Cerca:sample this

LTD 150 - Printed Sleeve

With a quiet Hardcore "classic" first track, one could believe it's gonna be just a "classic hardcore records" :)
But as the visual of the sleeve announce it.. .it'sa bit more than that.
The Dunwish, the second track, already annonce something deifferent. Reminding me the old B.E.A.S.T. records... More Industrialand speedcore.
The flip opens with an even harder "Perfect Storie", including some windows bug samples ^^
just before the last tune, a little 2 minutes interlude call murder prepare you "to the end" :CYBORG. the last track, a unique ultra speedcore kicker here : clear crazy thing. "Cyborg can dance at this speed ?"

Enjoy !

• Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up
the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
• AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled
bands in history, remaining relevant today, continuing to reach new generations of younger audiences.
• Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have
all borrowed sections of their grooves.
• ‘Cover To Cover/Soul To Soul’, is a collection showcasing their take on classic recordings, both Soul and otherwise and
demonstrates why they were totally embraced as an authentic R&B band in the USA.
• ‘Cover To Cover....’ also includes for the first time on vinyl, their 2017 recording of The Isley Brothers ‘Harvest For The
World’, which was produced by and features Chris Jasper.
• Average White Band remain highly influential and this collection, shows why they have remained so powerfully important.





e a5. I Heard It Through The Grapevine [Live – Edit]

[g] b2. I'm Gonna Make You Love Me [Live]

Wild One: Think funky, flowing rap vocals. Warm heavy drums, funky horn melodies and dirty basslines. Think Jurassic Five and 90’s Boom Bap Hip Hop! What makes “Wild One” different is the unique production style of DJ X-Rated. Using rare vintage samplers and animal nature recordings in the percussion of this record.
Andy Cooper is an accomplished songwriter, performer, producer and arranger who hails from and resides in Long Beach, California. Andy helped form and produce the Hip-Hop trio Ugly Duckling which, over the span of 20 years, released six albums while frequently touring the globe, their success has taken them to over 30 countries. Recently, Andy wrote 16 songs for ‘Recorded In Hollywood’, a musical about the famous, Los Angeles record shop ‘Dolphins of Hollywood’.

The Journey is the autobiographical account of Folamour's last two years, spent between airports and stages, London, France and the rest of the world, between crowds and solitudes, between highs and lows. The album, due out in June, is composed of metropolises and no-man's-land, inspired by moments that surprised and touched the artist. To express all these emotions, Folamour puts aside samples and computers to concentrate on writing lyrics, recording strings and brass, drums and vocals in order to be as close as possible to the moment. No limits of format, nor of genre, the total freedom to choose the tool adapted to the picture. This album is the sum of chance and encounters, an initiatory rite, as much in form as in content, the tale of a life with all that it can contain of joys and trials, as much in its writing and production as in its message, "The Journey" mixes contemporary sadness, isolation of artists, but also wonder at the simple pleasures of life and the discoveries it brings with it, it is neither a joyful nor a sad and disillusioned tale, it is the sum of all that and the rest too. Cover album adapted from a painting by Tomás Sánchez "Meditador en la laguna" from 1995. Edited by Koria

Another all-time classic from the extensive back catalog of the legendary Miami songstress Gwen McCrae.

"90% Of Me Is You" is instantly recognizable, it's been sampled countless of times by some of the most seminal Hip Hop artists ever (Large Professor, Jaylib, Mobb Deep & more) & is a bonafide "Rare Groove" sure-shot that never loses it's appeal & is always in demand with DJ's & producers. Perhaps it's the pairing of the languid guitar & strings, or Gwen's sultry vocals & that steady breakbeat that keeps people hooked some 40 years after it's original release Whatever it is, it's classic material from start to finish!

Backed here with it's original b-side slow jam "It's Worth The Hurt" this super-rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.

