Search:t man v phantom

7" Originally released in 1987 on Australian label Big Home Productions both tracks were later re-released in 1990 on Sarah Records together with the Goes so Slow single as a five track 7 inch EP titled Nothing Ever Happens.
This is the first time that the single has been released in the UK in it’s original format.
Even As We Speak is an indie band from Sydney, Australia. Formed in the mid 1980s, founding members Matthew Love (guitar, banjo, vocals) and Mary Wyer (vocals, guitar) were later joined by Rob Irwin (bass) Anita Rayner (drums, banjo, mandolin), Julian Knowles (guitar, keyboards, production), and Paul Clarke (guitar, vocals).
After a series of vinyl releases on Australian independent labels including Phantom Records, and success on the Australian indie scene, they came to the attention of BBC Radio 1 DJ John Peel who started to play the band’s ‘Goes So Slow’ Phantom Records release on his show. This brought them to the attention of UK audiences and began a relationship with UK indie label Sarah Records. The band released several singles and an album on Sarah Records, three of which reached the Top 5 of the Melody Maker and New Musical Express UK independent music charts in 1992 and 1993.

The On Board Music imprint returns with its third release this October, a five- track various artist package featuring material from Lanoche, Yugen, Serena Butler, Estrato Aurora and Vera Logdanidi.

Laura BCR’s On Board Music delivers its third release here, following two mini LP projects from Healing Force Project and Mesak. The ‘Point A’ project marks the beginning of a series of VA’s coming on the imprint focusing on both established and up and coming talents from different origins, stylistically ranging from ambient to techno and all meeting together on the dance floor. French painter Natacha Mankowski provided the artwork once again, and mastering was taken care of by Carsten Dämbkes.

Taking the lead is Lanoche’s ‘Love Fall’, an ethereal opener fuelled by hypnotic pads, wandering bass tones and heavily reverberated, shuffled percussion before Yugen’s ‘Phantom’ lays focus on pulsating arpeggios, choppy bass stabs and swirling atmospherics. Serena Butler’s ‘Fertile Fancy’ follows next, a cinematic four minute ambient cut employing subtly nuanced pads and bright voice like tones throughout.

Estrato Aurora’s ‘Icnita’ opens the flips side with murky, oscillating bass tones, gritty, off-kilter drums and an ever-present underlying tension before Vera Logdanini’s ‘VPlanet’ rounds out the package perfectly, delivering a reduced Techno cut fuelled by cavernous atmospherics, arpeggio bleeps and swirling low-end pulses.

Comic book artist, graphic designer and free jazz improviser are only some of the many talents from Beirut born Mazen Kerbaj. After appearing as part of various ensembles on the label, Ariha Brass Quartet (CREP46) and Johnny Kafta Anti-Vegetarian Orchestra (CREP22), Kerbaj finally lands a solo outfit of his own onto the Discrepant dancefloor of insubordination.

14 years after his first (and only) solo album "Brt Vrt Zrt Krt" (Al Maslakh, 2005) Mazen returns with a series of subtle compositions of his own with not one but two(!) solo albums of prepared trumpet that further cement his international position as a serial trumpet botherer.

Whilst Vol. 2.1 showcases his (almost) (un)familiar arsenal of squawks, cackles, howls and squeals, Vol. 2.2 goes deep into the nether regions of waltzing drones and bell tweaks so deep that would make most cetaceans loose their concentration. The notion of being transported to a luring mutant underwater alien community is still present on these long(er) trips with the added meditative pieces being occasionally pierced by noise creepers, nothing is what you want or expect and that’s the way it should be.

If Vol. 2.1 is the classic follow up LP, this one is the beast from the deep, it comes surging and screeching from a deep oceanic sink hole, only to hypnotize you with perverted dance moves before diving back into the sinking, wettest and darkest cave in the world. Vol. 2.2 is a summons album; it shatters any bar there was with its intentional use of everything Vol. 2.1 was denied. It grabs you by wherever available way and it only releases you when you’re ready to listen to it again. Listen to both albums back to back, in no particular order and you’ll know that there’s nothing you can do but come back to it like a doped up seal stranded in a phantom island – appearing and disappearing as the music dictates it to.

