Suche:sy

Strong Electro 4 tracker from Zeta Reticula aka Umek, incl. Sound Synthesis remix!

Part 2 of the Wave Modulation Series is here. This time we have a very fine release from Gimmik with remixes from Moy, Sound Synthesis and Naqare Lucid. Limited pressing of 100 copies..

Greenhouse Recordings label head and long-time master of deep house Andrew Macari steps up to his own imprint with a bunch of fine originals. The opener is a deep tech cut with steely drums that are tight and compelling and offset by smooth chords. Manuel Sahagun then steps up to remix and brings a touch of jazz to his chords which swirl around over heavyweight bass rumbles. 'U Got Me' is then a house sound that harks back to the DIY heyday of Nottingham with its bumping drums and lush chord work and 'When I Want' closes out with more fresh synths and an alluring female vocal.

Seit 2013 arbeitet Douglas Dare im Spannungsfeld zwischen Klassik und Chamber Pop, Folk und Avantgarde-Experimenten immer neue verblüffende Perspektiven heraus - und singt dazu mit einer Ausnahmestimme, die einen regelrecht umhauen kann. So hat er sich im zurückliegenden Jahrzehnt u.a. bereits die Bühne mit Größen wie Nils Frahm, Perfume Genius und Olafur Arnalds geteilt und wurde zudem von David Lynch und Robert Smith von The Cure für die von ihnen kuratierten Festivals nach Manchester (MIF) bzw. London (Meltdown) eingeladen. Mit seinem vierten Album Omni schlägt Douglas nun jedoch ein ganz neues Kapitel auf. Alles klingt nach Aufbruch, alles ist elektrisiert. Vor allem Robert Raths, der Gründer von Erased Tapes, ermutigte Douglas dazu, die angestammten Instrumente hinter sich zu lassen, alles Akustische auszuklammern. So löste er sich auch vom Klavier, mit dem er aufgewachsen war, und beschäftigte sich stattdessen intensiv mit Synthesizern und Drum Machines. Tatsächlich erinnern die neuen Aufnahmen vielfach an das Werk von Arca oder auch die Aufnahmen der verstorbenen SOPHIE - zwei Künstler:innen, für die der künstlerische Ausdruck vor allem ein Akt der Befreiung ist bzw. war. "Wir haben auch zusammen im Studio abgehangen", sagt Douglas über letztere. "Ihre ganze Herangehensweise als Musikerin hat mich extrem beeindruckt." Und doch ist auch Omni durchzogen von jenem intelligenten Storytelling, dem Schwung der Streicher, dem eleganten Kontrastreichtum und den fast schon märchenhaften Stimmungen, die man von Douglas kennt - und die seine künstlerische Handschrift so einzigartig machen. Passiert sonst ja nicht so oft, dass man einen massiven Electro-Banger hört, der auch aus dem Soho der Neunziger stammen könnte, und darüber Vocal-Loops, die von den experimentellen Sounds der US-Pionierin Meredith Monk inspiriert sind. Letzten Endes versucht Douglas mit Omni, all diese unterschiedlichen Facetten seiner Persönlichkeit - Songwriter, Raver, Beobachter, Lover - unter einen Hut zu bringen. Das Ergebnis klingt maximal queer: verführerisch und sexy, lüstern und vollkommen frei vom Korsett binärer Kategorien. "Selbst Matrosen begegnet man auf diesem Album!", sagt Douglas abschließend und muss lachen. "Noch queerer geht"s echt nicht."

Venerated heavyweights Surgeon and Speedy J cement their Multiples collaborative project with a long-form album of tweaked experiments past the outer reaches of the techno realm. Recorded over the course of two days at Speedy J's STOOR lab in Rotterdam, Two Hours Or Something is what happens when decades-deep experts in the field plug their hardware in and jam without time constraints or crowd expectations. In these raw, one-take, no-edit sessions there are propulsive moments of techno and electro balanced out by extended beatless passages and a constant experimental instinct which drives the music forward into parts unknown. Following a string of knockout club and festival appearances, this is a fitting document of just how far out Multiples can go when you combine two such experienced and inquisitive minds (and their respective gear). The album comes in a special gatefold designed by Atact, and with a download-code including 5 bonus tracks.

ØXN pron. ox-en exist at the uncharted intersection of its constituent parts, melding Lankum’s experimental doom folk (Radie Peat), the motorik euphoria of Percolator (John ‘Spud’ Murphy’ & Eleanor Myler) & Katie Kim’s glorious Lynchian meta-verse. They create a peerless new sound which exists somewhere between the traditional, the future and the eternal. Try to imagine the missing link between Enya, Ennio Morricone, Richard Dawson and Neu! And then add a pinch of something you never thought of and you’ll start to have a sense of this gloriously unique sonic universe which ØXN inhabit



What began as a side project duo between Radie Peat & Katie Kim in 2018, blossomed into a full-on multi-textured tapestry, with the addition of Myler & Murphy during lockdown. This resulted in one of the streaming highlights of the Covid era with an unforgettable live performance from a Martello tower in Dublin in conjunction with visual artist & Lankum collaborator, Vicky Langan. Now they are set to release their highly anticipated debut album CYRM.



