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The infamous Kiwi returns to Needwant with his second EP on the London label (home to the likes of The Revenge, Ejeca, Maxxi Soundsystem and many more) On this cut Kiwi does what he does best by incorporating emotion and grit into dance music. The EP features 3 mixes of ‘Kiya’ as well as a remix from underground hero Brian Ring.

The record opens with the original version of ‘Kiya' which features warm bass tones, spaced out synth lines, shuffling percussion and a tribal-esq vocal. The Rave mix gives ‘Kiya’ dance floor authority, introducing driving acid synth lines and a weightier low end. On the B side Kiwi delivers a deconstructed ‘Dreamscape’ mix stripping ‘Kiya' back to it’s beautiful bare bones.

‘Kiya’ will be another addition to Kiwi’s already impressive physical discography which includes releases on imprints such as Disco Halal, Future Boogie & 17 Steps. His unique approach to remixing and producing over the years has meant that he has seen a wealth of support from names such as Andrew Weatherall, DJ Harvey, Gerd Janson, Daniel Avery, Erol Alkan, Optimo, Annie Mac and Skream.

PULP is inaugurating this year's summer season with a lengthy affair by a certain Barry Helafonte called "One Night'. Not much is known about the artist that delivers the 12th installment for the PULP series. Nevertheless, production wise the sound is mature, and the drum machines sound like they are being hit by someone with vast experience. The balanced production quality of "Keys to The City" is prominent. A squelchy bassline is dictating the rhythm whilst washes of pads and an outlandish lead come together to form a dripping whole.

"Keys to the City" resumes with friend of the label Moon B on rework duties, turning the spaced out drums of the original

Hamburg-based Mireia Records is ecstatic toannounce their thirteenth release: Julian Stetter’s “Sensual EP”.
You’ve probably crossed paths with Julian in thelast couple of years. Not only because he’s the tallest guy in Cologne, but the producer and DJ has been actively shaping modern dance music
with his flourishing, melancholic sound. He’s been releasing music with Permanent Vacation, Kompakt, Correspondent and hometown labels Ancient Future Now and PNN.

It’s also not his first time on Mireia Records. Remember the beautiful “Porto” on “We’ll Sea
Pt.1?” Here, Julian presents two original tracks which are reinterpreted by SONNS and Matt
Karmil.
The title track “ Sensual ” manages to erase the mundane, the world’s vanishing around you.
It’s pitched shaker and airy bells evoke introspective tones. The bassline on the other hand
keep you steady - the dancefloor is still visible through the clouds!
“ Rumors ” picks up the pace. Kick drum and syncopated hi-hats set the stage for a serious
bassline, interwoven with fleeting melodies.
Bright and euphoric brushstrokes from Julian’s synth elevate the pace and catapult the track
towards a crescendo. Booming snares signal the peak.
New Release Information
Strobe lights, sweat and ecstasy.
SONNS opens up the B side with the first remix by whispering “ Rumors ” in your ear. A
brooding bass line takes you on a trip to the dark corners of the city. Hypnotically chugging
toms highlight the sights. Let’s get lost tonight!
With his releases on Kompakt and strong DJ Sets SONNS’ been a long time favored entrant
into Mireia Record’s catalogue.
Matt Karmil’s version of 'Sensual', although on B2 of the vinyl, doesn’t hide its assets.
Kicking off with frantic high hats and a distorted glitch, he pushes the track forwards
intriguingly. Arpeggiated melodies layered supremely over the percussion drive the track
forwards, the simplicity of the track and sharp cuts and drops create an interesting dynamic
to the single creating a perfect juxtapose to the other tracks on the release.
Matt’s also been on Mireia’s radar for a long time. His atmospheric adventures for Studio
Barnhus, Smalltown Supersound or Beats in Space always convey a spirit of living, breathing
leeway.

Around the year, the sturdy red brick walls of an old Cable Factory stand there like a mountain, facing weathers of all kinds rising from the Gulf of Finland. It might be freezing winter winds whipping the whole shore line into submission, fog heavy as concrete, or the relentless sun of the summer months, softening the asphalt to a boiling point. Whatever the weather may be, the narrow courtyard of the old factory embraces those musicians, who are looking to get down. They gather from all directions, making their way towards a pair of doors that lead towards a flight of stairs, again through a few doors all the way to the last portal, where an open padlock and a loosely hangin crossbar signal that Cold Diamond & Mink are inside, locked in a groove.

