Search:sam o b

Propriété Privée is the pinnacle of Congolese musician Sammy Massamba’s style: a successful fusion of African and American music heritage, halfway between Franco and Otis Redding, Fela and Wilson Picket, King Sunny Ade and Aretha Franklin.

Home made in Paris, self-released in 1987, with only 1000 copies hand
distributed, the 4 tracks EP features the nastiest funk, boogie, soukous, rumba and electro pop soundclash the Eighties could offer.
Carefully restored, remastered and repackaged in total respect with its original release. The vinyl lacquer reissue was even made by its original author, the legendary André ‘Dédé’ Perriat. Sammy Massamba’s life story is printed together with photos and liner notes on the inner sleeve of the 12". He still
lives in France and is available for interviews, showcases, live shows and any
sign of the gratitude he deserves

Honey...rich And Flavorful, Hitting The Deepest Sweet Spot.

Drivetrain (detroit, Usa) - Inside You
Label Founder, Derrick Thompson Sets It Off With A Primetime Floor Filler.
The Gravitational Pull Of The Bass Riff Encapsulates The Vocal Hook As The Keyboard Refrain Perfectly Aligns With An Aggressive Percussion Track.

Rennie Foster (vancouver, Canada) - Detroit City
Demonstrating A Much Deeper Persona, The Sultry Piano Sets A Moody Atmosphere. Luxuriant Strings And Expressive Bell Tones Conjugate As The Vocal Signature Pays Homage To The City Of Inspiration.

Melodymann (ghent, Belgium) - Nobody Else
Explicitly Designed For Maximum Body Movement, A Solid Percussion Theme Is Immediately Established. Soon An Animated Chord Progression Is Introduced,
Then Showered With Kinetic Vocal Samples For Amalgamated Electricity.

Mark Ryal (sitges, Spain) - Imperfect Perfection
This Elegantly Fluid Soiree Debut Parades A Sphere Of Warm Pads Throughout.
Articulated Harmonies, Elastically Weave A Blissful Sonic Terrain Atop An Unyielding Groove Framework.

On His Second Full-length 'degenerate', Turkish Producer, Artist And Designer Berk Çakmakçi Uses A Plethora Of Found And Recorded Sound To Create Shape-shifting Compositions Where Noise, Drone And Post-club Sounds Are Filtered Through Industrial Textures. 'degenerate's Brooding Sound Design And Disregard For Textural Uniformity —lo-fi Soundbites From Youtube Vids Merge With Sharp Blasts Of Digital Noise On Short But Intense 'spit'— Is Informed By The Trans-international Chaos Of The Political Zeitgeist. The Closer 'nothing To Break' Searches For A Throughline In The Current Wave Of Destruction And Death, And Plays Out Like Several Movie Trailers Going Simultaneously. Often Making Sharp Turns Within A Single Song, 'degenerate' Is Ostensibly Aggressive And Fragmented. At The Same Time, It Reconfigures The Residue Left By Contemporary Paranoias And Obsessions.

The Album Is Mixed By Ahmet Türk And Berk Çakmakçi, Mastered By Beau Thomas And Features Art By Bora Akincitürk And Type Design By Amir Jamshidi.

After expanding its roster and musical scope into jazzier terrains with Jukka Eskola Soul Trio, Timmion now introduces Sami Linna Quartet. Led by guitarist Linna, this international group of elite players paves way for their full length album with the single release "Mode For Tomorrow" b/w "Umoya".

The single hints to what's to come with a deep modal tune referencing 1970's spiritual jazz on the A-side, and groovy soul jazz on the flip. You can immediately hear that these compositions have been crafted with thorough understanding of the tradition, but with passion and capability to breath them to life in this modern age.

The lineup is truly something to write home to. Linna himself has over 20 years of experience working in the Finnish jazz scene, same as saxophonist Jussi Kannaste. Organist Mikko Helevä plays in Jukka Eskola Soul Trio as well as a host of other top jazz groups. But it is drummer Dana Hall who's is the most seasoned member of this experienced troupe. Namedropping might seen lame, but in this case we'll take it there as Hall has worked side to side with Joe Henderson, Kenny Barron, Bobby Hutcherson, Ray Charles, Horace Silver, and Benny Golson to name a few.

Both tracks get a single edit treatment here and the full length versions will be available on the coming album. This is not jazz for the faint hearted, but the real deal meant for real people.

Spiritual Peanuts Sorting Priorities

* Dom & Roland Productions, the label, has gone from strength to strength since its conception in 2006.
It Features Dom's new solo work and his collaborations with other visionary artists such as Noisia, Hive and Amon
Tobin. The label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'.

* BEACH BUM - DOM & ROLAND

There's someone on the beach playing a catchy picked out guitar riff. The waves are lapping. A surfer walks along the beach carrying their surfboard, their hair is blowing in the wind. They are thinking about how powerful and awesome the ocean is in it's contrast to the serene and quiet sunset beach, They like the guitar a lot!

* DRED SOUND - DOM & ROLAND

Big Sound! In a large warehouse in Kingston Jamaica, a kid turns up with his laptop and a keyboard full of playable samples. The kid's twisted some funk era breakbeats into gigantic proportions and is trying out song structure ideas whilst listening back on the the huge sub bass system. There are a lot of people sitting around, everyone stops to listen, they never heard anything like this. It's raw, and powerful, and they like it!

