Поиск:r 88

In January 1985 The Beloved emerged via a John Peel session (Produced by a very young Mark Radcliffe). They had a second session broadcast in October and didn't release their first single, A Hundred Words, until early 1986.
On the independent Flim Flam label they released a further 3 singles/eps , later compiled as an album, Where It Is.
By autumn 1987 they had slimmed down from 4-piece to the original founding duo of Jon Marsh & Steve Waddington.
Jon went to NY to pursue some label interest, meet some heroes - Mantronik, Latin Rascals.
& came back with a record box full of early house cuts. Within weeks he was tipped off by a friend about a semi-secret party in a gymnasium in Bermondsey. He went searching and found Shoom.
Having already shared the record box with Steve he took him to the club within a few weeks, knowing full well he would be equally enthused/entranced!
Having just been signed to WEA , notionally as a poster-fodder pop group, the band experienced a seismic shift in direction. Their first attempt , Acid Love, was on promo 12' within months. Their second house track was Your Love Takes Me Higher, first released in early 1989 with great club support but zero radio play.
The third was Sun Rising, late summer that year which became their first hit single.
The album, Happiness, a distillation of the fun & optimism & energy of the 88/89 (acid) house scene was released in 1990 to great acclaim and YLTMH even got a second release and just scraped into the top 40 at #39!
A remix album, Blissed Out, was released In autumn 1990, with a new recording It's Alright Now as a single.
Awoke is the most complete track from their last collaborative sessions.
Jon continued recording as The Beloved with his wife Helena as co-writer/co-producer.
Their first release in early 1993 was the single Sweet Harmony which was a major hit record worldwide.
Both single and the accompanying album Conscience were their biggest selling releases.
A further album X, with the single Satellite arrived in 1996.
A re-released Sun Rising and a best-of, Single File in 1997.
Then silence.
Remixes as The Beloved, several releases under different names (on Junior Boys Own, & NRK), and a full time dj career until 2005/6.
Still silence.
'I can't split up with myself so i think of it as hibernation' says Jon.
Until now. Music that is both old & new.

Creating a composition means making decisions. During times in which you virtually have all sounds that have ever been recorded at your availability, composers must choose between infinite possibilities. The duo Ellicist does not perceive this contemporary ocean of possibilities as too much choice, they are swimming in it. Ellicist are weaving thick textures from the most diverse tones and rhythms. Their tracks are placing synthetic buzzing, the croaking of frogs, low frequency billowing and humming, flutes, the droning of flies, and the whole spectrum of the digital creation of sound next to one another. This intensity of sensations is not supposed to overstrain the listener, it invites them to follow a process. This music does not have a strict structure; instead, it is breathing openness at every moment. Ellicist are incessantly oscillating between abstraction and elements of pop music. Melodies are being hinted at, and sounds are being piled up, at times tirelessly. Fragments of etheric choirs or field recordings are unfolding their associative power. The melodious Ink is a track full of touching intimacy and is in constant motion until it eventually pauses to create a silent ocean of sound. Passage People is permeated by a groove of throbbing synths. The tapestries of sound of Ponds & Graves, on the other hand, are creating the foundation for expressive percussions. Ihnen Steg is almost a dub track. During the opener Hennepin and its follower Lilei sounds of palpable corporeity are being combined with ones that are hardly tangible. Point Defects has a incredible spatiality. At one point you might believe that you are able to precisely localize the sounds in an imaginary system of coordinates. And then the whole systemization crumbles. It is an astonishing production: you can almost taste the sounds. Biographical Notes: Ellicist are Thomas Chousos & Florian Zimmer. Chousos studied composition in Greece before moving to Berlin, where he is working as a producer and sound engineer under the moniker Tadklimp. Florian Zimmer has been playing with several groups. Besides Ellicist he is a member of Saroos and Driftmachine.

Rsd Title

acques Bon, host of the Smallville record store dependance in Paris debuts Live At Robert Johnson with pure deep house vibes. "Fractals" features two tracks by the Parisian artist and two remixes by Lauer.

Critically acclaimed jazz reissue on the Disques Vogue label. Red vinyl with white splatters. Specialist marketing.