Who could it be with them this time, perhaps the jazz prophet Jimi Tenor beaming out of his space ship, maybe it's the golden voiced knight of soul Tuomo "Pratt" Prättälä, the number one trumpet wielding dandy Jukka Eskola or the saxman Pope Puolitaival, who loses nothing in coolness compared to the former? The reel to reel is always there in the monitoring room, catching each analog layer of sound, even the silences and banter between takes. Seppo lays down the guitar and tries to catch the riff on organ instead, Jukka throws a rare tune on the turntable, hoping to guide their unit through that wobbly chorus, Sami waits there bass in hand, maybe already thinking about the next production.

After a whole lot of playing instruments, arranging and taking care of business, after the moon has travelled around the old industrial building for some rotations, Carlton Jumel Smith comes waltzing through those same doors. There's a handful of unnamed tracks waiting for him. He sits there listening and then starts writing, maybe echoes of soul classics from his own record collection in New York projecting inside his mind. Then the tape is rolling again. Starting with a short intro rap Carlton lets it out, singing on the edge of shouting "Woman you made me...". After the vocals are in the can, Carlton ascends out of the basement and heads out to entertain an audience somewhere. Some months later, after the mix is said and done, there's the question of the instrumentals. It seems they're pretty good as they are. And here they are.




d 4 Help Me (Save Me From Myself) [Instrumental]

In the early eighties, Edmond Mondésir, professor of philosophy and Léon Bertide, trade unionist, founded the Bèlènou group. They were actors of the great agricultural strike of 1974, which resulted in the death of two workers (Ilmany and Marie-Louise) and left many wounded. Activists of the patriotic movement Asé Pléré An Nou Lité (Stop crying, Fight), they were part of the identity and the cultural affirmation la revendication identitaire et culturelle of the time. Like the Guadeloupean musician Gérard Lockel and his work on the Gwo Ka, they put the Bèlè, in its traditional form, back in the spotlight during Swaré Bèlè (Bèlè nights).Minimalist and spiritual, a true rural ancestral art from Martinique, the Bèlè combines dance and music from responsorial monodies, which is a choir that responds to the lead singer (Respondè / La vwa dèyè), on codified drum rhythms and ti-bwa (2 sticks that hit the back of the drum or a piece of bamboo). It comes in a series of collective choreographies, working up into the trance. The texts are simple, short and tell the story of everyday life and struggle. While preserving the emotion and the drum’s central place, the fundamental contribution of Bèlènou is to keep the traditional form of Bèlè while adding a modern instrumentation: bass, guitar, saxophone, drums...
Emosyon Tambou-a (Emotion of the Drum) was released in 1990. This third opus of the band expands the musical spectrum in harmonies, arrangements and influences to create a contemporary music anchored in the Bèlè matrix, while keeping the beat, the energy and ancestral roots of music. Bèlènou adapts some classic rhythms: Bélya, Gran Bèlè, Bèlè Pitjé or Ting-Bang rewritten here for an orchestra.With the appearance of long couplets and a complex harmonization of the choruses, Bèlènou's music brings a form of modernity, it opens notably to jazz territory as well as to other forms of music and grooves. Also, Bèlènou leaves the musicians with space for improvisation: not only on the saxophone or the guitar, but also with the drums (cleverly adaptating traditional rhythms to the drums).

The texts sung in Creole are of a social nature, appealing to the solidarity and self-denial of the people (Bélya pou péyi-a, Tout pèp-la sanblé), to the struggle for political emancipation towards a new democracy (Wi ny ké rivé, Ni dé jou, Démokrasi); land protection (Sové tè-a); finally, to the vitality of the Bèlè culture ... (Emosyon Tambou-a, Dansé Ting-Bang)...Culture participates, according to the expression of Aimé Césaire, as "Miraculous Weapons". Bèlènou sings a project of a new and united society. A precursor group, experimental in the its early years, Bèlènou reconciles with talent tradition, modernity and cultural identity.

