Cerca:the dig

Sutja Gutierrez is back on Lumière Noire. The finesse of his productions and his implacable stage performances have given him a special place within the Parisian label. In 2017, he released the EP "The Legend of Time" and one year later, he appeared on the compilation From Above with his track "Allodoxaphobia". He comes back here with an LP entitled PHYLAX SOCIETY, which confirms that Sutja Gutierrez is indeed an artist in his own right. Phylax means guardian in Latin, and the album’s title is directly inspired by the “Phylax Society”, a group of people who, in the late 19th century, wanted to create the ultimate canine breed, but who due their lack of consensus failed and dissolved. Later on, an ex-member eventually bred the very first German Shepherd. On this heartfelt record, as emotional as it is catchy, the artist deals with the feelings that come after the loss of a loved one, chiefly nostalgia and melancholia. The result is an ardent record where crooning is sincere and never a posture. The artist’s lo-fi psychedelic pop trademark oozes in every track of this album. Many of these songs feature his vocals, often doused in ethereal echoes or even shrewdly chopped and distorted in a way that reminds us of the great musique concrete experiments of the past. A DIY approach sometimes indebted to punk and post-punk music, all mixed with a vast variety of traditional pop instruments such as guitar, bass, electric keyboards and real drums, but also drum machines, synth bleeps, found sounds and other strange but fascinating samples. EMPTY FLOWER POTS, which was released as a single ahead of the LP, is definitely one of the album’s standout tracks. This catchy mid-tempo song is the perfect entry point into Sutja’s finely twisted world. A world in which you can find that particular balance between nostalgia and optimism. Oh, life is great, what is life? Life is death. . he sings. It is one of those songs that stays in your head for a while. Do not let the idea of alternative pop fool you, it is quite impossible to listen to any of these songs without reacting in some way or another through moving, dancing or thinking, regardless of the tempo or meaning. I’M DIGGIN’ might be the perfect example of this. Deceptively simple and far removed from dance music, this rock-infused number will not only have you singing along instantly, but you will also find yourself dancing and responding accordingly to the energetic mantra of this song... I'm digging for the truth, I am so diggin' into it. Truly, the dance floor is never too far, sometimes quite blatantly and sometimes in a more oblique fashion. Another case in point is PHYLAX SOCIETY, the eponym track which closes the album, a song in two parts, where a slo-mo club groove carries Sutja’s trademark singing to yet another level of uniqueness, with his surreal soundscapes, twisted melodies and everyday life sounds. An ode to humanity and an homage to the ones who are risking their lives every day in the mediterranean sea. It is rare to encounter an album which is immediately satisfying on one hand but also reveals more and more beautiful secrets with each listen. PHYLAX SOCIETY is clearly one of those special albums.

POWER UP will be available in multiple configurations that will excite collectors and die-hard fans alike, including digital, CD, and deluxe versions. The limited edition, one-of-a-kind deluxe POWER UP box is the ultimate fan package. Hit the button on the side of the box and watch the flashing neon AC/DC logo light up while the opening bars of “Shot In The Dark” blast out of the built-in speaker. Inside the box is the full CD package in a soft-pack with a 20-page booklet that features exclusive photos and USB charging cable allowing the box to remain powered up and on display. The vinyl LP will be pressed on 180 gram vinyl and housed in a gatefold jacket.

Daniel Maunick returns with a new EP, Musica Encantada via Far Out Recordings. Continuing the theme of his debut album Macumba Quebrada – which saw support from the likes of Moodymann, Ron Trent, Gilles Peterson, and Benji B – Maunick draws on the deep-rooted Brazilian influences from the many years he has spent in the country, producing records with Azymuth, Marcos Valle, Sabrina Malheiros and Ivan 'Mamão' Conti.

The bossa-jazz house smash ‘Black Magic’ stays exclusive to the vinyl, while the percussive deep-house roller ‘A Chance To See Again’, the tight and groovy ‘Hurt Feelings’, and the slow-mo Brazilian Balearic ‘Africana’ will all see a limited vinyl and digital release on the 23rd October 2020.

