Supergrass’ hugely successful third album reached #3 in the UK album Charts and #13 US Billboard Heatseekers Chartin 1999 and has amassed over 300,000 sales in the UK alone since its release.
Released as 1LP black heavyweight vinyl, 1LP neon orange vinyl and 2CD.
This 2022 re-issue has been fully remastered from original sources and includes the hit singles ‘Pumping On Your Stereo’ (UK #11), ‘Moving’ (UK #9), ‘Mary’ (UK #36).
The 2CD is a 4 panel digipack with 16 page booklet featuring rare band photos and new sleeve notes.
By acclaimed journalist Charles Shaar Murray
Disc 1: remastered album, Disc 2: rare / demo tracks, alternate, live versions and 4 new track remixes (2 of which done by John Leckie). Includes several previously unreleased tracks and versions. Tracklist compiled by Supergrass..
Album remastered by original producer John Cornfield, with Supergrass bassist Mick Quinn.
Restored original artwork with newly inspired inner bag artwork from original 90s promo singles. Lovingly crafted by Supergrass.
Group Modular is celebrating 10 years of cinematic space age funk with a new double-sider on Delights.
The new 45 is a follow-up to the duo's highly-acclaimed second full-length "Time Masters" and sees Markey Funk and Mule Driver exploring and expanding their sonic palette even further. The result is two drum-heavy cuts, that take their inspiration from the synth-driven sci-fi/horror sound of Goblin, John Carpenter and the late great Vangelis: the sinister and spiky "Per Aspera" ("Through Hardships") on side A and spacy and dramatic "Ad Astra" ("To the Stars") - on the flip.
One year after its original release, the Placid Angles album Touch The Earth is being remixed by an impressive array of artists from the extended Figure family. With John Beltran being a distinct voice within the electronic music scene for over thirty years now, Figure is thrilled to reveal a whole LP’s worth of reinterpretations, including two works by the original artist himself.
Opening up is Marcel Dettmann, who seamlessly has integrated the lush soundscapes of the original album into a beat-driven but equally serene journey. Picking up on the LP’s underlying dark garage tropes, Planet Mu headmaster M-ziq infuses his rework with even more rolling drums and ethereal vocal chops. The also inherent IDM roots of Touch The Earth have been kept close by Warp-veterans Plaid who deliver a shuffling flurry full of horns, synths and syncopated rhythms. More straightforward interpretations include Dauwd’s dazzling piece of feathery, fast, atmospheric techno; a gorgeous melodic house remix by Baltra and Cassy who turns in a rigid UK stomper.
Amidst all the reworks, John Beltran himself makes two appearances across the record. As Placid Angles he adds another heads-down percussive/ambient swirl, which represents exactly what the producer has been hailed for since more than three decades now. His own remix finishes the record on an epic note, with an organic drum track that celebrates life and the necessity for communal gathering in order to dance.
Beltran’s own additions to this LP are like the essential glue that makes it all bind together, forging the old and the new into something equally exciting as already intimately familar.
It might seem tongue-in-cheek on the surface, but the fact that the title of Eldritch Priest's sprawling debut vinyl release, Omphaloskepsis, is the Greek translation for “navel-gazing” unlocks something essential to the Vancouver-based composer and writer's singular outlook.
Perhaps even more telling is the title of Priest's 2013 book Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure (Bloomsbury), whose 300-odd pages read as though you've been dosed with potent hallucinogens. Throughout the text Priest addresses—celebrates, even—the titular elements via various musical examples, including that of his peers. What's so bewildering it is that his descriptions of how boredom, formlessness, and nonsense manifest are laced with the very tactics he's depicting. Passages tie themselves in knots, footnotes engulf the “primary text,” he even deliberately misleads the reader.
The restless stasis of Omphaloskepsis could be regarded as an extension of this book's wayward spirit. Things unfold fairly slowly and consistently but it'd be a stretch to describe it as properly contemplative. Like attempting to meditate with a high fever, any sense of tranquility is constantly derailed as one succumbs to queasy agitation. The piece's foundation is a seemingly endless guitar melody; an organic meander that neither seems to repeat or offer any concessions to narrative directionality. Priest unfurls this rambling cantus firmus in a rich, clean, jazz-like tone, but as it's played, it's repeatedly tangled with snarls of dense digital processing and shadowed by stumbling virtual “band.” These strident interjections blatantly contrast with the guitar, yet they aren't so violent as to offer more than a faint itch of distraction. As such, the distinctive amorphousness that this piece asks us to inhabit for its 54-minute duration leaves a strong impression, but also feels utterly intangible.
In addition to his recorded forays, Priest's disorienting music has also been performed by top-tier interpreters such as the Arditti Quartet, Quatuor Bozzini, Philip Thomas, Anton Lukoszevieze, and Continuum. While living in Toronto he co-founded the collective neither/nor with John Mark Sherlock, which featured a cross section of musician-composers playing each other's work including Eric Chenaux, Doug Tielli, Eric KM Clark, Heather Roche, and Rob Clutton. “Though the name refers specifically to a loosely knit group of composers and performers,” remark's the collective's website “neither/nor is also a sensibility that refuses art’s messianic pretensions and the gaping maw of commercialized society, opting instead for art’s right to be esoteric.” In 2021, when Eric Chenaux and Martin Arnold relaunched their neither/nor-adjacent Rat-drifting imprint, an album by Priest, Many Traceries, was among the first to be released. Perhaps unsurprisingly, Priest was a student at the University of Victoria, a school that's come to be known for fostering such staunch individualists as Arnold, Linda Catlin Smith, Allison Cameron, and Anna Höstman.
As a scholar, Priest writes from a 'pataphysical perspective and deals with topics such as sonic culture, experimental aesthetics and the philosophy of experience. Priest brings these interests to his job as an Associate Professor in the School for the Contemporary Arts at Simon Fraser University, interests that also inform his work as a member the experimental theory group The Occulture. In addition to Omphaloskepsis, his new book, Earworm and Event: Music, Daydreams and Other Imaginary Refrains,
Three years after he released the incredible New Experience EP (picking up plaudits from Bill Brewster, Tim Sweeney, Laurent Garnier, Horse Meat Disco, Leo Mas & 6Music’s Tom Ravenscroft, among many more), Tokyo’s Kota Motomura returns to Hobbes Music for his debut LP, Pay It Forward. This is the first vinyl release on Hobbes Music since the much-loved ‘Aranath’ EP by Leonidas & Hobbes last Spring. While the label maintains the level of quality control for which it has become recognised, the artist continues to subvert electronic and dance music norms in his iconoclastic way on this extraordinary record.
He’s a mysterious character with an ear for idiosyncratic music that runs the gamut from ambient, exotica and jazz to disco, house and techno via post punk, new wave and funk. It’s highly original and all adds up to a confection perhaps best described as ‘Balearic’.