New York's indie disco freaks Phenomenal Handclap Band is back with a second single on Toy Tonics: Jail. With remixes by Detroit's Waajeed and Marcel Vogel of Lumberjacks in Hell. Including a club edit by Toy Tonics head honcho Kapote. The band was responsible for one of Toy Tonics' biggest tracks in 2018: Judge Not: The Ray Mang version became a hit on open minded dancefloors around the globe: with support from DJ's like DJ Harvey, Cassius and Gilles Peterson (who put it int his - best track of the year' list) but also more house DJ's like Berlin's Keine Musik Crew, Soundstream or Superpitcher. The band's members are kind of heroes to many connoisseurs of the funk/ disco scene. The band leader Daniel Collas was playing keys in Amy Winehouse legendary backing band. Other members are connected to Mark Ronson's crew or San Francisco's Stones Throw universe.. just to give u the bigger picture. With The Phenomenal Handclap Band they blend the unique vibe of 1970ies Power-Soul in the traditon of Charles Stepney and Rotary Connection with today's new disco vibe. Parcels, Toro Y Moi, Roosevelt are not that far. Important fact: All played live, no samples. Mixed by the champs at DFA. The band is part of Toy Tonics's masterplan to expand their dancevibes into more live played scenarios.. stepping out of the strict DJ context. Fun fact Paul McCartney wrote the band a letter saying how much he loved their music when he first heard the band on BBC Radio 1.

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

I wanted it to be the biggest sounding Foo Fighters record ever. To make a gigantic rock record but with Greg Kurstin's sense of melody and arrangement... Motorhead's version of Sgt. Pepper... or something like that.'

So speaks Dave Grohl of the mission statement made manifest in Foo Fighters' ninth epic, the aptly-titled Concrete and Gold, due out September 15 worldwide on Columbia Records and available for pre-order now.

Concrete and Gold marries some of the most insanely heavy Foo Fighters riffs ever with lush harmonic complexities courtesy of a first time team-up with producer Greg Kurstin (Adele, Sia, Pink). The first taste of which came in the form of anthem of the summer Run' which was described by The Times as 'epic', Music Week as 'Classic' and Shortlist as 'the best thing they've done in years'.

Concrete and Gold was written and performed by Foo Fighters, produced by Greg Kurstin and Foo Fighters, and mixed by Darrell Thorp.

Foo Fighters are Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett, Pat Smear and Rami Jaffee.

Originally released as a Paddy McAloon solo album in 2003 and now fully remastered. A 9 song CD and double LP (1 side is etched) which includes several instrumental tracks including a 22 minute title track. Features new artwork and liner notes written by Paddy McAloon. The album was conceived and recorded after Paddy was diagnosed with a medical condition that dramatically affected his vision and has become regarded as one of the great lost classic records. Ads, features, interviews and reviews across all press. Radio support across 6Music, R2, Absolute and ILR network. Online/social media activity. Poster campaign and database mailout.

There have been millions of typical disco edits in the last years. But there is so much more interesting music from the late 1970s and early 80s yet to bubble its way to the surface. One of those lesser explored fields is the crazy funky side of Germany's underground disco and new wave from that period. At the time, many German bands were trying to make their own version of English and American styles. After Kraftwerk and Can had started to use the German language in a cool, new way, many bands that followed in their steps experimented with German new wave. Most of these bands didn't reach a bigger audience. Their records never got pressed to more than 300 - 500 copies as they were a number of years ahead of the huge commercial explosion of German pop in 1984: The NDW aka 'Neue Deutsche Welle", with Nena's humongous hit 99 Red Balloons. The bands featured on the compilation released their music before the NDW hype and later broke up. Plenty of these early bands are best forgotten but if you dig deeper you'll find the gems, bursting with style and attitude. And that's just what Toy Tonics heads Mathias Munk Modica & Kapote did. They hit gold.

Guadeloupe 1986. The football World Cup has all the Islanders' eyes riveted to their TV sets. At every half time breaks, local TV channel RFO broadcasts a music video on repeat: ''Tou't Jou Pa Min'm". Max Rambhojan, the local singer responsible for this monster tune, has arrived.

In the video, he effortlessly sings and kickstarts a joyous street party with his band, Show Man, his dancers, kids, friends, family and what seems like the whole neighbourhood. The song will gain cult status from then on, cementing the power of the 'Zouk Chiré' sound, a high tempo version of Zouk, highly influenced by Guadeloupe's Carnival mass drum bands. Max self-releases his first solo album on vinyl in 1985, enrolling some of the best musicians the scene has to offer: his band leader King Klero, Guy Jacquet of les Vikings de la Guadeloupe fame on production duties, Ramon Pyrmée on synths, Claude Vamur, Meliza... In 1992 a new solo album follows. By then the artists have familiarized themselves with computers and the sound has gone full-on digital. In that album Max records an updated version of his 'Tou't Jou Pa Min'm' anthem to great effect.