Brooklyn-based duo Julian Duron and Michael Sherburn are Earth Boys, connoisseurs of heady house music that warms you with soft summer heat. Returning to Shall Not Fade after the success of their sellout LP Earth Tones last year, Automatic EP continues the Bristol label's new Classic Cuts series. It beautifully blends jazz instrumentation with deep house energy, creating sophisticated and unique dance music.

The title track is absolutely not to be missed - it's something a little different from the duo, centralising completely infectious vocals that are guaranteed to circulate your head for hours, a clean cut hit. Jazz sax meanders over the laidback house beat and into the next track "Okokok," which nods to Middle Eastern disco, this time the sax solos pair with a throbbing acid bassline. This acidic edge is brought to the forefront in the hard hitting business of "Revolution 420", a rave ready number infused with laser cut synths and dreamy pads.

Floating flute samples bring in the B side, the hazey natural breaks but disco influenced bassline making "Hush" both muted and danceable. Earth Boys bring master house producer JT Donaldson on board for the closing track, a sound soaked with funk n soul influence in its chunky slap bass and crooning female vocals. "Love Got You" winds the EP to a close with style - both cool and romantic, understated and glittering with character.
Order SNFCC004 now
unsubscribe from this list update subscription preferences distribution.triplevision.nl
Triple Vision Record Distribution BV · Achterhaven 160 · Rotterdam, Zuid-Holland 3024 RC · Netherlands

Shall Not Fade's Time Is Now series continues to showcase the cutting edge of breaks and bass oriented club music. This time they introduce Groovy D; this new solo project of one third of Sheffield-based trio Denham Audio curates a totally fresh take on garage which is soulful, unique and genre-defying.

Afterworld Groove EP features female vocalists and a collaboration with Time Is Now regular Interplanetary Criminal; vocal heavy tracks are a highlight of the record, taking the garage sound away from the confines of the club. "Outta Control" is one of these tracks; Emma Cannon's vocals walk the edge between soulful and mournful, contrasting the wild breakbeats and deep, dirty bass. The title track uses housey intoned keys; this is daytime garage, made for summer parties. Taking influence from his Sheffield home, "Keep Movin' On" has a classic bassline sound palette, cheeky stabbing synths and hyperactive breaks.

"Project Zeus" opens the B-side: stutters of snare and punching bass are broken through with a classic, uncontrollable bassline; the tongue-in-cheek sample that forms the drop will undoubtedly bring a smile to British fans. More minimalist B2 "Timeless" is a chorus of bubbling ear candy until the rolling sub bass looms into a deep, headsy climax. Manchester's Interplanetary Criminal joins to close the EP; with vocals from Anna Straker, "Higher" takes a genre-spanning approach in hazey garage percs and soaring pads. The tempo is down, and misty, romantic sax forms the backbone.

white + blue + purple marbled vinyl

In 2002, DSCI4 released Spy Technologies. The highly acclaimed compilation was regarded by many as a milestone in Neurofunk. Now in 2021, and in its eighth series, the label continues to innovate. Part 8 features another top draw selection of international Techstep ninjas with tracks that cut deep. This 4 track limited edition sampler is pressed on Blueberry vinyl and supports the full digital release!

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

Incredible Bongo Band was formed by MGM A&R Michael Viner in 1972 to record the soundtrack to a now virtually anonymous B-Movie entitled 'The Thing With Two Heads'. "The IBB" transformed from a loose studio collective to an instrumental pop covers consortium, interpreting classics of the day in their inimitable percussive fashion. Viner recorded them at MGM studios during downtime, assembling line-ups from whichever musicians were available at the time, leading to a unique blend of multi-talented musicians that included Jim Gordon, King Errisson, Jerry Scheff, and Perry Botkin Jr. The full bands' line-up is shrouded in mystery, but their legacy is undeniable. They spawned cult-classic records that would become a goldmine for hip hop breaks and attain sampling immortality.

'Apache', which was written and made famous by the British band The Shadows, is legendary in the worlds of dance music and hip hop. It was a staple for DJs such as Kool Herc and Grandmaster Flash as they invented their world-shaking take on the art of DJing at the Bronx block parties of the ‘70s. Over the years it has become a hip hop and breakers anthem and is revered as 'the break' of all time (at least in the top three) with the rhythms of this LP even helping to coin the term 'breakbeat'.