CYRM pron. sy-rum was recorded by Murphy (Lankum/Black Midi/Junior Brother) at the Hellfire Studios in just 5 dizzying days in 2022 and set for April 2024 release on the relaunched & rejuvenated Claddagh Records

The legend continues. The pioneer cult band Esplendor Geométrico offers us their new album, Strepitus Rhythmicus, of machine-like and futuristic post-industrial music. The new album includes 9 tracks on a limited-edition vinyl LP and 11 tracks on the CD digipack version. After recording an album of the amazing new project ASA together with Uwe Schmidt/ATOM TM (Raster 2023), the pioneer cult band Esplendor Geométrico offers us their new album. Electric pulse of mechanical rhythms, hidden voices, and factory noises. E.G. reinvent themselves again and again without losing their unique essence. Based now in Islamabad and Rome, Arturo Lanz & Saverio Evangelista have not stopped their live performances all over the world in the last years with great success. Born in 1980 as a trio, and currently a duo formed by Arturo Lanz (founding member) and Saverio Evangelista (member since 1991), Esplendor Geométrico is an influential and international electronic cult band and also a rare case in the Spanish music scene, as they have developed their own independent path aside from tags, fashion or trends, in spite of being often classified as industrial music. Their career during this four decades hasn't had interruptions. They haven't stopped composing, releasing albums or playing live (with more intensity since the nineties), and they have continued for the simple pleasure of making music. Esplendor Geométrico has achieved a personal and distinct style that can be appreciated from their 80's albums, when they used analog synthesizers and primitive electronic percussion, to the present time with new digital tools. Their influence has marked many later artists, usually classified in the so-called industrial music or rhythm & noise, as well as artists from current techno and certain types of experimental noise music.

Here comes yet another vital album of enthralling ambient from the super prolific Past Inside The Present label head zake aka Zach Frizzell. This is a numbered audiophile vinyl version (including a download code limited to 150 copies) of Veta, which is a world of smoky half-tones that mix up modern ambient classical with analogue production.

The artist himself describes the work as "exercise in knowing when to draw back the mix" which speaks to its perfectly reduced sound - a blend of the organic and the synthetic that is masterfully layered and laden with heavy emotions.

Sequel Records was born from an idea of ​​its founder, Mysterious, the label focuses mainly on a techno sound with hypnotic and futuristic nuances. The first release is entrusted to various artists such as Linear System, Mariano Dc, Linear Phase and Translate.
Full color cover and 180g vinyl, limited edition.

Repress.
The German boogie compilation 'Boogie on the Mainline' presents a selection of 10 rare disco tracks from Germany plus one more tune from Austria, all of them, originally released between 1980 and 1987. Check!
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The fully licenced album contains little known tunes by groups like Imagination (which you can also see on the cover of the LP), Squish, Upstairs, The Poptown Syndicate and more. As the Boogie-ish post-disco side of German music history still basically remains undiscovered as of yet, 'Boogie On The Mainline' hopefully will shed some light again on 11 rare gems that were mainly published on small or private labels.

Allchival present their second look at the music of Roger Doyle and Operating Theatre (a little known proto synth-pop act and experimental theatre group that he led.)

In reverse chronological order the second disc contains music from the United Dairies release of 1979 – ‘Rapid Eye Movements’. Experimental tape work heavily influenced by the French school of music concretists and recorded at various points during the 70s in Finland, Holland and Ireland, although it is most certainly a Roger Doyle solo record the label ran by Nurses With Wounds John Fothergill decided to release it under the group name for reasons now lost to the fog of time.

After this a volte-face towards a more accessible sound, coming via his friendship with future Hollywood actress Olwen Fouéré and her connection to the theatre. It also featured the vocals of a young Spanish immigrant Elena López- bucking the 80’s trend by moving to rather than from Dublin. With Fouéré adding the theatrical element to the group (an almost essential part of any early 80s synth act) alongside pulsing synths, brass, a vocoder and the electro acoustic production talents of Doyle himself, it was the first time a Fairlight sampler was used in an Irish studio setting and gives a prescient but alternative take on the new wave sound that came to dominate the charts soon after.
Doyle’s work on the newly released Fairlight sampler had brought him to the attention of U2’s Bono who had seen a feature about his sampling experimentations and reached out to him for piano lessons. This led to a deal on the bands embryonic Mother records for what Doyle calls his first “popular song” - Queen of No Heart - which alongside “Spring is Coming” made up the backbone of the EP which was released some years later (1986) on the Mother Records label. Established by U2 in 1984 and initially intended to launch Irish bands, many of the acts – including this one – were subsequently unhappy about the label’s haphazard approach to releases and lack of promotion. The record was released as a die cut 7 inch with the two main tracks and a 12 inch EP with additional tracks – ‘Part of My Make-Up’ / ‘Atlantean’ / ‘Satanasa’. The Mother experience was for Doyle and the rest of the group a frustrating one with no promotional plan and no tour. After that Operating Theatre as a quasi pop project ‘just kind of fizzled out’ says Doyle.

Doyle, the musical maverick at the heart of the act, continues to produce to this day and has released 30 albums. A frequent collaborator we round out the record with a remix from another Irish outsider - Morgan Buckley of the Wah Wah Wino fame.

This collaboration is full of synchronicities that go all the way back to 2020, when The Galaxy Electric (Jacqueline Caruso & Augustus Green) started conjuring the melodies and arrangements for this project - without knowing what it would be for. Their obsession with Retro Sci-Fi films & TV shows was thoroughly indulged during the COVID lockdown: "It was our “escape” out of reality. Shows like The X-Files, Dr. Who, and movies like Forbidden Planet and Clockwork Orange were our strange bedfellows guiding us to create music like we’d never made before." The result was a mix of electronica, psych pop and retro-futurism blending together to form music fit for the Korova Milkbar. As they emerged from this cocoon of sci-fi isolation, Jacqueline & Augustus began reaching out, connecting online with other obsessives: "Through our shared love of BBC Radiophonic Workshop Sound FX Records, we connected instantly and deeply with Drew Mulholland. Across time zones and land masses, our connection sparked creative collaboration like we’ve never known, and this new project was re-born. We knew in an instant that those forgotten ideas were meant for this moment. And thus began the files flying back and forth - until the synchronicities became fully manifest into what is now Muzak for the Korova Milkbar..Drew may tell it differently, but the sense of nostalgia, deja vu & mystical connection remains the same. A project we could have never set out to produce on our own, and that was always meant to be created with Drew. A dream fulfilled."