Much like a bird of prey, Oliver Moir (FKA Flora Tucker, AKA
Sandman) has hovered over CV’s operations for quite some
time, diligently picking at releases, parties here and abroad,
and mixes; waiting to strike. Now, and after what seems like
an aeon, Connection Veri¦ed is proud to present: I Rocked Till
the Midnight Hour at Melissa’s Bat Mizvah. The 8-track
ambient LP is a glowing excursion through Moir’s perception
of the world, as the album hums across vast plateaus, gently
weaving in and out of endlessly complex pads, and into the
pliant ears of listeners. Emotions gush as a mood of warm
introspection sets in, with Moir taking us onboard as he sails
across the glimmering sonic waves. The LP comes off the
back of a long but bountiful path through electronic music,
and CV is proud to exhibit it in full, with our ¦rst dedicated
ambient release.

Follow-up EP for Multi Culti from this Berlin duo merging sleek Krautrock influences, decades long production experience, jazz-percussion chops and funky German vocals.

‘Kometenschweif’ will sound the most familiar to fans of Sascha Funke’s club-ready tracks, with percussive and vocal flourishes from Niklas Wandt. ‘Kreidekreis’ takes the tempo down while ramping up the trippiness, a circular journey into funk bass, synth prog, and again, a percussion masterclass.

Finally, ‘Weg Vom Leder’ sounds like a lost Falco tune, brought up to date. On the remix side, Alexander Arpeggio somehow manages to swing ‘Kreidekreis’ into a digital reggae slowburner, while Whodamanny turns Kometenschweif toward indie-kraut-wave bop.

It's back-to-backhits with the new Names You Can Trust split single series, the first of which features two up-and-coming acts in the blossoming Latin music scene of the Pacific Northwest. From Seattle via Argentina and Miami is Terror/Cactus, a futuristic electronic cumbia project from musician Martín Selasco. Selasco's machine-forward audio/visual performances combine a mixture of bugged out digital folklore, live percussion and the omnipresent sounds inspired by the canon of South American chicha concoctions. That balance is on display in the group's debut vinyl release "Churro vs Crow." A field recording of a Mexico City street scene playfully intermingles with the track's heavy production, an innocuous battle between a crow and a churro vendor breathes a little outdoor analog into an avant digital landscape.

On the other side of the spectrum, down south in neighboring Oregon, lies Portland's Orquestra Pacifico Tropical, an 11-piece ensemble formed by a crew of talented musicians from the lush local offerings of the Willamette Valley. The band's big sound is an explosive expression of their own roots, representing the heyday of tropical music that graced stages for decades in Central and South America. Clarinet, brass, electric guitars and that familiar percussive pulse are all alive on their NYCT debut "Regreso." Imagine a return to the cross-pollinated sounds of the psychedelic '70s, an echo from the Andes, the Amazon, through the central isthmus and back to the present, only this time landing in the City of Roses.

Pole is the project of ground-breaking electronic musician Stefan Betke. The new album ‘Fading’ is the first since 2015’s ‘Wald’. As with every new Pole record, it’s part of a continued forward trajectory but it also connects to a pre-existing sonic framework.
 “Every Pole record connects to recordings that I’ve made before,” Betke says, “in order to stay in this kind of vertical development. The ideas from ‘1’, ‘2’, ‘3’ up to now are connected. I keep the interesting elements, languages and vocabulary that I designed and add new elements.”
 ‘Fading’ follows the physical released on Mute of remastered versions of his iconic albums ‘1’, ‘2’, ‘3’ to much acclaim.
 Double vinyl in black gatefold sleeve and spot
gloss finish with digital download code.

After his first appearance on the „Plankton“ Compilation (BK014 July 2020) frankfurt based Dan Bay signed his first solo EP on Bunte Kuh. The „Fieser Niesel“ EP will be released on Vinyl and as a digital edition including 2 bonus tracks. Dan is also performing as a DJ or liveact with E-drum - he already released on Laut & Luise, Wayu Records, Leveldva, Finebeatz and Heimlich Musik. The EP also introduces the iconic female DJane Krystyna - the former Robert Johnson resident is giving her debut as a producer.
The first track „Reise ins Universum“ is a dreamy journey thru his universe of minimalistic music - endless, relaxing and trippy. The title track „Fieser Niesel“ is way more rolling with dark basslines and short bleeps - an overall great dancefloor workout. Next is AVEM´s Remix of „Reise ins Universum“ - Boris (who already released on Underyourskin, LOKD and Heimlich) added his unique signature - a fabolous 9 minute adventure full of melodies & deep grooves.
Benjamin Fehr - a berlin based active producer since 15+ years - treated „Fieser Niesel“ and maybe this track is the surprise of the EP - a glitchy & bleepy adventure that follows the roots of good old Robag Wruhme Tracks. „Jimi Nagel“ is the first out of 2 digital only tunes - something for the early after hours while „123“ is more suitable for the real club hours.