Lovely crafted tip-on sleeve. Remastered. 700 copies

Daughter of the mighty George Kerr, Sandy set the scene alight in ’82 with the explosive classic, ‘Thug Rock’. Badass slap basslines, zapping synths, ethereal pads and Sandy’s iconic rap were a timeless recipe of pure ‘80s, boogie-infused power that’s blasted from many a boombox, sung on all manner of club systems and sound tracked endless open road cruises over the years.

Released on the South Carolina label Catawba Records, two prolific duos blessed ‘Thug Rock’ alongside Sandy and co. Her father, who produced for the likes of Alice Clark and The O’Jays and Sugarhill wizard, Reggie Griffin, headed up the production and arrangement, with ever-dependable M&M aka John Morales & Sergio Munzibai taking the reins on the mix. Their combined talents can be heard in the tangible weight of the track, each element getting the space it deserves to facilitate that crystal-clear clout - from the huge bass riffs and sublime keys, to the punchy drums and Kerr’s infectious rap. An earworm if ever there was one!

Take to the flip to find the much in-demand dub version, echoing out choice snippets of Sandy’s rap to focus in more on that killer boogie-funk groove. Original copies are tough to come by in the UK, so an official reissue will be music to many an ear.

Yeketelale is the third album from Franco-Ethiopian group uKanDanz, combining a heady brew of rock energy, saxophone zigzags and Ethiopian melodies, all fronted by veteran singer Asnake Gebreyes grooving harder than ever.

In Ethiopia, sons follow fathers and, together, their names tell a story. Some discographies are the same way. After Yechelal (''It's Possible''), Awo (''Yes!''),here's Yeketelale (''It Continues''), the third album from Ukandanz.
The adventure that links Damien Cluzel (guitars) and Lionel Martin (tenor sax), the two founders of the group, with the Ethiopian singer Asnake Guebreyes continues and, with this album, takes on new colors and a new dimension. It is a polished synthesis that keeps the rock energy of their first recordings and gives even more space to the subtle vocal ornamentations that mark great Ethiopian singers. Add to that a groove that is more danceable than ever, carried by Adrien Spirti's synth bass and Yann Lemeunier's drums, and you have the magic formula of Yeketelale.

This came about slowly over the course of a dialogue that began in the early 2000s when Damien Cluzel, arriving with a circus in Ethiopia, met up with the occupant of the next room in their hotel. A stroke of luck: this was Francis Falceto, high priest of the Ethiopiques collection (Buda, 30 volumes to date) which had introduced to the West the treasures of swinging Addis, the capital that vibrates to the sound of big brass orchestras. With him, he dives into the capital's nightlife and meets a galaxy of musicians. The singer Asnake Guebreyes is among them.

Recruited by the famous Police Orchestra at the tender age of 16, he already had all the power, energy and class of his role model, Tlahoun Guessessé ''the Ethiopian James Brown''. He began his solo career at the beginning of the 1990s with several major successes, most famously an explosive duo with the singer Fekker Addis.

This experience made a big impact on the French guitarist. Having learned how to blend in with a uniquely Ethiopian groove, he was now ready to take it to other places and in other directions. In his old friend Lionel Martin, he found an ideal partner to engage in such experiences. But they needed a singer. The idea of Asnake Guebreyes was mentioned. Then Francis Falceto called and suggested going to see him at the Addis Music Festival. Ukandanz, a rock version of Ethiopian groove, was born.

Some pieces, like the disturbing Yene Hassab, call to mind Herbie Hancock's experiments in the seventies, as well as the Juju guitars of the Gulf of Guinea. Others, like the dark Fetsum Deng Ledj Nesh, allow Asnake's voice to soar above the synthetic waves, like a siren song for a freighter in distress. Dance and trance are not left out, with inspiration from the inexhaustible Ethiopian traditional repertoire. In a nod towards Asnaké's first album (Ahadu, also reissued by Buda) Ukandanz returns to its track Ajiré, transfigured by the guitar, claps and synthetic bass and takes us back to the glory days of breakdancing. Listening to the two versions gives the key to understanding the unique touch of Ukandanz and of the rich musical colours of Yeketelale (''It Goes On''), a fusion musical journey that brings the electric spark of the Frendj (Westerners) to Ethiopian lyricism.

