Shabaka Hutchings am Saxofon, Danalogue (Dan Leavers) an Percussion, Roland SH−09, Roland Juno−60, Roland SH−101 und Moog Sub Phatty, und Betamax (Max Hallett) an Drums, Percussion, Roland TR−808 und JHS Pro-Rhythm, haben mit ihrer Mischung aus Synthesizer-Sounds der 80er, Saxofon und Schlagzeug, gespickt mit Punkrock, Jazz-Blasts und Dancefloor-Trance schon reichlich Fans gewonnen.
Für sein viertes Album ging das Trio THE COMET IS COMING diesmal in Peter Gabriels Real-WorldStudio, zusammen mit ihrem langjährigen Toningenieur Kristian Craig Robinson unterzogen sie sich einem
viertägigen Aufnahme-Marathon, angetrieben von Intuition, Können und Improvisation.
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KR3 Records, is proud to welcome – Shuya – to its roster. The Japanese producer whose influences come mostly from the Noise Scene, began his sonic journey as a singer and guitarist with the experimental avant-garde group called Qujaku. With his s/h/u/y/a solo project he keeps a noise-industrial attitude to his electronic music productions. The beginning of his collaboration with KR3 was therefore inevitable. The artist and the label share a mutual approach to sound, with the processing of raw materials into scratchy, deep and mental beats playing a key part in their interpretation of Techno. The Sleeper EP – is the first vinyl release under this pseudonym. The cover art is curated by the designer Pablo I Prada, who says about his works: “I try to capture human evil in my paintings”. With his music, Shuya does exactly the same. His productions are a disturbing mixture of noise-techno that perfectly evokes the infernal spirit of human existence that also appears in the artwork. The Sleeper, is a cerebral, red-painted sonic assault. The intro and outro are composed by recordings of his voice and guitar riffs that show us how deep is his connection to his artistic origins. Written & Produced by Shuya Onuki Artwork by Pablo I Prada
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Incienso is hyped to announce the next release of 2022 from one of the UK’s most interesting and distinctive producers, Shiken Hanzo.
While known primarily for his hybrid halftime d&b and techno sound, Shiken switches it up with new diversions in tempo and rhythm throughout Eternity of Echoes, all the while maintaining his idiosyncratic blend of dystopian soundscapes, industrial drums, and pulsating, deep basslines.
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From a shared love of electronica, aquatic techno funk and tribal rhythms comes this collaboration.
Raw electronics and warm analogue sounds flow and almost breath with life as synths spray atmosphere over washed out stabs which swing from one note to the next.
Layered effects sit alongside glitches and heavily distorted breaks perfectly suited for the rumbling subwoofers of soundsytems.
Written by Mat Carter & Keith Tenniswood at The Cube
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Subb-an returns to 20/20 Vision with 'State Of Flow' featuring vocals from Oli Gosh (Crosstown Rebels). Ash Subhan has been an integral part of the deep house and techno scenes over the last decade and more with releases for One Records, Spectral and Culprit.
'State Of Flow' is a beautiful slice of deep techno that incapsulates atmospheric layers of melodies and vocals with powerful bottom heavy bass and percussive floor control. SOF is the first collaboration between Subb-an and singer songwriter Oli Gosh and has resulted in new directions and musical landscapes.ASOF comes complete with remixes from Adam Pits and Armec.
Adam Pits delivers a devious little gem aimed at dance-floor destruction that winds it's way between a heavy garage bassline and 90's four to floor house rhythms, fragmenting the vocal around an increasingly unhinged and infectious groove. It's fusion served at it's finest and a super fresh sound perfectly placed for the current club scene.
Armec accentuates and expands the immense power hidden in 'State Of Flow' by breakin' the beats up and adding heavily swung filtered loops snaking around a massive bass. The Armec remix comes complete with a twist to its tale with the additional of a magnificently wobbly arpeggiated synth twisting our melons into a right old state.
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'Body Riddle', ein Highlight des frühen Clark-Katalogs, von Produzenten wie Arca, Rustie und Hudson Mohawke als massgeblicher Einfluß bezeichnet, wurde unter persönlicher Betreuung von Clark neu für mehr Dynamik remastered und erscheint erstmals wieder seit 16 Jahren.
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BIO: Chris Clark arbeitet seit 20 Jahren mit Musik und Ton. Schon in jungen Jahren wurde er von Warp Records gesignt und veröffentlichte bis dato 13 Alben und eine Vielzahl an EPs und Singles. Sein jüngstes Studioalbum 'Playground In A Lake' für das Klassik-Label Deutsche Grammophon verschmolz sein Markenzeichen, die elektronische Musik, mit den Streichertönen des Cellisten Oliver Coates, der Geigerin Rakhi Singh und des Budapest Art Orchestra.
Nach seiner ersten Filmmusik für die Sky/Canal+ TV-Serie 'The Last Panthers' schrieb Clark die Scores zu 'Rellik' (BBC1/HBO) und das Drama 'Kiri' (Channel 4/Hulu). Kürzlich lieferte er die Filmmusik für Apple TV+ 'Lisey's Story', basierend auf Stephen Kings gleichnamigem Roman, sowie für 'Daniel Isn't Real', einem psychologischen Horrorfilm von Spectre Vision, der Produktionsfirma des Nicolas Cage-Kultfilms 'Mandy'. Dieser OST wurde ebenfalls von der Deutschen Grammophon veröffentlicht.
Chris arbeitete mit der Choreografin Melanie Lane zusammen und vertonte 12 zeitgenössische Tanzprojekte, darunter die Aufführung ihres Soloprojekts 'Tilted Fawn' im Sydney Opera House und zuletzt 'Personal Effigies', das im März 2018 mit dem Kier Choreographic Prize ausgezeichnet wurde, sowie 'WOOF' für die renommierte Sydney Dance Company.