180g clear marbled vinyl + stamped sleeve + inside out printed cover

Mood of departure presents the 50th release of ORNAMENTS. "Roadmap" LP is crossing borders,
forests, mountains and deep atmospheres on a trip of finest electronics from the past and today
combined with recordings of destructions.

Some Previous here

Resident Advisor

German label Ornaments Music is putting out its 50th release, Mood Of Departure's Roadmap.

The album comprises twelve tracks of melodic ambient and trip-hop, and is due out next month. The LP will be pressed up on marbled vinyl on November 6th, while the digital album is slated for November 23rd release.

This summer, Ornaments Music put out Assemblage, a dub techno collaborative project from Paul St. Hilaire and Rhauder.

Groove MAG

„Man soll die Feste feiern wie sie fallen.” Hachja – 2020 ist wirklich vieles anders. Sogar manche Lebensweisheiten treffen in diesem Jahr nicht mehr zu, wie sie das noch letztes taten. Zum Glück dürfen wir uns aber über eines umso mehr freuen, über tonnenweise neue Musik. So feiert unter anderem Ornaments Music Release-Jubiläum. Das Berliner Label bereichert seit 2008 mit Künstlern wie Marko Fürstenberg, The Analog Roland Orchestra und Rhauder die Dubtechno-Sparte mit maßgeblichen musikalischen Beiträgen. Mit dem 50. Release Roadmap beschreitet Ornaments nun neue Wege und veröffentlicht ein emotionales Album, dass sich irgendwo zwischen Ambient und Electronica wiederfindet.

Mood Of Departure heißt die Person, die dieses Werk vollbracht hat. Wer dahinter steckt bleibt vorerst geheim. Nur soviel sei gesagt. Es ist nicht ihr erstes. Oder seines? Weil es nur spärliche Informationen über den/die Künstler*in gibt, stehen die einzelnen Stücke ohne Personenkult oder seitenlange Lobeshymnen an erster Stelle. Und wenn man mal ehrlich ist, gibt es schon genug Ablenkung in der heutigen Zeit. Durch das Intro des Albums, durch „Scan”, wird sofort deutlich, dass es sich hier nicht wie gewohnt um ein klassisches Dancefloor-Album handelt. Die Stimme der Sängerin, die auch in einigen weiteren der insgesamt zwölf Stücke vorkommt, verleiht dem Track eher Band- statt Producer-Charakter. Ein sanfter Ambient-Teppich aus luftigen Flächen und wiederhalendem Gesang wird durch simple aber präzise Hip Hop-Beats fortgetragen, und man ist nach dieser Einführung gespannt, was noch folgt.

Faze MAG

Mit dem Debütalbum „Roadmap“ von Mood Of Departure veröffentlicht das Label Ornaments sein 50. Release!

2008 startete das Label, das bekannt ist für sein marmoriertes Vinyl, mit einer EP von Marko Fürstenberg, Acts wie youANDme, Sascha Dive, The Analog Roland Orchestra, Steve Bug oder zuletzt Rhauder & Paul St. Hilaire haben hier auch ihre Spuren hinterlassen.

Posthuman makes his Food Music debut with the infectious “You’re Mine”.

The Frank DeWulf-esque stabs and swagger from this tune have already had many "ID?” requests from people since airing on Rinse FM and a DJmag social media video over the last few weeks and months. Posthuman has taken his sound to a fresh area which is complimented by remixes by none other than Luke Vibert, with an ice-cool swung-groove, Black Girl/White Girl with a full on pounding Techno workout and on the digital package, newcomers Mac & Ward do the big room House thing to perfection! In addition we’ve included “Find Me On The Edge of Town”.. an acid-kissed piece of Techno which sits the cherry ontop of an awesome release for us on Food.

