Suche:the dat project

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

If you are passionate about local music scenes as much as we are you might already know about the current brood of great bands going on in Cardiff, Wales.
Chain Of Flowers were the first to hail from the Welsh capital, followed by related side projects such as Night Thoughts, more recently came Private World of which the two boys we’re about to introduce are also live members of.
A new wave/synth act from the same city called Plastic Estate is emerging this year.

The duo composed by Nicholas James and Stanley Fouracres have released a few digital singles in 2019 as they’ve opened for The Murder Capital at Sŵn Festival and played alongside the likes of M!R!M, Josiah Konder and The Love Coffin. This Place is their first physical release and it’s due on 7-inch vinyl and digital on June 19.

On the two songs that compose the single, Plastic Estate clearly draw influence from the best UK new wave and pop artists such as Dave Gahan, Paddy McAloon, Roddy Frame and yet there is a sophisticated casualness and an innate freshness in their songwriting that makes them not sounding dated at all.
Amazing composition skills for such a young band and a perfect balance between electronic dance elements and acoustic instruments allow them to pay homage to the above-mentioned masters and to be a perfectly contemporary group at once.

Although it’s possible to pick out some darker lyrics, the overall feel is up-beat and breezy. It’s a contrast that runs through a lot of their music – like a dichotomy between dark, melancholia and happier, brighter feelings.
Whether it’s a happy pop synth riff mixed with sombre lyrics or vice versa, the young Welsh duo is delivering the best 80’s-inspired modern pop craft.
RIYL: Echo & The Bunnymen, Prefab Sprout, Depeche Mode, Orange Juice, Wild Nothing.

According to the feudal system which was introduced into England by William of Normandy, the king was an absolute monarch, so he could do whatever he liked.
(from Origins of the Magna Charta).

In a cardboard media background, where cliche is law, where the digital essence of the personal data is more meaningful than the person itself, the Bait e Borghi project arises. The natural environment beyond anthropization, the technic and technologic strained clutch inside the places that inspired the album. The traveller meant as the one that makes the trip his own life, and that inevitably moves so far away from common archetypes that defeats every possible storytelling but the sound evocation. A sound that becomes the last unreal notebook like the matter which dreams and memories are made of. An unlikely but possible distopia where our last Thule remains the passage between body and machine, cyberpunk myth yet beautifully imagined and illustrated during the eighties. Not by chance Bait e Borghi share the same starting point, the same region that assumes twisted features if observed from the mid Adriatic offshore oil platforms point of view. Squalo, Giovanna, Ombrina are the point at issue, monumental media short-circuits, disclosed and hidden truths at the same time

Fifth studio album featuring Malcolm Catto, D'Alma, Idd Aziz and Modou Touré. Includes the singles Sua Alma, In The End and Afande. His most accomplished album to date Will Dorey aka Skinshape moved out of his comfort zone to create a new sound while retaining his trademark feel. While Skinshape has often been influenced by African music ‘Umoja’ directly incorporates styles and rhythms from the continent. Drawing on London’s vast talent pool from across the globe collaborators bring the essence of Senegal, Portugal, Ghana and Kenya via Norway no name but a few. The initial plan was to travel to various African nations to record ‘Umoja’. This proved to be an unnecessary step because Skinshape's hometown of London ended up bearing many fruits. It was a challenging project for Dorey taking a year and a half of dedicated work to complete with many ideas left unfinished along the way. The album has a very global feel which was enhanced at the end of the process by a collaboration with Japanese painter Ken-ichi Omura. Fans of Skinshape’s distinctive voice will not be disappointed as he features on ‘In The End’ and ‘Sun’. Long-time friend and collaborator Jon Moody (from the band Franc Moody) wrote the album’s horn parts.