Chris' umfangreiches Verzeichnis an Remixen für Künstler wie Thom Yorke, Massive Attack, Depeche Mode, Max Richter, Battles und Nils Frahm wurde 2013 als Doppelalbum 'Feast / Beast' veröffentlicht.
'What's always set Clark apart is his eclecticism, dynamism, and flair for the dramatic... His tracks don't drop as much as they slip or swerve... He'll end a techno album with eight minutes of beatless, sky-cracking ecstasy and it will make sense. He's allergic to the idea of standard sounds and presets. And unlike many of his more insular peers, Clark can be open to sentimentality — not schmaltz — as much as a belief in humanness and all its inexact wonder. In electronic music's never-ending battle between man and machine, he's seeking a third way.' - Pitchfork
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This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción. Disidentes and T de Cobre brought extreme sounds to local electronics, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción were responsible for introducing styles such as techno-pop, EBM, industrial and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called Rock Subterráneo underground rock, these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: viscerality, mechanical rhythms and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior and Reacción), were in fact affiliated to an electronic sound (techno-pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas de techno [Symptoms of Techno] represented an important step towards the development of a local culture of electronic music during the 90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. This project was awarded with funding from the Economic Stimuli program of the Peruvian Ministry of Culture.
Revenge Techniques presents the vinyl reissue of TAFKAMP's magnum opus 'INDRUKKEN'. Originally released on cassette tape back in 2018, the album features some of the artist's deeper and dreamy productions to date, an exciting trip through the musical impressions of the artist mostly known as techno/rave producer 'Stranger'. TAFKAMP showcases a selection of music ranging from slow melancholic breakbeat to euphoric uptempo electro and everything in between.
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Nordjevel entwickelt sich konzeptionell weiter und begibt sich in noch düsterere Gefilde. Gnavhòl ist getrieben von Krieg, Zerstörung und höllischem Esoterik-Glauben - sie haben ein Album geschaffen, das noch düsterer und brutaler ist als ihre bisherigen Veröffentlichungen. Über das Album sagt Nordjevel: "Gnavhòl ist düsterer, dynamischer und technisch auf einem anderen Level als zuvor. Genau so wollen wir Nordjevel klingen lassen." Nordjevel betrat die internationale Black-Metal-Szene im Jahr 2015, verbreitete sich wie eine Seuche und eroberte das Publikum auf Festivals wie Inferno, Kaltenbach Open Air, Wacken, Hellfest, Bloodstock, Maryland Deathfest und In Flammen Open Air. Die Band wurde von Doedsadmiral gegründet und besteht aus etablierten Musikern von Bands wie Ragnarok, Myrkskog und Dark Funeral. Mit unverwechselbarem Gesang, untermalt von einer brutalen, instrumentalen Klangwüste, führt Nordjevel die Zuhörer in ein Reich infernalischer Wut - erfüllt von einer obskuren, barbarischen Dunkelheit.
Ihr selbstbetiteltes Debütalbum wurde 2016 veröffentlicht und Nordjevel wurden schnell zu einer Kraft, mit der man rechnen muss. Nordjevels brutale und wahre Interpretation von Black Metal beeindruckte. Der atmosphärische und engagierte Sound der Band, gepaart mit hoher technischer Finesse, einzigartigem Zusammenspiel und roher, ungefilterter Bildsprache, hat das Zeug dazu, jedem Black-Metal-Fan eine Gänsehaut zu verpassen. Im Jahr 2019 veröffentlichte Nordjevel das Nachfolgealbum Necrogenecis und 2021 die EP Fenriir. Beide Veröffentlichungen zeigen die Größe, zu der Nordjevel fähig ist, und erhielten begeisterte Kritiken und Top-Bewertungen von Presse und Fans auf der ganzen Welt. Alle Veröffentlichungen von Nordjevel haben es in zahlreiche "Best of the Year"-Listen geschafft, und sie haben ihre Position in der internationalen Black-Metal-Szene schnell bewiesen.
- Gnavhòl" ist düsterer, dynamischer und technisch auf einem anderen Level als bisher. So wollen wir Nordjevel klingen lassen." - NORDJEVEL
- Nordjevel betrat 2015 die internationale Black-Metal-Szene und verbreitete sich wie eine Seuche und eroberte das Publikum auf Festivals wie Inferno, Kaltenbach Open Air, Wacken, Hellfest, Bloodstock, Maryland Deathfest und In Flammen Open Air.
- Die Band wurde von Doedsadmiral gegründet und besteht aus etablierten Musikern von Bands wie RAGNAROK, MYRKSKOG und DARK FUNERAL.
- Alle Veröffentlichungen von Nordjevel haben es in zahlreiche "Best of the Year"-Listen geschafft, und sie haben ihre Position in der internationalen Black Metal-Szene schnell bewiesen.