To happiness through simplicity. Rendering a very personal tribute to well understood minimalism, the same that is based on simplicity and conceptual refinement and that is adapted to the creation and musical production -respecting that electronic maximum canonical of "less is more" - in terms of its compositional process, instrumentation, mixing, effects, etc. 'Simple Things' can be danced throughout the night. It is a collection of tracks with punch, made from the clarity and personality that characterize Nacho Marco, susceptible to being played at very different times and places. Exhale, from beginning to end, a natural love towards the dancefloor. From the simplicity of the search for this objective, its author -in his Warm Studio in Valencia- has used different rhythm boxes -programmed internally- for each track in order to, also based on a raw mix - especially in percussion and basses - to provide the tracklist with a varied air -between digital and analogue- through which to enjoy traveling through deep-house, nu-disco, acid, etc. and, therefore, in funk, soul, jazz, etc. From Chicago to Valencia, passing through N.Y. and Detroit. And all this avoiding arguments and essays of style. From a maximum freedom of creation and enjoyment. Yes, we are facing a "100% Nacho Marco" job.

Pressed on Yellow Vinyl. Features tracks from Manoo, Atjazz, Jackson Braithwaite & Dave Anthony. HEAVY afro vibes.

The sensitive mountain » (la montagne sensible) is the nickname Alain Bashung came up with for Arnaud Rebotini. At the height of his fame, after the success of Fantaisie Militaire in 1998, Bashung readily agreed to create an album with Rebotini. The two men didn’t know each other; their record label had introduced them. Bashung brought in “Mortel Battement” and “Nocturne,” two poems by Jean Tardieu, which he recited in a voice simultaneously warm and flat, and Arnaud produced an impressionist soundscape that ended with an apocalypse of metal. Bashung was so proud of their collaboration that he offered to give several interviews to promote the record. Today, listening back to this moving Léo Ferré influenced "talking singing" exercise, it’s hard not to hear the template for L'Imprudence, the album that Bashung went on to record with Rebotini two years later. In a similar way, the album Organique sparked a productive partnership between Rebotini and filmmaker Robin Campillo, which resulted in their being awarded a César for Best Original Music in 2018. The director, who trusted Rebotini to create the soundtracks for his films Eastern Boys and 120 Beats per Minute, never kept his love for the 2000 record a secret.

Yet it’s an understatement to say that when it was released, Organique was not in the spirit of times. That year was all about the French touch. The funky samples of Modjo’s “Lady” and Superfunk’s “Lucky Star” ruled the sweaty dancefloors. Although Rebotini was familiar with the electronic scene, he had something else in mind when he set about creating Organique. Under his own name or under the pseudonyms Aleph, Avalanche, Black Strobe, Maison Laffitte, and of course Zend Avesta, he had already released several quite bizarre and experimental techno, house, or jungle maxi singles on pioneering labels like P.O.F., Source, and Artefact, run by his friend Jérôme Mestre’s, whom he had met back when both were working as record salesmen at Rough Trade’s ephemeral Parisian store. It was at Artefact, still financed at the time by Barclay and Universal, that he naturally proposed this record project, which was a bit "different." It was his first real album.

Arnaud Rebotini has never hidden his love-hate relationship with the electronic scene. He’s a fan of rave music, Rex, and later Pulp, but he listens mostly to metal and contemporary music, mainly American minimalists such as Terry Riley, Philip Glass, Steve Reich. He wanted to mix this genre with a more French aesthetic inspired by Debussy, whose unconventionality fascinates him. From the first suspended guitar note of Organique, you can pick up another influence, possibly poppier. In the style of Mark Hollis, the erratic leader of Talk Talk, whose only solo album’s silences and dissonances left their mark two years earlier, we hear the fingers touching the keys of the clarinet on “Ondine.” The instruments have presence, character. Nothing is smooth. Everything is organic.

Although it’s sometimes labeled as electronica because of Rebotini’s career, there’s nothing digital about Organique. No "pro tools" editing or samples, only programmed drums and some synth layering. And his guest vocalists. Playing the role of electro producer, he invited Bashung, of course, to join him on the album, but also Roya Arab, who Rebotini first spotted while she was playing in Archive, and her sister Leila, Gus Gus alum Hafdis Huld, Kat Onoma’s Philippe Poirier on the “Samuel Hall” inspired track “Qu’est ce qui m’a pris,” and former KaS Product member Mona Soyoc.

The frustration of a tour where he had "little to do on stage," the desire to sing himself, and the creation of the Black Strobe project, a haunting mix of blues and rock, stopped Zend Avesta from putting out another album. Eighteen years later, the Organique we rediscover today has lost nothing of its strangeness, nor beauty. When it came out, Bashung said, "What is interesting for a musician is to feel that you have a piece of wasteland in front of you, something to clear.” That remains true today.

The second release of Samulis own label continues the analog excursions and direction set on the debut release. All tracks are recorded live performances executed with analog machines only. Raw and functional techno without compromises. Play it loud.

The third release from Samulis label Power Of Voltages is an excursion to broken 4/4 on the A-side tracks and muddy lofi aesthetics and restrained progression on the B-side tracks. All tracks are live recordings executed with hardware only. Raw and functional tracks, already tested and approved on some of the finest floors.

As a musical act, Xeno & Oaklander (Sean McBride and Liz Wendelbo) conflate a rich love of analog synths, melody, and mythology with eloquent nuance and a nod to the heritage they draw from. While that construct is the duo's immediate kiss and crush, there's a deeper importance to their collaboration which began in 2004. As evidenced in their debut Vigils (2004), McBride and Wendelbo's artistic dynamic is more than just a mutual love for electronics but a contrast between architectural precision and painterly expression. From the film scores to the traditional albums they've recorded in their Brooklyn studio, they've both spurred and fostered the global synth wave revival through a commitment to analog-only production and performance as well as a strident respect for the medium.

On their latest album Hypnos and first for the Dais imprint, the duo leveraged the talents of visual artist and live sound engineer Egan Frantz to mix the album. It's a touch that adds both punch and balance, allowing their inherent conceptual voices to converge into a collage with defined edges and warm, synapses of frequency and beat.