4 Electroclash/Italo dance floor bangers recovered from the vault of the electro producer 'Konerytmi' under his alias 'The Klash' that remind us to the music of the news and/or social documentaries in the spanish TV and scifi movies soundtracks on the 80's decade.

'Scrambled Anthems', das dritte Album von HHNOI, vereint rohe Energie mit technischem Geschick und schafft das, was als "elektronischer Grunge" bezeichnet wird. Es bietet synthetisierte Hymnen für diejenigen, die Drama in der elektronischen Musik suchen, indem es Pop, Lärm, Glitch-Hop und Grunge der 90er Jahre verschmilzt. Inspiriert von Pan Sonic, The KLF und mehr, formt HHNOI eine einzigartige klangliche Identität. Begleitet von Kunstwerken von Salva Baixlaigua ist es auf Vinyl und digital erhältlich und markiert ein entscheidendes Kapitel in HHNOIs musikalischem Werdegang.

Following the popularity of Dome City Orchestra’s 'Quiet Village' which we released last year, we started getting requests for the Dome City Orchestra’s 12 Inch release 'Dig It!', which is ridiculously rare and sought after. Built around a super catchy funky keyboard riff and bassline which wouldn’t sound out of place if Prince had recorded it, 'Dig It!' comes in 3 versions, the extended version, the short version and the instrumental version, all of which sound essential for mix enthusiasts. Typically, as with most of our RSD releases, original copies are nowhere to be found – the last copy sold on Discogs was 2021 and, even if you could locate a copy, it would cost you in the region of around £250 these days. We think this record will find a wider audience once people have access to copies as it sounds stunning over a good sound system. Play loud or not at all!

Significant Other unveils a new project: Pain Management. A new imprint presenting music and visual media across a variety of formats. The outlet launches with an original 4 track EP: When It Rains.

Christening the label with his first full length release since 2021, the subversive producer steps out from behind the curtain with a batch of tracks guaranteed to soothe psychic woes and challenge sound systems alike.

True to the name of the label, this debut release delivers a healthy dose of leftfield club weight. Tough and tender in equal measure, it’s a record that explores in-between zones. A fever dream of narrative experiments at the outer edges of club music, packing enough punch to shake a dancefloor, but enough delicacy to soundtrack the ride home. The final product is a meeting of outsider sonics and sleazy dance tropes, body music for restless minds.

The record begins with the lead single ‘RPG’ (A1). A smoked out, drug chug power ballad featuring fellow NYC underground alum James K. Anchored around a growling 4/4 battle beat, swells of dub and inchoate vocal cries rise intermittently from the haze. Within the fever dream fugue of thuggish sub weight and engine-room crud, a tender, sustained warmth shimmers.

A2’s ‘I Get Such Bad Headaches’ is a twisted club thumper built around a questioning vocal refrain. It’s a tongue in cheek nod to the label’s origins that takes shape in a sleazy beat track with some serious club weight. Slowed n’ chopped to the maximum, it’s a low slung sleeper-hit with attitude. DJ Screw meets Tylenol PM, a bass-boosted anthem for the neural punishment enjoyer.

The B-side opens with the title track, ‘When It Rains (It Pours)’, a droned out mess of distant voices and textural grit. Anchored around the titular looping axiom, the track has a deathly, abyssal weight to it. A claustrophobic hymn of surrender, faithful to its stark refrain.

‘Bad Blood’ wraps the record on a tender note. A sluggish heartbeat pumps beneath the fog of dub delays and distortion, propelling forward a lethargic rhythm. Out of nowhere a blissed out synth line pierces the tension. A sharp, emotive melody disrupting the paramnesia with something new. If the record’s title track suggests a downward spiral through some psychic storm, then ‘Bad Blood’ shows the outline of dry land coming slowly into focus.

Art Direction by Ciaran Birch

A recording by one of the leading violinists of the last decades, Anne-Sophie Mutter. She made this album with the legendary Japanese conductor Seiji Ozawa during the first years of her stunning career, just before turning 21 years old. Still a classic recording nowadays, full of passion and vitality, and showcasing Mutter’s extreme virtuosity.

7th (2007) studio album from Swedish Melo-death Kings with Devin Townsend producing the vocal tracks.

Potapanje Brodova, Hrvatski for “sinking ships”, is a follow-up to Robert’s intricate 2020 album Finomehanika “wherein piano, field recordings and synths are made indistinguishable from one another”, as described by The Wire.

The A-side on Potapanje Brodova is compiled and reworked from a soundtrack for an installation of the same name in Rijeka in 2005, about the Croatian port city’s post-war industrial collapse. The original hour-long soundtrack played on a loop during the month-long exhibition, and today resides on a USB stick housed in a rusty steel case with silver ship engraving—a limited edition of 1 copy that is now the property of Rijeka's Museum of Contemporary Arts.

The B-side offers a monumental 25-minute prepared piano improv piece recorded in 2004, followed by Hodnik, a track from Finomehanika sessions.

-This is MIA's first single since the hit song "Love Me Right".
-"Love Me Right" has sold 3000 physical copies and garnered over 5 million online streams to date.
-MIA a.k.a. Honey Deux, is known as the Queen of Miami Boogie.
-Crime Of Passion music video release with street date.
-Pressed on black vinyl. Paper inner sleeve in blank die-cut jacket.
MIA is back with her first single since “Love Me Right”. Her 2020 Gil Masuda-produced hit song has sold 3000 7” copies and garnered over 5 million online streams so far. It has become a bonafide funk anthem by top DJs in the West Coast and earned her an invitation to play at Funk Freaks parties and Hittin’ Switches festival. The song even made its way into the intro of a Silk Sonic Radio episode.
Side A’s “Crime of Passion” reveals a sultry story around compassion. The song’s deep bass and groove pick up where “Love Me Right” left off. The up-tempo 80s-tinged boogie of producer Gil Masuda provides the backdrop for the Miami-born singer’s unmistakably silky voice. “Am I your shining diamond, baby, kryptonite?” It’s a line sure to lure you to the dance floor.
Side B’s “Love Bug” is a chill roller skating jam with lush Rhodes chords and warm synth tones that will appeal to anyone who’s ever been in love.

