Suche:run run

Schmer has tried to stop, we've all gone into therapy, but there's no hope, short of setting the world ablaze: we can't stop smoking! 2019 see's Schmer pressing TECHNO records in the EU and PRICED in Europe as a domestic release. As if the continent didn't already have enough problems, here we come with our latest COMPILATION!

First to drop a match is Amber Shoshona aka Bastet. She is a live electronic music performer and DJ based in Baltimore, MD USA. Her live set is coarse-grained and atmospheric, developing a slow-burning, hypnotic groove. In the studio she creates genre bending electronic experiments. For Schmer she made 'Torn', which sneaks right up to you and lights you up.

Delivering oil to the blaze from deep in the Russian arctic is Maxim Makarenko aka 777minus111. The unknown hero from the Russian Techno label he remains in the shade and keeps it real! He runs underground parties in Moscow and is a member of Vinyl Ambulance project in India. He keeps our compilation 'Getting Dirty Quick' with his Dan Bell inspired MINIMALISM.

On the flip the fires start with Vague Audio Tapes label head Dominic Martin aka Hero/Victim. Hero/Victim is a sonic attempt at translating unanswered and unheard emotions. Visceral and physical; so as to both, engage and purge the evolving dissonance. Never content. With sound as a context-sensitive metaphor, stories are heard. He also makes weird electronic music and then Schmers all over us with a 'New Stress'.

Schmerhead BPMF hides a track from another release in this inferno. Its super short as in it goes on FOREVER with a LOCKED GROOVE at the end. If you're gonna be an emcee, do it in a Wormhole on a LOCKED GROOVE so that the rock will never stop.

Liza Weinstein, Zach Vietze and Jason Szostek were Jack Move. In 1994 they may have made two tracks together, but this is the only one we found lying around in the basement floor. Long before the skinny jean hipsters were rocking beats deliberately designed to confuse the dance floor with their lack of flow, The Jack Movers were experimenting with cryptic funk... It was a Jack Move on their part and they immediately ran out of town to escape retribution, leaving behind their 'Krippy Shit'.

We Can't Stop Smoking so you'll always be able to find us because where there's smoke, there's fire... and where there's TECHNO there's SCHMER!

Clutching At Straws is a brand new label established by Brian Ring. Born in Cork, Ireland. Ring has been residing in Berlin for over 4 years, during which time he has lent his dancefloor-focused, predominantly house sounds to a range of renowned labels including Freerange. Running Back and Bordello A Parigi. A producer who values a vehement quality-over-quantity approach, Clutching At Straws represents the first time Ring has helmed his own imprint. Featuring two originals as well as a remix from London producer Kiwi, the Reflections EP is most definitely deserving of the wait.

We kick off with 'Acid Sunrise', a classy house cut that envelops the listener in a warm glow from the off. Full of colourful motifs throughout, it's part acid/part Balearic-tinged sound is the perfect antidote to Europe's current climes. Characterised by a nimble, catchy-as-hell baseline, this one is pure dynamite of the sort that will sound at its most pronounced as the first signs of morning begin to enter the dancefloor.

Next up is Kiwi, a producer who's been making power moves of his own lately thanks to a host of well-received cuts for the likes of Jennifer Cardini's Correspondent, Tennis' Life & Death and Optimo's Optimo Music. His dramatic reinterpretation of Ring's 'Forest Walk' , is a highbrow gem that's full of gorgeous melodies and all-round positive vibes, with the man in charge changing the narrative quite exceptionally toward the track's final phases.

Culminating the record is the sounds of 'Emergency Tool', a real statement track that's sure to leave DJs and dancers in a frenzy over the next few months. An upfront banger of the sort that wonderfully incorporates both house and techno elements, it starts off on a fairly innocuous tip before unfurling into an uptempo beast. Full of clever bells and a vocal that demands us to 'move!' (as well as a wailing cop siren that only heightens the sense of mania), 'Emergency Tool' is a track that's destined to be used by discerning DJs when they really have to step things up a notch.