“Bongo Rock” is significant, for being one of the musical cornerstones of rap ... it is certainly one of the most sampled LP’s in history, if not the most sampled. Almost every history-minded hip-hop DJ has a copy, and the first few bars of “Apache,” can send crowds into overdrive.” According to Kool Herc, the stylistic pioneer many people consider to be the father of hip-hop music, the Bongo’s “Apache” is “the national anthem of hip-hop.” NY Times.

Sampled over 600 times, including... Nas, Beastie Boys, Moby, Mick Jagger, Kanye West, Sugarhill Gang, Jay-Z, Aphex Twin, DJ Shadow, Massive Attack, Ultramagnetic MC’s, Unkle, LL Cool J, 2 Live Crew, 4 Hero, Fatboy Slim, to name a few…

The real story of “The IBB” is far greater than the recordings themselves and ultimately shows how a distinctly powerful musical performance can get the recognition it deserves, no matter how anonymous its origins.

Izorgor’s sound reflects his burly bouncer name. Drums pound and hi-hats slash in the mean and murderous “HDF-N”, a soundtrack for car crashes and late late club sessions. “Nosferatu” comes from a similarly evil place, percussion is fed through a mincer before a fog of distortion descends to smother samples. If you’re after a respite, you’ll have to wait or feck off home. “HDF-S” wades in. Similar to his sibling in terms of rancorous rhythms, this beast drips with 303 sweat and venom with just a touch of salvation in those soaring notes. Boris Brenicki, of Ontal fame, ends with his own sepulchral take on “Nosferatu.”

Play On Records is proud to present Flashed Glass, a full length LP from electronic duo Sleep D and mixed chamber ensemble Ad Lib Collective. Culminating from a two-year project borne out of a live collaboration in a Melbourne underground carpark, the LP marries the euphoria of the concert hall and the club, presenting a rich sonic universe for the listener to discover.

Having first been introduced at rehearsals for Play On's 6th series in late 2018, the two groups hit it off, opting to perform a semi-improvised set together, rather than two separate sets as originally planned. They soon realised their pairing could unlock sounds they wouldn't have otherwise found on their own, and their idea for further collaboration was born.

In March 2020, the two groups recorded at Head Gap studios in Preston — layering sounds, building melodies, and striking out what didn't work — until the COVID-19 pandemic cut things short, twice, due to Melbourne's dual lockdowns. This resulted in an accidental hybrid work, finishing as a mix of live professional recordings, and DIY home-recorded samples, with the latter including crushed plastic and pulverised sea shells.

Will Hofbauer & Sangre Voss team up for ‘Steppe EP’ this June on Control Freak Recordings, featuring a remix from Discwoman’s Ciel.

London-based Will Hofbauer and Sangre Voss, who’s individual work has seen them appear on labels such as Rhythm Section and Will’s own Third Place imprint, team up for the first time on Control Freak Recordings for the wonky ‘Steppe EP’, picking up early support from Ben UFO, Bradley Zero, and more.

Leading the release, ‘Pumice’ tumbles through rolling low end, crunchy percussion and an eerie breakdown for a high energy start to the A-side. ‘Flundra (Flundra Mix)’ follows with bubbling pads and speaker-rattling subs around a kick-less drop, leading into a shimmering breakdown.

On the flip, ‘June-O’ sees the duo craft a low tempo slugger, peppered with tablas, bells and eagle samples around warped, loopy synthesis. Ciel’s remix of ‘June-O’ takes the B2 spot, adding stuttering percussion, vocal chops, and additional wildlife samples to the mixture to round out the release.

Will Hofbauer & Sangre Voss ‘Steppe EP’ drops on Control Freak Recordings on 18th June.