Solo Throat is the first solo LP from vocalist, composer and movement artist Elaine Mitchener. Drawing on the work of African-American and African-Caribbean poets Edward Kamau Brathwaite, Aimé Césaire, Una Marson and N. H. Pritchard, these twelve new vocal compositions disrupt semantic sense, play with the margins of lyrical translation, and give rise to new voicings. Elaine Mitchener is a veteran of vocal expression in the global Black Avant Garde, traversing free improvisation, cross-disciplinary music theatre and contemporary composition with clarity and joy. Most recently, Mitchener has been improvising and composing with the written word as source material - challenging classical ensembles with her piece (“the/e so/ou/nd be/t/ween”), and commissioning composers Matana Roberts, Jason Yarde and George Lewis to respond to the work of Sylvia Wynter (“On Being Human as Praxis”, Donaueschinger Musiktage, 2020). Her performance of Umbra poet N.H Pritchard’s text FR/OG at OTO in 2021 was a revelation - a solo vocal recasting of the powerful visual-material form that Pritchard uses to disrupt semantic ‘sense’. Building on this performance, Solo Throat takes the work of Pritchard alongside poets Edward Kamau Brathwaite, Aimé Césaire and Una Marson as its source material. Its compositions are a loose translation - a carrying from text to voice which holds multiplicity and celebrates the transformative power of literary possibility. Surrendered to the spacing and repetition of consonants and vowels, Michener’s exceptional phonetic freedom gives rise to a sensuous experience which intensifies the roles of rhythm, timbre and breath in expressing meaning. Solo Throat comes together as much through difference as similarity. Mitchener’s own solo improvisations sit alongside the work of Brathwaite, Césaire, Marson and Pritchard, forming a constellation of unlikely alignments which make no aesthetic conclusion. Instead, Solo Throat is a site of encounter, an irreducibly plural de-composition of words into a heterogeneous assemblage of sounds and impulses, emphasising what Anthony Reed calls, “the play on and the surplus of margins of lyrical translation to resituate other pathways of expression”. Just as the poets cited use white space to complicate our act of reading, so Mitchener utilises silence and multiphonics to complicate the act of voicing and the way we listen. Genre: Experimental / Vocal / Poetry

The formation OREGON has surely been well- known to most jazz and classical music enthusiasts.

During the past 50 plus years of band history, OREGON has become a synonym for genre-crossing music of the finest. Emerging in 1970 from the legendary Paul Winter Consort, OREGON, right from the start combined elements of jazz with those of symphonic classical music and what is known today under the makeshift term "world music".

If one takes into consideration that integrating musical elements from non- "western" cultures wasn't exactly common back then, this band's pioneering status is all the more clear.

Ultimately about self trust, Nicholson uses brooding chamber- pop and synthladen alt-pop to navigate many of the different relationships we have in our lives: friends, family, relationships with ourselves and, more personally, her changing relationship with music.

Self-produced by Nicholson at Blank Studios in Newcastle, the recording process was complemented by mix engineer Oli Deakin (CMAT, Benjamin Francis Leftwich, Elanor Moss) and mastering engineer Katie Tavini (Arlo Parks, Nadine Shah, Sega Bodega).

The resultant album takes the listener on intimate journeys of minimalism and melancholy through to blooming, euphoric ends, with Nicholson's signature rich harmonies and ethereal, reed- like vocals remaining a compelling constant. Exploring themes of escapism, nostalgia and self-reflection, Nicholson leans on musical influences including Daughter, Matt Corby, The National, Warpaint, Lucy Rose and Laura Marling. There are also nods to her prog-rock upbringing and 80s inspired outros that wouldn't sound out of place on the soundtracks to Drive and Stranger Things.

2024 Repress

Berlin based Alignment returns to Voxnox for what Italians are best known for: straight and forward-thinking Techno music. Floor orientation with heavy basslines, marching drums and an ever modulating Plug is therefore guaranteed on opening title "Infinity".

Second in order is "Distorted Signal", which specialises on a modulated rhythm with plenty of soundscapes, best up severed for a sweaty Saturday night on a solid sound system, highlighting the many layers and styles on this production work.

The bigger, the better. "Alienist" reminds and also focusses on the classic rave attitudes from the late 90s, with energising synths and an 808-inspired clap programming, ready to heat up the night no matter when and regardless where.

Closing this release is the fourth title "Distance", showing another high-energy production building up epic acid-vibes with various atmospheres just to finally drop them several times par excellence.

Italian Ibiza favourite Tuccillo returns to legendary NYC label Nu Groove with another four-track EP, ‘Frames’, including a feature from Chicago native Ron Carroll. With previous Nu Groove releases like the ‘Sunshine City EP’ and ‘I Believe’ with TradeCraft earning the respect of esteemed selectors including Archie Hamilton, Chloe Caillet and Laurent Garnier, Tuccillo’s expertly crafted sound is revered for its analogue approach. Similarly, his passion and respect for vinyl has earned him respect from crate diggers and house music tastemakers globally ever since the 90s. Tuccillo’s ‘Frames EP’ opens with the eponymous lead, showcasing his malleable sound that comes alive in underground scenes for heads in the know. Chicago house authority Ron Carroll lends his vocals to ‘Don’t Walk Away’, supported by Tuccillo’s fresh club-defining production that also permeates ‘You Got Me’. ‘Everything’ closes out this collection of pure house excellence, with expressive yet softer synthwork creating a cooler feel perfect for the afterhours.