PAREDO presents new and exclusive works by three female japanese music producers: KOPY, TENTENKO and MIKI YUI who are based in Osaka, Tokyo and Düsseldorf respectively and a radical reinterpretation using elements of the featured works by Lena Willikens, the PAREDO MEGA MIX. All four contributions showcase their highly individual approaches to contemporary electronic dance music. Paredo is directly informed by multi-directional encounters of four musicians and their close observations of musical production and reception in practice.

In 2017 Lena Willikens and TAL founder Stefan Schneider have both, though independently from one another, been invited to Japan under the auspices of the Goethe Institut. While Schneider researched electronic noise music cultures in Osaka, LENA WILLIKENS and her artist partner SARAH SZCZESNY developed aspects of audio mix and filmed footage for their collaborational art project PHANTOM KINO BALLETT while in residency at Villa Kamogawa in Kyoto.

"While in Kyoto, we often went to Osaka or Tokyo to explore the diversity of the music subcultures there. It was fascinating to witness how Japanese underground cultures adopt influences from abroad and turn them into something original and very much their own. We also saw live performances by KOPY and TENTENKO whom we quickly befriended."

KOPY is a consistant part of the vital electronic music scene from Osaka. Besides a few performances at Düsseldorfs famous SALON DES AMATEURS, she has also been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018.

TENTENKO begun to enter into the japanese music scene with a steady flow of experimental cdr productions as well as collaborations with members of the legendary japanese noise band Hijokaidan.

MIKI YUI originally from Tokyo has lived in Düsseldorf for more than two decades now. Besides albums of her solo work for LINE (US), or more recently, for Cusp Editions (UK) she also collaborates with Carl Stone in the duo REALISTIC MONK (on the Meakusma label) and was a member of Klaus Dingers last band JAPANDORF (Grönland Records).

LENA WILLIKENS who has a background in fine art, first honed her unique approach during a long residency at Düsseldorf’s Salon des Amateurs. Outside of the club, the Cómeme label was home to her first EP, 2015's Phantom Delia. In 2017 she has released a remix of Kenyan singer OGOYA NENGO for the ON MANDE EP, TAL02.

Make Mistakes head honcho Roy England teams up with pianist AC Jones to deliver The Shadow Gallery, a sprawling, hypnotic love letter to the dance floor. Music for the modern dance floor, with classic flare, and its heart on its sleeve.

From High On You, to Wayfaring at the end, The Shadow Gallery delivers a cohesive, focused musical journey. But, We Can Make It delivers best on the albums promise. Classic house grooves and bass propel the track forward, with AC’s piano weaving a melodic counterpoint to the relentless dance floor hustle.

While the front half of The Shadow Gallery begs for the afterhours sweatbox, the back half delivers peak hour party cuts for lovers. Anchored in the middle by the title track, The Shadow Gallery, a tune that would sit comfortably in any epic house journey. By crafting such a smooth progression through the collaboration, Shadow Gallery works just as well as sit down, and listen to some true pros bringing their skills together in a way that feels evokes the ghostly spirit of dance music’s past, while creating a modern sound for discerning ears.

Get some.