The second solo album on Jazzland (and fourth in total) by Tortusa, a NorwegianAmerican electronic musician and producer from Stavanger, Norway. The album has
taken three years to create, and features
contributions from some of Norway’s finest musicians, including three of his idols:
Arve Henriksen, Eivind Aarset and Erland Dahlen.
‘Bre’ is composed of ambient experimental music heavily inspired by nature, and takes
the listener on an emotional journey. Tortusa paints with sounds, and the music inspires
inner visualisation of the story he tells through his weaving and blending of abstract sonic
material.
The sampling of acoustic instruments forms the foundation of the album. Tortusa takes
essentially familiar instrumental sounds, and warps, mangles, distorts and modulates
them, defamiliarising them, repositioning them both in the context of themselves and
other sounds, creating a new sonic vocabulary that is neither exclusively organic nor synthetic, but is an aesthetically balanced combination of both.
This process is the source of the album’s originality and distinction from more conventional approaches to sampling and synthesis. Tortusa composes his music with an array
of hardware and software samplers, that are then fed into various effects or effects chains
for further manipulations. His draws inspiration from producers like Biosphere, Flying Lotus, Teebs, and Nils Frahm. Field recordings are an important part of the production and
lend additional dimensions to the music and extend the textures and moods.

Marc Barreca's 1986 album "The Sleeper Wakes". Originally released on cassette by the Seattle electronic ambient label, Intrepid.

Marc Barreca has been creating and performing electronic music since the mid-1970s. His 1980 album, Twilight, reissued on vinyl in 2016, was one of the earliest releases on Palace Of Lights. Recent releases include Shadow Aesthetics (2018) and three collaborations with K. Leimer. Previous reissues include work on the acclaimed VOD box set American Cassette Culture, the Cherry Red compilation of seminal U.S. electronic music and the 1983 cassette, Music Works For Industry. His work is also included in the collection of The British Library."

The Sleeper Wakes has been out of print for many years and we are very happy to remaster and reissue this great work that was ahead of it's time, employing analog treatments of sampled sounds arranged in a very interesting and intuitive way.

New imprint Distant Waters, from Nantes, France is an ode to high seas, far away oceanic lands and unknown marine wildlife. Co-founder of the label, Sans Sucre, who released previously on Antam records and Planet Tapes offer this first EP from Distant Waters.

The A1 of this four-track EP, Tetrodoxin, is the starting point of the aquatic story, with whales samples and aquatic groove, it fit perfectly to warm up a wet dancefloor.

A2, Aqualung is inspired by asian groove, with some tastes of Yellow Magic Orchestra matching with 303 elements.

The B-side follows up with Sequential Hermaphrodism, A downbeat track with an heavy hip hop inspired bassline. Then it finish with Ampullae Of Lorenzini, the most dancefloor oriented track of the EP, with a mysterious sweet voice.

Bedouin’s Human By Default recruits Upercent for the four-track ‘Inconformisme EP’ this May.

Previously recording for Watergate, Kompakt and Adana Twins’ TAU, the Valencia-based DJ/producer arrives on Bedouin’s imprint for his debut appearance on the label, delivering some of his most accomplished productions to date on vinyl.

Across the record, Upercent displays combines his wide range of musical influences into a set of engaging downtempo dancefloor cuts with impeccable attention to detail. Opener ‘Elefants’ twists various acoustic instruments and vocal samples around soft shakers and warm low end, leading into theloose percussion of ‘Fluir’, grounded by a softly thudding kick amongst fluttering and glitched out FX.

On the flip, ‘Caduco’ combines the natural and the synthetic as hand percussion meets sharp synth stabs and glowing pads. ‘Hipocresia’ twists mangled horns over a low slung backbeat.