Limited to 150 copies.

First production of the label Sound Crack Records, 'Organic Feeling (Tool
Mix)' is a run through the jungle, savage, tribal, the raw nature animals of
Mama earth bring the feeling of being in the middle of them, the TR08 add a
kick to the efficient duo live drum Fleury Saint Denis. A real tool for house
and techno DJ's to pump the energy to the top.
On the B side comes 'Before Midnight (Evolution Mix)'. This techno track is a
trip in the urban jungle, when the city sounds are coming out of nowhere, the
melody of the steel tongue drum live played by DJ GSD is bringing the human
vibration to heal the soul. An old school touch of Detroit techno, mix with a
meaningful speech of Kennedy will take you travelling through the evolution of
mankind.

Bei Flatpocket Dreht Sich Alles Um Die Scheine Oder - Um Es Genau Zu Nehmen - Um Das Nicht Vorhanden Sein. Das Erste Album Von Flatpocket Hieß "geldfundphantasyen" Und Erschien Im Jahr 2012. Sechs Jahre Später Sind Twit One Und Lazy Jones - Die Beat-genies Hinter Dem Projekt - Immer Noch Pleite Genug, Um Ein Ganzes Album Darüber Zu Machen: "dispo Ii Dispo". Obwohl Flatpocket Durch Samples Und Dialoge Die Ganze Zeit Über Geld Spricht, Ist Der Subtext Eigentlich Die Ablehnung Des Materialismus Aus Einer Künstlerrischen Perspektive. Klanglich Ist Es Ein Halbes Beat-tape, Ein Halbes Hörspiel Und Ständig Dope. Inklusive Features Von Hulk Hodn, C.tappin Und Bob Marley.

Limited Edition heavyweight 180g Vinyl EP - PURSUIT by KWALIA, available now! Following the success of his 'Wallflower' and 'Cloak' LP's, breakthrough artist Jordan Rakei has teamed up with classical composer Richard Melkonian for something entirely new, releasing their debut EP 'PURSUIT' under the name 'KWALIA'. Joining the dots between their respective musical sensibilities, a hybrid sound incorporating free moving jazz rhythms, Rakei's soulful vocals and Melkonian's Armenian harmonies came to fruition. A deep, melodic and emotive journey, the EP features string quartet, woodwind live band and heavy synths throughout. 'PURSUIT' is an authentic blend of two entirely different musical worlds that complement one another in an entirely new way. Rakei's expressionist lyrics unashamedly explore questions about faith, God, identity and power structures. Several of these themes came about through discussions between Rakei and Melkonian and the musical structures of each track follow this free-form enquiry; ideas are allowed to flow, unexpected tangents form and no predetermined song-form is ever adhered to. Running at 22 minutes in length, the EP is comprised of three long compositions.

"On Pursuit, they continue the fruitful partnership with three-long compositions that meld meandering jazz rhythms with Rakei's achingly beautiful vocal work". - XLR8R

"'The Waves' is a superb fusion of their disparate influences, the mellifluous arrangement in a perpetual state of flux, grinding dissonance leading to soothing ambience.

Jordan Rakei's vocal continually strains against the rules, displaying the same daring that flooded through Tim Buckley's late 60s work." - CLASH

Written and produced by Jordan Rakei and Richard Melkonian

Recorded, mixed and mastered by Rick David at Pink Bird Recording Co.

A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg's Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as 'a funny version of some Imam praying on top of an electronic Groove', .'Kairo' is all you want from an oddball record: fun and funky, weird and wonderful. Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: 'No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn't inhuman.' For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic 'Kosak 2000'. And to close with Mark Twain: Man was made at the end of the week's work, when God was tired.