STAR CREATURE’s space funk bass hunk hero OURRA drops this stylish disco boogie groove featuring London’s ALENA on vocals. Originally slated for release in the Fall, but rush released due to demand. Peaktime summer dance floor heat in both vocal and instrumental versions.

talo-Iranian producer Sciahriar Tavakoli, commonly known as Sciahri, after releasing on renowned label as Ilian Tape, Mord, Opal Tapes/Black Opal and MANHIGH finally presents his first long playing record “Double-Edged”, and he does it on his own imprint, Sublunar Records.

The LP is an extended, carefully compiled exploration of the many facets of his signature sound, where emotional melodies collide with dense and rasping basslines.

The artist aims to express emotions with unsettling simplicity, showcasing techno compositions that are both thoughtful and primal.

Within the space of ten tracks, Sciahri’s sound design reveals his structure, pushing the listener through a labyrinth of textures and rhythms.

Long time underground innovator Illja Rudman returns with "Sagittarii", a fourth fantastic studio album and his second on Bearfunk.

As boss of both Red Music and Imogen Recordings, as well as being a skilled DJ and diverse producer, Rudman has been an integral part of dance music for years. The Croatian effortlessly veers from electro to disco to house with his own colourful sense of melody and club-ready grooves and has done so on more than 70 releases on labels like Classic, Rong, Electric Minds and Is It Balearic Recordings. This superb new album lands just a year after

his last, "Paradigma", and is another subtle evolution in his style but one that continues to deal in authentic analogue textures with flashes of throwback funk and disco gold and a slick sense of boogie.

Things open up with the glistening future-retro chords of "Dreamscape Planet" a quick,upbeat cut that is ready made for dancing in the sun with its majestic strings and nimble basslines. "Cosmia (Regal Mix)" is another bit of engagingly urgent disco funk with clipped drums racing along beneath heart melting chords. The stylish "If I Keep My Eyes Closed (Mezzanine Mix)" slows things down, with a snaking bassline and wallowing chords making for more cosy and intimate listening while "Synthia 2000" is a more playful cut with wiggling bass and withering chords that bend space and time as you get down and boogie.

The gorgeous glossiness continues with another tight bit of disco-funk lushness on "6th Floor Entrance (Guardians Gate Mix)" and "S.O.S. Flight Theme" serves up some rugged bass lines and mad xylophone patterns on top of corrugated drums that will get any club in a spin this summer. Closing things down in the tropical tinged exotica of "Techniques & Tactics (Nocturnal Mix)" with its long legged drums, blissful Balearic vibes and superb sunset stylings.

This is an album that brims with cosmic disco energy, emotion and excellence from start to finish.

Archie Hamilton’s Moscow Records invites Mennie for his first solo release of 2019, featuring two spacey cuts in the form of ‘Proxima’.

Joining Moscow Records following releases on Poker Flat, Infuse and Rawax, Mennie is a regular DJ at Florence’s Tenax Club when not performing across Europe including appearances in the UK, France, Germany and Spain. Alongside Julien Sandre, the Italian producer is also one half of Jarau and together they’ve released on labels like One Records, Visionquest and Pleasure Zone.

Kicking things off, ‘Proxima’ injects acid squelches into an atmospheric background which builds to include a wonky bassline laced with echoing distorted vocals. Flip over and ‘Do That’ utilizes a similar otherworldly aesthetic, with metallic effects, electronic bleeps and rattling drum patterns, all guided by a funk infused bass.

Karen Gwyer returns to Don't Be Afraid with her first new work since 2017's Rembo LP, which gained critical acclaim for its powerful body music and melancholic melody led pieces. Man On Mountain EP is a further evolvement of the duality and nuances in moods and emotions that make Gwyer's music so impactful. Resetting, rebuilding and subverting atmospheres and rhythms is a constant in her music and Gwyer builds on that more in this latest instalment.

The low swung weight of opener Faces On Ankles' bassline is full of suspense, alternating between rolling fluidity and unpredictable kick patterns, while a dubby melody dances alongside glossy, introspective arpeggios. The EP then weaves suddenly into cosmic drone that snarls with tension and desolation on Ian On Fire. You can sense contrasts between these two musical spaces – luscious, bouncing techno that nods directly to Gwyer's Midwest upbringing (Faces on Ankles, Cherries On Shoulders) and darker drone experiments where light peeks through the composition that adds balance to the mood, (Ian On Fire, Ribbon on Neck). Gwyer's music takes a different path with each record while holding onto elements of previous incarnations of her sound and Man On Mountain adds new dimensions to the bold and open minded spirit she embodies.