Repress

Carthago: Rare Tunisian Disco Including Unreleased Instrumentals And Eight Page Booklet When we first decided to start Habibi Funk, a label dedicated to re-releasing "funky" Arabic music from the 1960s to 1980s, a band called Dalton was the first release we worked on. Dalton was a band from the Tunisian capital of Tunis and they played a unique mix of soul & funk with an Arabic DNA. We licensed the release from the band's composer Fawzi Chekili, and when we spoke to him on the phone in preparation of the release he mentioned another band he was part of, called Carthago. Our work with Habibi Funk is like a big treasure hunt. There are too many great bands that fully vanished into obscurity and didn't leave any traces in the digital sphere yet. We are so used to the internet providing all informations we might be looking for, but Carthago was one of those bands where the internet largely failed to provide any infos despite the fact that Carthago created some incredible music in the form of an highly infectious Tunisian take on disco music. Luckily most of the members of the 1970s musical scene of Tunis are still around to tell their story.

Carthago was founded in the late 1970s as a fusion of Dalton and a second band called Marhaba Band. Both bands frequently played at hotels and night clubs in Tunis and Sousse. They had similar musical influences and despite the fact that they were competition for the most part, they came up with the idea to join forces for a new band. Musically Carthago kept on walking on the musical path of Dalton and Marhaba but incorporated disco music, a new style that was making its way to North Africa from Europe and North America. The band had quite some success on local radio and played a number of big shows with thousands of people showing up. The band's concerts were a mixture of their own compositions as well as cover versions of the hits of the time from Stevie Wonder to Chicago. At the end of the 70s they went to Paris to record their only, self titled album. For our reissue we picked out two of our favorite tracks: "Hanen" and the outstanding disco version of the Dalton track "Alech" which has proved to work on every dance floor we played over the last two years.

When I came to Tunis for the first time after the Dalton reissue I met Fawzi in person. He still lives in Tunis and still works as a full time musician though his focus has shifted more towards Jazz over the years. Luckily he did not only keep a spotless copy of the Carthago album but he also kept the master tape of the instrumental versions of the album which to this day were unreleased. Being able to add exclusive content to a reissue is something that is rare and we feel highly privileged to be able to do so. Futher more we are so happy that we will be able to add something new to the bands legacy not only musically but also visually: One day I realized that most of the releases from Tunisia I liked, be it from Dalton, Carthago or Marhaba Band had the same photographer credit.Hassen Turki started taking photos at a young age and when he was 18 he started going to the gigs of the bands of the time that were playing in the Marhaba Hotel which was managed by his father at the time. He became friends with the bands and ended up being the person to be asked when it came to shooting the photos for the covers of the records. After some research I managed to get in touch with Hassen and met him in his hometown Sousse. Luckily he kept most of the negatives of the photos he took so we're more than happy to be able to share these unseen photos with whoever is interested.

The 20th anniversary year of Dial Records couldn’t have been more exciting for us so far! After the extraordinary well-received release of Soela’s debut-album Genuine Silk and steady excitement around our ongoing series of digital anniversary compilations, we are more than thrilled to announce the second album release of this our very special year: XDB - Inspiron. As a longtime companion and true inspiration throughout the label’s twenty-year history, Kosta Athanassiadis aka XDB enriched our lives with his brilliant productions in the form of countless 12”s and legendary remixes. His long-overdue full-length debut album Inspiron in hand, we find ourselves unpacking the most beautiful jubilee present we could have ever imagined. For almost three decades now Kosta Athanassiadis aka XDB has been involved in the constantly changing world of dance music. His curiosity and dedication to electronic music spiral deep into the depth of House Music and Techno and where ever he appears he generously shares his unique knowledge in this field with equally dedicated crowds. Whether you follow his bloggish “Tracks I do really LOVE”, a collection of club essentials and a library of taste, or you witness one of his remarkable DJ sets from Panorama Bar to Freerotation Festival - XDB will elevate you to one of those unforgettably magical music moments. In 1993 Kosta Athanassiadis started his DJ career in the medieval hometown of Goettingen. To find what he was really looking for, namely, the newest and most exciting new records he frequently had to leave this picturesque city, that is most popular for inventing the traditional Baumkuchen pastry, but has not been on the maps of music connoisseurs necessarily. Frequent trips to visit records stores and clubs around Germany built a network of likely minded people. Some of his favorite and most thought after record labels of the time like the Chicago imprint Relief, or UK's Mosaic, are still fundamental to his very specific musical taste. By the turn of the century, XDB hosted a series of nights at Goettingen's Eletroosho, where he invited Dial’s own Lawrence and Carsten Jost in 2002- the beginning of a still ongoing friendship. He had established himself as a sought after and internationally active DJ and started his fist endeavors into music production as well. Later on XDB founded his own Label Metrolux and released on iconic labels like Sistrum and Wave to be followed by countless remixes for legends like Aaron Carl, Norm Talley and Patrice Scott. An extraordinary stream of gravity connects both, his productions and DJ sets. Once breaking through a seemingly transparent surface, one get’s lost in the beauty and depth of forms and figures. There’s barely DJs and producers who keep searching for this hidden formula in such a microscopically detailed way to pass a lifetime in House Music and Techno on to the world. XDB's Inspiron embraces this unique approach, filters and develops inspirations in an entirely delicate way, and magically emphasizes the desires of the most dedicated listeners and dancers.