“We have no idea, now, of who or what the inhabitants of our future might be. In that sense, we have no future. Not in the sense that our grandparents had a future, or thought they did. Fully imagined cultural futures were the luxury of another day, one in which 'now' was of some greater duration. For us, of course, things can change so abruptly, so violently, so profoundly, that futures like our grandparents' have insufficient 'now' to stand on. We have no future because our present is too volatile. ... We have only risk management. The spinning of the given moment's scenarios. Pattern recognition”

― William Gibson, Pattern Recognition

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- MIKE OLDFIELD'S TUBULAR BELLS IS INSPIRED
BY THIS ALBUM
- FEATURED IN GRAND THEFT AUTO IV ON THE
RADIO STATION 'THE JOURNEY.'
- 50TH ANNIVERSARY LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Keyboard virtuoso Terry Riley started experimenting with different instruments in the '50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It's an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley's masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

From the minds of Direct Beat and Detroit Bass Classics, comes the first initial compilation of electro/techno heat... "Electro In The Key Of Detroit: Volume 1"...Proven dance floor dope & record crate staples that provide the hungry ears of masses the groove to move: World-Wide. 'DJ K1's "Erase The Time" (featured on Detroit's WGPR TV "New Dance Show" in the 1990s) rocked the airwaves and global clubs with its signature thumping style laced beneath alien-like melody and repetitive vocal structure. 'Posatronix' mutant-rhythm mantra, "Pure Techno Sound" pulls the weight of Detroit's street dance roots down to the origin of how to boogie in space. A sure-fire stepper that also shared popularity on TV dance show platforms from Techno City. 'Blaktony's tempo-pushing "Holla Holla" , direct from the documentary soundtrack: "AUX88: Portrait Of An Electronic Band" dvd box set (a radio Dj/mix show favorite) sees the light of day on this wax collectable, giving praise to Motor City footwork culture. Also included in this monster EP is the rare 'AUX88' voyage entitled: "Phantom Power"...a gem and collector's choice. Crafted exclusively for the laid-back option away from the party or to enjoy accompanying a night's drive. This collection of re-issued jams and new explorations 'IS' the must-have for the electro/techno & bass aficionado...See it as either a DJ's weapon of choice, or the gift from vault

Sinking Into A Miracle is the debut album by Glasgow's AMOR, a quartet of musical travellers exploring the sonic open-ended-ness of dance music. Following two critically acclaimed 12-inches, this is a fully developed treatise on ecstasy and transcendence. Here, Richard Youngs, Michael Francis Duch, Paul Thomson and Luke Fowler are more honed, razor sharp in focus and timing, testing their instrumental prowess on condensed song structures and new, enlightened feelings of expansive hope and bliss. From the outset, it's an ambitious yet ultimately inclusive journey. Recorded to 24-track tape at Chem 19 and mixed by Paul Savage and Richard McMaster (Golden Teacher), this full length retains the elastic grooves of Paradise and Higher Moment, the group's previous singles, but relinquishes the classic Philadelphia International-tinged sound in favor of looser rhythmic patterns. There are new depths to the compositions: a more free-flowing approach to percussion and deft experiments in hybridity make for a full and rounded, emotionally tinged record. Indeed, there are times when AMOR sound like the lost house band from David Mancuso's Loft parties: Richard Youngs' uplifting, gospel-tinged lyrics talk about moving beyond, universal truths, sailing through the horizon. It's a wideeyed optimism Mancuso would perhaps have approved of and which is embroidered with spectral details that begs to be auditioned on large, tweaked out sound-systems.
Fantastic cover art by Robert Beatty.