'Musically, Hypnos is a return to polyphony after several years of using strictly monophonic synthesizers,' McBride says about the album's ethos. 'This has brought dense harmonies and a more complex counterpoint to the composition. Staying with the same equipment and processes without the inveterate compulsion to update and refashion allows for a clearly perceivable genealogy with our previous work.'

'I felt the desire to tell mythical stories, I also wanted my voice to sit strongly in the mix,' Wendelbo explains. 'I channeled the spirits of 60s French Pop chanteuse Françoise Hardy and 80s New Wave New York icon Tina Weymouth.' Her intentions are best evidenced on the tracks 'Angelique,'and 'Insomnia,' the former a spry track sung in French, against a springy rhythm. Laden with expanding and contrasting frequency and a penchant for strategic rhythm, Hypnos juxtaposes dance with distance, creating an immersive oeuvre that exudes contrast and control.









d

After The First Wave Of Artists That Have Broken The Ice With Their Way Of Combining Contemporary Symphonic Music With Electronica And Jazz On The European Side (olafur Arnalds, Nils Frahm, Max Richter) - Now There Is A New Generation Of Young Musician Breaking Boundaries On A New Level. Especially In Germany There Is A New Wave Of Artists That Bring The Thing On A Whole New Level. These 20 - 25 Year Old People Don't Just Imitate What The Bigger Names In The Scene (the Fathers) Have Done But Develop The Style To A Totally Different Level And Add New Ideas Instead Of Just Copying What The Older Guys Did. This New Wave Of Artists Have A Huge Musical Knowledge, Have Studied At The Best Music Academies, Learned To Play "classical" Instruments And Know How To Improvise On A Very High Level. They Have Been Raised In 2 Different World: Studied The History Of (contemporary) Classical Music And Also Been Influenced By What's Happening In Electronica Evolution Of The Last 25 Years. Ralph Heidel Is One Of These New Kids In The German Scene. Coming From Munich, The 25 Year Old Extremely Talented Musician Studied Saxophone And Composition At The Munich Academy Of Music (known For Being The Best Music School In Germany. Think Julliard Or Berklee). He Graduated In 2018.leering Everything About The Music Of 20th Century Composers (charles Ives, Alfred Schnittke, Giöyrgi Ligeti Etc). At The Same Time He Grow Up With The Music Of Electronic Producers Like Alvo Noto, Boards Of Canada, Jon Hopkins, Jan Jelinek, Four Tet Since Early Days. And: He Comes From A Jazz Musicians Family And Has Grown Up By Listening To The Jazz Collection Of His Father. Studied Saxophone Since Age Of 12 With A Big Passion For The More Advanced Jazz. In His Own Music All This Comes Together. "moments Of Resonance" Are Seven Compositions Full Of Brilliant Little Ideas, Harmonic Complexity, Unheard Music Surprises, Clever Citations, Dramatic Evolutions, Big Explosive Moments, Meditative Moments And Euphoric High Points. This Album Is An Extremely Emotional Work Of Art For Strings, Saxophone, Drums, Bass And Electronics. Ralph Heidel And His 7 Piece Ensemble Homo Ludens Connect Contemporary Chamber Music With Electronica, Ambient, Post Rock And Avant-garde Jazz. On A Highest Possible Musical Level - Without Getting Too Abstract And Incomprehensible. Everything Is Composed And Improvised. Nothing Is Sampled. You Find Wild Punk-jazz Parts That Recall John Zorn Or Mahavishnu Orchestra And Romantic Passages That Make You Think About European Impressionistic Composers Like Ravel Or Debussy. But Nothing Is Imitated, Everything Gets Broken Up Through An Expressive New Way Of Using Harmonization And Melodic Composing. Sometimes The Band Flies Through An Ambient And Drone Universe But One Moment Later The Music Evolves Into An Explosive, Impossible To Describe Musical Moment. One Of Heidel's Biggest Ability Is To Melt Electronic And Organic Elements Into A New Unheard Sound.

Fix Me is a techno symphonic soundtrack of the collaboration between the choreographer Alban Richard and Arnaud Rebotini, dandy of the French electro and César 2018 of the best musical composition for the film 120 beats per minute.

Interested by the sound energy, Alban Richard conceives a piece that draws its power in fervor. Eloquent bodies, sermons and slogans, this choreographic, musical and plastic montage is exhilarating. The four performers translate their actions into words: American evangelical sermons, political speeches and feminist hip-hop songs. The light worked on a vibratory mode bathes interpreters and spectators in the same hypnotic halo.

Driven by an incessant flow, music and dance interfere each in the sphere of the other and compete with energy to monopolize the eyes and listen to the audience.

Unshrouded in mystery: what once started as an anonymous underground project with stamped white labels and a clever take on sampling, has since then unfolded to be one of the longest-running and most successful teams in current dance music. Nurtured by the sounds of the past and blessed with the techniques of today, the music of Tiger & Woods always kept evolving in and around the tropes of disco, house and boogie. Classic dance music, if you will.

Celebrating the 10th anniversary this year, Marco Passarani and Valerio Delphi managed to arrive at album number three. A.O.D. is a pun on A.O.R. (adult oriented rock) and a play on their own sound. Defying the restricting rules electronic music record shop crates, it's a departure and an arrival at the same time. Inspired by the faded buildings and images of discotheques on the Italian countryside, the romantic start and bittersweet endings of summer, beach life and the excitement of travelling through the landscape to get to aforementioned temples of dance and subsequently the morning after.