Sludge machine music slapped through the infinite mixing desk by SRS - the combined mind of Sunun and Robin Stewart. At any pointData Fossil'sgiddy industrial riddims could collapse under their own weight. There are Sunun inputs and there are Robin Stewart inputs - but everything is offered up to their machines gladly for an output of nu-human-beat. Voices drift through the mix in hushed Italian and Robin's gruff roboticized drawl, floating dub chords left hanging for cavernous subs and rattled bones, distant harps and arps, a sudden blast of trills. 'Spit Fossil' itself is a clipped noise-pop wonder - the aural equivalent of a lights-on Avon dancefloor with only the weirdest left standing.



Recorded on the rooftop of a housing project called Camelot in 2018, the two Bristol locals debuted the live / unplanned collaboration in an inflatable arena called 'Toldo' in the Brunswick Club ballroom (RIP). Then again at Young Echo at the Cube Microplex - a night where it's said anything is possible (Sunun even dubbed Guest's live human heartbeat there recently….). IfData Fossilis hard to describe - it's just the sound of the musical freedom of a city that will never run dry.



It's a high Bokeh honour to welcome Sunun back after we helped release her 2018 debut,Ooid EP. Her live show continues to be the most inspiring re-use of dub principles we've witnessed (again and again). Time only grows her music outwards causing the Young Echo collective to demand she join them. SinceOoid,she's released a 12" of MPC wonders with close Bristol pals Cold Light.


Recently bearing his dub-side to all that didn't know on Trilogy Tapes'Time Travel EP, Robin Stewart is half of world conquering techno-cult Giant Swan. Also a veteran of Rwdfwd stable of imprints (Fuckpunk and NoCorner) - his music DNA is equal parts shoegaze and steppas. In 2020 he was officially recognised for having the largest collection of Bokeh t shirts.

Coloured Vinyl

The tenth, jubilee release of "Instrument" series is a sudden turning point and immediately changes the rules of the game, anticipating emerging trends. Oleg Buyanov - one of the main GOST contributors responsible for prominent records "True White" and "Height Difference" makes his debut in "Instrument" framework. OL's new release creates a path of complete diverseness - a unique mix of ambient, dub and mutational electronica, though the author's hip-hop DNA is still recognisable.

The release title as well as its symbol flirts with the privacy of communication in the context of its facilities and tools of the present world. Music acts as the info-channel, which provides unseen and coded data to a person from aside. The vagueness of mood, recurrent rhythm changes, and order of arrangement seem to rhyme with the paranoid feeling of being wiretapped. OL (along with another GOST ZVUK resident Flaty) recently had a similar experience of sound synthesis with their Serwed project whose recent LP was released via West Mineral Ltd. The groove of "SORM" is swirling, distorted and sometimes "disengaged"; sound guided by its waves exists in a constant process of decomposition, dissolution and then reassembles in new configurations.

This futuristic proto Drum & Bass was previously unavailable on Vinyl this was a single sided Dubplate from 1993 by the great DJ Tango (RIP). The master is from DAT Tape remastered by Subvert Central Mastering.

New asset on the granted Future Me Records: up-to-date hostile trio project, nomads from the unknown suburb. 4 grungy ritualistic tunes building up a hedonistic code for the dancefloor.
Spectral fog on “Tuxedo” opening the EP, increasing the voodoo environment with “Lebabon”. It falls to the slow-erosion beat “Ancient Prog” to shut the A side. 

An obscure timbre marks the B side: it’s the stabbed rough track “Torpedo”!
Ending with the very radical Kluentah’s imprint assaulting “Torpedo” — crafting a nasty remix which whips out the deranged flesh of the original track.

