2021 repress !
Pump In Da Wind famous tune... A pure Pumpin Hardfloor killer... And some enormeous tracks also here with that Tribe Funk space slapper.
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Summit meeting between 2 beasts !!!
Printed sleeve & inners
Master by 1NC1N
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Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...
The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.
The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!
“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.
Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.
Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.
From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.
The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...
With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.
Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.
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Scanone is a producer who has proven his versatility and so it's no wonder he's been tapped up for some killer tunes by the Reposition label. This blistering electro EP features three originals that mix up industrial textures with caustic drums and star-gazing synth work. 'Vivre' is an eye-watering opener with sheet metal sounds and frosty pads, 'Kraft' is then a slower more pensive electro soundscape and 'Vertabre' has a truly brutal groove that will rattle the walls of any club space, as well as dislodge brain cells. Sync 24 rounds things out with a remix of the same cut that becomes a sonic blizzard.
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expected to be published on 14.04.2023
European - Indie retail first - limited edition: Black Ice / Red Split with Splatter Vinyl Deluxe LP! All-New Debut Solo Album from JERRY ONLY (bassist/singer) of the Legendary MISFITS! CD/LP packaged in Glow-in-the-Dark ink and spot UV finish. For fans of the Misfits, Halloween, Horror Punk... Features guest appearances by Dave Lombardo (Slayer, Mr. Bungle), Rob Caggiano (Anthrax, Volbeat) and more. All vinyl editions are cut at 45 RPM for maximum sound ferocity!
expected to be published on 14.04.2023
2023 Repress...!
splatter vinyl
Sheffield production // DJ trio Denham Audio, make their Lobster Theremin debut with an incredible 5 tracker of breaks and bass, backed with a club fuelled remix from Lobster family regular Maruwa.
EP opener ‘Feel The Panic’ sets the pace, crunchy drums with scorching acid basslines and old rave esque vocal hooks, merging into a dancefloor driven weapon.
‘Volt’ injects a punch, chopped up drum sequences with floating vocals and pulsating synth lines, one for the early hours of the dance.
On the flip side Denham Audio leads with a drum driven roller ‘Bobby Wobbler’, breaks and beats soar and transform into a weighty number.
‘Check 1’ blends classic rave esque sound pallets with punchy kick drums and clean, crisp synth lines.
Maruwa’s remix of ‘Check 1’ showcases her incredible ability to create productions destined to do the business in the clubs, hands in the air pads play gracefully with the drum elements from the original production. This one is for the ravers.
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Blue Vinyl[22,90 €]
Auf dem neuen Longplayer Crime Scene lenkt die bayuwarische Artrock-Institution ihre Aufmerksamkeit auf das Morbide, das Perverse, das Böse im Guten, die Abgründe des menschlichen Verhaltensspektrums in all seiner unvorhersehbaren Vielfalt, die dann manchmal auch so bizarr verstörend schlüssig daher kommt, wenn man denn ansetzt sie ergründen zu wollen.
In sechs dicht-atmosphärischen Tracks haben sich RPWL wieder einmal auf intensive Reisen durch die eigene Bandvita, als auch die jeweils eigenen Plattensammlungen begeben. Das Bemühen von Vergleichen ist immer so eine Sache, denn immerhin ist dies die 19te Veröffentlichung dieser international erfolgreichen Band. Die teils morbid-düsteren Themen werden mit old-school Fuzz konterkariert, das knapp 13-minütige "King of the World" mit seinem knurrenden Big Muff und seinen flächigen Vibes, oder "Life beyond Control", das mit seinem Offbeat-Einsatz sicher zu den härtesten Stücken in der RPWL Diskographie gehören dürfte, legen ihr Geständnis auf der Crime Scene ab. "Live in a Cage" bringt das das Kalkül des wie immer akribischen Sounddesigns dieses neuen RPWL-Albums auf den Punkt, nahtlos schließt sich "Red Rose" daran an. Pflaster auf Schusswunde als Prinzip. Aber der Wahn der normalisierten Gewalt wabert in so vielen Haushalten unter der vermeintlichen Harmonie, die die vier Musiker hier den Hörer glauben lassen. Wie fühlt es sich an, überhaupt kein Konzept von Freiheit zu haben, die Angst die bürgerliche Sicherheit zu verlassen aber größer ist? Allein im Lockdown-Jahr Jahr 2020 erfasste die Polizei über 119.000 Fälle von partnerschaftlicher Gewalt, 139 davon mit tödlichem Ausgang, die sich in über 80% der Fälle gegen den weiblichen Part in der Beziehung richteten.
Yogi Lang kommentiert aus künstlerischer Perspektive er sei schon immer von gesellschaftlichen und persönlichen Schattenseiten fasziniert gewesen. Kalle Wallner stellt die Gretchenfrage, wie man es denn mit dem Bösen an sich halte: "Wer macht uns zu dem wer wir sind? Ist es eine Frage der Genetik oder sind es doch die sozialen Umstände, unsere Kindheit, Schicksalsschläge, Druck oder Kränkungen?"