- Erhältlich auf CD Digipak (INDIE314CD), Black Vinyl Gatefold 2xLP mit 12-seitigem Buch und Side D Ätzung (INDIE314LP), Blue Vinyl Trifold 2xLP mit 12-seitigem Buch und Bonus Track (INDIE314LPL)
Nordjevel entwickelt sich konzeptionell weiter und begibt sich in noch düsterere Gefilde. Gnavhòl ist getrieben von Krieg, Zerstörung und höllischem Esoterik-Glauben - sie haben ein Album geschaffen, das noch düsterer und brutaler ist als ihre bisherigen Veröffentlichungen. Über das Album sagt Nordjevel: "Gnavhòl ist düsterer, dynamischer und technisch auf einem anderen Level als zuvor. Genau so wollen wir Nordjevel klingen lassen." Nordjevel betrat die internationale Black-Metal-Szene im Jahr 2015, verbreitete sich wie eine Seuche und eroberte das Publikum auf Festivals wie Inferno, Kaltenbach Open Air, Wacken, Hellfest, Bloodstock, Maryland Deathfest und In Flammen Open Air. Die Band wurde von Doedsadmiral gegründet und besteht aus etablierten Musikern von Bands wie Ragnarok, Myrkskog und Dark Funeral. Mit unverwechselbarem Gesang, untermalt von einer brutalen, instrumentalen Klangwüste, führt Nordjevel die Zuhörer in ein Reich infernalischer Wut - erfüllt von einer obskuren, barbarischen Dunkelheit.
Ihr selbstbetiteltes Debütalbum wurde 2016 veröffentlicht und Nordjevel wurden schnell zu einer Kraft, mit der man rechnen muss. Nordjevels brutale und wahre Interpretation von Black Metal beeindruckte. Der atmosphärische und engagierte Sound der Band, gepaart mit hoher technischer Finesse, einzigartigem Zusammenspiel und roher, ungefilterter Bildsprache, hat das Zeug dazu, jedem Black-Metal-Fan eine Gänsehaut zu verpassen. Im Jahr 2019 veröffentlichte Nordjevel das Nachfolgealbum Necrogenecis und 2021 die EP Fenriir. Beide Veröffentlichungen zeigen die Größe, zu der Nordjevel fähig ist, und erhielten begeisterte Kritiken und Top-Bewertungen von Presse und Fans auf der ganzen Welt. Alle Veröffentlichungen von Nordjevel haben es in zahlreiche "Best of the Year"-Listen geschafft, und sie haben ihre Position in der internationalen Black-Metal-Szene schnell bewiesen.
- Gnavhòl" ist düsterer, dynamischer und technisch auf einem anderen Level als bisher. So wollen wir Nordjevel klingen lassen." - NORDJEVEL
- Nordjevel betrat 2015 die internationale Black-Metal-Szene und verbreitete sich wie eine Seuche und eroberte das Publikum auf Festivals wie Inferno, Kaltenbach Open Air, Wacken, Hellfest, Bloodstock, Maryland Deathfest und In Flammen Open Air.
- Die Band wurde von Doedsadmiral gegründet und besteht aus etablierten Musikern von Bands wie RAGNAROK, MYRKSKOG und DARK FUNERAL.
- Alle Veröffentlichungen von Nordjevel haben es in zahlreiche "Best of the Year"-Listen geschafft, und sie haben ihre Position in der internationalen Black Metal-Szene schnell bewiesen.
- Erhältlich auf CD Digipak (INDIE314CD), Black Vinyl Gatefold 2xLP mit 12-seitigem Buch und Side D Ätzung (INDIE314LP), Blue Vinyl Trifold 2xLP mit 12-seitigem Buch und Bonus Track (INDIE314LPL)
Egyptian artist Hassan Abou Alam debuts on Nehza Records. On Ice, the producer and DJ delivers a 4-track collection of unusual textures that glide through multiple soundscapes, including techno, breaks, bass and unclassifiable noise.
The opener "Shmoolaire" starts with a skittery drum pattern before descending into a squelchy bassline while squeaky vocal clips snake through the track. It's weird, wonky and the perfect dancefloor curveball. Dominated by massive drums, the title track blends a sultry vocal with bleepy percussion, conjuring a sticky atmosphere. Things get spooky on "Hollow In C#" as Hassan pairs a voice saturated in reverb with chugging drums and eerie pads. Freaky but fierce. The closing track "Lost In A Jar Of Thyme" ends on a distinct note. A warbling bassline slithers throughout the track as siren-like sound FX and hyperactive drums evoke tension. A true artist aligned with the vibe of Nehza Records.
Hassan Abou Alam has spent the last decade exploring several sound palettes and genres, from breaks to techno to bass. Today, his curiosity is unwavering. Hassan produces music with a hybrid setup of analog and digital instruments, conveying organised but compelling chaos that's won him legions of fans worldwide.
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Deluxe audiophile 2LP pressing of 'Bucharest 1994', the first joint
performance of Romanian-German jazz pianist Eugen Cicero and
Romanian bassist Decebal Badila, a congenial duo that worked together
successfully until Cicero's early death in 1997
Eugen Cicero - critics reverently called him the man with the "golden hands". For
over 30 years, his name stood for pianistic virtuosity, phenomenal sense of
rhythm and imaginative ingenuity. He masterfully connected works from the
Baroque, Classical and Romantic periods with sophisticated harmonic sequences
from jazz and an infectious rhythm - no one who had attempted such symbioses
before him achieved a similarly inspired and technically accomplished result.
With 'Bucharest 1994', In+Out Records now presents a very special live event by
this man who has created something unique in his mediation between classical
music and jazz standards. This is the first concert with exceptional bassist
Decebal Badila, which laid under lock and key for 28 years. Already at a young
age, Badila adored the music of his older compatriot and was already very
familiar with Cicero's repertoire before their first meeting, which can impressively
be heard on the recordings.
'Bucharest 1994' contains both entertaining, technically demanding and
documentarily indispensable material from the early work of a rising virtuoso
musician and the late work of an exceptional artist whom the jazz world lost far
too early.
Delroy Wilson the original 'Cool Operator' was also known to many as 'Teacher'.
A title given to him as he unselfishly taught the up and coming singers including one youth Dennis Brown, the art and delivery of singing technique.
Delroy's rich tone to his voice added a depth to any song that he chose to sing.