Except for the 100% sample-free 1:00 am, everything on A.O.D. is based on a quiver of cleared samples from the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium. In Tiger & Woods hometown Rome, the often very electronic and futuristic sound of Italo Disco had a different twist. Much more boogie-based and influenced by the song-writing styles of New York City's dance scene, it played in a league of its own. Tiger & Woods use these materials to take them apart, out of context and into contrasting areas. Molding something completely new, one gets fooled to recognize Sade songs that aren't, pop music instrumentals and a reprise of memories that never existed. A ride through ones brain in a convertible with an Italian FM radio station playing in the background. Or to use less stiff poetry: a chill out album you can dance to or a dance album you can chill out to. Adult Oriented Dance.

Midnight Embassy is a ping­pong project by songwriter Angela Aux and producer Sam Irl. During nightly sessions and on walks together, the two artists have created a palette of timeless tracks and futuristic sculptures from pop music flotsam. Like if two archive junkies had synchronized their sketch collections and notebooks so that the different genres and decades seem to effortlessly swirl through each other: Dub, Folk, Beatnik literature, Afrobeat & Electronica. Aux & Irl celebrate a gentle escapism, both cosmopolitan and aloof. This island mentality sparkles unobtrusively through all five tracks of the debut EP. No fireworks, no illuminated advertisements, no selfie thunderstorms: they come at dusk, set shimmering beacons and disappear on a reverberation trail behind the curtain of the night.

Remix extravaganza ahead! What started as an attempt to transport Feater's brillant outsider pop 'Time Millionaire' (taken from the Socialo Blanco album) onto a dance floor with one or two remixes, ended up as a feast served on three different platters with some heavy hitters. First up, Pépé Bradock and Ricardo Villalobos are crossing their beams. Spread over two 12s, the masters of idiosyncrasies and splendid aural design, Bradock and Villalobos treat the voice of Vilja Larjosto with love and care and bring it into their respective universe during peak time: vocals, dubs, acapellas and bonus bits included. Expertly, tricky and inventive. Remix EP no. 3 merges different trajectories of UK dance music traditions (or Ireland for that matter). Man of the moment Krystal Klear takes the material down to love town: the sound of 1980s Island records meets NYC boogie and UK street soul sounds. Hessle Audio's Pangaea follows the other path: uptempo bass fun with a driving dub and an instrumental pass. Last but not least, Feater & Sam Irl themselves deliver a blissed out dub of the original. Oh, and if you have enough time, flip over to the 10 with an Aba Shanti-I approved UK reggae and lovers rock take on it by Blood Shanti.

Switzerland's Alma Negra are known for their deft, tasteful explorations of world roots, anchored in digging, sampling and sharing. On this brand new remix collection, Alma Negra invite a trio of equally curious producers to remix some three of their best-received musical endeavours. French producer and DJ Bambounou capitalises on the quick tempo and raw-energy at the heart of the Maloya sound as the basis for his raw and hypnotic reimagining of 'Kabare', originally sourced from Christine Cabare, one of the most notable stars of the contemporary Maloya scene. Glenn Astro, meanwhile takes on another release, 'Haleto lale lalô'. Originally influenced by the Saho sound, the origins of which lie in the musical history and landscape of Eritrea, the Money $ex Records owner fashions two distinctive reworks out of the already adapted original material. After applying the soft pressure of his weightless, smooth funk for an initial, blissed-out remix, he switches up to a warm, percussive jack session on his 'Rhythm Trax' remix, available here as a digital bonus. Finally, cult producer and musician Michal Turtle, best known for his sensational LPs and compilations on Music From Memory, delivers only his second ever remix in a forty year career, conjuring a magical slice of dreamy, percussive pop from 'Tany Be', awash in signature brass.

This outstanding UK film score by Mr Roy Budd has been a treasure amongst music collectors for as long as I've known. Now, for the first time, Dynamite Cuts is making a 2x7' 45 collection of the musical gems form the 'Get Carter' Film using the original first pressing sleeve which was Japan only mega rare. His masterful chords and textures are a joy to listen to alongside killer bass and drum grooves that make for a cinematic musical heaven. Amongst my personal favourite Roy Budd compositions, 'Getting nowhere in a hurry,' is an easy listening gem with killer harpsichord lead lines and 'Hallucinations' (I love the deep groove in this song!) features his trade mark lush vocal production. Both cuts are sure to become favourites of yours too!

The music was play by the same following member of Roy's trusted crew.

GET CARTER Musicians

Roy Budd - Harpsichord, Piano, EMS AKS

Jeff Clyne - Electric Bass & Double bass

Chris Karan - Drums, percussion and Tabla

Brain Daly & Judd Proctor - Guitar

Lesley Cline, Johnny Turnbull & Mickey Gallagher Vocals on

'Hallucinations' & 'Getting nowhere in a hurry'

Lesley Cline - Lead Vocal on 'Love is a four letter word'

Recorded at the Olympic studios

Jack fishman - Producer

Roy Budd - Arranger

Keith Grant - Engineered

XLUSIVE VINYL SAMPLER OF UPCOMING MLU DEBUT ALBUM – CONTAINS ALBUM TRACK CLIMB ME UP WITH EXCLUSIVE CLUB MIX ON THE FLIPSIDE!