For our fourth installment of the “Roar Groove meets Dirt Crew” series we present you this new set of shimmering and dubbed out Revenge cuts. After the last episode Graeme has been very busy working his “live” studio setup to come up with a whole range of new jams of which we have selected the below four tracks. We think these best represent his unique style and once you hear these in a club you instantly know “That’s a Revenge Tune”, something we have always loved about his sound.

The opening “Like an Ending” is a trippy, melancholic-euphoric track driven by a Moog Voyager bass line and classic House keys and vibe. The original recording was an 11 minute live take that he has been able to capture the essence off and narrow it down to this thumping club jam.

The A2 is all about those good times and it reminds us a lot of early 90s “French Touch”, filtering House at it’s best, it keeps running around in your head and with it’s slower pace we are sure this one will do especially well on the early morning dance floors and high summer sun drenched beaches.

On the other side we enter darker and more dubbed out territories. Here is the first track in Graeme’s words “This one had been knocking around for a couple of years in various forms, but it wasn’t really until I stripped it all back and let the arpeggiated synth do it’s thing that it really seemed to gel. It’s really the rhythm of the whole thing, I ended up scrapping extra hi-hats and stuff that was just getting in the way.” And we have to mention that we personally love that marimba! This track is like a spaceship floating the skies and eventually touching down.

To close out this new work we have one of these typical stab-y Revenge chuggers, loose and floating, synth lines underlaid by a distinctive beat, it has kind of a breakbeat feel to it and with the improvising on those synths and melodies on top of it all it’s a true Dub House track.

Summer is here and this record sets the pace and tone! Enjoy!

Having just announced his first solo Ibiza residency, Dance or Die, Nic Fanciulli continues his impressive run of form with a long-awaited debut on Crosstown Rebels. Entitled Miracle (Body Rock), the two-track release includes a stunning remix from esteemed UK talent Paul Woolford.

Beginning things in fine form is Nic Fanciulli’s original Miracle (Body Rock). Whispering percussion combines with the subtle plucking of guitar strings, as echoing vocals are layered underneath soft,
moving pads to create a well-rounded, moving number. Paul Woolford’s Endless Bassline remix comes next. Stuttering hi-hats provide rhythm as the titular rolling bassline chugs on, whilst toneful piano keys merge with reverberating, soulful vocals. Unique, yet staying true to the original, the addition of distorted
claps helps create the perfect dancefloor cut; but it is the re-singing of classic Jomanda’s ‘Make My Body Rock’ vocals that links both tracks in a moving, emotive fashion.

A name synonymous with electronic music culture, Nic Fanciulli is a DJ, producer, festival curator and
label owner whose career has spanned two decades. It was in 2005 that Nic founded Saved Records, an
imprint that is now synonymous with releases from some of the scenes greatest, including Adam Beyer
and Hot Since 82. But it was his latest release on Rekids, titled Understand, that further cemented his
reputation as a standout music producer, with a clear-cut ear for the perfect dancefloor melody. Paul
Woolford is a veteran of the UK’s electronic music scene. A prolific producer who has used many
aliases, the British talent has recorded five Essential Mixes for Radio 1 as well as holding down a nine-
year residency at Space Ibiza. His recent releases demonstrate his continued talent for producing,
including You Already Know, Hang Up Your Hang Ups and Story of My Life on Hot Creations.

Ophir Kutiel AKA Kutiman is a multi-instrumentalist from Tel Aviv, a “psychedelic space funk architect” to quote Straight No Chaser. When we were approached by his label Siyal about recruiting ZamZam/Khaliphonic artists for a remix project, we loved the idea right away - dub without borders or boundaries is our passion, and getting our hands on Kutiman’s freeform analog explorations felt like an amazing opportunity to push that passion further. All four remixes revel in the freedom of the original tunes, and each, while anchored in dubwise techniques, are totally unhindered by tempo or other genre constraints.

Alter Echo & E3 open with a remix of “Unknown,” the set’s only 140 tune, full up with a bubbling cauldron of bassline and flutes, esoteric vinyl archaeology, spring reverb shocks, and swung percussion.

