Cerca:rea

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this second volume, the Intercommunal builds unprecedented soundscapes around a song of revolt, a dance tune, or a burst of dissonance. The journey is unforgettable, no question about it. On repeat listening, it even becomes… lunar!

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music.

On this first volume, the Intercommunal takes its audience from New Orleans to Brittany and on to North Africa. The journey was bold, without a doubt—and its memory remains unforgettable.

“The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event.

In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers be longing to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world!

Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded.

“We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together.

“We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le- Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

Metaphon is pleased to present this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy, recorded in the 1970s and 1980s.

Liliane Donskoy (*1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis.

Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions.

Donskoy’s oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication.

Metaphon is pleased to present this première edition, which brings together a near-complete collection of the acousmatic works of Liliane Donskoy, recorded in the 1970s and 1980s.

Liliane Donskoy (*1933) is a French, classically trained pianist, music teacher, and composer of both instrumental and acousmatic music. She began her musical training at an early age, undertaking private piano studies with Yves Nat at the age of thirteen, shortly after the Second World War. During the 1960s and 1970s, she pursued advanced studies with prominent figures of twentieth-century music, including Darius Milhaud, Olivier Messiaen, Pierre Schaeffer, and Guy Reibel, and participated in courses led by Karlheinz Stockhausen, Luciano Berio, György Ligeti, and Iannis Xenakis.

Despite this extensive and diverse training, Donskoy encountered limited institutional and professional opportunities to fully realize her artistic vision. A decisive turning point occurred in 1977, when she gained access to the facilities of the Institute of Psychoacoustics and Electronic Music (IPEM) in Ghent. There, she realized and completed the majority of her acousmatic compositions.

Donskoy’s oeuvre is characterized by a high degree of structural complexity, precision, and expressive intensity. Her work reflects a pronounced and distinctive artistic temperament, manifested through a rigorous exploration of sound material and form. Notwithstanding its artistic significance, her music has remained largely unknown, as her compositions were neither widely circulated nor formally released, leading to their relative obscurity until the present publication.

Wired was an ephemeral improvisational music project formed by Michael Ranta, Karl-Heinz Böttner, and Mike Lewis. On 28 April 1970, the trio recorded an extended studio session of approximately 140 minutes, in collaboration with Conny Plank, who engineered and mixed the recording in real time, incorporating elements of live electronics. This session was subsequently edited to album length and released in 1974 as part of the Free Improvisation 3LP box set issued by Deutsche Grammophon, alongside recordings by Iskra and New Phonic Art.

Owing to its exploratory electric sound world and Plank’s distinctive spatial production techniques, the Wired recording acquired a degree of underground cult status, particularly among listeners associated with krautrock and psychedelic improvisation.

Shortly after the studio session, Ranta and Böttner travelled to Japan, where they spent approximately six months performing with Karlheinz Stockhausen at Expo ’70 in Osaka. In addition to these activities, they engaged in various independent musical projects and performances.

The present release, sourced from the personal archive of Michael Ranta, documents a live duo performance by Ranta and Böttner, recorded on 27 July 1970 in an outdoor setting in Kyoto (the exact location remains unknown), before an audience of approximately 200 music teachers. The recording exhibits sonic and aesthetic characteristics closely aligned with the previously recorded studio material, retaining the distinctive “Wired” sound while situating it within a live, site-specific context.

Michael Ranta: percussion, voice, home-made instruments, tapes, tape delay, effects Karl-Heinz Böttner: guitar, organ, ocarina, voice, effects