To Celebrate The 6th Anniversary Of The Agency, Rotate Prepared A Hefty 4xlp Compilation Featuring Its Key Artists. 'rotations Ii' Is The Seven-chapter Follow-up To rotations I' Out In 2016 And Features Tracks From Most Of The Current Music Crafters In The Rotate Family: A Collection Of Personal Musical Excursions And Peculiar Studies Of Rhythm And Sound, From Artists Full Of Wit, And Grit. 'phase Five' (a1) Is Yuzo Iwata's Debut On Rotate And, Without Surprise, Is A Showcase Of Sonic Wizardry That Sets The Tone To The Entire Compilation With Its Dreamy (and Almost Delirious) Atmosphere And Marching Organic Groove. 'aphasia' (a2) Has Anestie Gomez Shifting The Gears To A More Minimalistic Sonic Palette Of Razor-sharp Drum Programming, Sophisticated Swing, And Deep Acidic Low-ends. The Flipside 'hypnosis' (b1) Is Leiris's Debut Solo On Rotate And A True Study On Reduced Raw Grooves And Abstract Sound-design, Wrapped In Amidst Of Hypnotic Mystery. 'partenaire Particulier' (b2) Brings Back Leiris Together With Ben Vedren As "monkey Nenufar": A Spellbinding, Steady-beat Ride Full Of Joyful Chords And Filtered Echoes For Certified Euphoria. Levi Verspeek Kicks The Flip-side With 'paying 420' (c1), A Focused 4 By 4 Excursion Focused On Groove And On-point Sampling Of Minuscule Percussive Loops Teeming Around A Central Pulsating Bassline. Funky, Vibrant And Full Of Emotion, Pit Spector's 'back From Cdv' (c2) Is A Love Letter To The Esteemed Club Der Visionaere, And An Ode To The Micro-house Aficionados, Especially Those With A Soft Spot For Latin Rhythms. Denis Kaznacheev's 'poromechanics' (d) Is A 15-minute Sonic Delirium Through Startling Soundscapes, Sweltering Rhythms And Barely-sane Micro-sampling, Ultimately Setting A Hypnotic, Enigmatic Tone To The Closing Of This Compilation. "rotations Ii" Is A Versatile Comeback To This V.a. Series Where Rotate Artists Can Be Themselves, Loyal To Their Own Sound And Their Very Distinct Personalities.

Blossoming From The Depths Of Saint-etienne, Worst Records Is Proud To Present The Second Release Of Its Catalogue. Jacques Satre Delivers With « Anatole Trance » A Radical Hallucinogenic Journey Through Warped Horizons Of The Mind. This Long Time Member Of The Positive Education Crew Sets Up A Curious Yet Fascinating Mixture Of Bassdriven Downtempo Techno, Free Range Acidalia And Fierce Sense Of Absurd Humor. The Three Tracks Evolve Slowly, Building Up Between Litanies For Wrecked Concrete Samples And Colourful Enchantment. This Ambivalence Results In Dancefloor Burning Tunes That Could Also Be The Soundtrack For Mesmerizing Off-time Afterhours. A Concentrate Of Local Wizardry That Unveils Once Again Hollow Zones Of The Sound Of Saint-etienne.

Napolitan Techno DJ and heavyweight producer Davide Carbone releases on the French Rave Or Die Records for the very first time! Multiplying records and collaborations just like Mike Tyson was multiplying uppercuts, the co-owner of Repitch Recordings, Cosmo Rhythmatic and 3TH Records and owner of Carbone Records starts with "Dive Or Die" on the A-side: a speedy yet straight to the dancefloor tune based upon trancey acid lines a la Steve Stoll or Leo Anibaldi and aerial melodies. Combined with dark effects, this nostalgic song Made in Italy appears as an authentic Rave anthem from back in the glorious days!

On the flip side, ROD mastermind and dancefloor veteran Umwelt (Voitax, Return To Disorder) delivers a shaking, hefty and tremendous cut. Named with suitability "Tremblements", the jam signs a fascinating ode to smoking warehouses and illegal parties. Metallic pads over no mercy beats fused into industrialized synths and screaming atmospheres characterize this this dark as hell cut interspersed with counter breaks a la The Mover.

Dark, groovy and noisy at the same, two massive absolute bangers with old school roots on ROD twelve release! By the way, if you wonder the significance of the signs on the Rave Or Die logo in the labels, they are taken from the Hobo Code and mean "Keep away, Cops Active, Unsafe Area". You'll be warned.

Italian boss Wrong Assessment makes his Dynamic Reflection appearance with this 4-track EP including a Shifted remix of the title track.

You can hear the years of experience is in this well-produced and strongly written EP. The balance between the rolling drums and the uplifting percussion are capable of bringing listeners into a certain state of mind. The warm and melodic synths fit perfectly into many layers of each track, while Shifted gives it a more dark approach on remix duties.

Wrong Assessment manages to combine the label's vision and sound authentic and refreshing at the same time, causing him to stand out with this 40th EP on Dynamic Reflection.

- Utopia Music are extremely proud to present UM022, Hydro's debut album 'Lateral Thinking'. - Spread over 3 plates (4 including the sampler), Hydro manages to really showcase the variety and musicality that he's known for. With over 20 years of experience, he manages to comfortably wear his many influences whilst offering something both fresh and new at the same time. The palette covers light and dark, warm & cold, ambience, jungle, funk, soulful, techy, rolling, half time, 130 & 140 bpm, hip hop, jazz, tribal, and even meditative vibes. Inspired by a lifetime of music, travel and memories the aim was to deliver an eclectic album that could satisfy both the DJs and the headz whilst also being able to transport the listener elsewhere on an emotional and cerebral level. Dance music that can work beyond the dance floor.

- Hydro has been releasing incredible music since 2003 on almost all of the big labels. Since his production beginnings collaborating with Break, he has continued to work on many different styles and with many other different producers. He's become known for his musical diversity and his name is synonymous with quality & finesse. It's an absolute honour to be able to introduce his debut album to you. This project also features War, who again establishes himself as one of the best engineers in the game. Since first collaborating in 2011, Hydro & War have proven to be a formidable team, known for consistently delivering essential releases, including for Utopia. The only other artist featured on the album is Mateba, who joins in for two of the more uplifting tracks. A talented French producer and a long time collaborator of both Hydro & War.