J:Kenzo, known for 140 and 160 bpm sound system bangers, here takes the chance to stay deep - but in a chill mode - unfurling a beautiful journey of syncopated drum work and slapping percussion framing the lush, meandering melodies of the original “Behind The Noise."

Gulls’ rework of “Mineral” rocks with an offbeat feel, technically in four, but swaying like it’s in three. Plucked guitar figures recall the African roots of contemporary bass music, and tape hiss buffets the listener back and forth through a sonic hall of portals and passages.

Perhaps the most surprising of all four four versions is Headland’s closing “Lucid Dream” remix, which sets course for dub techno country and never looks back. Combining the best of the producer’s masterful sound design and sense of build-and-drop dynamics with the idiom’s 4/4 pulse and focus on immersive space, Headland closes a set as inspired as the album it was based on.

Part of the new wave of artists credited with stirring up the sound, including Kamasi Washington, Yussef Kamaal, Sons of Kemet and The Comet is Coming, Yazz Ahmed is thrilled by the possibilities of making something new. "I feel like I'm a part of modernising jazz and connecting it with audiences today" Yazz says, "it's exciting".

Her take on jazz weaves in Arabic melodies to evocative, cinematic effect.

'La Saboteuse' is a deep exploration of both her British and Bahraini roots. Ably assisted by musicians including Lewis Wright on vibraphone, MOBO-winning new jazz kingpin Shabaka Hutchings on bass clarinet and Naadia Sherriff on Fender Rhodes keyboard, it's composed of undulating rhythms, Middle Eastern melody and Yazz's sonorous trumpet lines. The record sounds like the passage of a desert caravan, bathed in moonlight. The theme of 'La Saboteuse' is the sense of self-doubt that Yazz feels when she is creating, personified in a female saboteur, an anti-muse that spurs her into action. "Giving 'her' a name has really helped me to identify those negative voices we all get," she says. "I know what it is and I know how to combat it"

Where To Now? Records present the debut release from Akiko Haruna. Akiko’s world is one where cacophonic distress lingers, shuffling itself over scapes of percussive damage and driven groove. Akiko presents a fresh take on the current Technoid function through her use of emotive and intentionally disruptive vocal chops and a dizzying ‘wall of sound’ approach to the dancefloor, consuming all yet somehow keeping vibes alive.

Akiko’s artistic background is primarily in Dance, and undoubtedly this performance led background has had an acute impact on her approach to melodic detail & storytelling. Akiko’s tracks rapidly shift & morph states, always restless and searching with fluidity and intent. From the ever present Micro Electronic details to sweeping swathes of Bass flutter the notion of progressive movement remains at the forefront of her sound, minute elements of detail become briefly isolated, intentionally directing the listener to their subtle presence.

‘Delusions’ Leads with ‘A Mother’s Love’ and begins a theme of resentment and dissonance. The Japanase vocal cuts throughout the track roughly translate to “you should die”, here obviously flipping assumed and supposed relationship rules and roles and exposing an inner turmoil, reflected through a continuous anxiety ridden, almost panicked siren detail which pulses over Akiko’s heads down, deep and uniform forward march.

‘Husband Established’ and the opens with the emotive vocal line “I just hate your Voice”. This is the sound of a poisonous & damaging relationship hurtling towards combustion, where Akiko’s elements gather momentum and impact as layer upon layer of detail pummel and puncture this heightened state, pausing and spiralling to evoke a standoff of aggression and imminent outburst. ‘Husband Established’ stands as a frankly stunning piece of sound design, which manages to capture a raw human emotion, and provide release for the associated junk, stress, and occasional banality of Relationship angst.

‘Hetero’ picks up where ‘Husband Established’ finished, further exploring societal character types and submissive gender tropes that are thrust into our sub consciousness from day to day. The concept of Hyperreality and its themes are continuously explored within Akiko’s practice and It would perhaps be fair to say that these themic explorations within her Music are Akiko’s own outlet for traversing human relationships within a complex, heightened, & layered reality, and it is certainly Akiko’s intention for her audience to feel some kind of relief and release within her sound world. Sonically ‘Hetero’ is a much sparser, subtler affair, where swathes of sampled voice & machine swing in and out of focus, against a weightless backdrop of affecting isolated electronics.