Wanda Felicia ist wieder bei Timmion Records mit ,Reflections Of Love" b/w ,All In The Game", einer gefühlvollen und echt menschlichen Doppel-A-Seite, die zwei sich ergänzende Facetten ihrer Kunst zeigt. Diese Veröffentlichung, die aus ihrem Debütalbum "Now Is The Time" stammt, rückt Wandas ausdrucksstarke Stimme und emotionale Klarheit in den Mittelpunkt, unterstützt von der unverkennbaren analogen Wärme von Cold Diamond & Mink. Auf der A-Seite sorgt ,Reflections Of Love" mit einem entspannten Funk-Unterton für mehr Tempo. Wandas Stimme schwebt selbstbewusst über dem Beat und vermittelt eine Reflexion über die Liebe, die ebenso tanzbar wie herzlich ist. Wenn sie ,you really got me now" singt, ist der Zuhörer bereits ganz bei ihr. Die B-Seite, ,All In The Game", verlangsamt das Tempo zu einer kraftvollen Beat-Ballade, in der Geduld und Ausdauer im Mittelpunkt stehen. Unterstützt von einem langsam brennenden Groove liefert Wanda eine Performance voller Entschlossenheit und stiller Stärke und erinnert uns daran, dass Liebe - wie das Leben - sich nach ihren eigenen Regeln entfaltet. Zusammen bilden diese beiden Songs eine wunderschön ausgewogene Platte, die Wanda Felicia von ihrer überzeugendsten Seite zeigt und ihren Platz als eine der faszinierendsten Stimmen von Timmion bestätigt.

Wanda Felicia ist wieder bei Timmion Records mit ,Reflections Of Love" b/w ,All In The Game", einer gefühlvollen und echt menschlichen Doppel-A-Seite, die zwei sich ergänzende Facetten ihrer Kunst zeigt. Diese Veröffentlichung, die aus ihrem Debütalbum "Now Is The Time" stammt, rückt Wandas ausdrucksstarke Stimme und emotionale Klarheit in den Mittelpunkt, unterstützt von der unverkennbaren analogen Wärme von Cold Diamond & Mink. Auf der A-Seite sorgt ,Reflections Of Love" mit einem entspannten Funk-Unterton für mehr Tempo. Wandas Stimme schwebt selbstbewusst über dem Beat und vermittelt eine Reflexion über die Liebe, die ebenso tanzbar wie herzlich ist. Wenn sie ,you really got me now" singt, ist der Zuhörer bereits ganz bei ihr. Die B-Seite, ,All In The Game", verlangsamt das Tempo zu einer kraftvollen Beat-Ballade, in der Geduld und Ausdauer im Mittelpunkt stehen. Unterstützt von einem langsam brennenden Groove liefert Wanda eine Performance voller Entschlossenheit und stiller Stärke und erinnert uns daran, dass Liebe - wie das Leben - sich nach ihren eigenen Regeln entfaltet. Zusammen bilden diese beiden Songs eine wunderschön ausgewogene Platte, die Wanda Felicia von ihrer überzeugendsten Seite zeigt und ihren Platz als eine der faszinierendsten Stimmen von Timmion bestätigt.

Welcome to the mind-expanding 1968 jazz recording of Bill Plummer and The Cosmic Brotherhood—where Eastern and psychedelic influences meld together to produce one of the trippiest jazz albums on Impulse Records. This LP is a much-sought-after sonic travelogue, with the pop-psych spoken-word sitar freakout of “Journey To The East” to Bill Plummer’s swinging, rapid fire/cool jazz compositions, to his covers that go straight to the heart of any 60’s genre-crossing jazz fans. Featuring an incredible who's who of the high-caliber talent bubbling over in the Los Angeles music scene at the time: Carol Kaye (legendary bass player of The Wrecking Crew), Maurice Miller (drummer in The Jazz Corps), Dennis Budimir (guitarist with Chico Hamilton Quintet, Ravi Shankar & Frank Zappa), Mike Lang (Piano with Flamin’ Groovies & Hal Blaine), Tom Scott (Saxophone with Gabor Szabo & Thelonious Monk), Ray Neopolitan (Bass for The Doors & Leonard Cohen), Milt Holland (Percussionist with The Wrecking Crew &
Captain Beefheart), Bill Goodwin (Drums for Mose Allison & Tom Waits).
Housed in a beautiful gatefold sleeve with iconic liner notes by Frank Kofsky, who comes out swinging hard in favor of the album, while shaking the dust off any jazz snobs left in the '60s who still were not ready to embrace the future of jazz. Produced by Bob Thiele who produced everyone from John
Coltrane, Art Blakey to Charles Mingus, this sonic rarity is yet another impressive vinyl reissue from the folks at Jackpot Records.