On Pedro Vian's second album, the now Amsterdam-based artist opens up a new sonic chapter of his life, running through depths of emotions and feelings, traversing moments of euphoria, fury, serenity, hope and love. Recorded between 2014 and 2018, the self titled LP opens with a melodic flourish, drops down through mournful vocal driven pieces and lands on fast moving synths across a set of 12 deeply personal tracks.

A follow up to Vian's 2016 acclaimed debut album 'Beautiful Things You Left Us For Memories' - supported by Pitchfork, RA, XLR8R, Ransom Note, The Quietus, NTS - this sophomore LP shows the breadth and maturity of Vian's sound, falling in between the cracks of downtempo electronica, ambient and post rock. Pedro discloses: 'I have tried to be sincere, transparent and pure. During the recording process I have avoided artificiality. I do not like the overproduction of music. I like to feel the naturalness and the essence of the beat of the instruments. I like to look inside until I find something real with which to communicate'.

'Pedro Vian' arrives on Vian's own Modern Obscure Music imprint, home to like-minded artists such as Jamal Moss, Gavin Russom, Tevo Howard, Ivy Barkakati, Eterna and Sau Poler. Vian initially cut his teeth in the Barcelona scene, first as part of the duo Aster with JMII on Hivern Discs and Jamal Moss' Mathematics then as a solo producer on his own Modern Obscure Music, MM Discos and Spring Theory.

Rich NxT's 'The Brigade' EP was a 2018 cross over highlight. Thematically linked to its predecessor, 'Hard To Be' stands as the unofficial follow up.

Rich's last outing for the influential imprint was large by any standards, spreading far beyond the FUSE dancefloors finding support from many places. Led by EP track 'Serious', which was heralded as one of the tunes of 2018 by Mixmag in their mid-year review, it got love from Seth Troxler and the Martinez Brothers at Circoloco, alongside heavy rinsing of 'Brigade' and 'Eight' by all the FUSE residents.

The 'Hard To Be' EP comes as another on-point three-track work from Rich that channels the same versatile spirit. 'Wah' is an uplifting slice of original house, mirroring the accessibility and fun of 'Serious' with a catchy riff that runs throughout. The track created an enormous buzz on the IOM group with hundreds of comments and I.D requests pouring in throughout the year, and soundtracked parties everywhere from Fuse's raves at Studio 338 terrace in London, Sonus festival and The Martinez Brother's Cuttin' Headz at ADE. 'Interrobang' is head-nodding brilliance as twisted bass and sampled attitude characterise the seven-minute peak time banger. 'On The Rocks' rounds out the EP as punchy kicks and buttery smooth bass mark this work of grooving minimalism, echoing the spirit of Fuse029's 'Eight'.

And so closes this chapter of Rich's impressive body of work. In the process it's proved what we already knew all along; his knack for providing fail-safe dancefloor ammunition for the Fuse faithful and beyond, remains as strong as ever.

Taken for the widely played and adored Lenny Williams Spark of Love Album, which was released during the Disco Era of 1976 and featured disco hits like, 'You got me Running', I still Reach and 'Midnight Girl' comes 'Changes.'

Edits and Overdubs Produced and Performed by Joaquin Joe Clausell; Changes is the tune that was mostly ignored from the extensive Lenny Williams music catalogue.
Similar to his past works where he chooses songs that are mostly un popular to the outside world but classics amongst himself and his siblings at home, Joaquin Joe Claussell takes this Jam that he used to groove to at home as a young teenager, lifts it out from obscurity and turns it into something that will sure be played by most DJ's who are into the Lenny Williams Sound, soulful disco and beyond.

Listed at a time length of (5:03) Joe cleverly up lifts this soulful disco composition and extends it to a time of (9:01). He achieves this, as usual, with respecting the original composition and with never anyself-masturbation. In the end, the results are a New Disco Classic that drives with relentless energy and enough soul for anyone who's seeking more soul that hailed mostly from the urban side of American disco music.
So, listen, dance and spin.