When Yiğit Bülbül knocked on our door and put his debut album on the table, Fever took our hearts in a storm. The Turkish born, London based musician and producer knows how to craft his own contemporary avant-garde pop projections with a rich musical heritage shining through from the 1980s and 90s. His style erupts into silly, absurd moments of synth blurps, percussive extravaganza and psyched horns, It’s always colourful and trippy, but in a light way. It’s exactly what we want to release in a year of distress. The album is framed by two contemplative tracks, which are reminiscent of Holger Czukay’s oeuvre. The saxophone in the opening track "The Heath" undulates like an introvert leading voice in a meditation. The long and meticulously crafted ambient outro "Txalaparta" features a spoken word sample by the Basque folk musician Txomin Artola from 1978. The four tracks at the heart of the album are beat driven, percussion-heavy, loaded with synths and random horn samples. "Alo?" sounds like Snakefinger tries to get on a Skype call with Serge Gainsbourg. "Cacti All Over My Head" could well be a Ween instrumental with long arching synth lines over a slowed down bossa nova beat. Fever is a frivolous album which bursts with exalted charm and guest musicians. This is not another greetings-from-the-lockdown album, but with the obvious reference in the title it’s almost a tongue-in-cheek name about creative obsessions of our times. It's the debut album by the multi-instrumentalist Y Bülbül who has learned his trade working with various interesting artists and bands in London in the past 10 years. He is also a passionate crate digger and DJ. His own radio show is unerringly titled "Bülbül's Gemüsement Park", which airs on Netil Radio, a community broadcasting station in Hackney. Bonus fact, Bülbül is the Turkish name for a brown-eared passerine bird, one that's into singing.

There is definitely something "afro" inspired about this latest EP from Puma & The Dolphin, certainly in comparison to pretty much everything else I've ever heard from him, which includes a great EP on Canadian imprint Chambre Noir and some stellar inclusions on every one of Dj soFa's highly respected "Elsewhere" compilations.

I'm told that while immersed in domestic life during lockdown in Sofia, Bulgaria, the music evolved to take in what was happening at home and saw the inclusion of toy instruments, his own drum playing, the voices of his children playing and even the family parrots whistling and squawking in the background. These random ambient insertions when seen in the context of the hypnotic and percussive rhythms and timbres throughout are oddly reminiscent of the late, great Francis Bebey who, although culturally and physically a million miles removed, was also known for recording much of his work at home and who also featured the voices of his children playing.

In fact, it is as much the music's playfulness and simplicity that give the pieces their distinctive character, at times echoing the repetition and mesmerism of Raymond Scott's "Soothing Sounds For Baby" series. Yet, childrens' music this is not. There is a mysticism and depth on one hand and a willingness to experiment on the other that reminds me of pioneering experimentalist K. Leimer's early Eno-inspired tape outings as well (see "Supermarket" for example).

I asked Puma & The Dolphin's Nikko Names if he could share the story behind how these six tracks came together. He had this to say:

"This collection of pieces were created during a monotone period of my life which I have overlaid with colour: a time in which I surrender to the beauty of home life - watching my kids play, feeding the birds - entwining these sounds of my surroundings amongst the rhythmic layers of these pieces. Playing the drums to remind us of the next circle dance for four. There is something mystic to travel only in your head; a shamanic trip inside the body with no concepts and answers."