Odisea is the new album, actually the real debut from Los Retros, out in April on Stones Throw. It draws inspiration from 1980s Japanese City Pop, and marks a new creative chapter from Mauri Tapia shaped by growth, reflection, and renewed purpose. It's been a journey since Tapia first captured hearts with the lo-fi magic of "Someone To Spend Time With", recorded at the age of 17 on a humble four-track in his parents' living room. Now 25, the Oxnard native has stepped into an entirely new season of life - he married his high school sweetheart, became a father to two daughters, and embraced spiritual faith. Earlier this year, he revisited his start with Early Days (2016-2019), a compilation of unreleased music from Mauri's teen years. "Jazz fusion has become my favorite genre and greatest inspiration of all time," Mauri says. "I made this album for the version of me that first fell in love with music. It's my full-circle moment - a sonic hat tip to my beginnings - as well as a nod to the forefathers of jazz fusion and city pop for leaving us with great music." Through it all, he's kept the same DIY spirit, writing and recording every note himself, only now in a home studio of his own. On Odisea, Tapia blends neon-lit City Pop with the melodic sensibility of Latin American soft rock. Mauri's deep love for 70s and 80s jazz fusion records anchors the album, yet Tapia filters those influences through a modern lens. Odisea features two Japanese vocalists, - Hikari and HITOMITOI. Also check out Los Retros new compilation "Early Days" released simultaneously. RIYL soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust

Responsible Friend is an album about the ways in which we show up for one another. What does it mean to be a responsible friend - to be there for someone you love without trying to save them - in a society steeped in conflict and injustice? Some of the songs on Responsible Friend are joyful dedications while others feel more like letters Elizabeth wasn't sure she wanted to send. Taken together, it's a record about slowing down in a world that keeps accelerating. It's a commitment to friends, family, and self, at a time when everyone seems to be carrying more than they can reasonably hold.

Dirty Dike's legendary High Focus Records debut 'Constant Dikestar' featuring classics such as 'Pork Pie', 'Hi I'm James' as well as appearances from Jam Baxter, Fliptrix, Ronnie Bosh, Edward Scissortongue, Mr Key, Leaf Dog, BVA, Stig Of The Dump and more!

Limited edition 15 year anniversary repress on colour vinyl, full colour 350gsm reverse board sleeve. 14-track LP over 1-disc. Shrink wrapped.

Silver foiling on the '15 Year Anniversary' text on front of sleeve.

Album comes with digital download upon purchase.

Amsterdam's Dionisos' (also known for his collaborations with Pete Blaker for LL & Hot Biscuit Recordings) debut 12" on his own Lovers Yacht imprint.

Dionisos, the project’s producer, possesses a solid foundation in live music, which is clearly reflected in the way the grooves evolve, resonate, and gradually heighten in intensity. The tracks “Mother Earth”, “Father Sky,” and “Bon Voyage” form an exciting trilogy—a daring journey into the musical universe. Captured in a single take, they were subsequently methodically overdubbed and layered, preserving the essence of musicians interacting in real time.

Instead of pursuing drops or studio glitz, the music focuses on capturing the spirit, interacting only with the original vibrations of the one take. These songs flow with the precision of musicians in a band. They develop organically, demonstrating their strength gradually; music for dancing that relies on emotion rather than spectacle.

In a most original impetus this album traverses forty years of Italian new wave and singer-songwriter tradition. As in the desert where Infesta’s urge is to walk, we are ambushed by the most intense thermal and sonic difference.