Acclaimed UK electronic music producer, DMX Krew has announced a brand new album, "Unlikely Seeming", on the Byrd Out label. The8-track album showcases his blend of joyous, melodic synth hooks, textured pads and analogue drum machine rhythms. Leaving to one side pummeling sounds, the focus of this album is on sonic fun, mining the 80s pop vibe DMX Krew does so well. BBC 6 Music"s Tom Ravenscroft describes the trailing single "Wednesday Memory" as "the funkiest thing ever ... it"s almost too joyous".

It's the one all the massive have been waiting for! Part 2 of the Salford sage - DJ Absolutely Shit's 'Memoirs Of A Crust Monster'. More hyped up tear outs, soundsystem ruffage, and bass 'n breaks love songs from our Hell's Angel-dodging beat freak.

Kicking things off with glowing neons and super-charged subs is 'Higher', a modern jungle monster decorated with classic hip-hop samples and a well known diva vox squealing through the melee.
A serious 'watch your bassbins' track - RL HQ have safety tested this on the most robust car stereo systems and so far have yet to avoid any cabinet damage - proceed with caution!

'Lost In Space' rolls outta the speaker stacks with a b-boy swagger and loose breaks. A tribute to classic breakdance electro galvanized with Ab Shit's intricate trademark production chops. You'll want to crack out your finest red Puma classics and a slick tracksuit for this one.

Onto 'Out On Love' and between you and me, someone needs to call the social service for samples - as it's unlikely you'll ever witness a more blatant case of sample molestation. Squeezing every last drop out of a catchy piano lick, TV snippet and drum break; the track really does highlight the unrivaled programming prowess of our Irlam renegade who's taken SP1000 trickery to its absolute zenith.

'Money Talks' sees our cheeky ragamuffin dictate a life affirming sunrise over Pomona - pre-gentrification of course; a thousand smiles and memories of old Mancunia shimmering in the early morning industrial haze. And an abject slight at those who put profits above people - another poignant ode to our changing cityscape driven by the most addictive boogie-based groove and clattering Linn drums.

Spine-tingles and fanny flutters guaranteed ALL DAY on this one cru!
Look out for the full 16 track album due on C90 cassette and digi download coming very soon...

RL x

‘Queen of Clubs’ Dannii Minogue teams up with Sydney based DJ and producer, Autone, for their electrifying new track 'Thinking 'Bout Us,' a fusion of pop and electronic beats. With remixes to ignite dance floors and an exclusive acapella version, this vinyl is a true collectors item. Limited edition 300 units.

“A corollary is a statement that follows naturally from another statement”

Presenting Corollary1, the first release in a new remix series flipping cuts from O.M.Theorem’s Lemma projects.

For this one we invited good friends DJ Sotofett and Ossia. Regular conspirators in bacalao and dosa dinners, monthly hangouts at Globus-Tresor and sound system parties in Milano & Bristol. Through appreciation of similar frequencies and shared experiences, friendships grow. It felt natural to invite the two to do remixes for us. One evening we bumped into them on the dancefloor during a live concert by Senegalese percussion outfit Ndagga Rhythm. This was a sign. BAM! The EP came alive.

On the A-side, we hear two fresh takes on Lemma1-B2. DJ Sotofett with his dub heavy output on Honest Jon's and Sex Tags Amfibia invites Ghanese Afro-Dub drummer Ekowmania for vocals and usual collaborator LNS for keyboard work on his sub-deep club-stepping colourful remix. We bet the infectious vocals will linger in your mind for a long time. Play it LOUD for full sub bass effect! The second interpretation of the same track is from O.M.Theorem. A techy dubstep banger, this one!

On the B side, Bristol and Peng! Sound's Ossia picked his favorite Lemma1-B1 and drove the mixing desk in true Dub-style fashion with a classic riddim that meets an avant garde melody going in and out of the mix. This is a remix that deserves attention, with every listen revealing new layers and details. Even the premasters sounded phat as a greasy hamburger on the German capital’s legendary Super Power Soundsystem! The second interpretation is from O.M.Theorem, rebuilding percussion and bass from Lemma1-A1. Liberating himself from all restrictions the result is a footwork-reminiscent 160 cut, ready for the dance floor.

Die "Gothics" glaubten an das Do-it-yourself-Punk-Ethos, dass jeder ein Instrument in die Hand nehmen könne. Graue Wolken zogen auf, und in der unwahrscheinlichen Stadt Hamburg gründete eine dreiste und eindringliche Bande von fünf Frauen, Caro May, Rita Simon, Manuela Rickers, Fiona Sangster und Anja Huwe, Xmal Deutschland. Und wie es sich für einen echten Punk gehört, taten sie dies ohne musikalische Vorkenntnisse. Die 7“ Single "Schwarze Welt" wurde 1981 auf dem lokalen Punk-Label ZickZack veröffentlicht und stellte die Band als einen beunruhigenden Schwarm von Intensität vor. Die Dringlichkeit des repetitiven Klagelieds, die wirbelnde Manie, die sich auf der B-Seite mit "Die Wolken" und "Großstadtindianer" fortsetzt, deren krude Synthesizer-Geräusche die Spannung noch steigern. Vor allem der einzigartig giftige deutsche Gesang von Huwe wurde schnell in die ungezügelte und aufkeimende Szene der glamourösen Düsternis eingebettet. Die Unabhängigkeit des Punks vom starren Griff der Tradition erlaubte es der Band, Trost in einer Anti-Establishment-Kunst und -Musik zu finden, weit entfernt von den Konventionen der Vergangenheit. Mit ihrem Pfauenhaar und den dick mit Kajal umrandeten Augen bewahrte sich die Musik von Xmal Deutschland sowohl eine Unruhe als auch eine Zartheit, die mit der Veröffentlichung der Single "Incubus Succubus" im Jahr 1982 die Grenzen der "Neuen Deutschen Welle" (ähnlich wie ihre Kollegen und Freunde DAF und Einstürzende Neubauten) überschritt. Sie wurde sofort zu einem Post-Punk-Klassiker. Die Gitarre wühlt sich durch die Melodie, während die schaurige Primitivität von Huwes Stimme andeutet, dass sie vielleicht, nur vielleicht, die alptraumhafte Kreatur ist, vor der man sich in Acht nehmen muss. Die B-Seiten, "Zu Jung Zu Alt" und "Blut Ist Liebe", halten sich an strenge militaristische Tanzbeats, während sie in Aufregung wimmeln. Im selben Jahr trat die Band in London als Support für die Cocteau Twins auf; das war die Plattform, die sie brauchten, um in die Arme der zerrissenen Netzmassen zu stürzen. „Early Singles 1981-1982“, ist eine Karte der grundlegenden Bewegungen von Xmal Deutschland, nur Sekunden vor dem Abheben. Die Bonustracks auf der Compilation, "Kaelbermarsch" und eine düstere Live-Version von "Allein", unterstreichen die Verschmelzung von Härte mit der quixotischen Dekadenz atmosphärischer Synthesizer. Das Streben der Band nach etwas Größerem ist spürbar, zu einer Zeit, in der nach dem Aufkommen von Punk neue Möglichkeiten des Musikmachens offenstanden.

