Cerca:serie rec

Shelter is one Alan Briand, a young Parisian producer with a strong melodic centre producing a sound that pulls on the Zouk, the Afro, the Balearic and the Ambient palette. Zon Zon Zon is only his fifth release and his first mini album, following the series on International Feel that has brought us material from Len Leise, Wolf Muller and CFCF.

International Feel first met Shelter on a trip to Paris a few years back. It sounds like a story from a Nick Hornby novel, but there's a record shop in Paris called L'International Records, run by a guy called Dave who has a group of young French DJs, producers and promoters that visit the store, hang out and buy and listen to music - a story no doubt currently being repeated throughout the world as new generations immerse themselves in the culture. Shelter is a producer who has sucked up all that he has been hearing around him for a number of years and is now producing a quality sound, pulling on the exotic.

The seven tracks on this mini-album are taken from an extensive pool of Shelter's melodic magic. Some people lead on the beats, some on the production, but Alan focuses on the melody, with the beat closely tied in as support. Señor Zalla starts the album with an afro vibe, closely followed by the Zouk-style of Zon Zon Zon and Port-au-Cœur's mellow Balearic tones, as Shelter twists nature's sounds into his own sonic world. Bucolica, an upbeat wonder of a track, turns to the ambient mantra of Courant Rouge and it's distant cousin Courant Bleu, a classic rhythmic balearic piece with syncopated melody and delayed drums. La Volière (the French can make even bird cage sound beautiful) brings the album to a close with a smile in the mind's eye.


Zon Zon Zon is universal. It could easily have been created in Ibiza or Canada, Australia or Africa. It was in fact recorded at Paris 11, where Shelter forged beauty through the sounds of nature and uncovers a wisdom in its simplicity. We can expect good things from Alan. Here's the first chapter.

Limited to 500 copies with artwork

While unveiling the 'Mutant Tournament' Quartet last year, label boss Nachtbraker was quietly hunting for new music behind the scenes. Being the fine huntsman he is, he came out of the woods with sonic bits and bobs so delectable he had no choice but to spread them out over two brand new quartets. That's right, eight records in total, to be released over the course of the next 18 months. We're delighted to introduce you to Scott Franka, who's at the helm of the first missive. This creative head from Amsterdam has been making music since the tender age of 11, but it wasn't until he adopted his Scott Franka moniker that he really found his groove. His music encompasses influences from dub and dark techno to classic drumpcomputer and synth-heavy house. Franka's style takes cues from Detroit, Chicago and the UK, and yet is also very personal and forward thinking at the same time. 'The Gym' might be his solo debut, but a smattering of releases from the man is on the horizon. The best way to introduce you to Scott Franka's musicality is 'The Gym' on A1. Starting of with sweet, melancholic chords and 808 hats Scott turns your world upside down after the first break. Try to keep your head steady, and get that dirty look of your face.. doesn't work right It's just too good. 'Toenail' is up next, and its undeniable groove and incredible amalgamation of synths and strings make for an absolute early hours melter. Flip over for 'Sorry' to hear Franka knock it out of the ballpark with its heavy breakbeat and UK-style bass. Finally, there's 'Street', a mesmerising groover, rounding things off nicely. The release doesn't only mark its first artist EP, it also marks a new look for the label. Building on the muscular,pheromone-rich theme of the first Quartet, Elsemarijn Bruys developed a fresh concept for both new Quartets with a little help from Scott Franka,

High Plains is the duo of Scott Morgan and Mark Bridges.

Morgan, based in the Canadian Pacific Northwest, is predominantly known for his drifting, textured soundscapes released under the pseudonym LOSCIL.

Bridges is an accomplished, classically-trained cellist residing in Madison, Wisconsin.

The two met in Banff, Alberta while they were simultaneously there on residencies at the Banff Centre for the Arts in 2014. They first collaborated when Bridges contributed cello parts to Morgan's generative music app ADRIFT, recorded in Seattle in 2015.

In early 2016, the duo embarked on a collaborative set of compositions in the oxygen thin air of Wyoming, spending two weeks holed up in a refurbished school house in the town of Saratoga, where this album was recorded.

Inspired by Schubert's Die Winterreiseand the rolling landscapes of
their surroundings, the collaboration culminated in a collection of recordings that evoke a shadowy, introspective and dizzying winter journey.

Cinderland takes cues from classical, electronic and cinematic
musical traditions but is mostly a product of the rugged, mythic landscape; vast and sprawling with a wild, uncertain edge.

The recording was made with a portable studio and all sounds were sourced on site, most notably from Bridges' cello, the resident Steinway D piano, and field recordings collected from the local soundscape.