It is from here that this important journey we mustn’t miss begins. It leads us eight thousand meters deep in the blue abyss. Not quite enough to come out the other side and, as a kite, bestow all the heights that I will reach. These depths are nevertheless necessary to adjust our eyes to the darkness that lives within us, as a machine to burst our hearts to which we can’t and won't be accomplices.

Machine against machine. The increasing pressure of the lashes of an incessant current, at times sweet and at times sour, on which all the courage is sung and yet is everywhere dispersed like thoughts on water and melodies to be lost at sea. Darkness persists: you said the world can be lived where all was taken. And it’s a crazy and estranging babbling that, stripped by a current, answers: never never never never, in no direction.

My companions, come back, the breaking point has been found, we sing together. Leaf after leaf the time has come: it is possible to destroy the Machine in a mad blinding light.

Tapping into the otherworldly frequencies of the UFO series, UK-born, Lisbon-based prodigy Rene Wise arrives on Dekmantel with an assured demonstration of his position at the cutting edge of real techno.

Andrew Shobeiri appeared in the cut and thrust of the scene fully-formed around 2017, instantly bringing his Rene Wise alias to top-tier labels with a razor-sharp combination of functional minimalism and mind-warping flair. There's no grey area fluctuation in his hypnotic, intentional sound — this is deep, captivating techno for the long haul, music to submit yourself to.

True to his sound, Rene Wise makes his presence felt on Dekmantel UFO with a varied spread of sounds, leading with the melancholic charm of the melodic sequences weaving through 'Johnson's Theme' before sinking into the engrossing folds and low-end rumble of 'Granite Skin'. There's a lighter atmosphere at play in the vaporous impulses that mark out 'Flow' before rolling into the rhythmic urgency and strafing bleeps of 'Kanga'.

This is the Dekmantel UFO experience as expressed by one of the leading lights in modern techno — an artist who understands the psychoactive power contained within the subtleties of production and pursuit of the ultimate loop.

Returning to Winthorpe after a five-year hiatus, Irish electro producer DeFeKT delivers a heavyweight 12-inch packed with four cuts of his unmistakable electro-techno hybrid sound, reaffirming his status as a true underground craftsman. Opening with the low-slung bass bounce of "It's Down", before sliding into the Detroit-influenced groove of "Your Body Will Learn", from there DeFeKT turns up the tension with the twisted, menacing pulse of Overcome before closing the release in epic fashion with the widescreen synth swagger of "Always"! A confident, statement from an artist firmly back in his element.

Die Montrealer Ikone Tiga kehrt mit seinem vierten Album HOTLIFE zurück und läutet damit eine neue Ära in seiner unsterblichen Techno-Reise hin zu absoluter geistiger Freiheit ein. Mit Beiträgen von Boys Noize, Matthew Dear, Fcukers, MRD, Gesloten Cirkel, Paranoid London, Maara und den neuen Studio-Experten seiner Heimatstadt Priori und Patrick Holland befindet sich Tiga mit HOTLIFE auf dem Gipfel des Musikbergs und versetzt die Zuhörer mit ansteckenden Dancefloor-Klängen in Begeisterung: ,Wenn ich die Catharsis Machine einschalte", sagt der berühmte Sänger und Produzent, ,spielt es keine Rolle, ob Sie reich oder arm sind, denn Sie werden ein freier Mensch sein ..." Die Rückeroberung seines Platzes an der Spitze des himmlischen Firmaments der zeitgenössischen Tanzmusik verlief nicht ohne eine fesselnde und nachvollziehbare Erzählung. Nach einem mühsamen Kampf mit einer neurologischen Erkrankung, die er entdeckte und ,Vibe Fog" nannte, befand sich Tiga an einem Scheideweg: ,An einem bestimmten Punkt hieß es entweder, das Exoskelett zu kaufen und meine Virgin Megastore-Aktien zu verkaufen, oder Tiga City von Grund auf neu aufzubauen, Stein für Stein, Wasserspeier für Wasserspeier." Das Ergebnis ist ein Tiga, den langjährige Tiga-Beobachter als ,engelsgleich" und ,furchteinflößend" bezeichnen, was zu einem Album geführt hat, das die destillierte Essenz eines Trendsetters einfängt, der über alle menschlichen Grenzen hinausgeht. ,Meine Ja/Nein-Reaktionszeit bei künstlerischen Entscheidungen ist außergewöhnlich", fügt Tiga hinzu. ,Wir haben jede Sekunde, die wir bei jeder kreativen Entscheidung eingespart haben, in die Laufzeit des Albums reinvestiert. 12 Songs. 60 Minuten. Bemerkenswert."