Matt delivers 4 modern Acid tracks A1. Hallucinations in Pilsen - A Latin Acid Nu-Jazz piece complete with hypnotic synths, Latin guitar, a grooving Acid line and backed by TR909 Bass Drum and Hat Cymbals. A2 Water Energizer - Features Broken Breakbeats with a TB303 Bassline and Haunting Jazz and Funk keyboard melodies.

On the B Side keeping with the theme of Futuristic Acid never heard of before. comes Reciprication - A MachineDrum driven track with TB-303 stabs in a more traditional style along with Acid from a modern Synth famous for making Acid. It builds into filtered atmospheric synth melodies. Closing out the EP is Gamma Ray - Another driving track made with the MachineDrum complete with more Acid basslines, it builds into more atmospheric madness with a unique placement of a second kick drum that bumps a higher low-end frequency.

repress !

Following acclaimed singles from Powell, Blood Music, Shit & Shine and Prostitutes, the next release from Diagonal is a landmark. It marks both the London label's first full-length album release, and the return of abrasive and furiously funky hip-hop deconstructionists Death Comet Crew, one of the most quietly influential underground acts to emerge from the creative melting pot of 1980s New York.

Ghost Among The Crew documents the group's return to studio operations for the first time since the 80s, as well as their first ever full-length studio album. It's a remarkable trip: a consolidation of their early feral disassemblies of hip-hop and electro, but also broader in scope, chewing up and spitting out fragments of soul, jazz fusion, punk and industrial music.
Death Comet Crew were founded in New York City in 1983 by Stuart Argabright, a founder member of post-punk/industrial mavericks Ike Yard and the mind behind Dominatrix and later Black Rain. Their sound, then as now, was a singular proposition: urban in mood, exploratory, often compellingly danceable, yet confrontational. It emerged from the interweaving talents of the group's varied members: guitarist Michael Diekmann (of Ike Yard), bassist Shinichi Shimokawa (later of Black Rain) and Nick Taylor aka DJ High Priest, frequently joined by the late, great hip hop artist and graffiti writer Rammellzee. Having recorded two studio EPs - 1985's At The Marble Bar (featuring Rammellzee) and its follow-up Mystic Eyes - the group disbanded barely a year after forming. They left behind a reputation for their incendiary live performances, several recordings from which were gathered on crucial 2004 compilation This Is Riphop.
The musical climate that first birthed Death Comet Crew was one of fertile cross-pollination of styles. In the late 1970s and early 1980s, the seeds of modern day urban musics - hip hop, punk and post-punk, no wave - were taking root in the streets of recession-struck New York City. Argabright recalls dancing at the downtown Mudd Club around 1980 to a bold mixture of styles, with DJs cutting from synth-pop and post-punk to funk, soul and early hip-hop: Bowie and James Brown next to Run DMC, Ultravox and Gary Numan. Indeed, the names of his New York contemporaries operating around the same time - the likes of Liquid Liquid, Run DMC, Afrika Bambaataa, Arthur Russell, ESG, Swans, Sonic Youth, Bill Laswell and more - have since been inscribed in modern music history.
With previous projects Dominatrix and Ike Yard having recently become inactive, in 1984 Argabright formed Death Comet Crew as a means of exploring new sonic avenues. He'd been experimenting with tape, recording and procesing the sounds of his surrounding environment and dialogue from films and TV. Joined by Shimokawa, Diekmann and Taylor, and using drum machines, turntables, spidery guitar and bass, the group assembled a scrambled collage of rhythms and sampled voices. Their live performances were, in Argabright's words, "aurally violent, sharp-edged, downright lacerating", hacking gleefully away at hip hop and electro's rhythmic frameworks. Rammellzee joined the group to vocal 1985 debut EP At The Marble Bar; his MC turn on highlight 'Exterior Street' is all the more remarkable for having been entirely freestyled in the studio. When Death Comet Crew reformed in 2003 for a string of live shows, he continued as an active member of the group, touring and working with them during the recording of Ghost Among The Crew, until he sadly passed away in 2010.
After reforming, Death Comet Crew began writing and recording new material. Now, following on from their just-released Galacticoast 12" through Citinite, Ghost Among The Crew - its title a homage to Rammellzee - hones the group's abrasive early experimentations while tripping into bold and astrally minded new territory. Alongside the core quartet of Argabright, Diekmann, Shimokawa and Taylor are new voices, including Rapscallion (a friend of Rammellzee's), Jessica 6/Hercules & Love Affair singer Nomi Ruiz, and Carolyn 'Honeychild' Coleman. Its eight tracks are steeped in the impulsive spirit of electric Miles and the deep space romances of Sun Ra, and possessed of an enigmatic yet undeniable pop edge. But equally they're pricked with urban paranoia and dread, traits that have long been hallmarks of Argabright's musical projects.
'Me Czar Of The Magyars' opens the album in a twist of tension like the turning of a ratchet. Its taut electroid shudder is paired with machine gunned cymbal hits and a voice telling of "wormwood and opium dens" - the sound of being teleported from everyday city streets into the astral plane, where every sensory input is heightened and the promise of danger or pleasure lurks unseen around every corner. Later, Coleman's lyrics pay tribute to Rammellzee on the sci-fi funk of 'Deep Space Woman'. 'Let The Clubs Ring' melts lounge bar organs and frazzled guitar into freakishly unstable shapes, while 'Drag Racing' matches its title, rocketing along frantically atop clattering drums. 'Moons On Titan's Seas' is halfway interlude pause for rest, like an exotic cocktail in a bar orbiting some as-yet-undiscovered new world. These varied strands are somehow all summarised in album closer 'Ignition Spark', which sets Ruiz's vocals alongside Taylor's and Argabright's. The zone the trio inhabit in this final track exists in perpetual push-pull between contemplation, memory, intrigue and violence, a decisive opening of a new chapter in Death Comet Crew's history.