Album opener Paradise is a certified jazz-funk JAM. Destined for dance floors worldwide, this one’s been dropping well with DJs, Motomura demonstrating his piano chops alongside Mutsumi Takeuchi’s sax. Tropical pushes the boat in a more rhythmic direction, some pretty wild drum programming laced with more sounds of the, um, tropics, before mad vocal yelps suggest something yet more tribal. To Be Free initially resembles early 90s progressive house (pulsing bassline, synth-driven melodies), before the arrival of some new wave guitar licks a la classic Talking Heads/David Byrne and ooh ooh vocal chants take it to another dimension altogether.
B-side opener Emotion features Takeuchi again (on flute this time) and more vocal chants before things take a dramatic turn, threatening to open up into a full fanfare before calming and then bursting into wild life again with the exhortation that “C’mon, everybody dancing!” Rhythm flirts with an energy and pace more akin to a techno record: drums, drums, more drums plus a fair few yelps and chants - the kind of DJ tool that will send a simmering dance floor wild in the right hands. Flower closes things in a more melancholy style, familiar to fans of ‘Aboy’ from the New Experience EP, with plaintive acoustic guitar (performed by Akichi), birdsong and big piano chords.
Support from Bill Brewster, Leo Mas, Al Kent, Red Rack’em, Nick The Record, Phil Mison, Phat Phil Cooper, KZA, Sean Johnston (ALFOS), S/A/M, Dribbler, Joe Muggs, Monolith Cocktail and more…
‘Gonna review in MÜ mag... very fine stuff!’ JOE MUGGS
‘Will be reviewed on the blog’ MONOLITH COCKTAIL BILL BREWSTER played Flower on the DJ History podcast #641 (25.3.22) 'I really like this album, Flower and Paradise are my favourite' LEO MAS ‘I like Paradise’ AL KENT ‘Woo this is tasty. DEFO playing on my next radio show. The label’s A&R is defo getting better and better. HM has been putting out some dope stuff and this one seems really good quality’ RED RACK’EM
‘Paradise and Flower sounding good’ NICK THE RECORD
‘Tunes sound great!’ PHIL MISON ‘Going to include Paradise and Flower on my Sunday Ibiza global radio show PHAT PHIL COOPER (Nu Northern Soul)
‘Very nice album with influences from many different genres. I especially like To Be Free with nice synths and guitar cutting, and Flower, which is a chill vibe’ KZA (Mule Musiq, Endless Flight)
'100% correct about the ALFOS potential of To Be Free!' SEAN JOHNSTON (A Love From Outer Space)
'Stunning, will fit perfectly with the vibe of my radio show’ S/A/M (Music For Dreams, DK; Playa Del Sol, Ibiza)
'Stellar work, i'll make a bet that Flowers is a Balaeric classic this summer' DRIBBLER (Breakfast Club, Ibiza)
‘It's cool in a nice smelling psycho sense, it was a very DEEP sound that I couldn't produce. Congrats!’ ALTZ (Altzmusica)
‘Paradise is my jam, it's deep, sunny and never boring. I'm interested to see how this will work on the dance floor. Overall a great album with solid composition and impressive use of live instruments!’ SOBRIETY (fka Chloé Juliette)
'Very tidy selection' ASTROJAZZ (Kelburn Garden Party, Wee Dub, Samedia Shebeen, Disco Makossa) ‘This is a lovely release. Follows on from New Experience in the best way possible. It's got lots of vibes going on but holds together as a cohesive piece of work. Love it’ JAMIE THOMSON (La Cheetah, Glasgow)
‘To Be Free is a track i could imagine Andy Weatherall playing in one of his sets at A Love From Outer Space’ KIRSTIE PATON aka She-Bang Rave Unit (Threads Radio, Radio Magnetic)
Sampled by Dr.Dre and Jay-Z, cult combo CALIBRO 35 release the new studio album "DECADE" and celebrate 10 years.
Italian super cult combo CALIBRO 35 release their 6th much awaited studio album "DECADE" on February the 9th 2018. "DECADE" marks 10 years of Calibro 35's releases and it's the very first album recorded by Calibro with an orchestral-inspired enlarged line-up that features horns, strings and percussions. Mixed and recorded by CALIBRO's usual suspect and Grammy Award winner Tommaso Colliva, on the album all the influences collected by the band during their last ten years' journey like music, collaborations, movies, gigs, books find their space. "DECADE" is CALIBRO 35's "time capsule" and is as rare and complex as a timeless work.
Musically CALIBRO 35's inner influences like Ennio Morricone, listen for instance to the epic journey of the album's end credits "Travelers", Luis Bacalov and David Axelrod are still there but are now mixed with elements from afrobeat or cosmic jazz. "Psycheground" sounds like Tony Allen involved in writing a score for a vintage Hollywood production while Sun Ra lurks on "Modo". Everything is mixed up with new influences from modern musical languages. References to Jaga Jazzist, Budos Band or Alternative Jazz and Alternative Hip Hop new acts such as Makaya McCraven, Yussef Kamaal, Oddisee can all be found on the album. In tracks such as "Modulor "you realize that Decade is certainly not a point of arrival and expresses the ambition of the band to look further and evolve. All classic Calibro's vintage instruments such as clavinet, eco, analog synths, fuzz guitars are now supported by new ones such as Dan Bau, Balafon and Waterphone ("Polymeri") in the band's new wall of sound. Thanks to the enlarged line-up and the orchestrated parts involved, which pushed the band to experiment new methods of composition, Calibro 35 on "DECADE" sound strong, full and tight as never before.
Active since 2008 CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album, Jay-Z Love Child & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.
In his foundational essay on Los Angeles, L.A. Glows, the essayist Lawrence Weschler speaks on the city's uncanny, immediately recognizable light; "The late-afternoon light of Los Angeles—golden pink off the bay through the smog and onto the palm fronds." Weschler traces the city's mysterious refracted light from the iconic paintings of David Hockney through the city's frequent portrayal on film and TV, noting its ability to put residents into a state of "egoless bliss."
Similarly, Alex Ho's new album for Music From Memory, 'Move Through It', radiates with the unmistakable LA glow. While the Pasadena native's studio work is just now coming to light, Ho has long been a fixture in the Los Angeles dance music scene, throwing what are perhaps the city's most musically expansive warehouse events and carving out a singular voice as a DJ, as heard on his brilliant Moony Habits show for NTS. The eight-track record, however, lands in a more contemplative zone, better suited for a golden hour drive than a night out.