Das ‚Böse' bildet eines der Kernthemen auf Crime Scene, welches über das Band-eigene Label Gentle Art of Music erscheint. Als wertig aufgemachtes Digipak, drei unterschiedlichen Vinyl-Versionen (180Gr. Schwarz, 180Gr. Lim. Rot, 180Gr. Lim. Blau) und natürlich Digital.
eclipsed - Album des Monats:
"RPWL ist damit ein geradezu kriminell spannendes Werk gelungen. ....Auf "Crime Scene" spielen RPWL alle ihre Stärken aus. Tatorte gesichert. Fälle geklärt. Mission erfüllt. ... Wuchtige, cineastisch anmutende Arrangements, wunderschöne Melodiebögen, bewegende, leise, behutsame Momente und ein ausgesprochen spannendes Konzept hinterlassen einen starken Eindruck..."
SLAM (Highlight März/April)
Wieder einmal haben die bayrischen Artrocker RPWL ein Konzeptalbum am Start und wieder einmal kommt nach dem ersten Durchlauf der übliche Gedanke: Das ist absolut großartig, aber man hat keine Ahnung warum genau. Was haben die in Freising in ihrem Wasser, das ihnen erlaubt zu scheinbar egal welchem Thema eine Klangwelt zu bauen, die es so kein zweites Mal gibt? (...) Man kann gar nicht hoch genug einschätzen, wie wertvoll die Existenz so einer Band ist, es bleibt am Ende ein einfaches "Danke".
expected to be published on 31.03.2023
Transparent Vinyl[25,63 €]
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Black Vinyl[22,90 €]
expected to be published on 31.03.2023
2023 Repress
The Hypnus clergy is pleased to present the debut album of our beloved initiate Luigi Tozzi.
Released in the light of the summer solstice full moon of 2016.
Supported by Cio D'Or, Claudio PRC, Deepbass, Evigt Morker, Ness, Svreca, Oscar Mulero, Artefakt, Ben Buitendijk, Giorgio Gigli, Exium, I/Y, Jonas Kopp, Kwartz, Samuli Kemppi, Eric Cloutier, Abstract Division, Brando Lupi, Nobody Home and many more.
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An incredible heart 'n' soul story continues this spring with the release of Reel People's first original album in over a decade, Love2.
Produced by core collective Oli Lazarus, Mike Patto and Toni Economides, and with a fresh vocal line-up including Raheem DeVaughn, Muhsinah, Chantae Cann,
Michael Champion, Paula, Jill Rock Jones, Eric Roberson and Arrested Development's Speech, this super- fine, 10- track opus marks a further powerfulevolution of the Reel People sound.
Weaving contemporary R&B sensibilities into the collective's classic grooved-out flow, Love2 embraces the out- and- out euphoria of love but offers an entirely unique voice.
Love2 is a monumental addition to the Reel People canon, following acclaimed album releases Second Guess, Seven Ways To Wonder and Retroflection. New
songs and sounds, but the same soulful passion and craftsmanship. New friends and flourishes but the same mission to move hearts, minds and dancefloors.
First original Reel People album since 2008 !
Featuring a plethora of US Vocal talents including Raheem DeVaughn, Eric Roberson, Speech from Arrested Development, Chantae Cann, Michael Champion, Paula, Muhsinah & Jill Rock Jones
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Repress from Choc Frontal, Axium 03 and Violente Mutation.
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Gold Vinyl
Since 2008, "438Hz As It Is, As You Are" is "only" the third solo release from Tomoyoshi Date. The last one dates from 2011. Less is more.
In parallel, from 2013 to 2021, he has recorded some releases in collaborations with Toshimaru Nakamura, Ken Ikeda, Stijn Hüwels, Asuna and Federico Durand.
"This record was recorded on Diapason's upright piano made in the 1950s at the house of his maternal grandmother's sister (*). The piano has moved and tuned many times, and now it has arrived at my living room. It was a pre-mass production piano with a thick board and good sound, but I couldn't tune it without replacing the screws and the weakened base. After consulting with the tuner, I decided to tune the whole tune to the sound of the strings wound around the loosest and most inseparable screws. "As it is"
*Mikiko Yamada: A performer who formed a Japanese music group of contemporary Japanese music in 1964 and made Biwa the first five-line score. She also had a samisen, so I called her "Aunt Pen Pen". Her husband was a shakuhachi player, so she was "Uncle Boo Boo".
When I tuned in the summer, I tried to tune at 442kHz, but I changed the tune in the winter to 438kHz. From now on, the pitch of this piano will decrease year by year as the material ages. I will play the decaying piano and continue to record music that can only be done at that time.
When you drop a needle on a record, a sound is produced on the spot, and the sound constantly changes depending on the air, temperature, and humidity around the needle. The sound also affects all of the listener's life, affecting the frequency of the person's body and mind. The effect of the sound once generated will last forever.
This work was created with the intention of having the listener adjust the pitch at the desired speed according to the mood and frequency of the listener at that time. With a little faster 45 turns, you can listen to this dilapidated piano at 440kHz or 442kHz. You can slow it down, or adjust the number of rotations as you like, whether it is 33 rotations early or late. I really like the stretched sound of the recorded piano. When you want to relax, use slow music to adjust the pitch of the space around you, the creatures, and your own body and mind. "As You Are"
Tomoyoshi Date
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After three years of deep work, Stas Karpenkov's debut album is released on Gost Zvuk in the form of an abstract, free-form study. The album is saturated with the Black Sea breeze and the natural beauty of the peninsula, a land associated with the life of the author. It's a musical representation of its surrounding reliefs, an ode to the cyclicity of the waves, and a journey through soundscapes. These manifestations of maritime romance also include the experience of co-producing with Terrence Dixon and Kuzma Palkin on a couple of tracks that play an important role in the idea of the record.
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