Heist welcomes rising star of the French House scene Marina Trench to the roster with a stunning release full of classic house cues across 4 warm & deeply grooving house cuts.
With only a handful of releases on DJ Deep’s Deeply Rooted (2019) and Wolf Music (2020), the young Parisian producer is only just getting started. And as far as starts go: This release on Heist will definitely open some eyes & ears across the house scene.
With her elegant and soulful sound both firmly rooted in classic deep house as it is contemporary, Marina showcases a mature sound that’s rarely seen with emerging producers. With a smart choice of samples, beautiful original vocals and smooth pads,
Marina layers her tracks effortlessly into warm compositions that work just as well in your living room as in any sweaty club.
The aptly titled opening track “Sunrise” is a smooth affair with pads oozing in and out and a faintly recognizable and definitely catchy choice of samples. An open electronic bass gives the track a serious tone, but it’s the melancholic chords that make you doze off reminiscing the days of endless festivals in the sun.
“Carry on” is built around classic house stabs with cleverly layered arpeggios and textures giving the track it’s depth. The main attraction here is the trumpet solo by German wunderkind Christian Altehülshorst. As far as chance meetings go, this is a nice one. Christian (who we met through our mutual friend Lorenz Rhode) was our impromptu trumpet player during a show at La Machine back in 2019, where Marina played alongside us. They got talking and before we knew it, we had this track in our inbox. It’s jazzy deephouse at its finest.
On the B-side, we’ve got “Over there”, where Marina layers here own vocals on an infectious house groove and the closing track “Wake up” featuring the emotive vocals of French Algerian artist Sabrina Bellaouel. The latter track evolves around a LFO’d pad and a minimalist groove, giving the vocals all the space to shine in a track that could easily be the one in your set that sets the room on fire.
As far as label debuts go, we could not have hoped for a better one. We’re sure we’ll get to see a lot more of Marina in the near future and hope she serves as a shining example for other emerging producers.
Enjoy the music,
Maarten & Lars

It’s a given that timing is everything in music – most obviously in terms of composition and production but often just as much in regard to conception and release – the latter two doubly poignantly so in the case of this massive DOOM vs The Sugarcubes mash-up LP from turntablist and producer Krash Slaughta.

Which is why the tale of this project’s gestation is perhaps what should be told about it before anything else.

Begun last August and finished on 25 October, the album started life as an idea born from a casual listen to final Sugarcubes album Stick Around For Joy that Krash had bought a copy of years before in a charity shop. Contemplating the cover art while listening to the LP and the track Hit in particular, it came to him that here might be the musical basis for a concept LP in the grand tradition of the hip-hop mash-up album. Thus the project was born, becoming something of an obsession as lockdown restrictions recommenced through a sanity-testing autumn. As it developed, the provisional title of Stick Around For DOOM morphed into Sugar Coated DOOM and Brighton artists Leigh Pearce and Rob Crespo were roped in to create the artwork. So pleased was Krash with the results that he decided to self-finance the pressing of the LP to vinyl which in turn would allow him to send a copy to DOOM in the most fitting format. On that basis, along with his dad’s advice that if you want something done properly; do it yourself’, he initiated the process for a limited press run as soon as the project wrapped and telephoned his dad (who’d been shielding and who he hadn’t seen for months) to say he’d done precisely that. In a tragic twist, this turned out to be their last ever conversation, for Krash’s dad died suddenly the next day. Two months later of course, while waiting for the Covid-slowed vinyl pressing process to complete, came a further tragic twist as the world received the delayed news that DOOM himself had also passed away back in October – in the event, only five days after Krash’s father. So it’s no understatement to say that Sugar Coated DOOM carries significant emotional resonance for its maker, forever linked as it will be to the deaths of two of his personal heroes.