Don't Bite Records are happy to announce the release of producer/rapper Tom Dice's solo LP. The witty title has been more than prophetic. These are not just rhythms of Dice but rhythms of life. Reflection, auto biography and idiosyncricity are abundant, as shown on the final track, 'Irrepressible'. 'Put on a uniform, conform, consume, dance to another man's tune that's off key. That never was and never will be the essence of a man like T.o.m D".
From 'The Death of Me''s dark refrain 'How ironic I died from a shock electronic.....clutching at the MPC, finally..... music got the better of me, the energy', we know that Dice is fearless in pushing the envelope and the boundaries of what can be lyrically possible. However Dice acknowledges his influences and the importance of their recognition on 'Authentic'.
On 'Tears Run Dry' Tom touches on feelings of alienation: 'I'm not a loser cos I can't win, I'm just an outsider still looking in' whereas on 'Feelings' he examines the connection between emotion and physical feeling. 'Feelings- computers don't have it, they try to emulate that basic human magic'
On the LP Rhythms of Dice and particularly the track 'Rhythms of Dice' he is rhyming from a producers point of view. 'All you guys who do like 6 tracks a day...how good are they You need to focus your mind or really just stay...wondering....You heard my beat in a studio and just wandered in'
Tom is ably assisted by long time collaborators/ label mates The Phantom and Jumpsteady. While he explores the exploitation of the thug genre on 'Thug killer', he also comes with a new style on 'Interchange' where he and Jumpsteady rap the first 4 bars of each others rhymes causing 1, seamless, verse. We hope you enjoy this tenth release from Don't Bite Records which continues to strive for individual style and originality and embrace our motto that "Only pirates take that which is not yet theirs!"

"phantom Dancehall" Is The Exploration Of The Greensleeves / Vp Records Catalogue By Dj Spooky Aka Paul Miller. The Musical Tapestry Is Built On Samples From Familiar (and Not So Familiar) Reggae Tracks Over Electronic Beats And Melodies Produced By Miller And Protégé Stephen Levitin (stage Name Apple Juice Kid). Selected Tracks Include The Keyboard Work Of Alex Thompson Aka Fourth Shift. Guest Vocals From Walshy Fire (major Lazer) And Dancehall Newcomer Sanjay Added To Vocal Samples Of Busy Signal, Lady Saw And Garnett Silk Give The Project An Eclectic, Modern Dancehall Flavor!

Paul Miller, Better Known By His Stage Name Dj Spooky Is A Music Producer, Arranger, Dj, Author And Performance Artist. His Unique Brand Of Experimental Hip-hop, Dubbed 'illbient' Has Resulted In Collaborations With A Diverse Range Of Artists Including Ryuichi Sakamoto, Kronos Quartet, Lee "scratch" Perry And Killa Priest. With Remix Projects For Trojan Records, Manifold Records And Six Degrees Among Others To His Credit, Miller Created "phantom Dancehall" For His Exploration Of The Greensleeves/ Vp Records Reggae Catalogue.

For Fans Of: Major Lazer, Dj Shadow, Kevin Yost

Enigmatic producer Waxwood has a genuinely global outlook. Born in Russia, resident in Brooklyn and a regular visitor to Los Angeles, he can often be found jetting off to far-fung parts of the World in order to make feld recordings and immerse himself in different musical cultures.
You can hear these disparate global infuences and inspirations in
Waxwood's frst single for Claremont 56, which comes on the back of a near legendary 2015 cassette for NYC's Styles
Upon Styles, Sahasraha, which magically fused tropical hand
percussion and densely layered feld recordings with lilting ambient chords, hypnotic electronic rhythms and all manner of intoxicating
aural fourishes. 'Kama' is a slightly different beast from its' predecessor, with a sunny disposition and laidback breeziness throughout. Although underpinned
by a sturdy kick-drum pattern, its chiming melodies and metallic
percussion fourishes - reminiscent of indigenous music from far-
fung nations such as Malaysia and Indonesia - combine with gentle acoustic guitar motifs and waves of acid-esque electronics to create a beguiling and life-affrming mood. It offers more proof that Waxwood is a producer with a unique musical vision. The track's inherent gentle breeziness is explored in greater detail on the accompanying remix, which has been provided by Phantom Island regulars Fuga Ronto (AKA Swiss musicians/producers Ron Shiller and Tobi Schweizer). Riffng on Waxwood's original, they've added superb new vocals and instrumentation - think dreamy harmonies, tumbling synthesizer melodies and mesmerizing guitar parts - to create a sunset-friendly Balearic revision that's both stunningly beautiful and dazzlingly sun-kissed.