Delroy Wilson (b.1948 Kingston,Jamaica) began his musical career at the school that was Coxonne Dodd's studio One label.
After a brief stop in 1969,which saw Delroy working for producer Sonia Pottinger's Tip Top label.
Again producing such hits including 'It Hurts' and 'Put Yourself in my Place'.
The 1970's saw Delroy Wilson's arrival at Bunny 'Striker 'Lee's door and what would result in a winning formula,scoring hit after hit.
It is from this great period in Delroy's career that we have compiled this selection of killer tunes,cut with the drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare.Such classis as 'Who Care' ,'Can I Change Your Mind','Get Ready','You Must Believe Me' and the timeless title track to this collection 'Here Comes the Heartaches'.
An album of great tracks cut with 'The Hitmaker from Jamaica' Bunny Lee and his team.
A match made in Heaven....Enjoy the set....
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Rheinzand are back with their electrifying new album
Upon turning on 'Atlantis Atlantis', the oh so welcome spectre of recently departed Maria Mendola - the airy chanteuse of the beloved Baccara - seems to appear. Charlotte Caluwaerts, a voice of similar purity proffers the message: “We’ll be alright” on their first single, offering a salve to the troubles the world has faced in recent years.
As with their previous work, melody is key. Rich arrangements abound, with Reinhard Vanbergen’s light and funky crevices detailing a home that feels cozy, inviting the listener into the best, most unexpected club around; the one in their living room with all their closest friends. The “Max Berlin” of the group, Mo Disko, is no stranger to bringing this kind of intimacy to his events and freewheeling DJ sets for decades in Gent, Belgium. Once again his spirit pushes the record into that inviting place where inhibition dissolves, (aka you can really freak out).
Much of Reinhard Vanbergen’s recent output for Music for Dreams has expertly traversed the forgotten worlds of virtuoso led experimental records; full lengths with tracks that maestros like DJ Harvey undoubtedly treasure. There are glimpses of these danceable instrumental improvisational landscapes such as ”Orange Bun”.
One thing about Rheinzand is that they are musicians driven to make dance music that harkens back to a moment when real players appeared on dance music records. These were musicians devoted to their instruments, the kind who made love to them on stage, unafraid of modulations, bombast, histrionics even (cue Elefantasi).
Slower subdued numbers reiterate the “journey to Atlantis” we are on, such as the a cover of “Love Games” an honest low slung boogie take on the track.
One of the biggest takeaways from 'Atlantis Atlantis' is the excavation of the real fun that was had in dance music before the advent of loop based technology. Epic chord progressions, singing songs in multiple languages - these are musicians exploring the colour palette of the entire Pantone spectrum, not only shades of grey and black. Are you up to see the world in colour, brave enough for a journey to Atlantis? Welcome aboard, Rheinzand are here to invite you to do so.
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Zero T returns to the imprint with his Irish soul brother Steo for their much anticipated joint EP on wax.
In collaboration with Myth, the lead track ‘Go’ will be opening sets for days with its long and soulfully energetic intro that crescendos into full dancefloor epicness.
Title track ‘Stop/Start’ draws in on classic jungle-inspired drum and bass edits, beautifully executed with timeless appeal.
Much-hyped French foursome Visages also feature with their techno-inspired rework of the duos much loved ‘Can’t Hide’ – an impressive first outing on the imprint with their signature hypnotizing grit and edge.
Mark your calendars now with August X as the official release of Zero T & Steo’s Stop/Start vinyl EP.
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Eine der weltweit führenden Death Metal Bands sind zurück mit ihrem brandneuen Album 'Tyrants of Doom'. Dieses Meisterwerk markiert das mittlerweile 4. Studioalbum der Deutschen und beinhaltet 10 neue gehirnschmelzende Songs in bekannt versierter Manier. Musikalisch ein weiterer Schritt vorwärts und das bisher ausgereifteste und erwachsenste Material der Band. Kurz gesagt: "Verwesung trifft Melancholie, Brutalität und Melodie".
- Ein fantastisches Album, das auf der ganz großen Bühne mitspielt
- Slaughterday gehören mittlerweile zur Speerspitze des internationalen Death Metal Zirkus'
- Sehr zu empfehlen für Fans von AUTOPSY, DEATH, CARCASS
- Eigenständiger klassischer, technisch versierter Death Metal
Three years after Reno Wurzbacher’s entry into the series, Cook Strummer now offers up his own Berlin Gets Physical, a collection of all-new and exclusive tracks.
Berlin-based, Belgium-born Strummer has been a Get Physical associate for several years. He has dropped various singles including the standout 'Rising' which also featured on the Words Don't Come Easy series, and always crafts the perfect mix of rhythm and melody with plenty of hints of his homeland's famous cold wave sound. He often uses his own voice, drum machines, synths and guitars in his music, and since his debut album in 2018 on LOK Recordings, he has had high profile support from the likes of Laurent Garnier, Adam Port and Ame. This summer, he dropped 'Atmosphere' on Obsolet Records which proved another successful outing and now Berlin Gets Physical finds him digging deep into the famous city's freshest and most essential house sounds across 15 well-sequenced tracks.
His own new offering 'For Berlin' kicks off with a dark and edgy vibe, gothic vocals and tense drums. Glitchy hits and blurting synths add to the prickly atmosphere and immediately lock you in while Los Cabra & Manuel Sahagun's 'Italian Groove' then takes off on waves of serrated dark disco synths and Freudenthal feat. Nowhere People continue that macho disco vibe with the rugged chug and cosmic rays of 'Cipher.'