"Good stuff ... digging Am Am Am and Supermarket in particular" JD Twitch Optimo Music / Blackest Ever Black / Strut / On-U Sound

"Cool stuff" DJ SoFa Pingipung / Emotional Response / Kalahari Oyster Cult

Worldwide Award winners First Word Records are pleased to welcome back Souleance; a duo that have been releasing music with us for a decade now, and triumphantly returning to the fold with some brand new music for 2020.

This vinyl / digital EP, 'Les Mouches', is their first release for First Word since the acclaimed beat-tape 'French Cassette' from early last year.

Expanding on the original Normand-Parisian super-duo of Fulgeance and Soulist, the Souleance crew now includes Vincent Choquet on synths and Guillaume Rossel on drums as part of their live outfit. Whilst sonically their style remains unchanged, the formation into a full band sees the Souleance sound become bigger, more realised and more formidable than ever.

The title track 'Les Mouches' sets off the EP in a playful disco manner - a chugging bassline, assorted synthesisers, disco claps and a four-to-the-floor drum track, inspired by the likes of Larry Levan and Candido. Meaning "flies", Les Mouches was a legendary Manhattan club that existed around the era of Studio 54, and was infamously a hangout spot for Imelda Marcos. The club itself was named after a play by Jean-Paul Sartre.

Next up is the single 'Aquarelle' (meaning watercolours), which contains more layers than a Bob Ross painting. With its various elements splayed across its aural canvas, sprinkled with some subtle scratches, it's four minutes of funk presented in Souleance's inimitable way.

'The Bounce' follows and enters a more soulful side of the dance, dropping the tempo a touch and inviting in a huge bassline, squelchy keys and intermittent vocal hooks.

'Mont Maudit' takes more of a latin jazz direction with big drums and cymbals rocking throughout, whilst an infectious piano hook cruises throughout, and an ethereal gospel choir switches up the proceedings mid-way.

Things get deeper still with the epic broken beat-esque 'Maneuevers'. Crunchy rhodes dominate this slightly tweaked-out rhythm, a delectable piece of heads-down nujazz fused with Souleance's unmistakable funk once again.

'L'Opuleance' closes out this EP with some more traditional Souleance fare - the tempo a little more head-nod, this one is comprised of some deliciously wobbly bass, chopped samples and hefty breaks.

This EP is essentially a set of grooves marinated in nostalgia whilst managing to sound entirely current. Analogue synths, live bass, sleek cuts and intoxicating drums. This is another round of sure-shot dancefloor fire from our favourite French family.

Previous support has come from OkayPlayer, Bill Brewster, BBC 6 Music's Gilles Peterson, Tom Ravenscroft & Huey Morgan, and various DJs on Worldwide FM, NTS & Le Mellotron,

Gitkin's music exists somewhere between primal, rootsy memory and distant exotic yearning — A dusty bordertown where the familiar blends imperceptibly into the enchantingly foreign.

After a long and fruitful run as a bandleader with relentlessly touring party-rockers Pimps Of Joytime and a Grammy-nominated country blues collaboration with Cedric Burnside, multi-instrumentalist Brian J set out to "explore tonalities I'd never messed with," as he puts it. It was a release from "having to write lyrics or involve my voice," he notes, and so the (mostly) instrumental sound of Gitkin came into being.

Reviews of Gitkin's first LP grappled with descriptors, tagging it vaguely as "cinematic" and comparing it favorably with Khruangbin. True, the music is largely wordless, emotionally evocative, and guitar driven. But it possesses an alluring alchemy all its own.

Gitkin's first release, 2018's well-received Five Star Motel, amply demonstrated his ease with earthy funk and comfortably-cut rhythm. On his new full-length release Safe Passage, the itinerant guitar slinger broadens his already rich palette with melodies informed by Greek and Middle Eastern modalities, Peruvian Chicha and Tuareg Saharan guitar styles. No gimmick, this juxtaposition of gut-bucket blues and funk low-end with unexpectedly twisting lead phrases highlights the intense flavors found in each savory ingredient.

Recorded at his home studio in New Orleans, Safe Passage showcases a new batch of immediately engaging, repeatedly satisfying cuts, ranging from surf exotica ("Cat Nip") to raunchy roadhouse stompers ("Fools Gold" and "The Drive") to dreamy vocal cuts "Foot Steps" and "Hold On" to the floating finale of "Safe Passage."