Der Pop-Avantgardist John Maus präsentiert sein viertes Studioalbum "Screen Memories"! Nach dem Erscheinen seines aufsehenerregenden Albums "We Must Become The Pitiless Censors Of Ourselves" (2011) ging Maus auf ausgiebige Tour, veröffentlichte ein Jahr später "A Collection of Rarities and Previously Unreleased Material" und verschwand dann von der Bildfläche, um sich seiner akademischen Ausbildung zu widmen. Nachdem er diese mit dem Doktortitel in Politischer Philosophie abschloss, widmete er sich dem Bauen von modularen Synthesizern und eigenen Panels. Gleichzeitig komplettierte er "Screen Memories" in völliger Eigenregie in seinem abgeschiedenen Zuhause, der so genannten Funny Farm in Minnesota. Der erste Vorgeschmack des Resultates war Ende August mit dem Album-Opener "The Combine" zu hören. Darin singt Maus mit sonorer Stimme und im charmant-elektronischen Barock-Soundkleid: "It's going to dust us all to nothing, man. I see the combine coming."

180 g 12"

NAISSANCE MUSIK proudly presents ELEPHANTOMS, the second EP, produced by HEAR and SAN PROPER.
Elephants represent past and present, but also part of our future.
They are among the largest and oldest animals on earth - powerful and yet fragile, eternal and yet almost extinct. When you think about music, similar ideas come to mind - of course the power of sound and dance, the energy of the party because of that group-feeling of the herd, but also the fragile aspect of harmony, the quality of family that is so difficult to reach in a formation of individuals, plus that moment when the music adapts to the people, and the people adapt to the music.
Elephants are phantoms in music, they haunt dancers and listeners. But they haunt us in a positive way, to remind us with the idea that we are part of a refreshing and renewing cycle, the circle of life. This is why this elephantism' brings awareness, love and care to your sound-system, think about it and remember.
(the first track Up the Hill' starts the journey and will make you climb the first mountain, then The Groin allows you to copulate and get sexy with your crew through the tune. Macha Moves brings laughter and tears after sex, makes sweat in the late hours but whips up breakfast and morning-glory at the same time, while the last track is a medley of memories, for an Elephantom remembers everything...).
ELEPHANTOMS is the collaboration between HEAR & SAN PROPER, two dedicated musicians who have created this EP in Canada, Lebanon, Holland and Germany in honour of a dying breed which is close to extinction.
This is for the spirit of the elephant.
While you purchase this piece of music, please also look into the right organisation to donate and help these dinosaurs before they will haunt you like phantoms. (Manuel Benguigui)

* Includes a DIN A2long poster inside the 12" sleeve with edition number and music download code

* Rogue Style 1 EP is an international homage to b-boy culture, where the worlds of breakbeat music and breakdance collide. Sinistarr (USA), Kiat (Singapore), Kabuki (Germany) and HomeSick (Canada) are connected in many ways, now they lay bare their hip-hop roots and give something back with a fresh take through the eyes of drum & bass and juke/footwork. Here is what they have to say:

Sinistarr: "As a teenager I grew up as a b-boy, dancing anywhere I could: schools, parks, festivals, you name it, my crew was there with cardboard and a speaker. I eventually got deeper into DJing and making music and learned to bring a sound that's not just for the crowds and the purists, but also for all the dancers!"

Kiat: "Hip Hop has taught me to keep evolving, to explore new forms in all my art. Progression is the key to evolution. -- I met Sinistarr online thru myspace and we had a musical connection which led to our first collaboration 'Black Diamonds' which is still one of my personal favourite tunes I've been fortunate to be part of it's creation. With Kabuki, i've always been a fan of his work since his 'Makai' alias on No U-Turn, despite meeting him only recently thru the label.I've always known him to be constantly progressing his ideas in his music which I respect alot."

Kabuki: "B-boy culture has always been a strong influence on how I pursued my art, mainly because of its DIY ethos and attitude of perfecting your craft. Incidentally these were also the aspects that drew me to Jungle when I first discovered it in the nineties. -- I'm happy to rub shoulders with Kiat, Sinistarr and HomeSick on this release, as I'm a fan of their music foremost, but also because we became friends through the music."