Bristol-based multi-instrumentalist producer Memotone returns to Diskotopia for the stunning full-length LP Invisible Cities, undoubtedly his most accomplished work to date, effortlessly joining the dots between Martin Denny, Yasuaki Shimizu, Nurse With Wound, and Mark Isham…

Memotone is the principal alias for Bristol-based multi-instrumentalist, composer, and producer William Yates. As a solo artist, he has released on labels such as Black Acre, Bedouin, Project Mooncircle, and Brownswood either as Memotone or under his other alias Halfnelson. In addition to doing composition work for film and television, he works as a session musician for the likes of Dmitry Evgrafov, Connie Constance, and Phaeleh. He's also part of the Avon Terror Corps project helmed by Bokeh Versions, Giant Swan. Noods et al., and is a member of ATC-affiliated Pheasantry Society. His music has been championed on the radio, a key influential medium for Yates growing up, by the likes of Gilles Peterson, Mary Anne Hobbs, Tom Ravenscroft, Nick Luscombe, and more.

Drawing from Bristol's own sonic history, from the late 80s to the present, as well as the writing of Italo Calvino, Yates has put together 10 tracks on Invisible Cities that sit somewhere between neo-classical, ambient, fourth-world exotica, and post-krautrock. The mix of different timbres of live string and wind instruments, astute synthesizer touches, and skittish drum machine strokes creates an organic and ethereal energy deftly manipulated into a delicately interwoven narrative through Yates's production prowess. Already garnered support from the music press and radio DJs, the album will strongly appeal to a wide range of music lovers and fans of Ryuichi Sakamoto, Dorothy Ashby, Alberto Iglesias, Labradford, Delia Derbyshire, Peverelist, Toshifumi Hinata and more…

Riding high on the success of his recent Soul Flip project, Del Gazeebo busts loose here with a pair of Rootsy, rigorously road-tested, certified party starters on his own brand new Art Surgery imprint.

First for a 2020 freshen-up is Barbara & The Browns' sassy, soulful rendition of the Rhythm & Blues and Reggae classic, "You Don't Love Me" - taking the already energetic 1971 recording, stretching it out, and giving it a little something extra in all the right places. Already touted as "one to watch in 2020" on the BBC's Craig Charles Funk & Soul Show & getting support from The Allergies, Smoove & Jalapeno Sound System.

On the flip, Pluto Shervington's 1976 uplifting Reggae smash "Dat" gets a subtle yet crucial lift to make it even more infectious. This sunny, irresistible ear-worm has long been a staple of Del's DJ sets, yet somehow as yet unreleased. Until now; re-refreshed for 2020.

Calum Gunn has spent the past few years becoming a key figure in the European electronic avant-garde. As well as releasing his own music through labels like Entr'acte, FLUF and Tsuku Boshi, the Berlin-based Gunn also helms Conditional Records, one of the most forward-thinking computer-music imprints to emerge in recent times.

Gunn's Addenda EP, his debut drop for Central Processing Unit, contains some of his most dynamic work to date. While his commitment to experimentalism remains, these four tracks represent a clear shift in focus for Gunn - namely that, for perhaps the first time in his career, he is making music that is club-friendly. A whole host of dancefloor innovators are recalled when listening to Addenda - particularly Autechre, Analord-era AFX and several of Mark Pritchard's projects as well as Gunn's contemporaries Rian Treanor and Renick Bell.

These tracks never sit still, their rhythms constantly evolving and turning themselves over. Addenda's first two cuts use metronomic hi-hats to keep these ever-changing grooves in check. With its thwacking kicks and snares, opener 'Esephony' enters the fray with the heft of an early Wiley riddim. Atop these drums we find squeaky half-melodies interlocking and breaking apart, meaning that the overall effect is not dissimilar to the tweaking beats that Pritchard came up with as part of Africa Hitech. 'Esephony' is followed by 'Moebu', another track that harks to grime through its fluttering lead synth. The way that this single-note line snakes above a slow, steady drum pulse pitches 'Moebu' halfway between Last Japan and rRoxymore.