The results are a site specific, wide scope view of thehigh valley terrain the duo worked in, a mix of analog and digital, neoclassical and modern electronic sounds, a complemental series of tracks to become absorbed in, a truly deep listening experience.

The cover art forCinderland was created by London-based artist, Peter Liversidge.

Repress

After last years slick selection for the series from MCDE, Young Marco steps up with a great set of obscurities. Top Tip!
.
Born Marco Sterk, he certainly doesn't come from a standard DJ background. A former skate rat who grew up loving American post-hardcore and '90s hip-hop as much as early Warp Records, he's been affiliated over the years with Amsterdam institutions such as Rush Hour, Red Light Records (where you'll find him most weekdays!) and, of course, Dekmantel itself. Still, there's no question that he's always followed his own path, even during the years that playing his favorite records meant that he was occasionally clearing dancefloors.

Things are different these days, of course, as Sterk now regularly plays around the globe and has been widely hailed not just for his DJ talents, but also for his digging prowess and uncanny ability to pluck jams out of genres, eras and geographies that even veteran DJs will often ignore.

Still, Marco's entry in the Selectors series isn't some soulless collection of 'Holy Grail' rarities. 'Where's the fun in that' he explains. 'Anybody with an internet connection can check what flavor-of-the-month records are in demand.'

Just like the first Selectors compilation, this is not a mix CD, but a collection of hand-picked, unmixed tracks that Sterk has personally chosen from his own vinyl archives. Moreover, Marco has put together a collection of tracks that represent not only how he plays music, but also how he makes music himself. The songs here are melodic, electronic and bound together by a refreshing sense of naiveté. Nothing sounds overly calculated; the tunes here span several decades and include dollar-bin records, avant-garde records, club records and yes, a few things that collector types have likely been looking to get their hands on. It's not meant to be a grand statement, as Marco would rather provide an honest snapshot of his musical tastes and share a few of his favorite tracks and artists in the proc

We continue THE ORB's SIN IN SPACE remix EP series with a third volume focussing on the duo's latest full-length, the highly acclaimed COW / CHILL OUT, WORLD! (KOMPAKT 354 CD 134). The spontaneous, organic vibe and sample artistry of the album is reflected in three distinct reworks from highly respected Kompakt mainstays THE FIELD, DAVE DK and JÖRG BURGER - all of them informed with surprising twists and displaying a clear lineage to the source material.
THE FIELD's remix of 9 ELMS OVER RIVER ENO takes the original's percussive part and unfolds it to a swirling, tropical epic that alludes as much to The Orb's multifaceted sound collages as it does to the hypnotic, looping flow of The Field's own output. Meanwhile, DAVE DK turns in a club-friendly revamp of 4AM EXHALE with the fittingly titled ACCELLERATOR MIX, indulging in exquisitely lyrical glitches and the magic of the straight bassdrum. JÖRG BURGER takes a shot at the beatless 5TH DIMENSIONS with the excellent DSCHUNGELOPER MIX - its loose pop jam feeling and flirty shuffle rhythm recall Burger's lush lounge core efforts under his Triola monicker.

Muyei Power or Orchestre Muyei (muyei means 'our country') was one of the top dance bands of the1970s in Sierra Leone. Soundway Records' first collection of music from this West African country ('Muyei Power: Sierra Leone in 1970s USA') is an album of rock-infused, 'afro' music from a group that traveled the world throughout the mid 1970s. Fusing elements of electric Congolese and Nigerian music with fast, syncopated, uptempo modernised arrangements of traditional music, Muyei Power produced a series of unique single-only releases that have been unavailable for 35 years. The rare recordings featured here are a glimpse of a dynamic and powerful band at the very height of its powers.

Even though lyrically Orchestre Muyei focused on traditional themes and songs, the arrangements and formulation of the instrumental side of things still very much reflected the mixed nature of urban Sierra Leone music, exemplified by a small collection of bands that also included Afro National, Sabanoh 75 and Super Combo.



For the early part of 1970s the band toured extensively throughout Sierra Leone, Liberia and Côte d'Ivoire before making a handful of 45s in local TV and radio studios. The recordings featured here however come from a period of touring the college circuit in California during late 1975 and early 1976. Later that year, as they played the colleges of the east coast, they gave the tracks to the owner of the African Record Centre in Brooklyn, New York. He initially released two of them on his in-house Makossa Records label as 7-inch 45rpm singles in 1976. The tracks from 1975/6 were then not heard of again until 1979/80 when the African Record Centre released many of them on a series of Makossa Records 12's that sounded far superior than the records that had been released a few years earlier.