HomeSick: "I was only a child in the 90s and as a result I feel like my understanding of b-boy culture was experienced second hand thanks to 90s/early 2000s hip hop music. I appreciate the parallels I can see with footwork culture, particularly the similarities to the community mentality of break dancing. -- I know Sinistarr through booking him for our local party night in Alberta, Canada called Percolate. Our city must have left an impression on him because a year later he made the move here from Detroit. Had the pleasure of hosting him as a room mate for a little over half a year, the home was a very potent creative space during this time. Kabuki hit me up a few years ago and we very quickly got to sharing tracks and collaborating together. Mans a master of production and a super important part of the global scene."

The idea for a reminiscence of b-boy culture stem from label owner Booga:

"Why am I interested in this so much I grew up in East Germany and as the movie "Beat Street" premiered in 1985 over here I was age 13 and blown away by the energy, the music, the wit, the style - everything in this movie was better than everyday life in Leipzig. So I started saving for a cassette recorder and taped music shows from West German radio and prepared tapes for school disco gigs to the hope somebody would do the "robot" to Arthur Baker "Breaker's Revenge". Unfortunately that never worked out hahaha. But I was hooked since then and as the wall came down in 1989 I travelled to West Berlin just to buy the Beats, Breaks and Scratches 1-4 vinyl box by Simon Harris. The fascination for breakbeats never stopped and before I discovered Jungle around '94 I was down with the British cut up house thing from the likes of Marrs, Krush and Coldcut as another form of breakbeat music. The "do it yourself" spirit from hip hop culture inspired me to start a local website called breaks.org in 2000 to locally promote the drum and bass scene with emerging producers, djs and mcs for a wider audience and I threw in some interviews with Storm, Kabuki, Rob Playford, Klute and John B. That turnt into a multi author blog called itsyours.info in 2004 which still exists - that is where I had the pleasure to introduce Kiat and Ash in 2007. All these years I was listening and playing drum and bass tunes when the occasional "bboy tune" came up, some were obvious like Alex Reece "B-Boy Flavour", Lemon D "B Boyz", Commix "Change" and some were not so much self-explanatory like Digital & Spirits "Phantom Force" and the remixes by T-Power & Codeine or Fracture's Astrophonica Edit - but I felt the hidden force of breakdancing nevertheless. With the Rogue Style series I have the first class opportunity to ask established and new Defrostatica artists to present a current interpretation of b-boy culture. This is a dream coming true."

Phantom Forth were the brother sister team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Paul began recording his own music after purchasing a 2-track from Oceania Sound. He formed a band with his flatmate and eventually met Lorraine through Debbie. With a shared love of Young Marble Giants and Cabaret Voltaire they started to rehearse at LAB Studio.

'The EEPP' was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casio-Tone VL, Boss DR-55 Dr. Rhythm, Roland TR-606 and an acoustic Yamaha bass. All original vinyl copies contained many clicks and pops and due to paper bits from previous jobs that pressing plant melted down. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation 'The Last Rumba'.

All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.

''In a time of peace and prosperity on Phantom Planet, three unwanted heroes arrive home to seek justice where there is none to be sought. Shunned by modern society, Forsh gets a job at the electricity board, Red Defender snoozes through work at the local news and booze, and Bin Man finally finds his dream job... as a postman. With no evil to lay waste to, they put their dinner money together to create the world's greatest record label, BOSS TRACKS. Using broken dustpans and Dance Ejay '98, they create what will go down in history as the most seminal and brilliant piece of musical forgery known to Merseyside. 4 tracks packed full of pure dance floor steroids for your love-pump; this is interstellar muscle music at its finest, let it reach out grab you by the tenderloins! Thank you Phantom Planet Outlaws. Once again the world has been changed forever, for the better.''