The twinkling 'Bad Karma' by Marvin Jam & Le Mythe then allows you to catch your breath with a slower, more spacious dub disco sound and the twanging bass riffs and exotic effects of Daniel Jaeger & Valenti's 'Quarantine Cowboys' rebuilds the atmosphere with some innovative house blues. The mid-section brings brain-frying synth work on 'Out Of The Blue', bubbling dub house and disco courtesy of dramasquad's sprawling 'ziggy' and percussive deep house looseness from 'Abayomi.'
After KEENE's rubbery and rolling Afro sounds comes more cosmic house richness from Dan Buri and Max Joni & MUKKIMIAU, the driving tech of Red Pig Flower & Lulla and heady sounds of Mike Book. There is a raw house heaviness to FreedomB's 'State of Shock' and things shut down with Electronic Elephant's tightly coiled minimal drum funk on 'Ask Yourself'.
This on point collection is an authentic snapshot of the contemporary underground sound of the Berlin.
With his Arjunamusic label and a growing catalog of category-defying releases, Samuel Rohrer
continues to quietly, yet confidently, make a name for himself as a genuinely unique figure within
the European electronic music realm. Over the past decade he has assembled a repertoire of
music that fills a sadly neglected gap in the modern musical landscape. That is to say, he has
made a number of “electronically”-aided works that never seem to make “electronic-ism” the main
selling point or raison d'être. Rohrer understands that we inhabit a networked media landscape
that no longer sees a novelty value in every synthetic or technological sound, and by realizing
this, he makes a music that fully engages with the present without completely disregarding the
exciting speculative sensibility that has allowed electronic music to solidify into a tradition. His
latest solo album, Hungry Ghosts, again shows the high quality of sonic design that can be
achieved by conceptualizing musical passages as living, breathing entities rather than as
signposts to some still distant reality.
Maybe more so than any of Rohrer’s solo records to date, Hungry Ghosts is the one that
most unambiguously displays the artist as a kind of inspired sound “cultivator” or landscaper
rather than just a straightforward “producer”. The emphasis here seems to be biological growth
processes rendered in musical form, and in fact some track titles namechecking the biodiversity
of the external world (“Slow Fox”, “Ctenophora”) and neurochemistry (“Serotonin”) lend some
additional credence to this interpretation.
As with previous outings, Rohrer starts with his skills as a genre-resistant percussionist
and builds from there, with dense clusters of drum hits and icy cymbal exclamations leading the
way into a wide-open atmosphere full of fragmented phrases, marked with strange reversals or
compressions of time. The percussive portions and other ambiences merge together in such a
way that the latter seems like a kind of shifting, holographic camouflage for the former; an effect
which makes for a greater than usual number of shifts in mood. Rohrer’s already established
ambiguity and mystery are the moods that permeate throughout, to be sure, but there are also
surprising moments of humorous whimsy (the flourishes of cartoon mischief and teasing silences
on the tracks “Human Regression” and “Bodylanguage”), reverence (the optimistic organ swells
and steady sequencer guiding “Ceremonism”), and meditative focus (the slow-motion spectral
waltz of “Treehouse”). Also notable here are very brief etudes, such as “Window Pain,” whose
dark, lush ebb and flow actually seem tailored to repeated or looped listening.
It’s particularly remarkable that almost all of this material is recorded solo and in a “live /
no overdubs” mode, given how much it feels like well-rehearsed ensemble playing, and given the
impeccable timing involved in continually exchanging the sounds at the very forefront of the mix.
And here we come full circle to the idea of “electronic music” mentioned at the beginning here:
instead of making us feel that we are in the presence of some fully-realized form brought back
from “the future,” Rohrer invites us instead to witness fascinating processes of transition and
mutation, and to value them for what they are now as much as for where they are headed.
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Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.
Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.
The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.
This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.
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When two musicians intensively work together for a period of time, at some point the whole becomes greater than the sum of its parts. If Paul Boex and Dave Miller hadn't already reached that status under their Abstract Division moniker, they certainly have now, with the release of Midnight Ensemble, their first full length album.
Those who have followed the duo since their early days of playing dj-sets together, know that it's hard to define their style anywhere beyond techno or even electronic music, as it is ever evolving and always dependent on the time of the day or night. When listening to this album, the resemblance between their unpredictable selection behind the decks and the eclectic range of subgenres on this album is more obvious than ever before. Midnight Ensemble could be interpreted as an ode to nightlife; a reminiscence of all that happens between dusk and dawn, captured and compressed into about one hour of music. An hour in which they so delicately time their changing of styles and tempos, always reading the room and always being one step ahead of the crowd.
This album is a reflection of that skill, starting its journey with soothing, moodsetting ambient, followed by timeless pieces of Detroit and dubtechno. A daring electro cut providing a refreshing break from the four to the floor tradition, only to be followed by the stripped down sound the duo is so comfortable with.
The final minutes consist of experimental breaks, one last banger to pull out the last bits of energy that is left and a beautiful outro, which concludes the allnighter vibe. There are no open endings, it doesn't make you want to stay in the dark forever. Rather it makes you want to close your eyes one last time before walking outside to see the sun come up again before going home, overwhelmed and satisfied.