Orchestre Muyei Power finally split up in 1979 leaving no proper album releases and only a handful of recordings for us to enjoy all these years later.

Released in 1982, "Weltweit" was the sole output of the band. It has appropriately become quite rare and difficult to find with the resulting high prices to obtain an original copy. Inspired by the greats such as Kraftwerk, YMO and Klaus Schulze, the three members crafted an exquisite collection of electronic pop songs played on a very impressive collection of analog synthesizers (Arp Odyssey, Korg MS series, MiniMoog, PolyMoog, Moog Modular System 55, PPG 360, some Rolands, and Doepfer sequencer), self-builds and drum machines (Roland TR-808) that were considered cutting edge at the time. The band would have recorded a second album but split up before that was possible. Members of the band continued to be involved in the music industry at least peripherally but didn't participate in further collaborations or bands. Also interestingly, MONOPOL was basically a studio-only project and actually never played live (despite some TV appearances).

Definitely a must-have for fans of NDW such as Bal Paré, Grauzone, Piefke & Pafke, Rheingold, Stahlnetz, Ti-Tho and the like.

Few artists have created a body of work as rich and varied as Prince. During the '80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of ground breaking albums, he toured frequently, produced albums and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince has shown remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music can be maddeningly inconsistent because of this eclecticism, but his experiments frequently succeed, no other contemporary artist can blend so many diverse styles into a cohesive whole.

'Zibaldone I of CVX' is the first in a series of releases from Rupert Clervaux (Sian Alice Group, recent collaborations with Beatrice Dillon, Spring Heel Jack, Treader Records...) which take their name from the title of Italian poet Giacomo Leopardi's extensive notebooks. They are collections of sketches, vignettes and musical footnotes to Rupert's ongoing and varied endeavours as a musician, listener, reader and writer.

This first piece is in five sections (titles listed below), consisting of three thematic poetry recitals, read by Clervaux and others over sweltering ambient arrangements, along with two clattering percussive tracks created using a variety of sounds across the fidelity spectrum and finely sourced, layered samples. The result is a meandering and diverse musical journey which threads together succinct meditations on originality by Leopardi and Silvina Ocampo, and salutary warnings from Hölderlin and Derek Walcott!

'Zibaldone I' is presented as a 12' with a fold-out poster by Belgian artist Coline Cornélis.

Not Waving takes 2017 by the scruff with his Populist EP, consolidating the myriad stripes of his acclaimed Animals album in four extended peaktime hammers forged for darkrooms, basements and warehouses alike.
If last year's LP saw you thru from day-into-night, or vice-versa, this one is aimed squarely at the gurny hours of abandon in between, with ferocious acid lines and jabbing drums stripped down and strapped up to prompt reckless behaviour on the 'floor.
Containing his first material written in the wake of Animals, the Populist EP is Alessio Natalizia a.k.a. Not Waving's strongest dancefloor statement since the one-sided Get Serious (2015) bullet.
It finds him taking the opportunity to make straight-up bangers, rather than 'songs', which were thoroughly tried and tested over successive tours of the USA and ountless shows in Europe too in
the last 9 months.
Too Many Freaks is an anthem in waiting, harnessing a barely-hinged sense of chaos between its careening synth lead, acid squabble and velvet-clad kicks, before the dry-rutting jag and plaintive vox of Vibe Killer takes a dog-grip like This Heat meeting Tuning Circuits.
Top marks go to the check-your-stylus intro for Control Myself on the B-side, which holds its fizzy line into a fetid crevice of what sounds Russell Haswell ramping with Powell, whereas the
crooked clampjaw groove of Ur Lucky Ur Still Alive pivots around a sample a lone raver at Atonal, Berlin 'who had no idea how she got there and what she did the night before'. A ruddy good night
all-round, then
Not Waving co-owns the Ecstatic label alongside Sam Willis. Not Waving is widely regarded a connoisseur of Italian new wave and post-punk music - he compiled the Mutazione (Italian
Electronic & New Wave Underground 1980-1988) set for Strut - and has issued a series of acclaimed, sought-after, playfully anachronistic twists on that sound since 2013.

East Wall was an Italian electronic dark wave band formed by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. In September 1984 they booked a recording time at Master Studio 33 in Cremona Italy. Working with produced Ray Masola, they recorded their debut single 'Eyes Of Glass', which was released on No Comment in early 1985. The equipment set up was a PPG Wave 2, Roland ProMars, Roland Juno 60, Simmons drum, and an upright piano. 'Eyes Of Glass' is an outstanding example of 1980s Italo disco full of dark, moody atmosphere and depth. Wilma Notari's coy vocals cast a spell on the listener as she weaves a story about lost love and 'bitter tears'. Included here are the original extended 12' mix and instrumental version with mid-song breakdown and dubbed out chorus.