Though it's his first record, 'Move Through It' is the accomplished work of a fully-formed artist, produced patiently between 2017 and 2020 with help from friends including Baba Stiltz, Phil Cho, Damon Palermo and John Jones. "Mark," the Koanic track conclusion side A, is an arpeggiated slow burn reminiscent of Pino Donaggio's brilliant score for Brian De Palma's 1984 film Body Double. Ho's stunning, pure falsetto soars above gentle melodies. "Miss Suzuki," the piece that originally caught the ear of MFM's Jamie Tiller and Tako, opens the record with a blue, cinematic sway. Ho's facility for poignant melodies—easily conveyed through saxophone, vibes, various keyboards and his own voice—shines on "College Crest Drive," as well as the title track. The lyrical "Move Through It" and the restrained and beautiful closing cut, "TYFC," are abetted by glimmering Kraut guitar figures courtesy of John Jones.
While Ho's rhythms and melodies paint a crystal-clear musical vision, the music's emotional centre is more elusive, indicative of a yearning feeling synonymous with the City Of Angels. Hitting these hazy and subtle notes, Move Through It falls within a canon of sun-addled records spanning from Herb Alpert's "Rotation" to Dam-Funk's Private Life trilogy as Garrett. An immersive and concise statement, Alex Ho's 'Move Through It' is as warm and uncanny as the city that inspired it, a definitive LA album.
Suns of Arqa is a sonic mission created by luminary Michael Wadada, who began in 1979 after receiving higher guidance in Jamaica while working with roots reggae chanter Prince Far-I. It is a prolific traveling music collective that has seen over 200 collaborators, meant to connect people from all cultures and walks of life through a “deeply spiritual vibration that merges cultures, faiths and musical genres”. Wadada combines ancient Hindustani raga systems with Piobaireachd and Nyabinghi roots drumming, creating ritualistic world music infused with dub and reggae.
The lyrics combine both mystical and sensory elements, often including prayer and referencing a higher power but finding root in experiences common to all people- memory, sight, and physical sensation.
Their first album, Revenge of the Mozabites, was a collaboration between Wadada and On-U Sound creator Adrian Sherwood. Following its 1980 release,Peter Gabriel invited them to perform at the first WOMAD festival. Today, the record is regarded by some as a cult classic. Over the years they have played at many major music festivals including Glastonbury, Big Chill, Telerama Dub Festival, and Transmusicales, and released over 40 albums on Virgin, EMI, Interchill Records, Antler Subway, Red Rhino, and their own label, Arka Sound.
Suns of Arqa has had a seminal influence on the World Beat sound, and continued to make appearances at seasonal festivals and sacred ritual spaces all over the world until 2021. Michael Wadada passed away in the midst of planning their U.S. tour for this release. The record is a compilation of some of Wadada’s and Sleepers Record’s favorite old Sun of Arqa tracks, mixed by Youth and Adrian Sherwood, and mastered by Eroc (drummer of Grobshnitt).
Notable collaborating artists include: Guy Called Gerald, UK producers Youth and John Leckie, Greg Hunter, 808 State's Graham Massey, Finley Quaye, Sounds From the Ground, Bryn Jones aka MuslimGauze, Adrian Sherwood, John Cooper-Clarke, The late great Professor Stanley Unwin, Eric Random, New age guru Tim Wheater, Astralasia, Prince Far-I, The Orb's Alex Patterson, Zion Train, and Gaudi.
"And although the Great Spiritual being Michael Wadada has returned to source and his body to earth at our time, his music is alive and will continue to be a great force for higher spiritual realms and raising vibration through occult frequencies...Suns of Arqa will continue to raise the vibration of the hearts and minds of humanity" – Angela aka Angel-Eye (Wadada's wife and bandmate)
SAM Records was one of the labels at the forefront of the Disco Genre when the format was at its creative peak. This was the late 70’s and early 80’s, when the producers and artists involved were all using top notch professional recording studios with live instrumentation and their focus was on songs and rhythms that would make the dance floor move. Sam Weiss the founder of SAM was involved with various aspects of the music industry in addition to his role running the label, but the Sam Records imprint was his greatest passion, and that energy comes through in the songs that make up the catalogue. In this compilation we have engaged some of the world’s premier producers of the current disco inspired sounds that are blowing dance floors worldwide. They have used their talents and appreciation of the genre to mix, edit and master these classic jams into disco inspired productions that are fully equipped to ignite DJ sets and dancefloors worldwide.
Bigg Testosterone Johnson is the name that keep them streetz in fear for decadez.
Humble beginnings as a bank robber to his first MPC traded in prison for a few bricks of soap and pack of cigarettes led him to keep streetz in fear once again... This time around with his bulletproof beatz. Word 2 yo momz.
On the A side with ‘Joy’, Bruise head in a jubilant direction. Chanting vocal chops ride along deep cut kick grooves and vivid piano riffs; modernising the classic house sound and forming a track that would as likely go off in a club in the UK as it would on the sun-soaked beaches of Ibiza.
In ‘The Theme’, Bruise switches things up and offers up a weighty, bass-driven progressive techno heater; bolstered with rattling break chops and polyrhythmic analogue synth arpeggios. As the track progresses, rip-roaring, squelching acid-lines are introduced at the crescendo; creating a versatile club record; primed and ready for the clubs reopening.
On this single ‘When Pianos Attack’, the vibe is instantly recognisable. Piano chords lead the charge of yet another dancefloor destroyer, with that signature sound of swinging beats, layered pianos, lashings of strings, and hosts of heavenly soulful choirs. Just close your eyes, look up, feel the rush, and dance.
+ Includes the unreleased vinyl exclusive ‘Akiba Choirs’. A new school dance anthem!
Huge support from: Annie Mac, Pete Tong, Laurent Garnier, Severino / Horse Meat Disco, Sasha, A Trak, Andhim, Spiller, Graeme Park, DJ EZ, John Digweed, Fatboy Slim, Sam Devine, Laurence Guy, Gilles Peterson, Fred Everything, Soul Clap, James Lavel, Basement Jaxx, Francois K, Luke Solomun.
'Joy'
- Pete Tong’s Essential New Tune + Tong asked Bruise to record a Joy themed Essential Mix for BBC Radio 1.
- Premiered by leading dance authority Mixmag.
- Featured in Defected / Faith’s behind the counter.
‘When Pianos Attack’
- Played by Blessed Madonna as an artist to watch 2022!
- Played at Warehouse Project by Graeme Park, and then again by Terry Farley.
- Magnetic Magazines Best of Month
Bruise appeared in Faith Magazines taking a full page for interview with a heavy focus on When Pianos Attack.
This one is something unique coming straight from the FullTime Production vaults.
Orlando Johnson steps up to the plate once again with four of his delighting records revisited and completely remastered.
Pure Disco and Soulful House pleasure!
The 1983 special US remix by the iconic and legendary remixer and producer John "Jellybean" Benitex of "Turn The Music On" was Orlando Johnson's greatest hit and opens Side A together with the UK Remix of "If You Come Back" featuring Tony Adam.
