opening title track, a procession of stacked chords,synths and snares are met with a cyclone of galloping percussion building to maximum intensity until dispersing into echoey chimes. As the listener is able to catch their breath, the second track ‘prpttcxsstnc’ reignites - this time with trepidatious yet ethereal vibration, as the track continues to inject GAEL’s post-punk style of galvanised energy, rich layered drums maintain the undercurrent of resolute chaos into the following track ‘there is nothing left’. Sombre track titles are off-set by triumphant vigour for the third instalment, pushing through gale force drums and the clanging zaps and bleeps of electronic debris. Concluding with the final cacophony of collaged beats and drums, bellowing siren-like cold wails meld with GAEL’s calamity crescendo of crashing cymbals, the procession of rapturous drums slipping into a distant echo of warped hollow gleams.

THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.

So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.

Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.

Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!

Two years after the release of the Polarius EP Inner Voices Of A Clown, Danny Wolfers returns to Altered Circuits, this time under his best-known alias Legowelt, for Ruins Of Cracktopolis: a collection of "hymns to survive the dystopian circus of today's techno scene" in the artist's own words. On Do You Know Who You Never Be, a short staccato lead and dark chords revolve around a monolithic kick drum pattern that takes care of the cadence and bass. A mysterious vocoder and a laser sequence that gets torn and twisted to the max join, but the track never loses its steady pace - it gets help from shakers so much mixed to the front they could be lifted from a B'more track.

Amidst the effervescing 303 lines and bold drum sequences of In A Trance Dance All Night" Wolfers finds a canvas for a stretched synthesizer jam with eighties breaking allure. This melody, together with the pads and vocal, are drenched in reverb - they float like mist ascending from the The Hague dunes. Throughout Ruins Of Cracktopolis, more vintage Dutch West Coast, the hiss-laden broken beat that guides the bass sequences and ominous blippy synth patterns switches to a 4/4 structure and back. These make for captivating shifts in pace while the minor progressions continue unfolding. Like Twin Peaks targets prime energy once the arpeggiator sequence present from the start lowers an octave. The track runs smooth like a pomade slick-back; it's only tempered slightly when the crunchy kick and tom change place for a moody chord sequence break. Even if these four tracks target the club, they are equally suited for - quoting Wolfers again - "leisurely home listening". Their greatest strengths are, as so often, their melodic aspects.

The artist is known to be a synthesizer aficionado, but his unique personal touch immediately shines through no matter which gear he works with. The machines never seem to dominate the composing process; quite the opposite: it's as if he isn't programming or registering as much as trying to teach them his take on electronic music.

Am 28. Juni wird Sub Pop das fünfte und bisher kühnste Album von Washed Out veröffentlichen: „Notes From a Quiet Life“. Die Musik von Washed Out kreierte schon immer eine Art zeitlosen Schwebezustand, mit eindringlichem, amorphem Gesang, weitläufigen Klanglandschaften und wehmütigen Erzählungen. 2021 verließ Ernest Greene, die kreative Kraft hinter Washed Out, die Stadt Atlanta, um in die ländliche Gegend zurückzukehren, in der er aufgewachsen war. Wo früher Eskapismus seine Gedanken durchflutete, beschäftigt er sich heute mit dem Universum der Wunder in der Realität um ihn herum. Die ehemalige Pferdefarm, auf die er gezogen ist, hat er "Endymion" genannt (nach dem pastoralen Gedicht von John Keats über einen von Liebeskummer geplagten Hirten, dessen erste Zeile lautet: "A thing of beauty is a joy for ever"). Sie hat alles geprägt, was er dort geschaffen hat, von seiner Musik über die kreative Ausrichtung des Albums bis hin zu seinen geplanten groß angelegten Experimenten in der bildenden Kunst. Diese Reinheit der Vision ist es, die „Notes From a Quiet Life“ so wirkungsvoll macht. Es ist das erste Album, das Greene komplett selbst produziert hat, mit Unterstützung von Nathan Boddy (James Blake, Mura Masa) und David Wrench (Caribou, Florence + the Machine). Für das Musikvideo zur Leadsingle „The Hardest Part" holte Greene den multidisziplinären Künstler, Autor und Regisseur Paul Trillo ins Boot. Das Video wurde mit Sora von OpenAI erstellt und ist die erste Zusammenarbeit zwischen einem Musiker und einem Filmemacher, die vollständig mit dieser neuen Technologie realisiert wurde.