Gunn increases the tempo in Addenda's second half. 'Ternenmarz' introduces itself with more blarts of bass, but whereas these were steady on 'Esephony' they now jump around unexpectedly. Gunn holds the erratic kicks in place with twittering hats and snares - indeed, when you factor in its gnarly synth lines, 'Ternenmarz' steers closer than any other cut here to the high-grade electro drops that CPU has made its name with. Closer 'Pins' supercharges the snap of 'Esephony' to 145 bpm before Gunn softens up the track with reverb-drenched synths that nod to the sombre post-grime of Mr. Mitch's Gobstopper Records.

With the Addenda EP, Calum Gunn has achieved something that proves elusive to so many producers - making club tracks that are at once innovative and immediate, their experimental tendencies serving to elevate their dancefloor impact.

RIYL: Rian Treanor, Africa Hitech, Autechre, Renick Bell, Brainwaltzera

Canadian born, Berlin based producer Aquarian makes his full length album debutThe Snake That Eats Itselfon Bedouin Records.
This record follows his collaborative EPs with Deapmash as 'AQXDM" and is his first solo release since his 2016 experimental mixtape for Quiet Time. Nearly five years in the making, 'The Snake That Eats Itself' is Aquarian's most complex, diverse and emotive work to date, plunging his trademark UK sound-system/techno hybrids into a self-contained, cinematic universe streaked with heavy influences from industrial, IDM, drone and dark pop music.

It's written in Brooklyn, New York, in a deeply transitional, yet seemingly endless period preceding his relocation to Berlin, the title of the album refers to the Ouroboros, a mythological serpent symbolizing the cycle of birth and death and infinity itself.
'The Snake That Eats Itself' pits Aquarian's most abrasive and brutal moments next to his most wistful and introspective.

Viscerally thick layers of tape saturation envelop the album as sludgy synths ooze against brittle atmospheres; breakbeats fragment, explode and disintegrate into swarms of delay and noise; scorched, metallic percussion - sampled from a year-long demolition and construction project next to his apartment - forge the rhythmic backbone of the album. These elements, however, seamlessly make way to startlingly crystalline and shimmering ambient passages, offering a sense of reprieve and balance.

British DJ and producer Inland (Ed Davenport) has compiled and mixed 'Stream State', his biggest project to date, bringing together over 20 artists in a DJ-ready compilation of colourful, diverse modern techno on his label Counterchange.

Complete with a 90 minute continuous mix by Inland himself, the project celebrates over 15 years behind the decks and cements Davenport's reputation not only as a tireless force in the studio, but as a trusted selector and curator of contemporary club music. Spanning deep idm-rooted studies, lush chord-driven euphoria, powerful modernist workouts and tough house-groove jackers, Davenport weaves an addictive mix full of character and his precision mixing style.

From veterans and heroes like DJ Skull, Efdemin, Joel Mull, Boddika, Peter Van Hoesen, and Mark Broom (alongside Discrete Circuit), to a new echelon of up-and-coming talent like Rhyw, Sophia Saze, Jamaica Suk, Johanna Knutsson, Aiken, DJ Sodeyama, Perm and Felix Fleer, there's an underlying thread of shimmering production values and close attention to detail in every track. Inland also selected debuts from Berlin based artists Fred Mann and Arbitrage, and welcomes back BNJMN, P. Lopez and Distant Echoes to the label, now in its 7th year of operation.

'Stream State' is Inland's celebration of the DJ mix / compilation format. Enamoured with UK dance music culture in the mid 90s, the burning, illicit energy of early rave mixtapes left a huge impression. Mystical bootlegs recorded at mass gatherings in fields or late night Radio One transmissions captured on cassette - their eternal spirit was absorbed and cherished. Now more than 2 decades later, Davenport has channeled that fascination into this weighty collector's item and a captivating continuous mix.

All 22 tracks included are new and original productions made by some of Inland's favourite artists and colleagues. A network and a community - complied and presented by an artist who continues to demonstrate his longevity and unique voice in the scene.