The fourth AF Trax release is a three-track EP from our long time ally The Fantastic Twins, who has the following to say about her EP:

This EP is a small collection of works I crafted over the past couple of years in the process of working on my live show. I have been performing versions of these tracks countless times and yet never played them twice the same way. To me, they have been material in constant motion, so shaping them into a 'finished' form was a risky challenge. Something I was also wary of - would it mean they would become set in stone Would it mean I'd have to somehow 'rationalise" the music - via the mind - as opposed to letting it run into the wildness of its physical live experiences

Whilst editing these tracks into a format that could be released, I realised that instead of shaping them into the mould my mind first intended to give them, I could in fact use the power they revealed each time I performed them to an audience and inject some of that energy - as much as it is possible to capture and recreate it in the studio - back into this EP. Then of course, it meant letting go on things I usually like to control more, and better.

But isn't it the power of music to let it take you where you didn't plan to go And how incomplete would the music be if our inspiration didn't feed off the collective experience of dancing to music together I've lost myself (and my twins) many times throughout the process - not only on German soil - I have sometimes landed in the wrong place, but I may have found one answer yet in the form of another question. Why are we here if we can't dance

That reminds me of the words of Pina Bausch 'Dance, dance or we are lost'. Lost in our internal struggles as individuals (or imaginary twins). Lost in a society where our relation to the other is often marked by fear, power or violence. We feel the need to resist. Yet nowadays, taking a political stance as an artist is too often being instrumentalised as another tactics or accessory to gather more popularity, reducing the political message to nothing else but a branding attempt. Isn't it anyway the power of capitalism to assimilate everything, even contradictory or once-upon-a-time subversive voices All to end up on a 'Rave' or 'Feminist' H&M t-shirt. Slogans that have been emptied of their initial force and substance, now replaced by their commercial value. I strongly doubt that more empty words poured in vain on social media will help us much. But, like Pina Bausch, like JD Twitch, I have always firmly believed in dancing as a physical, social and fundamental act that leads us to share a common space with others and embrace otherness. Standing together, dancing together when everything else forces us to divide.

4E used to be Khan’s apartment number in New York City’s East Village back in the late 90’s. 4E became the trademark sound for his downbeat acid infused electro work. On his kitchen floor he produced a very unique brand of futuristic funk tracks with only a ROLAND TB-303, SH-101 and the Hip-Hop fundamental SP1200 drum sampler.

Besides a couple of 12”s for Force Inc. Music and the “Gentle Killer E.P.” on Freddy Fresh’s Socket imprint, 4E released the highly acclaimed downbeat electro album “4E4ME4YOU” on German glitch label Mille Plateaux.

Back in 1998 4E shared the now legendary 12” with I-F “Space Invaders Are Smoking Grass” on the “From Beyond Series” by Ectomorph’s Interdimensional Transmissions.

“Pills & Thrills” on Temple Traxx is four previously unreleased acid-electro stomper that are as funky and noisy as it can get on an East Village kitchen floor.

Parallel Minds Is A Group Of Like-minded Musicians, Djs, And Graphic Artists Working Together To Bring Compelling, Progressive Electronic Music From Toronto, Canada To The Rest Of The World. Spearheaded By Ciel, And Newcomers Daniel 58, And Yohei S.—who Have Variously Released Music On Labels Like Shanti Celeste's Peach Discs, Allergy Season, Coastal Haze, And Neo Violence—the Collective Offers On Its Inaugural Va Release Four Diverse Cuts Of House, Breakbeat, And Hardcore To Energize Your Body And Comfort Your Soul. The A Side Features Two Slamming House Cuts, With The A1 Offering By Discwoman Signee Ciel And A2 By Yohei S. Clocking In At A Frenetic 134bpm, "hind Sight Is 360" Is A Peak-time Dancefloor Banger Featuring What Has Become Trademark Characteristics Of Ciel's Productions: Intricate Drum Programming And Lush, Jungle-inspired Pads. "eastern Rankin" Is A Slower, More Hypnotic Percussion Track That Demonstrates Incredibly Effective Use Of Space And Delay. Its Minimalist Structure And Echoing Drums Would Sound Ideal In A Dark Warehouse. The B Side Opens With An Even Bigger Bang, With A Track That Would Best Be Described As Indian Hardcore. "mana Sadhana" By Raf Reza Under His New Alias, Radiant Aural Faculty, Is A Vibrant Mixture Of Hindi Vocal Samples Layered Meticulously In Between Freaked-out Synths And Thumping Breakbeat Drums. Completing The B Side Is The Aptly-titled "space Bubble" By Daniel 58. Drawing On Influences From Ambient, Trance, And Breaks, The Promising Toronto Artist Closes Out The Release On A Dreamy Note, Employing Nostalgic Melodies On Top Of Tough-as-nails Drums And Deep Rolling Sub-bass. As First Releases Go, Parallel Minds One Offers A Taste Of Something For Everyone, From A City That Has Perhaps Been Overlooked But Deserves A Second (third, And Fourth) Listen.

The french electronic wizards Jacques & Superpoze made music together. The result is simple: 1 track together and 2 original songs, one by Jacques, one by Superpoze. In their own words: Superpoze and I made music together. We gave birth to an instrumental track. There are no lyrics, but it speaks about time flying, About the feeling of evolving or moving backwards, About repetitive events that don't ever follow the same pattern, About the tragedies that sometimes happen and the fear they would happen again, About discovering enthusiasm, About knowing how to read the future in the past, About being knocked out after holding on to an assumption, About winning a chess game by mistake.