On the flip side scalpel maestro Massimo Berardi delivers a new rendition of "Somebody Save Me" together with his remix when in the Harlem Hustlers duo, of "I Got It", taken from Orlando Johnson's "Funky Time" album of 2011.
"This very first release on "Oonops Drops" has its very own story behind it. I planned to found my own label for more than half a year when my wife Lisa worked on her songs and when the idea came to me how this would sound if Japanese Jazz trio Nautilus would arrange some of them. I have known Toshi for six years now, met him personally here in Hanover and he's such a magnificent musician, so the idea became reality and they started working on the first two tracks until a total amount of nine songs was created. I'm so proud to share this very personal project with you (which was finally produced and mastery simultaneous to the foundation of my label by accident) and I hope you like it as much as we do.
For the first single release of the album I directly had the uplifting track "Everytime" in my mind and a remix which should transport the good vibes in a different direction. Pat Van Dyke, a longtime known producer and multi-instrumentalist from New Jersey took his hands on it and created a horns-loaden feel good version of it including a little guest appearance by Brooklyn based lyricist John Robinson.
You can get this release on LP, 7", CD or digital or get the reduced bundle of the LP including the 7".
Yours truly, Oonops."
About Lisa:
Starting with music from an early age, Lisa Decker wrote and pre-recorded some of these nine songs at least 25 years ago when she was a teenager. In the last years the songs got several times reviewed, reworked and complemented with new works by her besides being a full time (music) education teacher. You could describe the final results as a Pop album with many influences from Jazz, Hip Hop, Funk to Reggae surrounded by a Japanese sound spirit. The original demo tapes from back in the days are still alive.
Dr Packer's work has been showcased by labels such as Salsoul, Defected, Glitterbox, Z Records, Masterworks, Disco Dat, Hot Digits & Midnight Riot' and received support from DJs such as 'Dimitri From Paris, Joey Negro, John Morales, Greg Wilson, Late Night Tuff Guy, Simon Dunmore to name a few.
The Tinted Love E.P is a selection of remixes that the good doctor has done for Tinted Records.
30 years as a full-time touring nightclub DJ sounds like one hell of a career, and for Kenny Summit it's as much of a milestone as it is a turning point. Having shared the stage with greats such as David Byrne, Stevie Wonder, Chaka Khan, George Michael, Kylie Minogue and Prince over the years, Kenny took that influence and inspiration and decided it was time for him to get behind the mic too.
‘Burnin’ is a song written, produced and performed by Kenny Summit that speaks on a desire that's been burning inside of him for three decades. Across those 30 years he’s made many an influential friend too, three of which come on board to remix ‘Burnin’ - the late great Paul Johnson, D&B icon DJ Aphrodite and Brooklyn legend DJ Spinna.
"I caught the fever for house in 1990 and by 1992 I was booked for my first DJ gig at New Jersey's famed Zanzibar nightclub where house legend Tony Humphries held court on a weekly basis. Something changed that night, a fire started and its been building, growing inside of me and now it's time to put paper to pen and write my own songs."
Clearly influenced by the artists Kenny's worked with over the years, ‘Burnin’ is a culmination of one man's journey through dance music; from the Nile Rogers-ish 70s guitar riff to the whining Steely Dan-like keys, to the lush strings and synth pop stabs that would make Moroder blush, the track itself is masterfully produced and punctuated with Kenny's unique uplifting vocals, sang in a manner as if David Byrne and Boz Scaggs were put together and yet still very uniquely Kenny Summit.
Up on remix duties the late great Paul Johnson, Chicago's shining star, serves up a dark, very much after house vibe, that still keeps that trademark Paul Johnson sound. Drum & Bass icon DJ Aphrodite applies his unique sound to ‘Burnin’ with a stellar remix the D&B community has been patiently waiting over three years for. And finally, long-time friend, Brooklyn's DJ Spinna steps up, who after hearing the track commented 'this needs a dope DUB! Leave it to me, imma hook you up bruh!'. The Discoelectric Dub does not disappoint.
Wewantsounds continues its collaboration with Bob Shad's venerable
jazz label Mainstream Records, and present a selection of 12 turntable friendly tracks recorded between 1971 and 1975 and showcasing the
label's superb blend of Spiritual Jazz, Funk and Soul by the likes of Buddy Terry, Sarah Vaughan, LaMont Johnson and Johnny Coles.
Most of the tracks are released on vinyl for the first time since their original release in the early 70s. The 2-LP set comes with gatefold sleeve featuring never seen photos from the Mainstream vaults and new liner notes by UK journalist Paul Bowler.
Mainstream Records is one of the key independent jazz labels of the early 70s, together with Flying Dutchman, Strata East, CTI and Black Jazz. Founded by legendary label man Bob Shad (who had been head of A&R at Mercury Records and set EmArcy in the 50s), the label concentrated on Psychedelia in the 60s before switching back to Shad's jazz roots in the early 70s, signing a new crop of jazzmen fed on John Coltrane and Miles' electric experiments. Thus was born the
cult Mainstream "300 series" with its distinctive artwork and outstanding music from which this selection is largely drawn.
Giving a chance to many young jazz players and a few old friends, Shad recorded some of the most exciting jazz of the early 70s, mixing spiritual influences with funk and soul. Mainstream Records has a lot more exciting music in the vaults and 'Mainstream Funk' is just the tip of the iceberg serving as a timely reminder that Bob Shad's taste as a producer and A&R man was one of the finest on the scene.
The new batch from the bottomless edit archives of Danny Krivit is an uptempo, guitar-heavy excursion into two cuts of danceable rock from opposite sides of a decade.
“Marbles” originally came out late in 1970, the result of a collaboration between the fiery British guitarist John McLaughlin and drummer Buddy Miles. Miles was hot off his time with Jimi Hendrix, and producer Alan Douglas, who’d been instrumental in putting together the Band of Gypsys group, attempted another crossover combination with a brand new, blazing guitar god. Also on the date was Larry Young, an organ player best known for his expansive jazzy albums on Blue Note, and several veterans of Buddy Miles’ funk-rock combos. The resulting mixture produced in “Marbles” a powerful, driving rhythm anchoring an addictive riff that steamrolls through the cut in a fashion not unlike the motorik sound of Velvet Underground or Can. Mr. K’s edit leans heavily on the drums, naturally, with a long, tailor-made intro and a mesmerizing focus on the main riff, extending things well past the seven-minute mark.