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Basslines like a clumsy, exuberant puppy. A braid of guitar notes tickling your neck. The jittery buoyance of a marimba, so cartoonish you can picture its unblinking technicolor eyes. A snare that cracks like every friend knocking on your door at once. These are the fragmentary beats and visions that Josh Diamond and Eric Copeland spent the last two years exchanging, the magnetic, romantic, completely unashamed chunks stacked into the bubbling delight of "Riders on the Storm." These two are, yes, known for vastness, transcendence, and suffocation. Eric is a founding member of Black Dice, weaponizers of volume, misdirection, and alien language. Josh is a founding member of Gang Gang Dance, whose haunted, murky explorations drag listeners to infinite, irreversible revelations. Given these pedigrees, it's natural to anticipate their collaboration as an itchy, opaque monolith. Within the shit and terror of 2022 it's even understandable to yearn for something like that. But "Riders" with its light heart and wiggle and squirm is actually the record we need. "It's intentional," confirmed Josh of the record's lightness: "just wanting to make the opposite of what's going on outside." Eric reinforced this feeling of liberation and inversion, recalling the freedom of sharing unfinished ideas, of trusting Josh's creativity. "Nobody was vying for anything," he explained, "we were just trying to do it for each other." The completed exchange of sound unrolls like a laughter-filled conversation, Josh and Eric each banking on the other's improvements and re-configurations. The most remarkable thing about this trust, this generosity, is how their pair have managed to invite listeners into it, making everyone a part of this free-spirited dance. "Riders on the Storm" is the first full length collaboration between Josh Diamond and Eric Copeland, following their contribution to Mary Staubitz and Russ Waterhouse's 2020 `Distant Duos' project. It was recorded and mixed with the guidance of Ivan Berko (Hidden Fees, Ghost Exits). In addition to their work with Black Dice and Gang Gang Dance, Eric and Josh are both solo artists. Diamond released his debut solo album, "Seek Rips," in 2021. Copeland released his 16th solo album, "Spiral Stairs," in 2022.
Killing The Dragon is the 9th studio album by Dio, released on 21st May 2002. This album, which introduces Doug Aldrich on guitar to the band, refers to technology as the ‘dragon’.
This red and orange swirl vinyl is to celebrate the 20th Anniversary of Killing The Dragon. LIMITED TO 1500 COPIES IN THE UK.
Perc returns to Perc Trax with 'Dirt', one of his most raw and uncompromising works to date. Across three versions of the track, one remixed in collaboration with rising US star EAS, Perc fuses together dry looped techno with caustic industrial sounds and just a splash of rave euphoria.
Opening up the release is the original mix of 'Dirt' layering searing top end percussion over cropped breakbeats before dropping unexpectedly to an unmistakable classic piano riff. The riff has been completely replayed and reproduced rather than sampled and provides the kind of sudden jolt that Perc's productions are famous for.
On the B-side Perc teams up with Los Angeles DJ and producer EAS who returns to the label for the first time since his devastating remix of Perc's own 'Dumpster' in early 2021. Perc provides the beats and EAS serves up the 303 lines, as the hedonism of the original mix's piano drop is swapped for a screw faced slice of warehouse acid.
Rounding off the release is Perc's own 'Crowd Mix' which focuses on the beats with additional layers of percussion and atmospheric crowd samples filling the space taken by the piano hook and acid lines of the first two mixes.
'Dirt' will be released as a hand-stamped white label release in a stickered black paper sleeve. The release was mastered by regular Perc Trax mastering engineer Matt Colton at Metropolis studios with Adult Art Club handling visual presentation and design.
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A rediscovered untitled Mass by Adriaen Willaert "Missa Ippolito", a
hidden ode to the Cardinal of Ferrara, Willaert's patron.Adriaen Willaert
must have already been a prolific composer before he assumed the
position of kapellmeister at the Basilica of San Marco in Venice
After all, a second Mass of his was included in a large, illuminated choral
manuscript that was produced for the Illustrious Brotherhood of Our Blessed
Lady in 's- Hertogenbosch, the Netherlands (the first Mass in this manuscript,
Missa sex vocum super "Benedicta," can be found on the LP Adriano 2). The title
page of the Mass does not mention the name of the composition, only that of the
composer, Adrianus Willart. It was catalogued as a Missa sine nomine, a Mass
without a name. It is assumed that the work was composed between 1522 and
1527, at a time when Willaert was a member of the music chapel of Cardinal
Ippolito d'Este in Ferrara, Italy. At first glance, what's striking about this
composition is that one of the tenor voices sings a cantus firmus (a "given, fixed,
foundational voice" that provides the basis for each movement of the Mass, to
which the other voices are added) that always consists of the same 13 notes: mi
ut mi sol mi ut fa mi fa mi re mi.
In an article about the Mass, the musicologist Joshua Rifkin claims to have
discovered a sogetto cavato delle parole in this sequence of notes. This is a
compositional technique common for the time in which the notes of a melody, in
this case the cantus firmus, are derived from the vowels of certain words. The
notes used for the tone poetry are those of the Guidonian hexachord, a series of
the 6 notes ut-re-mi-fa-sol-la.
For example, the word Maria (Ma-ri-a) can be "translated" into the notes la mi la.
The cantus firmus of the Mass, according to Rifkin, fits the words "Primus
Ippolitus Cardinalis Estensis" (Ippolito I, Cardinal d'Este) perfectly. The Mass is
thus almost certainly (via a hidden message in the music) an ode to the Cardinal
of Ferrara who was Willaert's patron. This rediscovered untitled Mass by Adriaen
Willaert, which we have now sung as a world premiere, can therefore rightly bear
the name Missa Ippolito.
Known for her time as vocalist in Fairport Convention and respected
globally , Sandy Denny left a beguiling, ever-evolving body of work - Kate
Bush was to namecheck her in song, and Denny's influence can be heard
in generations of singer-songwriters
From its David Bailey cover photo inwards, 1972's Sandy is arguably the definitive
Sandy Denny album. Recorded at John Wood's Sound Techniques studio, and
produced by Trevor Lucas, it adds some special guests into its mix – 'Sneaky'
Pete Kleinow from The Flying Burrito Brothers enhances It'll Take A Long Time
with his unmistakable pedal steel playing, and New Orleans legend Allan
Toussaint adds a brass arrangement to For Nobody To Hear. But it is Denny's
album. Often, it is impossible not be stopped in your tracks by that beautiful, long
gone yet so-full-of-life voice, especially on two of her career-bests – The Lady and
Listen, Listen. Out of print on LP for a number of years, this re- issue faithfully
replicates the original 1972 Island Records UK release with gatefold sleeve and is
pressed onto high quality 180g vinyl.