Lenny Williams - Changes Edits & Overdubs by Joaquin Joe Claussell will be the first single to come out from the forth coming Joaquin Joe Claussell Presents Edits & Overdubs PT 2 2XCD and Special Limited 7Inch.

Lyra is DeWaltas fourth large solo-project and third full-length solo-album following Wander in 2012 (on Haunt), llumination in 2014 (on Meander) and Dark Matter in 2017 (on Amphia) besides - Residual' a collaboration-album with Mike Shannon.

The album consists of two individually available parts: a double LP (Lyra) with 6 tracks on Meander as well as a single LP (Lyra Pi) with 5 synth and ambient works. The Ambient-Part launches a new Meander Horizon Pi series-- a departure from Meander's well known dancefloor releases.

Lyra is by far DeWaltas most extensive and refined project to date. With 11 exclusive songs, a total running time of over 100 minutes - plus a collaboration with long time friend and Meander co-owner Fabian Geimer-Lorusso aka. Jupiter - it marks a new beginning of ambient and score-like modern electronic music works as well as the continuation of his inspired intellectual-emotional approach to dance music.

Lyra is a star-constellation in the northern hemisphere which is highest in the midnight sky in the early summer months. It contains one of the brightest stars in the sky - Vega. Many of the songs on this album were produced in these warm and gentle months during an inspirational creative time in Portugal.

In Greek mythology, Lyra represents the Lyre of Orpheus, Apollo's son. Made by Hermes from a tortoise-shell, it was given to Apollo who then passed it along to Orpheus. It is said to be the first music instrument ever made

Kumasi was a group comprised of Ray Phiri, Jabu Sibumbe, Isaac Mtshali and Lloyd Lelosa. Sometime between their formation as The Cannibals (*needing reissues*) and the almighty group Stimela, Kumasi released one album and a couple of singles. The artists had contracts under Gallo and couldn't reveal that they were linked to the music in any way, leading Kumasi to have only a brief mysterious run in the early 80s.

But the secrets out! This release presents a collection of five songs from their incredibly rare full length LP, and adds to that their version of the South African classic, 'Picnic'. Pressed as a 2x12' compilation, sounding incredible! Kumasi brings a unique blend of disco funk with that special South African tinge.

Ray Phiri died in 2017 - this album goes out in his dedication.

*Release has four variations of the Protea flower sticker*

The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer. Or so began the liner notes on the original pressing of this album.

Truth is often stranger than fiction. In 1998 Desco Records—a precursor to Daptone and Soul Fire records—released The Daktaris' Soul Explosion, ostensibly as a reissue of an unearthed Nigerian LP from the seventies. Though it's now common knowledge that the story was a bit of a hoax, the record's significance as a seminal part of the Afrobeat and afro-funk renaissance of the last two decades cannot be denied. The roots of the Budos Band, Antibalas, and uncountable others can be traced back to this enigmatic afro-funk release.

Now, two decades later, Daptone has remastered the album from the original tapes, including a bonus track that had previously only been available on a 45, and featuring extensive all new liner notes by Bosco Mann telling the bizarre true story behind the Daktaris sessions.

KEY MARKETING POINTS:
- FULLY REMASTERED, including new bonus track, 'In the Middle.'
- Extensive new liner notes by BOSCO MANN explaining the real story behind The Daktaris.
- Features members of The DAP-KINGS and ANTIBALAS.
- Features JOJO KUO (drummer for FELA KUTI) on vox and percussion.
- Originally released on DESCO RECORDS in the 1998, has been out of print for years.
- The spirit of the late, great Fela Kuti runs through The Daktaris' Soul Explosion. - Jazz Times

A welcome branching out into the reggae universe, Rocafort is proud to present The Circle of Confusion featuring the legendary sweet falsetto voice of Cornel Campbell. Lausanne Switzerland meets Kingston Jamaica in this heartfelt, stripped back, feel-good homage to the late 70s roots reggaestyle.