Ten years later, the world of music was in an entirely different place but a good guitar riff coupled with a driving beat was still powerful currency on the dancefloor. This time, the group was Scottish new wave-punk group APB, whose single “Shoot You Down” had garnered unexpected peak time play in cutting edge NYC hotspots Danceteria, the Peppermint Lounge, the Ritz and the Mudd Club. “Shoot You Down” combines the urgency of the Clash with the free for all vibe that characterized the downtown scene (and throws in a chant borrowed from P-Funk for good measure). Mr. K has created a long instrumental opening that leads into the vocals, giving the tightly-wound 7-inch single a proper extended 12-inch treatment it deserved but never had before.
The sound is crisply remastered for club play, and stretched over the breadth of a 12-inch single. Both of these tracks are appearing on the long-format player for the first time.
Harald Björk follow up his recent releases on Cocoon Recordings, Traum Schallplatten etc. with the four track 12" Sketch On A Feeling. A record featuring German legends Extrawelt, no introduction needed and Swedish Teenage crime star Adrian Lux who we recently have gotten to re-known beyond his EDM stardom through his band Off The Meds (Studio Barnhus) and 90's techno banger alias Luxxy.
The record wears two original's written and played entirely on Roland MC-202 and TB-303 by the label head himself, Mr. Björk.
Textextext - (add your write up)
Kranglan Broadcast, established in 2009, is the record label of Swedish artist Harald Björk (Cocoon Recordings/Traum Schallplatten/Studio Barnhus). The shifting genres and gaps between releases might seem confusing? But… the core seems to be quality releases by good friends who have crossed each others lanes and teamed up in creativity, and there are some friends!!! Axel boman, Nathan Fake, Popnoname, Kate Wax (Aisha Devi), Fairmont, Anton Kubikov (SCSI-9), LOKATT and many more. Electronic music as it used to be before the "business era", friends sending files and pressing vinyl!!!
In 2021 Kranglan Broadcast have some fine gems coming up and Sketch On A Feeling is the first one to get public.
Harald Björk follow up a weird and packed year of 2020 with guest shows on John Digweed's Transition Show and releases on Cocoon Recordings,Traum Schallplatten, Studio Banrhus, Internasjonal and many more! The record features German legends Extrawelt, no introduction needed and Swedish Teenage crime star Adrian Lux who we recently have gotten to re-known beyond his EDM stardom through his band Off The Meds (Studio Barnhus) and 90's techno banger alias Luxxy. Dense stardom in a perfect blended EP with all modes included!
Long Story short Harald got in contact with Extrawelt over an old unreleased remix of Björk's that got to see release light on Traum in the summer of 2020. Similiar Harald reworked Teenage Crime duo Lux and Lune same year… What follows of great connection is often friendship and Kranglan Broadcast is all about friendship, quality and fun… Perfect soil for electronic music to grow organic and full of energy.
The record wears two original's written and played entirely on Roland MC-202 and TB-303 by the label head himself, Mr. Björk.
Artwork by Lukas Nystrand von Unge and mastered and cut by maestro himself LUPO!
When the first Placid Angels album dropped in 1997, John Beltran was already an established force within dance music’s then-emerging scene. He had a knack for both the melodic side as well as intricately designed rhythmic programming. A signature style that went for his early records in the 1990s as much as it does for this new installment of the Placid Angles series. The blissful synths, Aphex Twin-era IDM and loose percussive patterns take you right back to where it all began when genres didn’t mean anything and Beltran was just starting out to experiment with any sound that would elevate your consciousness. The Michigan-born artist since has spanned a career of nearly four decades, remaining relevant all the while, by playing the music he found himself most drawn to express. By working with artists like Detroit veteran Carl Craig, labels such as R&S or more recently his LPs for Delsin or his joint work with Four Tet. Whether it be his more Techno-leaning or New Wave-inspired works, his takes on Ambient, or the more Latin-influenced productions - he has always stayed active and re-invented himself while painting his records with a clearly own palette that is full of beautiful melodies and a timeless sound-design. The album Touch The Earth itself comes as diverse as the artist’s own legacy, ranging from skittish, colorful UKG to proper pulsing sub-basslines as it progresses deeper into intelligent drum programming and further into the melodic ventures of what’s at the core of Beltran’s work.
Superlux Records continues its release schedule this December with a debut EP from Taymor Zadeh. The four-track Life Goes On EP includes three originals from the UK-based artist, as well as a special remix from One Records co-founder, Subb-an. Speaking on the production process behind the EP, Taymor describes how “ Life Goes On was made using a tb303, roland mc505, a 909 which I borrowed from a good friend, some vocal samples from old tape recordings and a load of imagination.”
The A Side gets underway with Bubbleworks , and Taymor’s “imagination” is plain to see. It’s a no-nonsense club-ready cut, with thick hats and an up-tempo lead bassline residing next to an array of bubble-sounding pops throughout. That same late-night feel continues into Life Goes On , as eerie vocals flitter between pulses of acid and punchy, whip-like drums. On the B Side, Gekula takes the lead. Fast-paced with clear minimal influences, we’re graced with eight minutes of dancefloor-geared delight as distorted voices reside atop a driving kick-hat backbone, before Subb-an’s remix continues in the same vein, taking us deep into 5 AM territory with glitchy synths and plenty of dark, low-slung percussion.
With an ethos of quality over quantity at his core, Taymor Zadeh has carved out a bespoke sound within the electronic music sphere. In recent times his releases have been welcomed by Stephane Genacia’s Highpath Records as well as Luca C’s See Double imprint, a testament to his keen ear for production. Berlin-based Subb-an is a leading figure in the UK minimal scene. As co-founder of One Records, 2020 has seen the label celebrate ten years of releases with a two-part vinyl sampler, including tracks from the likes of Anna Wall, Matthew Johnson and more besides.
The concluding chapter of Jamaica Suk’s 17-track ‘Uncertain Landscape’ series arrives with a bang, with another four explosive tracks to round it off.
Milton Bradley — aka Alien Rain — begins proceedings with a hammering assault in the form of ‘Driving Force’. Detuned, ravey synths produce a cacophonous barrage of sound as the rubbery kick groove intones more hardcore vibes. There’s a touch of John Carpenter vibes in the spooky arpeggios that permeate the more stripped back sections. Bone-crushing groove abounds throughout.
Italy’s Kill Ref delivers a distorted thumper on ‘Subbaculta’, slowly eeking out a rasping groove from the underbelly of his pummeling drums. The track keeps building throughout, the shuffling rhythm
bolstering some seriously raw machine funk in the latter half that emerges almost imperceptibly.
The ringmaster herself, Jamaica Suk, makes her contribution to the series on ‘Escape’. She conjures up a tripped-out soundscape where layers stack in potent combination. Squelchy acid licks do battle
with the stomping bass groove and heavily-reverbered sustained textures. It sounds as if there are monsters loose in the speakers.
