Buscar:t 42

Nachdem sich Noorvik auf ihren ersten beiden Alben thematisch den kälteren Sphären gewidmet haben, geht es mit dem neuen Album "Hamartia" unter veränderter Besetzung in die feurige Welt der griechischen Mythologie. Die Geschichte des Königs Tantalos steht im Mittelpunkt einer musikalischen Reise, die auch in ihrem Umfang episch ist: Knapp 70 Minuten progressiver Instrumental-Musik, in der Tantalos die Konsequenzen seines überheblichen Handelns zu spüren bekommt und am Ende vom Glück ins Unglück - den Tartaros - stürzt. "Hamartia" zeigt metaphorisch, wie die Gier und Überheblichkeit des Menschen zu dessen Untergang führt. Narzissmen und Egoismen überstrahlen die unberührte Schönheit der Welt und die Unschuld ihrer Bewohner. Tantalos steht sinnbildlich für ein Menschenbild in Gesellschaften, was auf dem Vormarsch ist, jedoch irgendwann die unausweichliche Konsequenz seines Handelns erleben wird. Noorvik spiegeln auf "Hamartia" aber auch die Verzweiflung und Hoffnung einer Generation wider, etwas verändern und den Ist-Zustand nicht tolerieren zu wollen. Dabei wird klar, dass der uralte Mythos um Tantalos auch heute noch relevant ist. Noorvik präsentieren acht instrumentale Rock- und Metal-Songs, die Spannungen provozieren, aber auch Hoffnung verströmen.

Belgian techno don Marco Bailey lands on Watergate with a debut that’s guaranteed to intrigue as he leans into electro territory, grabbing rerubs from Extrawelt & Biesmans while he’s at it. DJ, producer and label chief, his is a storied career that spans three decades, and it’s long been evident that Marco’s enthusiasm and passion remains resolute. He closed 2021 with the release of his sixth studio album Surreal Stage, an ambitious, introspective body of work that dropped via his booming imprint Materia. His own label aside, his discography is stacked with cuts across eminent labels Second State,
ARTS, Bedrock Records, as well as being one of the first artists to debut on Carl Cox’s seminal INTEC.
While it’s techno that he’s become firmly associated with, his adeptness in the studio isn’t limited to the nuances of one genre and this is a rare opportunity to showcase a different side to his musicality.
‘The Spirit’ floods in first, almost immediately engaging listeners as it ebbs and flows with complete abandon. If the promise of electro grabbed your attention, it’s ‘From My Mind’ that delivers and sticks in your mind - from the heavy synth bassline to the soaring ascendant melody, and distorted, robotic vocals.
‘Pulse’ slaps and packs plenty of punch power as it snakes its way through with dominating, ascendant chords.
German duo Extrawelt and Belgian export Biesmans step in with rerubs of ‘From My Mind’, and firmly grip some of the elements which make this electro excursion so memorable.

Neuauflage des dritten und bislang reifsten Studioalbum der Band VAN HOLZEN auf schwarzem 180g Vinyl! Darauf setzt sich das Dreiergespann mit einem reflektierten und kritischen Blick „Aus der Ferne“ ihrer Heimatstadt Ulm mit den Geschehnissen und Verhältnissen der Welt und Gesellschaft auseinander. Zusammen mit kidney paradise im eigenen Studio VALACHAI produziert und aufgenommen sind insgesamt 12 Tracks entstanden, die das ganze Facettenreichtum der Band zeigen und doch ein waschechtes Rock-Album geworden ist.

Two brand new tracks by Art Of Tones with The Funk District on remix duty. Crazay sounds like the perfect radio tune AND a true dancefloor filler. Boogie disco-influenced House music with the usual AOT extras : fat bassline, funky beats and guitar riffs - and of course, drumfills ! "Not the same" is a great B side, a deep and melancholic disco track.

All you need is Lava. Lava is all you need…

Disco’s most erotic walking, talking light show Sexy Lazer makes his debut on Riotvan with three delightfully cosmic oddities and odysseys. At points sleazy, at other points sparkling, forever loaded and coded with space, each of the three originals promises full immersion and escapism.
Zone out to the woodwind wonderment of ‘Fluting In Space’, freak out to the synth-powered bliss of ‘Future’ and totally trip out to the much darker and pensive Black Strobe-like ‘Jing Jang’. Meanwhile on the remix front label co-boss Panthera Krause gets his prowl on with the swampy, sweaty tropical twist on ‘Future’ while Axel Boman gets his dub on with his take on ‘Fluting In Space’.