Gitkin's production radiates character and warmth, leaning on soft-focus vintage mics, dubby spring reverbs and the quirks of a tape console. Further enhancing the intimate vibe are guests like veteran Chauncey Yearwood (congas) and New Orleans local "Spug" Smith, who provides a sousaphone low-end on the cumbia-not-cumbia "Spug Life." Carol C lends her striking voice to three tracks, including the strutting single "De La."

Safe Passage will be released by Wonderwheel on September 18th, 2020 and will be available on vinyl, CD and digitally.

We’re proud to welcome Robert Owens and Queer On Acid to Takeout, who present a ‘double-A side’ release. 2 sublime pieces of vocal-house and techno which will make the hairs stand up on the back of your neck.

Robert’s hypnotic vocals weave between QoA’s beautiful production with both tracks enticing remixes from none other than in demand Fear-E, Polymod and MASC (Mark Archer & Shadow Child).

The music does the talking here, and with a limited vinyl run (which excludes the MASC remix) to support a huge digital package, we’re excited to have such quality on the new label.

Enjoy !

‘Borderline’ is the debut single from hotly-tipped Jamaican-Canadian artist and musician, SeeMeNot. Released on 18 September, 2020 and accompanied by a remix from Roman Flügel, ‘Borderline’ is available via SeeMeNot’s own imprint, Brainstream. Her debut will be followed by the release of ‘Invisible Me’ produced by Peace Division’s Justin Drake, and ‘Chez Renee’, remixed by Joe Goddard, all in the coming months. A 21 st century house anthem, ‘Borderline’ is a stunning debut that shows the power of both SeeMeNot’s voice and her lyrics, and has been championed so far by Skream, Anja Schneider, Solomun, Adriatique, TSHA, Erol Alkan, Adana Twins, Monika Kruse, Andhim, Tim Sweeney, Chloé, Marco Carola, Digitalism, and many more.

‘Borderline’ was sampled on SeeMeNot’s July 2020 debut mixtape ‘Long Overdue: The Sound Of A Revolution’ along with an excerpt of the powerful speech by Tamika Mallory in the wake of the death of George Floyd.

Reclaiming house music as a form of protest, ‘Long Overdue: The Sound Of A Revolution’ was SeeMeNot’s first creative work. Released via her Soundcloud page, ‘Long Overdue’ featured SeeMeNot singing a cappella over a mix from DJ Oliver Baptiste. The 30 minutes of music is the sound of a Black female artist detailing the journey of Black people from Fight to Flight, channeling the pain she’s experiencing – and experienced – into something beautiful that pays respect to her ancestors but serves as a contemporary reinterpretation of traditional healing through singing and music. Influences from country music to gospel are joined through a shared history of hymnals as both protest and healing music. SeeMeNot recently released a PSA on her YouTube featuring an acapella from the mixtape – “a childhood cover” of the late Ray Charles – paying homage to Black Lives Matter.

White Vinyl Pressing!
Diffrent Music, So Far.. Speaks for itself really, this brand new vinyl series brings together a handful of carefully selected tracks that until now have been available only as digital downloads. This is the first offering, and a whole lot of love has gone into making this product a real milestone for the label.
The A side, titled "Foundations" brings together two of the original Diffrent Music artists, with their debut single's title tracks; Jekyll - "Drainpipe" slimy and clogged up with bass as you can imagine, now remastered and cut into the analogue realm, along with Arkaik's 2010 "Stress Relief" which has always been way ahead of its time. The flip-side, "Movements", carries two slightly newer productions, Dexta & Hyroglifics "Boxgroove" which caused a lot of damage earlier in 2014 now sounding double thick cut deep into the vinyl grooves, the last and by no means least track is Fearful's 2013 "Tongues" - Not only was this one of the most popular track's that'd ever seen the day of light, but it's also one of the most experimental yet dance-floor jams we have to offer. Everyone involved is truly proud of this record and we all hope you enjoy it as much as we have over the past 4 years or so!

" On July 29th of last year Ras G left this planet.

The only way to cope with this loss was to communicate with my friend through these beats

After recoup the Shorter family will receive all funds ❤️