In der Pause' (During the Pause) was the title of the last track on the b-side of , the first album by Die Tödliche Doris. In der Pause' was pause music, as well as the announcement of the interval between their debut album, released in 1982, and the box format project 'Chöre und Soli' that followed in 1983. The original sounds of In der Pause' survived on a single audio tape dating from 1981.Now, about 35 years later, Chris Dreier and Wolfgang Müller have used the material recorded on the audio tape as the source for five new tracks of pause music. The material on the original audio tape has was reworked using Moog analogue effect modules and Ableton Live. It has been supplemented with archived announcement interludes from radio and television stations, including German stations WDR, NDR and HR, Radio Italy IBF and Radio Kamerun.Sprechpause' was recorded in 1981 — 1982 by Chris Dreier, Nikolaus Utermöhlen and Wolfgang Müller and reworked by Wolfgang Müller and Chris Dreier in 2017.

Italian cult combo CALIBRO 35 release their highly anticipated 7th studio album "MOMENTUM" on January 24th 2020. "Momentum" follows "DECADE" their previous studio album released in 2018 that had marked 10 years of Calibro 35 and it stands out as a new starting point for the project. In the last 10 years Calibro 35 have dug the golden age of soundtracks and they had been to the future with "S.P.A.C.E.", "Momentum", as the band stated: "represents a look at nowadays and a reflection about making music right in the time that we're living".

Inspired by the work of artists such as Tortoise, Jagajazzist, Dj Shadow, Budos Band, Stelvio Cipriani, Ennio Morricone, Sandro Brugnolini, White Noise, Comet is Coming, JPEGMafia and DJ Signify, compared to the previous Calibro 35's full lengths on the 10 tracks that make up the new album, band's instruments and sounds have increased in number and complexity as well as reality.

The music palette is further extended by incorporating even more synths and electronic sounds, but keeping everything true and 100% real, with all the instruments played live and with no presets or programming. The two featurings on the album serve the cause as well. On the first single "Stan Lee", they collaborated with rapper, producer and songwriter Illa J a former member of super group Slum Village and younger brother of the late legendary hip hop producer and rapper J Dilla.

On "Black Moon", the combo from Milan provided the groove for London-based artist MEI. "If Decade was the sum of everything that the band had felt in the previous ten years", Calibro 35 says, "Momentum is the prequel of what you will hear in the next ten".
To mark the new beginning and come full circle, the recordings took place under the expert hands of usual suspect Tommaso Colliva, in the same studio where Calibro released their self titled debut album twelve years ago.

A record to be enjoyed to its very last second AM Jazz is set to place this songwriter where he just might, finally, receive the recognition he deserves; from unsung hero to a truly worthy candidate for being called up to join the City of Manchester’s ranks of great musical icons. Whether you prefer to know him as Mr. Roberts or simply call him Al, it’s time to become acquainted with the real Jim Noir.

Tossing his bowler onto the hat stand and sliding on his slippers, AM Jazz sees ‘Jim’ putting his feet up whilst Alan Roberts takes the lead. A creative masterpiece for the record player and the mantlepiece, it’s a multi-layered album that features close friends including those dearly departed, and is his truest record to date, by a songwriter painting his own hypnotic Portrait of the Artist as a Young Man.

“I haven’t 'felt' like Jim Noir for a long time. I’m not sure I ever did; it was a construct of other people’s imaginations,” reveals Al. “AM Jazz is definitely the kind of music I make generally. It harks back to when I started making music years ago and didn’t worry about capturing a particular style. It will be nice to show people more of that.

It's the best album I've written; real hypnotic minimalism, the good stuff!” 15 years since he recorded the first ever 'Jim Noir' EP, AM
Jazz is the record all Noirheads won’t be surprised Al had inside him.

Letting the Beatlesesque stylings of his most recent album Finnish Line be (5 years ago no less), AM Jazz suits the Noir repertoire of his catalogue so far and is another homegrown offering which sees the Daveyhulme composer tinkering in his suburban Manchester studio once more, with the magic of his computer work sorcery, analog and tape recordings.