Nicolas Bougaïeff closes this momentous four-part release with his second contribution, ‘Nocturne 3’. Rocking a stuttered kick pattern, it revolves around grunting swathes of industrial noise, on-beat
clap patterns and all manner of weird and wonderful sounds that pitch-bend, tweak and freak to delightful levels of intensity. It’s a very well arranged and sequenced track that keeps you guessing.
Maxx Mann were the gay New Wave duo of Frank Oldham Jr (vocals, lyrics) and Paul Hamman (music) from New York City formed in 1981. Frank studied voice and acting at the Herbert Bergdorf School idolizing Eartha Kitt, Nancy Wilson, Johnny Mathis and Shirley Bassey. Paul was playing piano for a cabaret singer at a bar in Greenwich Village where Frank met him and their friendship began. Paul and Frank worked together 3 to 4 times a week recording their debut self-titled album released in 1982, limited to 500 copies.
Songs provide interesting insights into the homosexual experience before the AIDS crisis: cruising backroom bars, BDSM and one-night stands. The music is "Neo-realistic rock" heavily influenced by punk, titillating, synthesized body and soul with Frank’s dramatized vocal stylings. The original press release sent to radio stations stated, "Because this is a completely innovative sound, we hope you will give it several listenings. It is adventurous, daring, and certain to cause reactions from your listeners.” For this first time vinyl/CD reissue we’ve added two bonus instrumental tracks, so the album now contains all four original vocal cuts and their corresponding instrumental versions. Paul sadly passed away in 1986 aged 33 from AIDS-related illness and we dedicate this reissue to him. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in an exact replica of the 1982 jacket and includes a fold-post poster with photos, lyrics and notes by Frank Oldham Jr.
The Austrian electronic music label fortunea starts off the new decade
with a bang! This time they come up with a new EP by label fellow
Peletronic.
It’s called ‚Secret Escape‘ and begins with the raw and energetic title
track, that is driven by MPC-style melody chops and a grooving bassline. Definitely a lot of peak time potential here. The original track is accompanied by a remix of charismatic Australian dj- and producer Jad & The, who transforms it into an euphoric deep house weapon with funky breaks and analogue infused acid sequences.
The first track of the B-side is setting up a darker mood. It’s called „My
House Is Your House“ and comes up with spaced out elements that
complement each other into a late night/early morning club atmosphere.
Voice- and effect artefacts sprinkle through the listeners head, while kick and bassline are holding everything together. Jon Gravy makes the remix dutys on B2 and delivers a stomping alternative to the original. A funky reverberant guitar, a staccato male vocal and high pitched piano stabs gives you back these feellings of mid 1990s chicago house memories.
All in all a must have house record for this upcoming festival season.
Don’t miss out!
Support by Rainer Trüby, Mr. Ties, Ame, Tensnake, Robert Owens, Fred P, Kassian, Horse Meat Disco, Loz Goddard, Jeremy Glenn, Intr0beatz, Franck Roger, Carlo, Replika, Just Her, Sune, Orlando B, Reece Johnson
Klute, a.k.a. Tom Withers is no stranger to the LP format, Whatever It Takes is his 9th solo album. It was recorded over a period of 18 months in his own PBJ Studio, located in Suffolk.
Whatever It Takes contains Klute's signature blend of Drum & Bass, Hardcore, Jungle, House, Techno, Electro & Ambient stitched together with Klute' typical disregard for the rules of each genre.
Split into two halves, the album begins in high gear with 8 tracks of Drum & Bass. A rich pallet of D&B styles delicately layered with hidden depths and melancholic harmony. The album then shifts into Klute's own brand of House Techno & Electro, fully revealing his vivid tapestry of musical influences. The end result is highly original, individual and unique. Nobody sounds like Klute.
Klute on the album: "...with so much going on in the world and all the noise created by a growing instant culture I felt compelled to retreat into my own imagination and write individual chapters in melody and rhythm as a form of distraction and personal remedy. Early on in the process I made a conscious decision to make a wholly solo and instrumental record - the first time since my debut album CASUAL BODIES in 1998".
"There's something powerful in the mystique and imagination of music, closing your eyes and letting your mind and body loose to create its own visions. I feel that there is a lot of "surface" music around at the moment that physically dictates what you are supposed to feel. The music I love the most, the music that stays with me the longest is always the stuff that enters my subconscious state."
"Whatever It Takes" is an album for the long haul, to stand the test of time. Take your time, switch off your phone and listen and keep coming back for more.
Facts on Klute: Over the past 25 years Klute has established himself as a leader not just in the world of Drum & Bass but the entire Electronic music spectrum, counting a diverse range of luminaries amongst his fans, including the likes of Goldie, Laurent Garnier, Sasha, Mary Ann Hobbs, Doc Scott, Lee Burridge, Zane Lowe, Nastia, Andrew Weatherall, BT, and the sadly passed Marcus Intalex, David Bowie and late great John Peel.
Klute continues to tour the world as both an in demand DJ and drummer and singer in his hardcore band The Stupids.
It was in 1973, on the 14 of October, late in the afternoon; on a pretty Sunday under the Big Top in the heart of the “Parc de la Pépinière”, in Nancy; it was the “premiere”, the world
first hearing, and it has so far remained the only one commissioned by composer and trumpet player lvan Jullien, for the first international Nancy Jazz Pulsations festival. In order to complete this work of composition and orchestration, Ivan asked the great Eddie Louiss on organ, and chose to do without a double bassist who would have been drowned in a telluric outburst, for the best drummers in Europe and beyond had accepted out of sympathy to offer their contribution to such a festival. The only melodist with Louiss was the English John Surman (born in 1944) here on soprano saxophone, discharging torrents of incandescent lava.
Conversing with drums, cymbals, xylophones, kettledrums, vibraphones, tumbas, djembes and all other percussive things that you’ll like to imagine – a bunch of talents such as those
of the French André Ceccarelli, Daniel Humair or Bernard Lubat, the New Yorker Stu Martin, who reminds of Paul Motian in his “breaks”, South African Louis Mo-Holo, young Lamont Hampton, the great trombonist “Slide” Hampton’s son and the Malagasy Franck
Raholison, the Senegalese Lamine Konte. And we will scrupulously refrain from omitting the four musketeers, here representing
percussion in classical music, namely the Percussion Quartet of Paris under the leadership of Mr. Lucien Lemaire.
Two contrasting remixes of ‘Space Date’ come courtesy of Pleasurekraft and John Monkman, as the three-way collaboration between Adam Beyer, Layton Giordani and Green Velvet continues to thrill.
Joining the strong reworks is an unexpected treat for fans; a last-minute inclusion of a fresh new original track from the trio.
Drumcode got its first taste of Pleasurekraft’s unique production touch in 2016 when ‘Dopefield’ dropped on ‘A-Sides Vol.5’.
The Swedish/American duo’s exploration of cosmic techno realms made them the ideal candidates to re-work ‘Space Date’.