As with all Diagonal releases, the initial vinyl pressing will be packaged in unique, specially designed artwork.

With this new three 45 set, the second in our "Cumbia Sabrosa" series, Rocafort digs deep into the vaults of Discos Tropical to bring you six more vintage cumbia sound system bangers. Each 45 showcases a different type of flavor with the emphasis on big band brass (Pacho Galán, José Ramón Herrera), electric guitar (Super Combo Los Platinos, Cuarteto Del Mónaco), and accordion (Andrés Landero). Like its larger rivals Discos Fuentes and Sonolux, Tropical was one of the most influential in the development of cumbia as an important genre not only in its home country of Colombia, but also in Mexico (and beyond), participating in a cross-cultural exchange that would spawn Mexico's own domestic musical artists, sonidero DJs and sound systems, record collectors and a dance scene devoted to tropical music with Colombian roots.

Luka Aron is a German musician and composer of electroacoustic and minimalist music based between Stockholm and Berlin. 'XV XXVII III XXI IX: Variations & Coda' is his debut vinyl release. Apart from his solo work, he is also a member of the trio Minua (signed to Nils Frahm's LEITER label) and the dream gaze band Roomer. His work was previously described as "thick, impasto layers of slow-moving sound that completely command your attention" in The Guardian.

'XV XXVII III XXI IX: Variations & Coda' is a four-part suite for an acoustic ensemble (bass clarinet, contrabass, euphonium, foghorn organ, harpsichord, serpent, shō, and trumpet) and analog as well digital synthesis. The result is an album of spiralling compositions which navigate labyrinthine structures of multiple closely related overtones and layers of heavy distortion based on Aron's research and observations of the physiology of hearing through minute listening tests. On the album, the composer collaborates with a number of notable musicians: Mattias Hållsten and Santos Silva (both members of the late CC Hennix' Kamigaku ensemble), just intonation contrabassist Vilhelm Bromander, or Amina Hocine, among others. The release was mastered by Stephan Mathieu at Schwebung Mastering.

Snakes of Russia ist das von Joseph Holiday - Ektronischer Musik mit zeitlosem Appeal. Seine Reise begann mit der EP 'At Home Alone With Lions', was zu Remixen, Filmkollaborationen und Auftritten für Ableton und Spitfire Audio führte. Nun steht sein Debüt-LP 'True Surrender' im Mittelpunkt, eine Zusammenarbeit mit dem Metal-Produzenten Kurt Ballou. Aufgenommen im God City Studio in Salem, MA, erforscht es einen schwereren, texturierten Sound, der Synthesizer mit Gitarrenverstärkern und Drum-Maschinen verbindet. Während der kreative Prozess im God City begann, spielte Josephs Heimstudio in LA eine entscheidende Rolle bei der Verfeinerung und Fertigstellung der Produktionsphasen. Der letzte Schliff kam von Justin Weis bei Trakworx Mastering in San Francisco, um die makellose Erhaltung jeder klanglichen Kontur und emotionalen Essenz zu gewährleisten.

"IHR SPIEL HAT FÜR MICH ETWAS, WAS FLORIAN SCHNEIDER UND RALF HÜTTER GEMACHT HABEN, ALS SIE NOCH EXPERIMENTELLE MUSIK RODUZIERTEN." - WOLFGANG FLÜR (EX-KRAFTWERK)

Die Band Chogori aus Düsseldorf verschmilzt auf ihrem Album "Minor Green" analoge Synthesizer und Kontrabass zu einem fesselnden Klang. Aufgenommen in den legändären Hansa Studios /Berlin, strahlt die Live-Session des Trios eine zenartige Leichtigkeit aus. Mit dem Bruch des 12-Ton-Systems erhebt sich ihre Musik in himmlische Sphären, angeführt vom visionären Ralf Stritt. Gregor Kerkmanns Bass sorgt für Bodenhaftung. Jeder Track präsentiert Chogoris Synergie und symbolisiert das Gleichgewicht zwischen Mollakkorden und Natur. In einem digitalen Zeitalter feiert "Minor Green" den analogen Reiz und lädt die Zuhörer zu einer immersiven Reise ein. Begleiten Sie Chogori auf eine kosmische Erfahrung, eingehüllt in klangliche Wunder.