“For this I went back to the slightly more haphazard way I wrote my first album, Tower Of Love, wherein I’d use things in front of me, or a bit wrong like headphones for a microphone, to make the most Hi-Fi Lo-fi album ever.”

Whilst a brief disappearance of Jim’s online persona may have provoked bleak theories as to his whereabouts, Al had little time for digital distraction. Whilst writing and creating with friends, he has worked on electronic pet project, FAX with former Alfie guitarist, Ian Smith, and the vintage analogue house meets electro sound of his own solo EP Granada Personnel Recovery, as well as producing local band, Shaking Chainsor, and helping long-time musical colleague, Aidan Smith with his long-awaited 'The Planets' project; “I’ve been writing in dribs and drabs when I feel like it,” Al says. “I used to write all day everyday but it’s a lot harder now I’m (feeling) over 100 years old.” Never not sonically exploring or being inspired by the sounds around him, there was even a red-carpet moment when he appeared as a film premier guest after a couple of his songs were selected for the OST of director Jason Wingard’s film Eaten By Lions.

Performing all AM Jazz’s instrumental parts himself but also, at the right moment, bringing in present and past pals along the way, sexy lounge song, ‘Hexagons’ features 'Phil Anderson' and Mark Williamson singing and playing “legendary OTT guitar solo” respectively. Meanwhile the orchestration of ‘Peppergone’ waltzes like a beautifully romantic ode to Beethoven’s Moonlight Sonata – a tribute to dearly departed best friend 'Batfinks' who originally wrote the chords in his song 'Peppercorn.' “I hope he doesn’t think it’s shit,” Al jests. Listen closely and you may even find a few unsuspecting celebrity guest appearances as, perhaps, it could be the very first album to feature soundbites of podcasts sneaking onto the recordings. “I will have a podcast on if I’m recording; Adam Buxton, Athletico Mince, Frank Skinner or Richard Herring… I’m sure some mics will have picked them up, like in the old Tower of Love days,” he says referring to his breakout debut.

Culled from around 50 tunes AM Jazz moves like the time of the day, from dawn to night, stirring from the pop of ‘Good Mood’ and ‘Upside Down’s Beta Band groove. “As the album was playing, I imagined this smoky backstreet with all those neon signs outside clubs at about 4am,” Al says. Mellow ‘TOL Circle’ is like Percy Faith’s Theme From A Summer Place synthesized, capturing the style of TV library music or movie soundtrack obscurity that has always stirred Al’s curiosity, and the album plunges into a vast chasm of instrumental exploration with ‘Mystermoods,’ visiting Japan’s funky synth whiz duo Testpattern and Hakabashi Sakamoto. Darkening and deepening in intensity, ‘Eggshell’ is like an undiscovered gem from Angelo Badalamenti’s cutting room floor, the Panda Bear shimmer of ‘Lander’ is where blissful positivity and sadness meet, about another of his friends who left the world too young. “By the album’s close, its nearly time to let go and enter the ether,” he says of the album’s story. “Like one would do when they take their final sigh on this earth.”

2024 Backstock

After having released several solo works of both artists, Dauw announce the first collaborative full album by The Humble Bee & Benoît Pioulard; 'I suppose I'm your future'.

Both artists hold a very special place in the history of the label. The Humble Bee was already present from the very beginning and, in hindsight, definitely has put an important mark on the musical aesthetics we've been developing throughout the years. On the other hand, we crossed paths with Benoît Pioulard several years ago through our ongoing Living Room Concert Series in which he offered one of the most magical evenings to date. Given their mutual love for the tape medium and melancholic compositions, we only had to connect the dots as we were pretty sure that some magic was up in the air.