“Black Magic Man is arguably the pivotal Joe McPhee release. It bridged the span between the regional and the international, bypassing the national altogether. “Recorded in the same sessions that produced Nation Time, Black Magic Man consists of music not chosen for that LP. Like its much-feted sister, technically it falls under the domain of CjR, Craig Johnson’s herculean effort in support of McPhee. An erstwhile painter, Johnson became a self-taught audio engineer, acquiring equipment expressly to document McPhee’s music. In December 1970, five years after Johnson and McPhee had met, they recorded two days of activity —a concert followed by an additional day of recordings—at Vassar College where McPhee was teaching in the Black Studies department. About half of the material was used to make Nation Time. While they had planned to issue a follow-up, the money wasn’t there, so the tapes sat dormant. “Fast-forward five years—Werner X. Uehlinger, a Swiss businessman who worked for Sandoz Pharmaceuticals, contacted Johnson while on a trip to the US, and over dinner with McPhee, they discussed putting out some of the unused tracks from the Nation Time sessions. With this casual encounter in 1975, Hat Hut Records was inaugurated. The new label’s maiden release was Black Magic Man, dubbed Hat Hut A, the first in what would become Hat Hut’s letter series. Along the way, the series would feature seven Joe McPhee records, including the first four in a row.” —John Corbett (excerpt from the liner notes)

engorn - This new label invites you on a trip through ambient, house, and techno with an unmistakable vibe. It proudly presents the first catalogue number as a various artist compilation with two as yet unknown artists: gustav krach and taschendrachen.

The A-side of the record, curated by taschendrachen, is a true feast for the dancefloor. Two warm house tracks, accompanied by catchy vocals, create a good vibe on the floor.

If we turn the record over, we find ourselves in a completely different world. The B-side, presented by gustav krach, creates an atmospheric soundscape away from the tumult. Four ambient tracks with breakbeats create a dreamy, calm, and beautiful mood.

Lenticular Sleeve / White Vinyl. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

Dive into the collaborative soundscape of Monophonik and Kohra with the Jugalbandi EP. Written in Goa, Monophonik's modular wizardry and Kohra's stylish production blends deep techno, progressive trance and intricate breakbeats.

We've got pulsating rhythms intertwining with ethereal melodies, rolling basslines and shimmering percussion. Each track is a sonic tapestry, weaving intricate textures and immersive atmospheres.

Jugalbandi is an Indian term for a collaboration between classical musicians, where two solo artists combine for a duet and on space•lab 012 we have a beautifully futuristic interpretation, primed for the dancefloor.

Soul Direction are pleased to announce a new member of the Family “Contempo Soul” series. This label will showcase more contemporary sounding soul from independent artists. Our first offering in conjunction with Kevin Edwards III, and with the help of Dave Thorley. The Keved Project (Feat. Delbert Nelson) – “Life Has Been a Thief” / “Spread Love” – SDCO-1001. Edwards was born in Hamtramck, Michigan in 1959. As a young boy listening to Jimi Hendrix play guitar on Band of Gypsies, he knew he wanted to be a guitar player. By 16 Edwards, was playing in a high school band and at local cabarets. In 1979 Edwards played with Sons, a local jazz band. The group played Top 40s in local venues and eventually opened for the nationally renowned group, Brainstorm, which recorded on the CBS label. Sons and Brainstorm merged in 1980. When Brainstorm broke up in the early '80s Edwards freelanced with several local groups. His career took a turn in 1984 when he began writing and recording his own music. Edwards drew from his experiences and the R & B and jazz classics he'd grown up listening to as his inspiration for writing. Two years later in 1986, Edwards expanded his skills even further when he started producing young local talent. He and a partner produced Rhapsody, a rap group that released several singles on the Giant Record Label. The year 1998 saw the beginning of a new era for Edwards when he and long-time friends Darryl Lee and Greg Nance formed Ground Level. Ground Level enjoyed tremendous success, opening for the Isley Brothers, LL Cool J, Roy Ayers, Ronnie Laws and the funk group Slave. The band received accolades and grew in popularity. In 2003 the band changed its name to Level Rizon, signifying its new status and the fact that they are no longer at "ground level." Level Rizon took a year off of performing to produce That Vibe. With That Vibe Edwards feels he has started a whole new genre of music he calls "NuUrban Soul." He describes NuUrban Soul as a unique blend of jazz-fusion and R & B that has not failed to delight audiences of all walks of life. Kevin has performed with the late Michael Henderson (R/B recording artist known for You are my Starship, Sending a Valentine, Wide Receiver) in 2014. Kevin has also has a certificate in Audio Engineering from the Recording Institute of Detroit, Associates of Science in Electrical Engineering Technology from Lawrence Technological University, and Bachelor of Science degree in Electrical Engineering Technology from ITT Tech. Kevin built, and operates his own recording studio, and is continuously writing and recording new music..