Their contribution is as visceral as they come; defined by a hypnotic vocal arrangement, a stirring call and response melody and propulsive galloping beats fashioned for peak-time moments.
No surprise it was a highlight of Adam Beyer’s Ultra Resistance sets and gobsmacked Maceo Plex who requested a promo to play at Time Warp a week later.
Meanwhile Drumcode debutant John Monkman steps up with a very different, but not less deadly reinterpretation of ‘Space Date’.
The Brit has impressed in recent times with strong releases on Ellum, Kompakt and his own Beesemyer imprint, and takes this form into DC207.
His is a twisted intergalactic re-rub drenched in warped electro, blistering modular sounds and touches of IDM that manages the difficult task of taking the original to darker, more leftfield realms without ever losing its powerful dancefloor pulse.
Supported by Villalobos, Dorian Paic, Mattia Trani, DJ Tennis, Verrina & Ventura , Giorgia Angiuli, Carola Pisaturo, Julina Perez
There are people who place their soul at a border between two worlds that are completely different one from the other.
Giulio Paternò has always split his heart in two halves: one beating for Pink Floyd's, Dire Straits' and Deep Purple's rock; the other for an electronic sound influenced by the likes of John Talabot, Nicolas Jaar or David August.The final result by mixing these two different souls is all channeled into his project Swoosh, where house and techno meet the psychedelic sound from the '70s. So here is a captivating and a magnetic sound which is shaped exclusively by a live act with Ableton, a Gibson Les Paul and various controllers.Swoosh's peculiarity drew the attention of top national venues and festivals such as Tenax in Florence, Circolo degli Illuminati in Rome, or Amore and Spring Attitude Festivals.By Spring 2016 Swoosh will be releasing his first EP "Over and Above" with Autum Records, a label based in Rome and New York.Feedback:> DJ TENNIS: Great record, Swoosh is a producer to keep watching... / Gran disco, Swoosh è un producer da tenere sott'occhio...> VERRINA & VENTURA: Great, the slow one is fantastic! / Complimenti, traccia lenta fantastica!
> CAROLA PISATURO: Liked it so much. / Mi piace moltissimo.
> GIORGIA ANGIULI: I really enjoyed the whole EP, tracks are so stilish! / Mi piace molto l'EP, tracce super stilose!> JULIAN PEREZ: Good listening, a good listening. / Un ascolto piacevole > MATTIA TRANI:above mi piace moltissimo bell'atmosfera!
Dark Entries is honored to release a 4-track EP by Swiss musician Carlos Perón, founding member of Yello. Carlos was born in 1952 in Zurich and began collecting music at a young age. Inspired after attending a concert of Karlheinz Stockhausen in the 1960s, he began to compose Musique Concrete pieces using a 4-track reel to reel and found sounds. In 1979 Perón founded the trio Yello with musician Boris Blank and vocalist Dieter Meier. Yello released their first album in 1980 and the following year Carlos released his first solo album 'Impersonator'. In 1983 Carlos left Yello in order to pursue a solo career and released the soundtrack to Die Schwarze Spinne" and 1984 his second solo album Nothing Is True, Everything Is Permitted'. In 1988, Belgian label LD Records released a 4-song EP of instrumental tracks from 1984 that predated, influenced and became staples in the New Beat scene.
Dirty Songs' is a collection of songs from Carlos Perón recorded between 1980 and 1986. The recordings were made with the core set up of an ARP 2600, Roland's Drumatix, TB-303 and TR-808. Nothing Is True, Everything Is Permitted (Instrumental)' recorded in 1984 is a slow burner with dark, gloomy atmospherics, presented here in an extended version with a bonus intro. The song was inspired by William S. Borroughs' Naked Lunch' and paints a bleak futuristic landscape. Breaking In (Instrumental)', from 1984, is a crossover of electronic body music and pitched down Chicago acid house featuring overplayed snares by hand though an Ovomaltine Box. Originally featured on the soundtrack for Die Schwarze Spinne', the song is about breaking into a large pharmaceutical company to steal drugs. On the B-side is A Dirty Song (Instrumental)', originally recorded in 1986 and released by Play It Again Sam in 1988. The song uses one of the earliest Roland SH synthesizers, the SH-1 A, as a solo instrument and is strikingly aggressive with percussive rhythms. Et' was recorded in 1980 on a 4-track and later and remixed to 8-tracks in 1984 for the Frigorex' EP, which is where this extended version comes from. Featuring eerie, cut up vocals and Dadaist lyrics by Isa Nogara atop a proto-Techno beat.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket features a never before seen black and white photo of Carlos taken in 1988. Each album includes an double-sided postcard featuring the cover art from the Frigorex' EP. Prepare to make your own movie to the Swiss John Carpenter soundtrack vibes of Carlos Perón.
Process Blue was formed in the fall of 1981, at Antioch College near Dayton, Ohio. The group essentially consists of Chel White (tapes, keyboards, percussion) and Dan Gediman (keyboards, vocals, bass). Additional members contributed at various points to both recorded works and live performance. Process Blue's original interest was in electronic music and the interfacing of electronic sounds with acoustic instruments, non-musical instruments, and tape-manipulated sounds. The group's primary objective has been to strive for creative experimentation within the format of contemporary pop music.
We are proud to release a 12-song LP featuring music recorded between 1981 and 1982. 7 of the tracks were originally self released on a cassette album in 1982. The only song in this batch to ever appear on vinyl is 'Control Panel' released on a French LP compilation called 'Folie Distinguee Alternative Funk.' The songs range from experimental dance music to quieter, more melodically-oriented pieces. They used an array of synthesizers used were Moog Sonic-Six, Casiotone MT-30, Korg MS10, Roland SH 101, Casio VL Tone. Analog instruments included electric guitar and bass, and drums. Guest musicians included Gil Belton (melodic rototoms percussion and synthesizer bird sounds) on Industrial Park, Eric Zimmerman (Korg synthesizer) on Up to $100 and Subterrania, Patricia Yarborough (vocals) on Pink Razor and Air, Mike Pummel (engineer) on Control Panel, and John Flansburgh (of They Might Be Giants) engineer on Up to $100. All songs have been remastered by George Horn at Fantasy Studios. Each LP is housed in a jacket designed by Maycec featuring original drawings by Chel White and include a double-sided insert with photos and lyrics.