Reducing Max Rambhojan to a zouk artist would be a mistake. He's first and foremost a master of Gwo-Ka, a musical practice born during the transatlantic slave trade and performed by all ethnic and religious groups of Guadeloupe. It has never ceased to exist and has become a major part of the Island folk music culture. Max Rambhojan was schooled as a kid by Gwo-Ka pioneer Guy Conquette, and quickly joined the backing band of another legend, Ti-Sélès. That sound is the root of his particular style, especially vibrant on two tracks in his repertoire: 'Cecilia' and 'On Jou Matin', both featured on this release's b-side. A touch of Spiritual Jazz is also palpable, allowing a magical vibe to spread, giving birth to some of the deepest music from this era.

In 2019, Max still performs Gwo-Ka every week-end in Guadeloupe and also hosts a show on local radio Media Tropical, 88.1FM. Secousse and Hot Mule are proud to present those 4 lost gems on wax and digital, carefully restored and remastered.

Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis's exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis's alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n' Spell to the accompaniment of the randomised melodic patterns of DeMarinis's homebuilt electronic instrument 'The Pygmy Gamelan', the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis's restless probing of the possibilities of new technologies, from the hacked Speak n' Spell (which gives us the austere 'Et Tu, Klaatu' 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy's synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin's voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator's musical life). In between we get a rich sampling of DeMarinis's signature work with speech melodies - usually unnoticed melodic inflections that lie within speech patterns - which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing ('Cincinatti (1830-1850)' sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven's Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is 'a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic'. Presented in a deluxe gatefold sleeve with archival images and liner notes by Paul DeMarinis. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

ZAUBERBERG - Wolfgang Voigt's most fundamental (and foreboding) release under his alias GAS and perhaps of all in his untold discography - finally stands alone once again and is released in the way its original splendour.

Originally released in 1997 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS 'BOX', ZAUBERBERG is now released on his own label KOMPAKT on 180 gram vinyl in its original.

Though this narcotic symphony is not the first release under the GAS moniker, ZAUBERBERG is the first to disclose the true nature of Wolfgang Voigt's unified sound and ideology as GAS. Layers of ominous intensity supported by muffled kick drums as classical music loops incessantly swirl with no direction, ZAUBERBERG is the definitive GAS album and a perfect starting point for those not familiar with his music.

ZAUBERBERG - Wolfgang Voigts grundlegendstes Album als GAS und vielleicht das vorahnungsvollste aus seinem Katalog wird nun in seiner ganzen ursprünglichen Pracht wiederveröffentlicht und steht somit wieder für sich.

Erstveröffentlicht 1997 auf dem Frankfurter Kult-Label Mille Plateaux, dann wiederveröffentlicht als Teil der GAS BOX 2016, erscheint ZAUBERBERG jetzt auf 180-Gramm-Vinyl bei Kompakt.

Auch wenn diese narkotische Symphonie nicht die erste GAS-Veröffentlichen war, offenbarte sich mit ZAUBERBERG die wahre Natur der Voigt'schen Einheit von Klang und Ideologie. Schichten von ominöser Intensität werden durch gedämpfte Kick-Drums unterstützt, wenn Loops aus klassischer Musik ununterbrochen und richtungslos wirbeln - ZAUBERBERG ist das definitive GAS-Album und ein perfekter Ausgangspunkt für diejenigen, die nicht mit dieser Musik vertraut sind.

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released on CD by Unit Records in 1995. Born in 1948 and residing in the medieval Swiss town of Lenzburg, and virtually unknown outside of the German-speaking world, Häusermann is a multi-instrumentalist and enormously prolific composer who works primarily in the medium of absurdist music-theatre. A virtuoso wind player and free improviser who also composes for traditional classical instrumentation, his work is characterised by subtly surreal humour and the unlikely combination of extended technique and simple, at times almost child-like, melodic ideas. Named after his rehearsal room in Lenzburg, Galerie Randolph uses an enormous array of instruments to craft a work of singular compositional vision. Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones played on a home-made contraption stretching two guitar strings between the top of Häusermann's alto saxophone and an amplified cup, and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements (whose pitch gradually raises throughout the record) are complemented by entirely different material, all of it played by Häusermann. Ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time. Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison. Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

Presented in a deluxe gatefold sleeve with gorgeous archival images by the composer. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

Key selling points: - Black Truffle is excited to announce the release of the first-ever vinyl reissue of Ruedi Häusermann's Galerie Randolph, a masterpiece of solo multi-tracking originally released in 1995, the album utilises an enormous array of instruments to craft a work of singular compositional vision.