Vanta Series is the new series for Killekill's dancefloor music. The releases come in series, every series comes with a theme and one artwork which is being split in several parts to go with each release. The first series is called THE END IS NEAR' and features four records. It comes with an artwork by French visual artist Elzo Durt.
Vanta 003 comes from Eomac under his alias EeOo.
EeOo is a side project for what is, in Eomac's mind, straight up, techno-rave-house-jungle- disco influenced, dancefloor material. It draws influence from classic styles of dance music. Less dense, less conceptual than the Eomac-music. Less focussed on texture and atmosphere, a more direct approach for sweaty ravers and moving bodies.

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo's newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. It's not very common to find a female singer performing publicly among the Peulh. But Poulo's mother's co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo's entree into the music world was auspic ious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo's first internationally-distributed record. On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n'goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shapeshifting layers of rhythm and woody overtones match Poulo's commanding voice in a jocular yet deliberate dance. This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. Poulo's conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali's melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.

Argentina's Unlock Recordings present the third and final instalment in their 'Collaborations' series featuring Deep Mariano, One + 1 & Camilo Gil, Funk E & Bodeler and Ronan Portela.With the previous 'Collaborations' featuring Barem, Jorge Savoretti, Franco Cinelli and Leonel Castillo, Unlock's established ntourage of producers are well known for their distinguishable stripped back approach to house and techno. At the helm of the imprint is Gonzalo Solimano - former 'Mr. X' at Red Bull Music Academy and stalwart within Argentina's thriving scene. Each vinyl release is accompanied by artwork designed by Argentinian graphic talent Gisela Faure.GET SLOW founder Deep Mariano begins the release with 'From Machines To Jungle', a percussive roller fuelled by a sultry bassline and hypnotising atmospherics. One + 1 and Camilo Gil then demonstrate intricate drums and looped pads as subtle vocal samples mutter in 'Bitch Call' before Funk E & Bodeler introduce glitchy nuances and trippy atmospherics in 'Playa Den Bolsa'. Tying things together, Buenos Aires' Ronan Portela incorporates a little more thud whilst soothing synths operate in 'Changing Minds'

PT.6 of the Warehouse Traxx Series brings 4 mega bombs and a revamped logo. Heavy bass-lines, deep slamming beats, wicked stabs and pumped-up grooves. Everything you need to destroy any rave floor, with a perfect balance between classic underground and contemporary swag. Bridging the gap between house and techno, this record will save lives and club-nights.

dedicated to promote young and evolving artists and to present musical diamonds in the rough, raster-noton is curating the unun series which name refers to the chemical elements 111-119. »unalloyed, unlicensed, all night!« is jesse osborne-lanthier's first release on raster-noton, and the ninth and final release of this series.jesse osborne-lanthier is a berlin / montreal based, canadian electronic music producer and multidisciplinary artist. his erratic research process incorporates the urgency of dance music and conceptual electronics by disassembling their grammar and acting through it. refusing to follow the etiquette of a particular musical genre, he explores many creative practices in order to generate clashes of mood, expectation and technique.
»unalloyed, unlicensed, all night!« was recorded by osborne-lanthier a mere two hours before a live set in paris. its specific purpose was to generate a response from the audience, to stimulate their bodies through sound. the toolbox for this task was stocked with automatic call-and-response music tropes drawn from EDM, big-room house, trance, and online production tutorials. between the producer's idiosyncratic by-the-numbers process and the rushed nature of the composition, the final product is rendered unpredictable; each signifier transforms into a distorted ghost of itself. this allows for unexpected responses to manifest on the dance floor as well as in the listener's space of existence.

TS07 is the 4th EP of the TONE SERIES project and in line with the previous three releases TS08, -09 and -10. However, while MACHINE DREAM freezes you up with its winter grooves whilst on your way to the club, KEEP THE BOMB warms you up as soon as you get inside. Whereas MACHINE DREAM unveals shamanik percussions driving a tribal acid vibe with a big amount of pads that make the track ramping crescendo up, KEEP THE BOMB establishes itself as a major dance floor tune with its killer beast, cruising vibe and staccato voice percussion. With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, MACHINE DREAM and KEEP THE BOMB distinguish themselves from each other through their vibes and colours, although they remain in the same spirit. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality comes out of colours.TONE SERIES was born from the collaboration between late Villa's former bouncer (one of the most underground clubs of Berlin) Wolfram, French music producer, live performer and DJ David K, and LumièresLaNuit's co-founder and An der Grenze's founder.