Three stellar originals, two star-gazing versions, one beautiful trip into the deep unknown. Show some lava!

The eagerly anticipated second remix package of André Hommen’s More Than This album is set for release in April on his These Eyes imprint. Following the Remixes Pt.1, featuring Robag Wruhme and Jonathan Kaspar, André recruits heavy-weight’s Donato Dozzy, Michael Mayer and Manuel Tur to deliver the remixes of Pantone. Donato Dozzy kicks things off with a tribal-esque remix. A bass-heavy, rolling drum at the heart of the track is met with intricate percussion and bird sounds, which take you on a tropical journey. Michael Mayer’s remix gets to work with a punchy, up-tempo bassline, perfectly partnered with airy synths and soothing pads. Rounding off the release, Manuel Tur’s remix offers darker drums that progressively build, enhanced with finely chopped vocals that echo in and out combined with minimalistic melodies. Italian native Donato Dozzy is widely acclaimed in techno circles across the globe. Displaying a large variation in terms of sound and method, his releases can be found on Tresor, Spectrum Spools and his own Spazio Disponibile. As a co-founder of Kompakt, Michael Mayer works closely with artists on their releases for the label. With three studio albums under his belt and numerous remixes for the likes of Miss Kittin, Pet Shop Boys and Depeche Mode, it’s easy to see why Mayer has such an acclaimed status in the dance world. Manuel Tur was born and raised in Essen, Germany. He released his debut EP at the age of sixteen and has gone on to release on labels such as Freerange and Running Back.

Coloured Vinyl

WRWTFWW Records is absolutely honored to announce the release of Kenji Kawai’s complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime PATLABOR 2: The Movie, available on vinyl for the first time ever and housed in a beautiful heavy gatefold sleeve with obi, as well as on digipack CD. Both versions come with liner notes by the great Masaaki Hara.
A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult animes and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. PATLABOR 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai’s minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn’t hide hints of hope for a joyful future.
PATLABOR 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai’s Ghost in the Shell soundtrack, already available on WRWTFWW Records.

Donny Hathaway (arr, voc, keyb, b); Johnny Board (ts); Clifford Davis (as); Robert A. Lewis (tp); King Curtis, Phil Upchurch (g, b); Louis Satterfield (b) Ric Powell (perc, dr); Morris Jennings (dr) & The Vashonettes (voc) u. a.

Von den vielen Kirchenchor-Karrieren der schwarzen Musik ist die von Donny Hathaway eine der steilsten. Dabei mag der Rang 49 von 100 der besten Stimmen aller Zeiten, die ihm das Lauscherteam des Rolling-Stone-Magazins bescherte, zahlenmäßig abstrakt wirken. Doch bereits die ersten Takte des Starters »Voices Inside« versprechen ein Programm, in dem instrumentale wie menschliche Stimmen gleichberechtigt zu Wort kommen: So beeindrucken satt klingende und durchsichtig gestaffelte Bläsersätze, die sich von dezent bis brassy in Szene setzen.

Mit pfeffrigen Clavinet-Salven gewürzt bricht sich Hathaways Seelensound harmonisch frisch geschlagene Blues-Bahnen (»I Believe To My Soul«), erhebt sich in leidenschaftlichen Tönen (»Misty«) und ackert sich durch perkussiv trockenes und fröhliches Durcheinander im Titel »Sugar Lee«. Jedes Arrangement schöpft aus dem Vollen des exzellenten Musikerpersonals und bleibt für sich einzigartig. Weich abgefedertes und wohlklingendes Miteinander (»Tryin' Times«) wirkt ebenso natürlich wie gebetartiger Gospel (»Thank You Master For My Soul«), der zum Gotteslob Höhenflüge in freie Jazzharmonien wagt.

Zum guten Schluss wieder Hathaways bis ins hohe Register geschmeidig schwebender Solo-Gesang, dessen kurzer Titel »A Dream« treffend für das gesamte Album steht.

Diese Speakers Corner Produktion wurde unter Verwendung von analogem Masterband und Mastering 100% rein analog gefertigt. Alle Lizenzen und GEMA-Beiträge wurden abgeführt.