June 11, 2024 — Today, techno titan Charlotte de Witte announces her latest electrifying single, “How You Move”. The dynamic production is the second revelation from her highly-anticipated “Roar” EP, set to be released on vinyl June 20th. In sync with her latest offering, de Witte will captivate New York City once again with a monumental takeover inclusive of an Extra Butter Merchandise pop-up and a massive KNTXT show at Brooklyn Storehouse, marking a significant moment as one of the first headliners to conquer the new venue.

“How You Move” is a testament to de Witte’s signature style of pushing boundaries and encapsulating the raw essence of the techno genre. The release boasts a fusion of pulsating acid and a mesmerizing energy that promises to resonate deeply with listeners, mirroring the intense, adrenaline-fueled experiences of her live performances.

From Charlotte de Witte:
"This has been such a fun track to make. It's a high energy track containing all of the ingredients that I love the most: straightforward, engaging vocals and a powerful acid line. Show me how you move, how you get down!"

It’s a sonic exploration of motion and intensity, syncing with the heartbeat of the city that never sleeps. Coinciding with the release, de Witte’s forthcoming KNTXT takeover at the Brooklyn Storehouse is poised to be a highlight of the summer, aligning with the visceral energy of the “Roar” EP. Situated in the heart of the Brooklyn Navy Yard, The Brooklyn Storehouse is the first US-based venture from Broadrick Live – Drumsheds, and former Printworks operator – brought to fruition in partnership with Teksupport. The venue has been designed to host up to 6,000 attendees, setting the stage for an unforgettable experience.

Following her takeover last year that electrified New York City, de Witte returns to the city that never sleeps with an even bigger spectacle. Last May, de Witte kicked off an electrifying campaign and tour for her “Overdrive” EP which featured a pop-up store at Extra Butter, two sold out shows at Brooklyn Mirage and a guerilla-style surprise performance that closed down Orchard Street in NYC. This June, de Witte will deliver a high-octane immersion for New Yorkers once again with her second consecutive KNTXT pop-up shop at Extra Butter. Opening on Friday, June 21, the KNTXT pop-up at Extra Butter Lower East Side will offer exclusive merchandise, limited-run apparel and unexpected live music experiences at every turn, uniting loyal fans and new audiences alike.

Skylax Records Is Overjoyed to Introduce the Exceptionally Talented Irish Producer, Hammer, to Its Esteemed Roster. This Rising Star, First Brought to the Forefront by the Influential Bicep Crew, Has Been Making Waves in the Electronic Music Scene With Numerous EPs Released on Renowned Labels Such as Optimo Music, Sulta Select, Shall Not Fade, And, of Course, Feel My Bicep, Among Others. Hammer's Distinctive Style Has Gained Him a Dedicated Following Within the Leftfield and Italo-Disco Communities, and His Upcoming 12-Inch Release Is Poised to Set Dance Floors Ablaze. the Ep Kicks Off With "Swerve," a Track That Effortlessly Channels the Pure Essence of Bicep's Iconic Style. the Rich, Immersive Soundscapes and Dynamic Composition Capture the Spirit of the Duo's Renowned Productions, Delivering a Nod to the Genre's Roots While Propelling It Forward. Next Up, We Encounter "Swivel," a Genuine Italo-Disco Gem. With Its Lush, Retro-Infused Synths and Irresistible Basslines, This Track Pays Homage to the Italo-Disco Era That Continues to Influence and Inspire Contemporary Electronic Music. "Swivel" Is a Sonic Time Capsule, Transporting Listeners to the Heyday of This Beloved Genre. Flipping Over to the B-Side, We Have the Outstanding "Tbilisi," a Probable Tribute to the Vibrant and Ever-Evolving Electronic Music Scene in the Bustling City of Tbilisi, Georgia. Hammer Masterfully Crafts a Sonic Narrative That Captures the Essence of the Scene, Incorporating Elements of Techno, House, and the Avant-Garde. This Track Is a Testament to Hammer's Versatility and Ability to Seamlessly Navigate Different Musical Landscapes. the Ep Reaches Its Conclusion With "Push Repeat" Takes Center Stage. This Electrifying Track Promises to Be a Sensation on the Most Discerning Dance Floors, With Its Driving Beats, Infectious Melodies, and Undeniable Energy. Hammer's Mastery of Groove and Rhythm Is on Full Display in This Opening Number, Setting the Tone for What's to Come. in Sum, Hammer's Upcoming Release on Skylax Records Is Nothing Short of a Masterstroke. It Not Only Solidifies His Position as a Standout Talent in the Electronic Music Realm but Also Highlights Skylax's Commitment to Delivering Innovative and Genre-Defying Sounds to Discerning Listeners. This Ep Is Poised to Become an Essential Addition to the Collections of Music Aficionados and a Testament to the Ever-Evolving and Boundary-Pushing Nature of the Contemporary Electronic Music Landscape. Get Ready to Embark on a Sonic Journey Through the Mind of Hammer, and Experience the Future of Dance Music....