Mystical Disco presents Analog Dream Simulator, the first full length ambient LP from Paranoid Pyramid. Utilizing Sequential Circuits and Moog synthesizers, each song reveals a secret door into the subconscious. Mystical pads conjure visions of distant dream-realms accompanied by melodies that evoke the simplicity of childhood memories. Analog Dream Simulator is by turns joyful and mysterious, intimate and cosmic. Journey to the antipodes of the mind with Paranoid Pyramid. Life is but a Dream

"ECHOES PART 1 and 2 scheduled for release on 17th of May is the first of three singles set to introduce the next album project of Ulrich Troyer - TRANSIT TRIBE - to be released later this year.

Featuring the jazz vibes of Flip Philipp of the Vienna Symphony Orchestra, "ECHOES" has all the resonance of pure gamelan in dub, stately, processional and instrumentally rhythmic with its sparser second part isolating contrasting pulses as the complexity unfolds and dazzles.

Twenty years in the making, now the fully developed vision of multi-instrumentalist Vienna-based Ulrich Troyer can be heard coming to its final fruition. The interface of electronics and the unique warmth of human interplay is apparent on this track as well as all the other sounds to be heard on the album where a remarkable array of new and old friends contribute to the proceedings. Thematically the album, as may be gathered from its title, is a clear appeal for humanity to be shown as the people of the world struggle to cope with increasing problems, whether caused by movement or lack of movement."

Steve Barker (DJ, Radio Presenter - On the Wire, BBC 1984 – 2023,

now Slack City Radio & reggae/dub columnist and contributor to The Wire)

Credits:

Flip Philipp: vibraphone, c-marimba

Ulrich Troyer: analog synthesizers, drum-machine, sampler, field recordings, dub effects

Written & arranged by Ulrich Troyer

Recorded by Ulrich Troyer at 4Bit Studio & 4Bit Bungalow except Vibraphone, C-Marimba recorded by Ulrich Troyer at Konzerthaus, Vienna

Mixed by Ulrich Troyer at 4Bit Bungalow, Vienna

Produced by Osman Murat Ertel & Ulrich Troyer

Mastering & Lacquer Cut by Kassian Troyer at Dubplates & Mastering, Berlin

Cover Drawing by Ulrich Troyer

Kindly supported by the City of Vienna (MA7 - Kultur), Federal Ministry Republic of Austria (Arts, Culture, Civil Service & Sport), SKE-FONDS (AT) & Amt für Kultur, Bozen (IT)

Special Thanks: Steve Barker, Osman Murat Ertel, Eva Kelety & Flip Philipp

Warehouse Find!

With Manuel Tur's Es Cub LP just out and winning high praise from all corners of the electronic music press we present you DJ's and vinyl aficionados with the second part of the two separate 12's highlighting Manuel's brilliant third album. As RA put in their review - 'This is among the most seductive collection of house tracks so far this year.'

In 2012 Manuel spent a year living in Ibiza, the birthplace of his father and somewhere he has always felt a strong connection with despite never having lived there. This period became something of a sabbatical, a year of orientation both privately and musically and despite managing to visit not one single club in his
entire time there the esoteric and cabalistic nature of the island clearly became a big influence.
Here in Part 2 things get off to a suitably raw and bumpy ride with El Soplo where a depth and certain majestic beauty are created from the simple, stripped back, rolling beats and flowing pads. Flux takes things in a more minimal direction with echoing percussion hits and plucked synth line giving a sense of space, the driving, the single note bass reminding us of the more techno side of say Ame or Baikal. Flipping over we have Basilia which picks up the tempo and pushes a single reverberating vocal hit to the front of the mix before we are introduced to the glassy chiming arpeggiations that have become Manuel's signature sound for this LP. Finally, El Dub goes for a subaquatic vibe with a slow pace and dubby FX allowing us to get absorbed in the foggy haze Manuel creates with his thoughtfully conceived
minimalism and minute attention to detail. Expect to be hearing much more from Manuel in the coming months. He has become
in demand for his mixing skills, working regularly with Andre Hommen for Objektivity, Shit Robot for DFA and Marcus Worgull for Innervisions.

Warehouse Find!

As we hurtle towards our 200th Freerange release the quality output you've come to expect from Freerange shows no sign of faltering with Bas Amro bringing you an absolutely stellar EP entitled You And Me. Dutch wunderkind Bas has built himself a solid reputation through only a handful of releases on labels such as Wolfskuil, Kutchuli and most notably his 2011 EP Ten on Freerange which has gone onto become a stone-cold classic in the deep house mecca of Johannesburg. This long awaited follow up delivers on every level and if early feedback and crowd
response is anything to go by looks set to push Bas further into the spotlight where he deserves to be.
You And Me starts in a deceptively understated manner wrapping you in a shroud of warm, dubby stabs underpinned by a rolling groove that can't fail to draw you onto the dancefloor. Things stay deep with hints of Chandler and echoes of Basic Channel until the breakdown arrives, the filters roll up and the whitenoise
shines through bringing a new energy and dynamic to the track. A classic, timeless vibe which we're proud to be bringing you on Freerange. As with his previous release Ten, Bas works hard to deliver not one but two faultless originals so flip over for Across The Street featuring the vocals of Jennifer and you won't be disappointed. A simple, repeating six-measure synth hook drives the track and brings with it a lovely looseness and lack of obvious
structure. Kennifer's sparse, almost improvised sounding vocal drops heighten the sense of space and freefall effect making such a refreshing change to most of todays formulated and conventional house music. Last up is an amazing remix of You and Me from rising start Matt Karmil who brings his own unique and refreshing sound to the EP. Karmil's recent LP on PNN
won rave reviews from all corners and with just two other releases on Beats In Space and International Records Recordings he seems to have burst from out of nowhere but has certainly become hot property in the last 12 months. His forthcoming remix for John Talabot and Axel Boman under their Talaboman is immense and here he treads a similar path focusing on a raw percussion-heavy sound with very minimal tweaks and effects adding subtle colour and interest. These days it's very hard to breakthrough with an original, new approach to house
but Matt Karmil seems to have done it with ease.