Vier Tracks aus dem erfolgreichen Album "RR7349" (2016) der experimentellen Synthie-Band S U R V I V E aus Austin, Texas, die für den Soundtrack der Netflix-Erfolgsserie "Stranger Things" verantwortlich ist. Abgemischt und neu interpretiert von Künstlern wie Lena Willikens, Not Waving, Sam Haar (Blondes) und Justin K Broadrick aka JK Flesh (Godflesh, Jesu). Diese vier Remixe zeigen gekonnt die kompositorischen Fähigkeiten und die musikalische Vielfalt, die in jedem Track zu finden ist, und fassen die große Klangpalette von S U R V I V E zusammen. Für alle Fans von Stranger Things, John Carpenter, Trent Reznor, Tangerine Dream, Boards Of Canada, The Haxan Cloak, Zombi, Visible Cloaks, Floating Points!
For the 10th release label owner Barbara Preisinger is gathering seven unreleased tracks on two seperate 12inches, by previous Slices Of Life artists as well by producers who have a relationship to the label through frindship, events and personal support. Each track presents the personal unique style of it´s producer, but all have a feeling for warm sounding organic house grooves in common, what Slices Of Life stands for since the beginnings in 2009.
6 weeks after SOL10.1 hit the stores with contributions by THE MOLE, BAAZ, DANA RUH and JOHN TEJADA, the 2nd part of the SLICES OF LIFE compilation celebrating release number 10 is following: The A side of SOL10.2 is dedicated to the legendary Berlin producers and Dj duo CAB DRIVERS: - A Complex Situation' catches us with its irresistable swinging groove and filigrane synth lines. OSCAR SCHUBAQ, DJ, Producer and co-owner of the label Tardis Records, starts the B-side with - K-Beat', a rough jackin house tune, which takes a surprising turn to a sunny sounding swing during the 2nd part. The great finale of SOL10 comes from the parisian Deeply Rooted label owner and extensive vinyl collector DJ DEEP. With - Spices Of Life' he created a wonderful, atmospheric and deep piece of music carried by rolling basslines and playful melody fragments.
- Dj Deep and Cab Drivers has been worldwide very well known and respected producers, label owners and DJ´s with a large fanbase since the 90 ies. Osacr Schubaq is co-ownung the label Tardis together with Eli Verveine
- first 500 copies come in dark red printed sleeve
Percussionist Jamie Muir was a member of King Crimson during the recording of Larks' Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey, whose eponymous 1970 album was one of the first releases on ECM. Muir and Bailey recorded Dart Drug eleven years later, in 1981.There's no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves a place at High Table. Unlike for example Han Bennink and John Stevens, though, you can't hear echoes of any particular jazz drummer in Muir's playing, even if he has expressed appreciation for Milford Graves (who himself sounded like nobody else who'd come before him).What on earth did Muir's kit consist of Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks); others could be... well, anything. Old suitcases thwacked with rolled up newspapers Tin cans and hubcaps inside a washing machine Who cares It sounds terrific - but if you're the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track.Dart Drug is consistently thrilling, and often very amusing - but it's certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too That's precisely what happens very often in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with a Muir in full flight Sometimes Bailey's content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir's junkyard, but elsewhere he sets off into uncharted territory himself.'The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) - which is to give music a future.' Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation.Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989. All the more reason for seeking out this magnificent, wild album.
Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.
Exclusivo! was the group's debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.
Plangent Records is happy to host the limited vinyl edition of Pantha Du Prince his The Triad Remixes. Including remixes by Efdemin, Shinedoe, Alva Noto, Solomun, Recondite, Ambarchi and Sprenger, John Roberts.
After reaching its 10th year of existence, Secretsundaze will finally launch its 12" singles label in May 2011, as well as re-launching the critically acclaimed compilation series.
Secretsundaze, created and run by school friends Giles Smith and James Priestley is of course best known for its summertime Sunday parties which have become the stuff of legend, attracting DJs from the world of House and Techno such as Carl Craig, Ricardo Villalobos, Kenny Larkin, Efdemin, Cassy and Chez Damier. The boys have taken the party across the world with regular sessions at Panorama Bar, Robert Johnson, Ibiza and as far a field as Japan and New York.
It is very difficult to present David Duriez without writing an encyclopedic tome as its influence on the House music in France was decisive. Since its inception in 1992, David released over a hundred records under his name, tens under various pseudonyms, mainly on vinyls on the most renowned labels like 2020Vision, Ovum, Systematic, Pokerflat, F Communication, Under the Counter, Stickman, Crosstown Rebels, The End, etc .. (the list is long, see Discogs to be convinced) and as many remixes for some of the greatest artists (think Moby, Dj Sneak, Gemini, DJ Hell, Llorca, Telex, Random Factor, Johnny Fiasco, Paul Johnson, Jori Hulkkonen, Ralph Lawson, Random Factor, Kenny Hawkes or Mr.C).
Founder of the label Brique Rouge and a whole galaxy of other labels, he participated in the creation of internationally recognized labels such as Robsoul with Phil Weeks, Freak n'Chic with Dan Ghenacia (from Apollonia) or Rz Muzik. At a time when David had federated online the cream of the House producers via a forum (far and long before social networks), Ivan Smagghe had nicknamed him "the producer of the producers." , A true House Music activist,
But most of all David Duriez is a devastating dancefloor DJ, He did several tours around the world and played in some of the biggest clubs in the world between 1995 and 2010. Truly one of the most important players in the French electro scene, David is back on tracks after a few years hyatus. But don't call it a comeback because he has never really gone awol, he has been watching the scene and now he's back in the studio. You can expect a (very) long serie of releases for 2016, you have been warned!
KiNK (Macro/ Running Back)
I love this! All the tracks are massive! My favorite is the Andreas Gehm remix as it`s the most
weird one, but I`m a sucker for funky acid and this is right up my alley!'
Robert Owens (Chicago/London/Berlin)
Great tracks'
Tensnake (Virgin)
thanks, nice original and Gehm remix'
Dave Clarke (White Noise 2fm)
Dark and groovy'
Luke Solomon (Classic Music)
love love love love hard TON xxxxxxxx'
Tim Sweeney (Beats In Space)
Make me Dance is the one for me'
DJ T. (Get Physical)
thank you for the music!'
ÂME / Kristian (Innervisions)
thanks'
Mark Broom (UK)
FAT mix from Andreas! Respect for the UK!!!!!!!!'
Massimiliano Pagliara (Live At Robert Johnson)
bravi!!'
Mørbeck (Vault Series/Code Is Law)
Make Me Dance!'
Acid Washed (Paris)
MEGA GOOD!!!'
Patrick Pulsinger (Vienna)
love it!'
Angel Molina (Barcelona)
the ultra dark acidic 'Make Me Dance (Andreas Gehm Remix)' is my track on here, although
'Forget About The Music' is a fantastic 80 ´s house track as well. Thanks.'
Paul Woolford (Planet E/Hotflush)
2 thumbs up for the Andreas Gehm Remix. Many thanks!'
Renato Cohen (Brazil)
That's proper music! Forget About The Music sounds amazing. Andreas Gehm Remix is also
huge!'