Die Electro-Keule kreist wieder! Nicht einmal zwei Jahre nach ihrem letzten Album sind die mexikanischen Höllen-Cousins zurück aus dem Pandemie-Kerker und lassen ihrer Aggression auf dem neuen Opus „Hyperviolent“ unverblümt freien Lauf. Latent bedrohlich und eher schleichend rabiat wie bei „Broken Empires“ oder im pulsierenden Dark’n’Bass-Gewand wie bei der zweiten Vorab-Single „Backstabbers“ – Hocico spielen auf den 13 Tracks ihres neuen Longplayers die komplette Aggro-Klaviatur. Dazu zählt auch und vor allem der Bonus-Track „Weapons Of Resistance“, den Erk gemeinsam mit Ten56.-Frontmann Aaron Matts eingesungen hat und der nach Kooperationen mit Lord Of The Lost und Ost+Front einen weiteren Krachmacher-Trip ins Gitarrenlager bedeutet. Auch 2022 gilt für Hocico also: Knüppel aus dem Sack oder einfach gesagt: „Hyper hyper“!

Less than two years after their last album, legendary Mexican Electro duo Hocico is once again filling the air with their unabashedly sound and strikes hard with their full range of aggression on the band's brand new album "Hyperviolent".

Volume 20 of Attack the Dancefloor kicks off with what we think will be a future classic – ‘Atlantia’ by Level 42’s Mike Lindup. A stunning mid-tempo boogie cut with great spacey production, excellent lyrics and an extended mix by Dave Lee.

Next up is Lazywax’s synth heavy, 80s soul style rework of the forthcoming Raw Essence ‘Do it Again’, the original being featured on Produced With Love 2.

Flip it over for Dave’s much played take of Jungle’s crossover hit ‘Keep Moving’, which gives the song an authentic bassline driven disco mix. Last up Chicago’s Emmaculate delivers a live instrumentation filled afro disco version of Doug Willis feat Zeke Manyika ‘Dougswana’.

The Ricardo Villalobos / Samuel Rohrer partnership has yielded increasingly interesting results over the past few years, with the former’s remixes of the latter’s trio Ambiq being supplemented by further reinterpretations of Rohrer’s solo work and live meetings at select events like Berlin’s Funkhaus and Radialsystem V. As should be the case with any strong collaboration, this partnership has been based on mutual challenge rather than compromise,
seeing each participant shuttle key technical and emotive aspects of the other’s work to previously unexpected places.
Those who have been closely following this relationship will notice a definite sense of continuity between previous outings and the new collaborative release entitled MICROGESTURES. As with those earlier Villalobos / Rohrer pairings, these four new pieces are defined by a special quality of being many things that once: that is to say, depending on the listener’s own level of focus, these can feel very tightly constructed and disciplined, or playful and freely wandering. That the tracks are equally engaging regardless of one’s chosen listening “mode” is a testament to the level of thought put into them; you could almost imagining the creators poring over some elaborate sketched set of architectural blueprints rather than coolly monitoring the usual multi-track editing software.
Altogether the music here is firmly a-melodic and percussive, but within these deliberate limitations there is still a greater variety of individual sounds than most would bother with. Each track is its own observatory of microgestures clustering together into a dense communicative fog or a sort of robotic sound swarm. Yet while all
these tracks are variations on that theme, each one has its own character and, consequently, its own rewards in terms of the exact sectors of the imagination that it activates.
Take for example “Cochlea” and its twin “Helix,” on which the magnetizing, busy layers of percussion are tempered with mischievously disruptive blossomings of digital noise, as well as sampled radio communications (which again bring us back to the idea of listeners’ attentiveness changing the meaning of this music - these
curious transmissions can either be taken as a purely aesthetic element or as something to be actively decoded).
Club-oriented elements are also not absent from this suite, particularly on “Incus” with its traditional sequenced baseline, crisp synthetic trap and hats, and dizzily sliding set of bell-like tones laid on top.?
Yet this track, too, is powered as much by its restless desire to deviate as by its rhythmic consistency: throughout the eleven-minute running time, a mass of ambiguous and restless machine sounds build a parallel narrative, and will maybe prompt the occasional glance over the shoulder as they seem to be taking on their own life. “Lobule” rounds out the program with the most rhythmically eventful sound set off the five.
What this all adds up to is a confident music which builds that quality from its faith in possibilities rather than firm conclusions: it’s an inspiring addition to both the musical landscape and reality in general