Very Limited 7” EP with printed lyric inner sleeve

Purely Physical Teeny Tapes continue to sink their teeth into the fleshy nethers of the contemporary oz
underground, plucking the self-titled ep of vivisected bedroom folk by naarm/melbourne trio Who Cares?
from the recesses of net anonymity for the greatest of good.

Upon appearing out of nowhere back in ‘24, the quartet’s debut registered (feverishly) somewhere
between immediacy & beguilement, the intervening year & change doing little to dull its aura, the
mystique only heightened by their suitably gorgeous appearance in wonderful company on a colourful
storm’s recent ‘going back to sleep…’ compilation-extravaganza. The conceit of these four tracks here is
disarmingly minimal - repetitious loner guitar strummage, oblique vox poetics as lullaby, intermittent
sunken percussion, bass the subtle melodic lugger - all recurring/revolving in delicious pirouette freefall,
un-rinseable within the mind, wayward melodies stuck like heat-warped treacle.

As with the firmest of its diy domestica ilk, there’s something ever so slightly off here, the carnivalesque
nature of this thing being the ‘what?’ that keeps pulling you in. parched ennui drip, fully zonked bacchanal
(anti-)energetics, listlessness rendered bedsit anthem, cooees in the hallway. depending on how your
head is screwed, ‘correct’ or otherwise, one might hear a charmed take on a vein of folk song fallen well
by the wayside/behind the mantle, others a seance for the spirits in the kettle, others more attuned to the
myriad wraiths swirling within the outer reaches of these songs, flights of whimsy foiled by a sticky, gluey
something or other. choose, or rather submit to your own adventure. Miaow miaow miaow.

Mannequin Records presents a special release that bridges two generations of electronic body music: DAF’s iconic track “El Que” reimagined by French techno and EBM pioneer Terence Fixmer.

A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.

On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.

The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.

Fixmer explains:
“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe. For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact. I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”

DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.

Generic Flipper, the debut album by Flipper, remains the most absorbing full-length LP to emerge from the early San Francisco punk scene. A constant source of imitation for so-called "noise rock" bands, it has yet to be surpassed in its nihilistic glee.

Recorded between October 1980 and August 1981 and released in 1982 on the indispensable Subterranean Records, this album functions as a chaotic, sticky mass of individual personalities: the magma-like bass eruptions and dual vocals of Will Shatter and Bruce Loose, Ted Falconi's icy guitar scraping and the relentless beat of drummer Steve DePace. At times playful and taciturn, paranoid and absurd, Generic charts a deliberate path that willfully chances destruction.

In early '80s punk, when the hardening default was "faster-shorter-louder," Generic subverts the nascent hardcore scene with a strictly applied regimen of turgid-slower-heavier. The lyrics are bleak, yet unnervingly beautiful. "Ever" sets the tone with trademark restraint – "Ever wish the human race didn't exist? And then realize you're one too?" – while closer "Sex Bomb" is a churning, 8-minute epic with looping bass, saxophone accompaniment and electronic effects of dropping bombs.

Tons of indie bands have attempted to recreate Flipper's mix of acidic guitar, metallic bass sludge and sardonically brilliant lyricism, using the seemingly effortless template they pioneered; however, the effect usually drives listeners right back to Generic. While most of their contemporaries wilt under direct comparison, No Trend, the Butthole Surfers, feedtime and Church Police are a few who can stand the frigid heat.