Dark Green VinyL
Hard driving Electro Techno with a BIG nod to the heydays of 90's techno by mysteriously named Ten Lardell. Limited handstamped coloured vinyl. TIP!!!
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Alden Tyrell dusts of the Roland MC202 MicroComposer for a 6 track EP based around just the one synth. Easily floating between techno, electro, IDM and ambient this collection shows the versatility of the machine and the producer. MC-202 MICRO COMPOSER The MC-202 is a 2 channel microcomposer incorporating a monophonic synthesizer and offers a total memory capacity of 2600 steps (approx. 150 measures with 8 steps in each measure). Also the display window tells you how many more steps you may enter. The LCD indicates the current information or tempo, etc. A beep wil be heard if the operation has been done correctly.
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Ghent based psych jazz collective Compro Oro, are set to release new album 'Buy The Dip' on the 2nd September via the groove-obsessed Sdban Ultra label. Having received critical acclaim for their 2020 album 'Simurg' - a collaboration with Murat Ertel, co-founder and frontman of Istanbul's cult psychedelic folk band BaBa ZuLa and his singer partner Esma Ertel - the band's fifth album is less ethno- and more techno-logy, both on a musical and conceptual level.
With tastemaker fans including BBC 6 Music's Gilles Peterson and Stuart Maconie alongside Jazz FM's Jez Nelson, the band's spontaneous quest for psychedelic sounds and jazz grooves has not stopped expanding since their formation in 2014.
After imaginative musical trips to Havana, Mogadishu and Istanbul for previous releases, Compro Oro went looking for sounds and inspirations from other corners of the globe for 'Buy The Dip'. Synthesizers and electronic effects spice up Compro Oro's distinctive musical marriage of vibraphones, electric guitars, jazzfunk rhythms, exotic percussions and dubby bass patterns. Band leader and composer Wim Segers created these new compositions often on piano or vibes in a more analogue way, leaving enough room for his band mates to colour each track when fine tuning the song.
Segers was inspired by the world of crypto markets and the specific concept of 'buying the dip': bitcoin diggers who play the markets at specific 'low' moments to gain higher profits when prices go up again. Are we all reduced to consuming creatures, seeking for nothing more than the thrill of pointless spending and endless profits? It's a fairly philosophical question - especially for an instrumental album - but it's key for the punchy and eclectic sounds on 'Ben Hur' and 'Bitcoins'.
Apart from those synths and fx, a fair bunch of neo-noir western vibes sprout up on this album as well - think detuned piano's, flamenco-like guitars, rattling snare drums, and imminent whistles. Add to that some laid back sunny pop sounds ('Kayak'), off-hook and swaying Turkish psychedelica ('Karsilama') and even some haunted, kraut-ish vocal parts ('Dungeon'), it's evident Compro Oro has a musical voice without any equal in Belgium and beyond.
Compro Oro released their first album 'Transatlantic' in 2015, an ode to jazz vibraphonist Cal Tjader, an icon of the 1950's Latin jazz movement. The release received critical acclaim back home, lauded in the press as a drunken mix of Buena Vista Social Club and guitarist Marc Ribot's, Cubanos Postizos. Subsequent live shows have been called a celebration for the hips, the ear and the soul.
2017 saw the release of 'Bombarda', a bold EP that sailed South and East of Cuba, incorporating different ethnic rhythms and melodies in elaborate jams. No palm trees and cocktails in Havana this time, but instead dingy basements and LSD in West African cities. The critically acclaimed 'Suburban Exotica' followed in 2019 with 'Simurg', released in 2020, earning the band global success.
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Birimingham’s TRMNL Records returns with its third release this September, coming courtesy of Paris, France’s Djebali.
Djebali has been releasing his twist on House and Techno since 2008 via the the likes of Fuse London's label and sub-label Infuse, Burnski’s Aesthetic, Chez Damier’s Balance Music, REda daRE Records and of course his own self-titled Djebali label which has been the predominant home for his output over the past decade.
Here though we see Djebali join the roster of the fledgling TRMNL Records, launched by the Birmingham club night of the same name so far the imprint has unveiled two EP’s by East End Dubs and Samu.l to date and here the story continues.
Title-cut ‘Rave Vision’ leads with a squelchy acid bassline and robust drums running alongside gritty stabs, spacey atmospheric pads and choppy vocal samples. ‘Line 56’ follows, shifting focus to dubby stab sequences, heavily swung drums and a bumpy bass groove all flowing with a subtly nuanced feel throughout.
The Hypnotic floaty sounds of ‘Cotton Candy’ then round out the release, diving deeper via an amalgamation of airy synth flutters, resonant synth licks and snaking subs atop a shuffled drum groove.
DJ Support:
Marco Carola
Chris Stussy
Rich Nxt
Davide Squillace
Mahony
Ilario Alicante
Jorge Savoretti
Silvie Loto
Hermanez
Tobi Neumann
Highgrade ist eine vollständige Überarbeitung der zehn Tracks ihres gefeierten zweiten Albums Colourgrade und enthält Remixe von Künstlern wie Arca, Actress, Lafawndah, Loraine James und Speakers Corner Quartet. Highgrade bewegt sich zwischen orchestralem Jazz, dekonstruiertem RNB und minimaler, glitchiger Electronica und lässt sich, wie Tirzahs gesamte Musik, nicht ohne Weiteres einem Genre zuordnen - und das ist auch gut so.