Placid aka Paul Wise is chief in command at ‘We’re Going Deep’ – an expanding online community and record label, born from lifelong affair with the many shades of electronic rhythm and obsession for collecting records since 1988. He’s spent the last 3 decades moving heads and feet at venues, parties and fields across the UK and beyond.
On a mission to share and release new music via his label, you’ll find only the best in Acid, Electro, IDM, Techno and Deep House for the dance floor, front room or your headphones making the cut. For the 10th and final edition of his much prized various artist series, he unearths more machine fuelled magic: offering another set of equally excellent music from stellar talent.
Starting the dance, Dutch maestro Boris Bunnik dons his Versalife mantle to opens with ‘Skirmish 101’. Setting the machines to cycle, Bunnik fires a hefty slab of bass to bring down the walls whilst pristine robot like rhythms set your body in motion, all enveloped with sparse synthesis and shimmering effects. Crashing the joint with ‘Acid Baby’ - The Acid Pimp drops a no holds barred, riotous 303 workout that’s nothing short of a tour de force in exorcising the power of Roland’s most celebrated silver box. Putting pedal to the metal with drums and reverb, a smiley face or grimace is guaranteed!
Longtime collaborators Jamie Anderson & Owain K reset the dial on the flip with ‘Basement Dub’, a house paced workout that glides at a steady pace. Evoking the spirit of Mood II Swing whilst immersed in the depths of an underwater realm. Ending on the upbeat note of Konerytmi’s ‘Aamunkoitto’, the Finnish producer reflects a breezy disposition with a joyful melody, step-to electro beat and rolling acid bassline – all perfectly balanced to keep your calm and head out in the right direction, a great way to sign off on this highly collectable series.

Ltd. Purple & Black Splatter Vinyl. It's been four years since Zach Saginaw, aka Shigeto, returned home to Michigan from a stint in Brooklyn, NY, and since then, the multi-faceted musician has become a part of the fabric of Detroit's music scene. While always having a personal approach to his projects, Saginaw's influences for his third album, The New Monday are more about the community of Detroit than anything else. Named after a weekly DJ event called Monday is the New Monday that Saginaw does at the unassuming Motor City Wine with a group of friends, The New Monday is the result of Saginaw diving into the city's deep record culture, where there legacy of artist's of the past help Saginaw embrace his own contributions. "It's focused on a couple things and they all kind of come together to represent dierent things," explains Saginaw. "My time back in Detroit, back living in Michigan and spending time with a lot of kind of original people who have always been here, learning from them, hearing stories from them, being influenced by them, and inspired by them." While, in the past, projects like Lineage or No Better Time Than Now were rooted in strong personal messages, family and relationships respectively, The New Monday represents a communal eort where solidarity is the key. Going for a simplified approach of just trying to make good tracks, The New Monday is diverse in its styles leaning more into a dance music direction - new ground for a Shigeto project. A new air of confidence in Saginaw has expanded his horizons since his return to Detroit, but traces of his past work will continue to be present. "I don't want people to think I'm leaving anything," says Saginaw. "I'm still me. It's a result of me being immersed in the culture, and inevitably making music that is influenced by that culture whether it be house, techno, jazz, rap. It doesn't matter. It's all coming from what I love about Michigan." While The New Monday still features the jazz textures long associated with Shigeto projects, the varied elements that make up the album cohesively come together to show the distinct inspiration that Saginaw has drew from since his return home to Detroit. Like on "Barry White", which features Detroit hip-hop artist ZelooperZ (a member of Danny Brown's Bruiser Brigade crew who Saginaw also has a side project with called ZGTO), Saginaw captures everything he's been doing all on one track. As much as it's hip-hop influenced, it's a mutant that encompasses elements of dance music, jazz, and ambient sounds. Throughout The New Monday, Saginaw poignantly references the musical influences that have either always been with him or newly discovered. It is Saginaw's interpretation of Detroit's rich culture of innovative artistry, but done so with respect for the history and to contribute, not disrupt. "I think over the past four years, I can confidently say that I found my place here," describes Saginaw. "I'm happy here and I feel that I have the respect from the people I need respect from, that I want respect from. It's all of the result of embracing it and embracing, not Detroit, but embracing community, embracing family,








f A2D (FT. ZEELOOPERZ & SILAS GREEN) AAPV






f A2D (FT. ZEELOOPERZ & SILAS GREEN) [AAPV]

Warehouse Find!