Which brings us to the content. The album contains seven vocal tracks, with an alternate version of one and instrumental versions of five of the seven across two sides of an album with the music, track names, LP title and cover art mashing up musical, lyrical/ textual and visual elements of The Sugar Cubes’ Stick Around For Joy with DOOM acapellas, track names and references. Listeners won’t need long to appreciate that Krash Slaughta was right to be proud of his creation, almost certainly correct in thinking DOOM would dig it and no doubt The Sugarcubes too. Also, who would have thought The Sugarcubes had so much potential for beat-mining? But then seeing potential in the unexpected was always a vital skill from the golden era of sampling in hip-hop and those who follow in the tradition. The first track proper, for example, swipes Madlib’s lo-fi beat from underneath the vocals for Figaro and replaces it with the looped and beefed-up opening bars of the Cubes’ I’m Hungry. The result is a natural fit. But then the blending of elements in every track on this release provides evidence of the effort and love put into its creation, reinvigorating DOOM’s classic vocals while re-purposing The Sugarcubes in a manner that will delight. Indeed, if you’d didn’t know the work of Bjork’s former band, you’d be unlikely to pin an early 90s alt-rock LP as the sample source. I imagine listeners will have a hard time picking a favourite too. Perhaps Hit It (based on the track which triggered the project idea in the first) which splices the Bond-theme-ish Hit with My Favourite Ladies might prove the most popular, or the monkey’s favourite, Nurse Chong, which blends Happy Nurse with Raedawn (named for Tommy Chong’s daughter) from Viktor Vaughn LP Vaudeville Villain. Whichever one punters pick though, anyone who hears anything off this will know it’s one to rank alongside your other favourite hip-hop mash-up albums. And who knows – perhaps even Mr Daniel Dumile himself might have considered it a not unfitting epitaph.

Music in Exile announce their forthcoming remix EP, featuring reworkings of Music Yared by Melbourne cult hero, Mikey Young (Total Control, Eddy Current Suppression Ring, The Green Child). SINDAYO - MIKEY YOUNG REMIXES features remixes of an original track from Music Yared’s self titled debut EP, released last year through Music in Exile. In addition to today’s announcement, we’re delighted to also share the first single, Sindayo (Mikey Young’s Masinko Remix - Radio Edit), out March 26 via Music in Exile.

Mikey Young’s legacy is well known throughout the Australian music scene, most notably as part of garage punk band Eddy Current Suppression Ring, and synth-driven outfit, Total Control. However, the talents of Young extend well beyond the performance setting to the world of engineering and mastering with his name appearing in the liner notes of an incredible number of releases, becoming something of a trademark of quality. In this release, Young showcases his skill and nuance, creating a remix where tradition and sonic exploration co-exist.

Anbessa Gebrehiwot and Haftu Reda are masterful players of krar and masinko, traditional string instruments from Eritrea and Ethiopia. Now based in Melbourne, Australia, the pair collaborate with multi-instrumentalist Dale Gorfinkel to create an innovative ensemble sound that celebrates their East African culture. The band's seemingly endless repertoire ranges from modern takes on folk songs to new, original compositions with Anbessa’s strong vocal presence a perfect match to Haftu’s sweet lyrical modesty.

Music Yared’s compositions are inspired by traditional Etheopian and Eritrean folk songs and they sing about love, distance, separation and culture. Their songs also feature virtuosic mastery of traditional instruments - the krar, (a 5 string lyre style instrument), and the masinko (a single string violin-like instrument that is played using a bow.) Although inspired by tradition, Music Yared’s compositions embrace the notion that music is always developing and changing with the times. Taking influence from traditional folk songs, Music Yared finds newness and originality through their personal approach to their lyrics, their treatment of rhythm, and the creation of new beats. This change and openness to new sounds is also apparent in their instrumentation, as they pair their traditional instruments with drums, as well as samples of bass lines and percussion.

Given their openness to new musical approaches and experimentation, it only seems fitting for the songs of Music Yared to be remixed, allowing further exploration of their inherent musical attitudes towards change and development. The first single from the EP, Sindayo (Mikey Young’s Masinko Remix - Radio Edit) traverses new sonic territory, pairing the traditional character of Music Yared with contrasting ideas from different sonic landscapes. Beginning with a musical acknowledgement to the original song, Young’s remix then changes direction into a new sonic world; synth pads and melodies swell and intertwine, samples interject, whilst grooving electronic beats underpin a new approach to texture and song structure.

Recorded by Dale Gorfinkel in Thornbury. Mixed and mastered by John Lee at Phaedra Studios.
Remixed & additional production by Mikey Young in Rye.