Format: 140G schwarzes Doppelvinyl inklusive 2-seitigem Einleger und Downloadkarte
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nearly ten years ago, toureau releases his last single and there were people who said there was nothing more to come... but it was worth the wait because sometimes things need their time - especially the good ones! so 2022 is the perfect mment to reanimate with müller one of germanys hottest and legendary techno labels, join the forces and start a new chapter.
"telecommande"(french for remote control) is a perfect summer tune with some emotional trancey melodies for the festivalseason. munichs deejay gigolo martin matiske interprets this track in his own unique detroit-infected electro-style a la dopplereffekt and brings back some 80s-retro to the floors. on the flipside AFUs felix bernhardt shows us the "stompy" side of techno and the
perfect sound for the next megarave. last but not least italys rising star vicky montefusco who already releases on marc houles "items&things" presents his own groovy and deep minimalistic remixversion. This release comes in a limited white coloured vinyl edition with a beautiful coverartwork and pictures of famous photographer ralf peters, who already has exhibited
his art in miami, zurich or tokyo...
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»Herbstlaub,« the third album by Marsen Jules, was both introspective and visionary, modest and ground-breaking. Blending elements of classical music with electronic textures, the German artist created six pieces that draw on the power of repetition, yet are full of internal tensions and sweeping dynamics. Now, Keplar makes it available again on vinyl for the first time since its original release in 2005. This version, remastered by Stephan Mathieu and with a new artwork by Umor Rex’s Daniel Castrejón, shines a new light on a record that paved the way not only for the artist’s later work, but also further developments in electronic and ambient music more broadly.
»The noughties were a special time,« says Marsen Jules today. »It felt like there was a new tool made available practically every day that allowed you to create new musical worlds on your computer.« Hence, this prolific phase saw the emergence of a plentitude of genres and styles that can be traced back to individual records—»precious gems that opened up new possibilities and anticipated a lot of what later would be picked up on,« as he describes them. »Herbstlaub« surely falls into this category, having paved the way for a distinct approach to combining elements from classical and electronic music.
While Wolfgang Voigt was focusing on the marriage of romanticism and techno with his Gas project at the same time, the six pieces on »Herbstlaub« follow a very different concept. Through repetition and reduction, Marsen Jules threw any sense of time out of joint while also inserting an emotional component into the music. »What would remain if you abstract musical contents to this degree, how much of your personality would still resonate in it,« he sums up the questions that shaped his approach. »When will reduction result in monotony, and how could unique, magical moments created through repetition?«
More than one and a half decades later, »Herbstlaub« seems both melancholic and brimming with excitement. This is the sound of an artist experimenting freely with the sounds and structures of two supposedly irreconcilable musical traditions with new and exciting tools, creating something previously unheard of in the process.
All tracks composed and recorded by Martin Juhls.
Originally released on CCO in 2005.
Remaster by Stephan Mathieu. Vinyl cut by LUPO.
Cover art by Daniel Castrejón based on the original by Alphazebra.
Text by Kristoffer Cornils.
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From 2008 comes 'Keys, Strings, Tambourines' - Kenny Larkin's fourth full length LP.
Yet another advanced, singular and funked out techno milestone that bears all of Larkin's idiosyncratic stylings and melodic touches. Once more he shows us how it's done, sounding like nothing you've heard from him previously, 'Keys, Strings, Tambourines' is a truly adventurous record that defies categorisation today. Quietly influencing producers and DJs since its release, it points to where techno can go and what it can be and is a truly and criminally overlooked modern Detroit techno classic. This is an essential purchase for all electronic machine-funk aficionados worldwide. This special expanded edition boasts a slightly reshuffled track order and some additional cuts that were only available on singles at the time, now giving the world 3 solid slabs of futurist techno sonics for the believers! Essential music from the motor city.
'Keys, Strings, Tambourines' has been legitimately reissued for 2022 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Artwork redesigned by Atelier Superplus.
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With releases already under their belt from Bilal and Deyayu and a split 12" from Alex Dima and Cristian Sarde, London's Obscura is shaping up to be one of those destined to take up position towards the top of tech house shopping lists everywhere. That said, the four tracks from Arnic have a cheekier, mor sprightly vibe than a lot of tech-house, the likes of 'Night Children' and their tribute to the Glasgow clubbing institution that is the 'Sub Club' drawing on disco and early Chicago house influences, all within the economic and stripped down framework that put a big smile on a DJ's face when they're in the mix.
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The good thing about techno is that you can reach the most diverse states. The possibilities are almost endless, the machines multifaceted and the imagination knows no boundaries. Just this joy
of experimenting with melodies and equipment is one of the specialties of Berk Offset aka Echowolf, which he brings to bear again in his latest release on Snork Enterprises "Dreieinigkeit".
Weird rhythms and twisted sounds develop in the end to a harmonic overall state.
The three new tracks, which all run under the title "Zustand" (the German word for “state” or “condition”) only with different numbering, are complemented by a brilliant rework by Headless
Horsemann. In full honor of his name, he enhances the wonderfully weird techno tunes with a mysterious ambient style that not only sounds but also feels like a mighty acoustic shadow.
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Fortuna Records return with a mysterious album by the anonymous artist known only as Moontribe. A deep-space journey between tribal percussion, hypnotizing organs and long echo ripples, all joining in for a snake-charming voodoo ritual of which Moontribe is the Shaman. Expect African drums, hints of cumbia, and distant galaxy exploration in unmeasured doses. An absolute must-have For fans of Sun Ra, Moondog and Idris Ackamoor.