It goes without saying that we were uttermost happy when they both accepted our invitation to work on a collab album. Even though we didn't know where their efforts would end, it already felt like a victory that we, as a label, were able to link these artists. Above all, the art of curating can be considered as an essential feature of running a label but for us it is also the most wonderful part about it. Linking artists to each other, like we also did in our Dialog Tapes or Illuminine Reworks series, even goes a step further as it makes new connections, pushes boundaries and ultimately can result in an unexpected enrichment of the musical field.

"I always look forward to the Dauw collaboration releases. Most of the creativity for these lays within their curation: it brings together artists that, although arc in the same orbit but somehow never cross paths. The beauty of collaborating is that we learn from having to give space to another creative force, working alone we fall back on what we know and what we have already done. Although I wasn't paired with Tom for earlier projects, the guys at Dauw thought (and rightly so) that it was about time we crossed our musical paths for an lp." (The Humble Bee)

DeForrest Brown Jr. is an outspoken theorist, journalist, curator, visual artist and musician. Raised in the deep South, DeForrest moved to New York a few years ago and has been shaking things up IRL and online ever since.

- He asks difficult questions that make us relook at how we think
about race, class, post-racial ideas, historical events and the social
structures in America.
- His work defies narrow bags and he’s truly a unique cultural polygot
comfortable booking an artist like Felicia Atkinson at Issue Project
Room or shaking up people on the street with his “Make Techno
Black Again” hat line.
- His project Speaker Music was inspired by Rhythmanalysis, a book
of essays by urbanist philosopher Henri Lefebvre as well as
considerations of momentum and the “chronopolitical” from British
cultural theorist Kodwo Eshun. Mobilizing freely improvised
electronic percussion and stereophonic audio recordings, Speaker
Music yearns to caress, engineer and sculpt sentiment into a multi-
textural rhythmic body, quivering moments into a collapsed
“nonpulsed time.”
- His debut for Planet Mu centers around weary sonic portraiture of
sonorous and cybernetic energy music – a music encoded with an
encrypted heat but made “with empathy and without excess.” His
“touching of frequencies” unveils a romantic abstraction of sonic
narratives that recalls previous innovations by musicians such as
Les McCann, Urban Tribe and James Stinson.

DeForrest Brown Jr. will be present at Unsound Festival in October at which he’ll be launching a new publication w/ Primary Information.
He will also present a special event at respected New York art gallery Artist Space on Friday December 13th at which he’ll be launching a book related to the album.

Additional dates will happen between October and next Spring - A Video will also be launched when the album is announced in early October (...).

One of the original catalysts of Latinx music in New York City, MAKU Soundsystem has been the connective tissue for several creative projects, bands and community roots for over a decade. As a group with a rotating membership, they've recorded multiple albums both DIY and for worldwide labels. Throughout their various iterations, the heart and mission of the ensemble has consistently built bridges, rather than tearing them down, remaining a remarkable beacon of positivity in a consistently competitive environment. The inspiring atmosphere has nurtured several notable musicians and acts over the years, including members of Combo Chimbita, Dilemastronauta, Bulla en el Barrio, Leon Brothers and Prince of Queens. Now down to a core group of three musicians, alongside percussionist Moris Cañate, MAKU and Names You Can Trust have finally teamed up for a vinyl edition after many years of collaborative shows and connections.

Perhaps their rawest and darkest recordings to date, this stripped down quartet is an ode to the creative source of their core members, lead singer & bassist Juan Ospina, drummer Andres Jimenez and guitarist Camilo Rodriguez. The A-side, "Culebra Coral" is a snakebitten taste ofla cumbia, played with an experience and restraint that only enhances the end result. It's a free driven approach born from familiar experimentation, rather than modern day trends — a singular jam, refined from years of playing together. Part psych, part cumbia, total MAKU. The B-side, "Contra Tambor," is emblematic of the group's roots in the traditional sounds of thetambora, a drum-forward percussive arrangement that follows Jimenez and Cañate on a free-driven approach to the ritualistic movements of the drums, this time drowned with an antidote of analog FX, synthesized glitches and atmospheric coros.