It's all about hooking up our music to the emotional world of electronic music at the beginning of the Nineties, however, without falling for nostalgic references. We don't want to do cowardly Zeitgeist Techno, we want to have the heart to dare big sounds and more melodies. Sunrise scenarios, energy, revolution and kaput-ness, all these are parts of the Extrawelt.' (Extrawelt, 2008) However, don't panic: even if the aesthetics of the debut album of the two Hamburg born artists Arne Schaffhausen und Wayan Raabe is affected by the attentive observation of electronic dance music over the last fifteen years, the 'Schöne Neue Extrawelt' is above all this: Premium Techno 2008! The Hamburg-based producer team has been unmistakably imprinting the last three years' club sound with widely noticed releases on Border Community ("Sooper Track"), Traum Schallplatten ("Doch Doch") and Cocoon Recordings ("Titelheld") as well as with remixes for Gregor Tresher, Minilogue or Alexander Kowalski - last but not least due to an excellent live presence, that resulted in the second rank in the Groove Live Act Charts, even still without the accompanying long player. The work on 'Schöne Neue Extrawelt' started more than two years ago for Schaffhausen and Raabe. 'The initial idea was to present an album covering all styles of electronic music between Ambient, Breakbeats and Techno. When we had 25 tracks for the album ready, we had to realize that this approach did not work for us. Insofar, we finally decided to use the 4/4 bass drum in all tracks except in the little intermezzo 'Kurt Curtain". We have tested all tracks live over the last three months and constantly re-interpreted them. So, the 'danceability' is clearly in our focus, but the sound spectrum and the dramaturgy of the titles should not be solely functioning in the club. Our intention was definitely not to deliver an album full of superficial peak time hits.' Those nine tracks on 'Schöne Neue Extrawelt", all unreleased, are

Edition Akasha launches with 'Forest Beams' by Eira Haul, proudly presenting a sonic crosscut of the Berlin artist's captivating take on UK textures and tempos, fused by a visceral feel for bright melodic touches.

Dark is the forest and deep, and overhead
Hang stars like seeds of light
In vain, though not since they were sown was bred
Anything more bright.

Edition Akasha launches with 'Forest Beams' by Eira Haul, proudly presenting a sonic crosscut of the Berlin artist's captivating take on UK textures and tempos, fused by a visceral feel for bright melodic touches.

As the rude bass stepper 'Forest Beams' rubs shoulders with the jovial, off-kilter techno of 'Oak', and the trance trip 'Cosmic Body' takes flight towards the introspective halftimer 'Kilim', euphoria and melancholy waltz in harmony atop soaring beats throughout this nod to Akasha Festival's Forest floor. At midpoint, Tornado Wallace compliments the tour de force that is EDAK001 with his 'Lights Off Mix' of 'Oak' - a cheeky balearic breakbeat rendition bringing summer firmly into focus.

Nico Stojan set up Ouie with his friend and longtime collaborator Acid Pauli as a conduit for the unique and wonderful music they and their friends have become synonymous with. This latest release reaffirms the magical quality the label has cultivated, this time in the form of a teamwork between Nico and David Mayer. 'Fling' kicks off powerfully - a shuffling, organic groove leads the way before synth pads, jazzy piano riffs and a big breakdown amp up the atmosphere. 'Safari' employs a similarly swung, live feel to the groove, before dropping in a breakbeat to take things to the next level. The track builds tension as synths are layered and layered, resulting in a mystical leftfield bomb.

The Frightnrs escort Daptone into the world of long-playing reggae with both the sweetest and the roughest record of the decade.

Crafted under the meticulous eye of black-belt reggae mastermind/producer Victor Axelrod (AKA Ticklah), Nothing More to Say is a rocksteady masterpiece the likes of which has not reared it's head since the golden era of Studio One. However, you'll find no imitation here - none of the faux-jamaican cliches of lesser reggae bands. Like all things Daptone, this record is above all soulful and honest.

"Span Of Aeons" bietet ultrabrutalen Old School Death Metal mit anonymen, aber nicht unbekannten Mitgliedern der Österreichisch/Deutschen Black Metal Szene! Mit Martin Schirenc (PUNGENT STENCH) als Gast