Marking the first chapter of Hospital Records’ 2020 story is the return of their flagship compilation series, ‘Sick Music 2020’. Loaded with 25 brand new tracks from the world of drum & bass, ranging from fresh original productions to exclusive new remixes and future classics from the Hospital Records family and some very special guests. The album kicks off the year with first-class sonics from the likes of London Elektricity, Kings Of The Rollers, S.P.Y, Grafix, Inja, Fred V, Unglued, Urbandawn, DRS & Dynamite, Kanine and more.

Project from the label owners. Four tracks ranging from EBM, New Beat, to Techno.

Released in 1999 on Taylor Deupree’s 12k label, »optimal.lp« was the debut album by Dan Abrams under his Shuttle358 moniker. For its 25th anniversary, Keplar presents it on vinyl for the first time with three previously unreleased tracks—the digital version also includes a alternative version of »Tank«—as well as a new artwork recreated by Daniel Castrejón and a remaster by Andreas LUPO Lubich based on the original pre-masters that were been restored and cleaned up for the reissue project by Abrams. »optimal.lp« was inspired by the rich tradition of ambient music and the rhythmic complexity of 1990s electronica while also sharing many traits with the then-emerging clicks’n’cuts movement, making it a true sui generis piece of work—both informed by tradition and visionary, idiosyncratic and seminal for many artists after him.

Abrams developed an interest in ambient music when he was still a child, scouring through cassette tapes of environmental sounds, new age music, and world percussion. Discovering Brian Eno’s »Thursday Afternoon« as a young teenager marked a turning point for him. »It gave me the idea that ambient music could be an intentional creative act, that tone itself is a legitimate form of expression,« he says today. During the 1990s, he increasingly immersed himself in the electronica scene and the output of labels such as Instinct, where Deupree worked as an Art Director and released his first records as Human Mesh Dance. Abrams found a home on 12k after sending Deupree a demo tape that would later evolve into »optimal.lp,« released as the label’s fifth catalogue number.

Abrams was still in college when he started experimenting with a sound module, his laptop and a mixer as well as a MIDI card and a small controller. »Each note was composed in MIDI and played back when I was ready to record,« he explains his working process at the time. »The tracks could be replayed, but the sound interactions with glitches and noise would be a little different each time. I decided to base the concept of the album on these interactions.« Each piece started with a single sound or tone that, as Abrams puts it, already contained the entire composition: »I let these interactions guide me, and tried to complement them as I added sounds. It’s a conversation of sorts with the medium.«

While refining this technique that he would go on to use on every album until 2004’s »Chessa,« reissued by Keplar in 2021, he also used the first-ever Native Instrument product, the Generator soft synth, to write the record’s title track—possibly making it the first album on which it was being used. »optimal.lp« is marked by this curious interplay of cutting-edge technology, the limitations with which every college student with a small budget is faced, and boundless creativity. »I’ve talked with other artists about how we feel about our early work,« Abrams says today. »We all agreed that there were elements that remain a part of us in a timeless way, despite our techniques—or lack thereof—at the time. ›optimal.lp‹ has a lot of things that will always be with me, that are me. I think I left some clues in there for my future self.«

This sense of timelessness remains tangible after a quarter of a century after the album’s original CD release and is even being expanded upon by the vinyl reissue, which is complemented by three pieces that were made while Abrams was working on the album. The digital release even features an entirely new take on the original album’s final piece, »Tank.« While Abrams let one of the masters go through his customised reverb unit when preparing the reissue, he started recording the results of this accidental dialogue between past and present. It’s a fitting tribute to an album whose delicate circular rhythms, rich textures, and ethereal melodies are precisely so exhilarating because their interplay seems to suspend the passing of time altogether.

Welcome to yet another release orchestrated by DJ/Producer Roi Azulay. This latest release further demonstrates the undeniable talents of this up and coming producer featuring 2 dope alternate compositions taken from his critically acclaimed full-length release titled Reflections. A full-length album, which features a remix produced by the one and only Kuniyuki Takahashi. Keeping in rhythm and tradition this latest 12-inch release features not only two new remixes by Roi but also a supercharged remix produced by one of deep techno ambassadors Vince Watson.

And so, what you get here are 3 hot music compositions on 12ihch colored vinyl housed on a full colored / hand painted Jacket.
If you have an affinity for deep house and an even deeper one for musical electronics, then this colored vinyl 12 inch should be right up your alley. Let's go…