The Circle of Confusion are a Swiss production duo: Seb.K (Shakedown productions) and Phil'eas (Black Diamond Sound). Diehard reggae fans, they dared to contact their favourite Jamaican singer and got a result with Campbell delivering the lyrics on the spot, written on the day of Nelson Mandela' death. There's depth and feeling in this wonderfully lilting, plaintive song, typical of Campbell's social consciousness and beautiful soul. Hard to believe it was all strung together in a shiny, clean Swiss studio when the sound is so simply warm and Jamaican. Beautiful run on the keyboards by Jah Lou.

If you were moved by the Rhythm and Sound album of 2001, you will not be disappointed with this splendid roots collaboration. We can only hope there's more to come.

Die mit Hochspannung erwartete zweite Ausgabe der Dancer-Anthologie von Pauli Steinbach, Sascha Dive und Patrick Kunkel dreht sich rund um eines der vermutlich meist zitierten Vocal-Samples der Housegeschichte - eine mehr als würdige Hommage an Soul Train, Paradise Garage und andere Hotspots
aus den Frühzeiten elektronischer Tanzmusik zu Beginn der 1980er Jahre. Funky, flächenbetont und mit dem Dancer-typischen modernisierten Kinky-Verständnis tänzeln
Pauli und Sascha durch die glitzernden Pforten des Soul Train, eine entspannte Deep- Disco-Hymne, bei der sogar Saxophon-
Samples wie das Tüpfelchen aufs i passen.
Der von Pauli gemeinsam mit Patrick produzierte Remix auf der Flipside bewegt sich etwas weiter weg von den originalen
Songstrukturen und präsentiert sich dabei als kongeniale Handclaps-Orgie mit Aciddisco- Anleihen. "Come on spread yourself over me like peanut butter", aber sehr gerne doch.
The highly anticipated second issue of the Dancer anthology by Pauli Steinbach,
Sascha Dive and Patrick Kunkel centres on one of the most quoted vocal samples in the history of house music. It is a
homage to Soul Train, Paradise Garage and other hot spots from the initial period of electronic dance music in the early
80s. Pauli and Sascha dance through the glitzy portal of Soul Train, a relaxed deep disco hymn where even the saxophone
samples fit like the icing on the cake.
Pauli and Sascha do this in a funky way and with the modernized kinky understanding that is characteristic for Dancer.
The remix on the flip side produced by Pauli in cooperation with Patrick ventures a little further from the original sound structures. It presents itself as a kindred handclaps orgy with borrowings from
acid disco. "Come on, spread yourself over me like peanut butter", but of course -- with pleasure.

Off the back of the highly conceptual project 'Plata - Last Dayz', Circadian Rhythms quickly return to focus on their white label series and solidify their signature sound. CRWL003 takes form of three club driven tracks from the arsenal of Leicester based producer R@ (Lewis Ireson). The 21 year old's current studies in Video Game Development have evidently started to seep into the ferocious sound that has drawn him attention.
His praised debut EP 'Neural' was released on Stella Beats in October 2018 and following his DJing debut at the CR003 Live event alongside Mssingno and Plata, he now continues this run with his first vinyl release, showcasing his signature production.

Being introduced to the work of Ludovico Einaudi at a young age, Joram started composing and home recording his own neoclassical piano pieces. The thread that runs throughout his compositions is the minimalist character: repeating structures that slowly build and fade. The works are electroacoustic spaces of sound with a felt, warm, melancholic undertone - translating indefinable moods into music.

Following a run of sought-after releases on cassette from artists including Anthony Naples, Xvarr and E Ruscha V, Good Morning Tapes switch to vinyl for their latest (and first with HJ).

By Mahbunzi Nahgo Pihndi ("All the Healing Green Leaves of the Forest') aka Brian Close, one half of New York avant-garde duo Georgia:

'This record is an extension of a foray into trance ritual music. It is structured as a companion for film, meditation, vision seeking & sound rest.