- Calling up the most unlikely combinations of possible predecessors - Erik Satie, Gerry Mulligan, and Helmut Lachenmann perhaps -Galerie Randolph ultimately defies comparison.

- Each of the twelve pieces begins from the same two elements: a woozy, sliding scatter of tones and a series of uneasy block chords sounded on accordion and reeds. On each piece these two elements are complemented by entirely different material, ranging from layered flutes to one-finger piano melodies to unintelligible vocals to musique concrete interjections to free jazz saxophone explosions, these additional layers combine with the endlessly returning idée fixe of the foundational elements to create a truly dream-like listening experience, a gently deranged realm in which we lose all sense of linear time.

- Almost unknown except to a select group of cognoscenti such as Jim O'Rourke, yet destined to become a cult classic, Galerie Randolph is an instance of that most rare thing: music the likes of which you have never heard before.

- Galerie Randolph is presented in a deluxe gatefold sleeve with gorgeous archival images by the composer with design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

DGTL Records hits close to home with their latest release 'Dancing Glass Figures' by De Sluwe Vos. The dj/producer has been affiliated with DGTL since the beginning, as he played at numerous of their festivals from day one. So it was only a matter of time for De Sluwe Vos to release his music on DGTL's label. With Dancing Glass Figures he delivers a strong 4-tracker that is truly hard to resist. De Sluwe Vos has been making waves lately, not only with his steady sets but also with his own label Patron Records, which has seen a string of well-supported releases since its launch. Never Know, the first track of the EP, takes no prisoners, as this straight-up banger with the hard-hitting synth line keeps you captivated throughout the entire track. The repetitive vocoder vocals give the track a spacey touch, especially during the break. De Sluwe Vos teamed-up with fellow Amsterdammer Sjamsoedin, who's known for his exceptional synth knowledge and hard-hitting live-sets. Together they produced a strong lead track that you will definitely get to hear a lot on the dance floor.

Fast rolling drums and a dreamy warm synth lure you into the title track Dancing Glass Figures. But don't get too comfortable, halfway into the track you will get a sturdy surprise, which only makes the track more interesting, while taking you back to where it all started at the end of it all.

Moving on to the B-side. Sophisticated Topless Raver is mesmerizing, with an intriguing and hypnotizing melody that comes and goes throughout the track. Bringing in some hard claps and an eerie laughing vocal, this track for sure is one for the later hours.

Bambounou has the honour to close-off the EP with a remix of Sophisticated Topless Raver. The French dj/producer, who's been on everybody's radar this past year, slowed down the original version and added a sleazy bassline, synth stabs and extra percussion, while keeping the melody and the vocal. Making the track just as enticing as De Sluwe Vos' version.

A comprehensive overview of the Violent Femmes 30+ year career, features
17 of the band's biggest hits including 'Blister In The Sun', 'Add It Up',
'Nightmares' and 'American Music'.
The double LP is being pressed on Coke-botle clear vinyl and limited to 3,000
copies. Cumulatve worldwide sales of the Violent Femmes are in excess of 10
million copies.

The second release on 4GN3S (pronounced Agnes) is an angular and shadowy 5-track EP by The Golden FIlter. The 'Dislocation' EP is five pariahic pieces paying equal homage to minimal wave, post-punk, no wave, and electro, but retaining Stephen and Penelope's inventive presence. Before 'Talk Talk Talk' became a 2018 summer festival anthem by accident, it was always meant to be the lead track on this EP. Like Siouxsie vs early Human League, but heavier. Originally available only as an extremely limited edition duplate at Rye Wax, 'All The Way In' is a jittery electro beat workout sounding as if Anne Clark were fronting Drexciya. Beatless and odd, 'Dislocation' first premiered on Fort Romeau's Essential Mix on BBC Radio 1. It's Part art-piece, part word association, and part No Wave experimentalism. A mutating arpeggiated bass and an ominous tone drive 'Cut My Hair' into a incongruously sci-fi dark dance netherworld. 'Temple' is classic Golden Filter, with modular bass blurbs, soft vocals, and an 808 beat doused in analog reverb. Dance music to sit in the corner and think to.