From Winding Synths To Percussive Flurries, Abale Is A Club-oriented Project That Combines Traditional Instrumentation With Electronic Flavours, Resulting In A Syncopated, Colourful Mix. Abale Is The Fruit Of A Long Collaboration Between Two Brothers, Who Are Both Composers And Producers In Their Own Right, Who Grew Up Together Listening To Bass Music, Idm And Various Styles Of Folk.

supplications', Released On Mantic, Is Abale's First E.p. On This Record, The Two Musicians Reap The Benefits Of Their Long Collaboration By Drawing Out, Track After Track, The Invocation Of Their Common Musicality And The Hope Awakened By It. The Tunes Are Steeped In The Brothers' Shared Musical Subjectivity, Clearly Pulling On Their Shared Taste For Varied Traditional Folk Music And A Refined Dance-music Esthetic.
The Result, A Clearly Dancefloor Oriented Release, Is A Record Driven By Powerful Percussions In Which Are Intertwined Wild Voice Samples And Shifting Synth Melodies.

Compilation of work from the group, spanning 1986 to 1991.. Dub infused experimental tunes here!

Politico dub-collage practitioners Guerilla Welfare came from Edmonton, Alberta, coincidentally the birthplace of prophetic media sage Marshall McLuhan. Armed with vanguard ideas taken from Steve Reich, Fela Kuti, Robert Fripp and Material, the duo of Curtis Ruptash and Brian Schultze adopted the 'studio as instrument' mindset of Eno and King Tubby creating complex textural and polyrhythmic sonic insurgencies. They overdubbed drum computers, guitar, bass, noise-makers, mallet percussion, sitars, often accompanied by sampled vocals and found sound taken from TV. Their pan-global, multi-media palette supported zeitgeist commentary — often, with a healthy dose of gallows humour — on gender, power structures, and sexual and geopolitical tensions in the late 80s. Their DIY bunker studio experimentations align them with genre defying dub-infused outfits like African Head Charge, Dome, Lifetones, Naffi, Woo, Negativland and The Residents. The Nature of Human Nature captures Guerilla Welfare's most formidable output, compiling tracks selected from their entire discography (two LPs and a cassette collaboration with poet Mary Howes), all originally self-released from 1986 to 1991. Remastered from the original tapes.

Crayon Unveil "flee", His Last Ep Available On Roche Musique.
Animated By The Desire To Produce His Own Music, As The Artists Who Have Influenced Him, He Has Relied On His Abundant Imagination And Quickly Develops His Own Aesthetic.
The Same Way He Did As A Designer, Crayon Transcribes Mental Images Through A Suave, Heavenly And Melancholic Music.

A cat may have nine lives, but Peter Cat Recording Co. has a multitude of dimensions. Formed in New Delhi around 2010 by the crooner Suryakant Sawhney, it's a group that's mutated over time, shedding members and accruing more, always evolving musically with each album: from gypsy jazz to psychedelic cabaret; ballroom waltzes to epic space disco; bossa supernova to uneasy listening. What's more they play jajj, which you've almost certainly never heard of. 
'Gypsy jazz is the description we used around the time of our first album Cinema that we sound nothing like now,' says Sawhney, before adding: 'At the time I was really into Strauss.' 

Portrait of a Time 2010 - 2016 is the first taste many Europeans will have of this highly original, musically capricious and deeply inscrutable New Delhi four-piece. The compilation helps you get to know a band who are essentially unknowable, not that that will stop you from trying. Furthermore, in a capital city known for its mystery, madness and mayhem, Peter Cat Recording Co. is something of ananomaly there too. 

While Suryakant's crooning is spookily reminiscent of a hipster 50's Sinatra, it was more his intention to ape legendary Bollywood playback singers like Kishore Kumar, Mohammed Rafi and especially Hemant Kumar. There are diverse American influences in the mix too, including Sam Cooke, Etta James and even Tom Waits, and time spent in San Francisco studying film may have contributed to the cinematic melange. Thrown together it becomes something unique that equates less to a listening experience and more to an out-of-body experience. 

They were signed to new French record company Panache after label boss Alexandre Rabia was trawling through YouTube one day and happened upon their remarkable promo for 'Love Demons'. It's a mind-blowing eight minute epic featuring the desert, one camel, a movie theatre, swirly organs over coruscating beats, dancing girls, more police and a cavernous pit that then-bassist Rohan Kulshreshtha falls into. 

You can try to compartmentalize them all you want, but just when you think you've got them pegged, they will evolve and transmogrify and the description you have in your hand will slip through your fingers like sand. Who knows if Peter Cat Recording Co. has nine lives, but you can listen to a past life on Portrait of a Time, and a future incarnation - much of it recorded in Paris - will be available in the autumn. Just remember, unlike a cat, you'll never put them in a box. 

LIMITED EDITION RUN OF 200

A gem of an EP, the "Untitled" track could easily have been mistaken for a Warp Records release or AFX. Techno to drive you nuts.
Written by my Sound Designer friend, Michael Bolton, at University in 1998.

The Driving Me Nuts track is a sample of our tutors reaction to a track I made she hated.

Voodoo Dance Malarky's intro would be worthy of a Chemical Bros track, full of little surprises and an evil break at the end.

Originally recorded to tape. Cleaned up by me years later, remastered by Subvert Central Mastering and cut at Curve Pusher. Pressing by Vinyl Presents on clear Vinyl.

Born from Music of Life archive tapes (previously believed lost) which were uncovered by Robin Allinson in a Publishers warehouse in 2012.

The source material for this special record is" 1989 Hustlers Convention Live" (SPOCK1) ".