It is by nature a nature worship record, combining acoustic percussive improvisation, sensory foley, vocalized staccatos, and a specific brew of physical / metaphysical sound relations... mind hush / thought flush / spirit rush / sun rise.

Inspired by an initiation ceremony of the Bwiti / Fang people of Gabon. This collection relays a fragmented branch of timings of this ceremony and proposes other paths for the sacred (Mougongo) instrument.

Recoded + Restructured + Reflected as a time capsule, with fullest respect / blessings to breeze the Bwiti understandings through the current climate.

Proceeds of this record will be donated to Tata-Yo (Nganga), Ebando.'

Phil Ranelin's first record as a leader is worlds away from his later 1976 offering, Vibes From the Tribe. The Time Is Now is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and "Black Destiny" reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective -- Marcus Belgrave and Wendell Harrison -- as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie "Shoo-Be Doo" Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on The Time Is Now were ahead of their time, clustering a rhythm section as part of the horn's front line ("13th and Senate" and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B ("Time Is Running Out" and "Times Gone By"). The Time Is Now is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music. Thom Jurek/AMG

Sit down in your comfiest jawn, strap those noise-cancelling jawns on and prepare for those jawns in your eye sockets to tumble out your head when you hear this collection of thumping jawns whipped up by Philadelphia's BPMF. One half of legendary electro duo Synapse with John Selway (who he co-runs the equally-esteemed Serotonin imprint with), BPMF has been churning out no-nonsense electro smangers and experimental techno since the early 90s. Currently he holds the title of Eastern Pennsylvania's premier live-PA electro dad while also running his own label, Schmer. Various Jawns is exactly that; four varied jawns packed on one plate. 'Tell Mommy Bye' is an electro ripper in the true American lineage while 'Trunq' and 'J'pn' are lighter, more noodling affairs. This plate's entrée, 'House of Jawn', is a fourteen-minute knob-twiddling trip through the twisted fever dream of a raver long past. Thankfully our esteemed producer has given us a respite from the beatdown about halfway through. Drop the needle there to start the adventure at the Lower House of Jawn if brevity is your thing, man.

Black Rain returns with Computer Soul: the final part of a sequence of Blackest Ever Black releases that began with 2011's Now I'm Just A Number: Soundtracks 1994-95, and a first glimpse of the project's richly imagined future. For this outing Stuart Argabright (Ike Yard, Dominatrix, Death Comet Crew) is joined by BR founder member Shinichi Shimokawa as well as more recent recruit Soren Roi and Zanias (vocalist on 2015's Dark Pool) - making for the most most group-oriented iteration of Black Rain since its earliest days. Sonically too, there is a sense of evolution but also of coming full circle: the cyberpunk techno of Argabright's celebrated William Gibson soundtracks (compiled on Now I'm Just A Number) and extrapolations of Dark Pool's neuromantic yearning cut with glimpses of the thrash and industrial rock energies that animated Black Rain's incendiary live shows - and sought-after tapes for Kombinat and TPOS - in the early 90s. More than ever, Black Rain is propelled by a powerful science fiction impulse, whether responding to the themes and characters of Gibson's Sprawl or the Blade Runner universe (particularly K.W. Jeter's spin-off/continuation novels which extended its mythology, and timeline, further). It's not news that many of these works' most powerful predictions and prophesies have come to pass - the replicants are already living among us - so Computer Soul projects further into several possible unforeseen futures, its events 'set' in the second half of the current century, fifty or so years after those of Dark Pool. The hyperpopulated metropolises of Dark Pool are no more; the apartments are empty, haunted by ghosts of AC current, devices and machines running lonely without their owners...a melancholy internet of things. Where has everyone got to Gone but perhaps not gone. Oblivion beckons - always does - but on the other side of that, something else... another time, another place, a river....and a new way of living.