The EP closes with ‘Ripehus Alley’, seemingly void of any deeper meaning or message this serves more as a dreamlike parting song to what is otherwise a highly charged collection. Floating itself away from a frantic & incomprehensible world into a calmer space for final thought and reflection. ‘Delusions’ is a complex, exploratory trip, one which fans of Logos, Fis, Alva Noto, Jlin, Jesse Osborne-Lanthier etc will relish exploring.

„Pitcher“ is Nadia D’Alò’s very first solo appearance on vinyl. Playful forwarding drums running hand in hand with a laid back wuthering synth line, carrying her melting voice right in it´s fountain. „Benzin“ on the flip side is a much slower, charming impish early morning jam by INIT (D’Alò & Benedikt Frey), based on a simple 808 infrastructure that leaves space for weird guitar riffs, wavy vocals and a bassy undercoat.

The Brussels-based trio of Virginia Genta, David Vanzan and Ernesto González (Bear Bones, Lay Low) have been playing as Yader for some years already. Bagigi Dub and WW Dub sees them run two tracks from their 8 track tape through effects for more spaced-out versions of their sound, under the name Jahder. This 7", also with cover design by Virginia, features two cuts of prime dubbed-out drum machines, loping bass lines and widescreen delays for expansive listening.

The Soulpop Continuum – by Arno Raffeiner
Six songs, one sound signature, one vision. Supreme Beats Series by Drei Farben House is an album
that firmly stands in the tradition of the big records of the disco era: a vinyl disc full of kicks and licks,
just as much as two sides in amazing sound quality can hold.
The album is the latest work of Michael Siegle, the Berlin-based producer and owner of Tenderpark
Records. 13 years after Drei Farben House's first full-length on the acclaimed Force Tracks label, it
features contributions by singer and songwriter Mavin and none other than Robert Owens who's voice
shaped house music forever. The trademark sonic elegance of Drei Farben House blends perfectly
with the timbre of the man behind Fingers Inc.'s Mysteries Of Love. Siegle's work as a producer is not
so much about turning this rich heritage upside down, but about refining it and creating a space within
that realm that's very much his own.
The title of the opening song with Owens states it: I’m Remaining Here. And Supreme Beats Series
invites you to come over and stay there, too, in a refuge of class and funkiness. The record offers
dense layers of rhythm, vintage keyboard sounds, chucking guitar, and vocal samples that indulge in a
many-voiced conversation. Not to forget the prominent, singing rather than walking bass lines
performed by the hands of Michael Siegle himself with his bass guitar.

New Release Information
You could think of Supreme Beats Series as a cross-section in time and space. It allows you to take a
closer look at the here and now of a much bigger picture, both aesthetically and socially. Siegle uses
the vocabulary of house music in a way that transcends its conception as merely a genre and speaks
of the historic evolution and the profound roots of this music as a movement. His record takes
inspiration from 60s Motown hits as well as the blue eyed soul of the 80s, you can discover influences
ranging from Philly's pre-disco craze to new jack swing and on to the heyday when house-pop divas
stormed the charts. By drawing these lines, Siegle deliberately opens up the space of a visionary
Soulpop Continuum.
In the 1950s, the American issue of Vogue magazine had their say about Coco Chanel's work and its
ever-lasting impression on fashion and design. They claimed it was all about “infinite variety within
narrow limits,“ and meant that as a compliment, of course. Michael Siegle likes to think about Drei
Farben House in a similar way. And you should, too.
Info about the artwork:
As far as the cover artwork of 'Supreme Beats Series‘ is concerned, the release of Drei Farben
House’s new album shows the second part of an image series which has been started with TDPR
release # 021 and which revolves around architectural photos taken by Achim Valbracht. Tenderpark
art director Till Sperrle and photographer Achim Valbracht like these pictures of various commercial
buildings erected in Berlin in the 1990s to be seen as a critique of investor-driven architecture which
has been dominating Berlin for several decades now.
The fascination of these pictures lies in their ambivalence of staging a normalised and globally
standardised kind of beauty, but at the same time revealing a strong sense of isolation - noticeable not
only but also in the absence of human beings. This new series of images is to some extent a
continuation of art director Till Sperrle's and label manager Michael Siegle’s interest in architectural
photography. However, at the same time the photo series also embodies a new angle on the subject
since all previous picture series on Tenderpark had been an affirmation of socially progressive
architecture which expressed a longing for socio-cultural utopia.