A Live Hip Hop Album, famously sampled by The Prodigy for the 'Everybody In The Place' vocal. The tapes of the night were multi tracks with 6 channels of audio recorded, Decks (Mono), 2 Mics (Mono) and the Room (Stereo). Being so old the tapes were first 'baked' and then transferred from a Studer machine in to Pro Tools via Prism Sound A/D converters at FX Rentals / FX Copyroom, Acton, London.

Notable performances by Artists on the Night came from MC Duke & Merlin; Mark The 45 King; Demon Boyz; Daddy Freddy. DJ's on the night were Westwood and Cut master Swift. Sections of their sets between Artists was captured. What did not make the Album was the Battle instigated by Overlord X coming on stage and stopping proceedings to battle MC Duke. As Duke once told me "X stuttered on the Mic".

Listening back, it's gold and puts Queen Latifa popping up in context. While restoring the Album as a multi track mixdown Robin started a series of new music projects plundering the MOL tapes and formed Stay On Target records to release them. Recordings were sent to: Sonars Ghost (SOT000), Stormski, 6Blocc, Bay B Kane and the last instalment was by Robbee Darkhalf.

Since Danielle Mana's 2017 debut EP for Hyperdub, 'Creature', which was a taut, evocative suite of beatless, almost neo-classical electronics, we now find his music has caught an alien virus and started hallucinating. On 'Seven Steps Behind', the borders between reality and the weird have collapsed on each other, and with each listen through its zigzagging course, you're rewarded by its strange twists and turns. 'Seven Steps Behind' is an electronic album that doesn't always sound electronic; a great deal of the record has been created to sound like prepared pianos, harpsichords, cellos and flutes. At other times, sampled acoustic instruments and specially recorded sessions have been processed through software and careful editing. It's this sophisticated layering of contrasting versions of the same sources that help give this record its uncanny balance. The album also plays with your sense of time in its mostly drum-free hall of mirrors, pulling from minimalism, chamber music, dark jazz, and synthesiser experiments. Mana's singing voice also makes it's debut here, albeit adorned by abrasive FXs. His lyrics are encrypted in noise, in fitting with the music's chimeric character, casting images for the listener to decipher. His heavily manipulated voice enters on second track 'Myopia For The Future', sounding something like a singing motorbike pitched over bouncing ostinatos, or on 'No Body's inhuman, word-less range, where it's impossible to tell where the human finishes and the machine starts. Or in the case of 'Leverage For Survival' it's animal and machine. Here, as with the album's eponymous final track, a sensory assault subsides to reveal a heart-wrenching melancholy that anchors the record. Listening to 'Seven Steps Behind' is like stepping into a dream, with all the curious emotions and buried meaning that involves. Yet for all its restless, shifting energy it manages to hold both dissonance and melody in sweet proportion.

Next up on First Word Records, we welcome the return of Don Leisure, with an EP of beats that see his two alter-egos go head-to-head, 'Shaboo vs Halal Cool J'.

Probably best known as 50% of Darkhouse Family, along with Melange label boss Earl Jeffers, they released their acclaimed debut album 'The Offering' in 2017 and subsequent remix project last year, featuring DJ Spinna, Kaidi Tatham and more. The duo are coolly establishing themselves as Cardiff's very own Mizell Brothers, recently producing Kamaal William's latest work, featuring on Kutmah's recent Izwid compilation, and collaborating on the Chicago x London project 'Where We Come From', featuring Makaya McCraven, Joe Armon-Jones, Nubiya Garcia, Theon Cross and First Word label-mate Quiet Dawn, amongst others.

'Halal Cool J' appeared originally in early 2017 with 'An Ottoman Excursion' on our sister-label, Excursions. A series of edits born out of a decade-long love of Turkish music, and some record-digging expeditions in Istanbul, something Don Leisure did the very day after 'The Offering' release party, prompting another series of beats. Ahead of an all-new full-length Halal Cool J album, here we have two tracks to give you a taste, 'Kazakh Honey' and 'Kaymak'.

'Shaboo Strikes Back' on the flip-side, with a track of the same name, and 'Mango Season'. 'Shaboo' was the name of a beat album that came out on First Word in 2017, inspired largely by Don's Bollywood actor Uncle, Nasser 'Shaboo' Bharwani, and by memories of journey's with headphones hurling out Hip Hop, fused with the sonics of his Mum's interruptions, and her favourite Asian radio station. 'Shaboo' featured in several end-of-year album lists, with Piccadilly Records calling it "the best album of it's kind since Dilla's 'Donuts'. Unmissable."

Both prior projects got love from DJs and selectors far & wide, including Tom Ravenscroft, Lefto, Huey Morgan, Rob Da Bank, Om Unit, Simbad & Mr Thing. A truly global affair, the beat battle of 'Shaboo vs Halal Cool J' takes us on several short, sweet hikes across a variety of Eastern climes.

Join in the journey once again on 7" vinyl and digital on April 5th.

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.

Footjob is releasing its second various artists sampler called 'Footure Classics Vol.2'. The latest edition complies 5 tracks - traditionally genre-specific between house and disco. This time fresh names are presented besides the established suspects Sascha Ciminiera and Lukas Lehmann such as legendary Hans Nieswandt (Whirlpool Productions) as well as acclaimed DJ Friction from Benztown. Both debutants lend a helping foot in order to add two wonderful tunes. As if this would not be enough, the compilation is wrapped up with a very special trove from the archives of DJ Service.

Just a year after introducing Brazil to his first album, “Samba Esquema Novo” (1963), whose title made its theme clear, one of the greatest artists in national music, Jorge Ben, achieved great popular acceptance and was already releasing his third LP. Titled “Ben É Samba Bom” (1964), the album features songs that are still hits today and returns to shelves as part of the “Classics on Vinyl” collection from Polysom, in 180-gram vinyl.