Cerca:the dream

Repress

After last years slick selection for the series from MCDE, Young Marco steps up with a great set of obscurities. Top Tip!
.
Born Marco Sterk, he certainly doesn't come from a standard DJ background. A former skate rat who grew up loving American post-hardcore and '90s hip-hop as much as early Warp Records, he's been affiliated over the years with Amsterdam institutions such as Rush Hour, Red Light Records (where you'll find him most weekdays!) and, of course, Dekmantel itself. Still, there's no question that he's always followed his own path, even during the years that playing his favorite records meant that he was occasionally clearing dancefloors.

Things are different these days, of course, as Sterk now regularly plays around the globe and has been widely hailed not just for his DJ talents, but also for his digging prowess and uncanny ability to pluck jams out of genres, eras and geographies that even veteran DJs will often ignore.

Still, Marco's entry in the Selectors series isn't some soulless collection of 'Holy Grail' rarities. 'Where's the fun in that' he explains. 'Anybody with an internet connection can check what flavor-of-the-month records are in demand.'

Just like the first Selectors compilation, this is not a mix CD, but a collection of hand-picked, unmixed tracks that Sterk has personally chosen from his own vinyl archives. Moreover, Marco has put together a collection of tracks that represent not only how he plays music, but also how he makes music himself. The songs here are melodic, electronic and bound together by a refreshing sense of naiveté. Nothing sounds overly calculated; the tunes here span several decades and include dollar-bin records, avant-garde records, club records and yes, a few things that collector types have likely been looking to get their hands on. It's not meant to be a grand statement, as Marco would rather provide an honest snapshot of his musical tastes and share a few of his favorite tracks and artists in the proc

It's a pleasure to introduce Tony Rainwater - undoubtedly the most productive and creative savage we've come across recently. See usually we don't do this, Lehult is a crew affair, but this guy left us no choice. Being a music enthusiast, DJ and dancer for a long time, Tony has only most recently picked up producing his own music, yet at a stunning rate: When we first asked him for a demo - three months after he started producing - he swiftly dropped us a set of twenty-five tracks, another set of fifty more soon followed. His productions are straight rough edged, no-prisoners-taken Jams, combining samples from the most far-flung corners of his eclectic music collection. His magical patchwork wild style is on full display on his debut "Rockberry Jam" EP for Lehult. The A-Side takes us through the lighter side of his repertoire with the title tracks slow building house groove, some dizzy medieval monk grooves on "To All The World" and seductive R&B on "Lay It On The Line". On the flip "Operalight" irresistible groove and "Black Dream Flowers" provide some darker moments, before "Alone" closes on a soft note. The Vinyl version includes an extra goodie after the runout's. Tony is now a fixed member of the crew already and we're proud to have him and his crazy energy on the team. This won't be the last you'll hear of him.

TS07 is the 4th EP of the TONE SERIES project and in line with the previous three releases TS08, -09 and -10. However, while MACHINE DREAM freezes you up with its winter grooves whilst on your way to the club, KEEP THE BOMB warms you up as soon as you get inside. Whereas MACHINE DREAM unveals shamanik percussions driving a tribal acid vibe with a big amount of pads that make the track ramping crescendo up, KEEP THE BOMB establishes itself as a major dance floor tune with its killer beast, cruising vibe and staccato voice percussion. With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, MACHINE DREAM and KEEP THE BOMB distinguish themselves from each other through their vibes and colours, although they remain in the same spirit. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality comes out of colours.TONE SERIES was born from the collaboration between late Villa's former bouncer (one of the most underground clubs of Berlin) Wolfram, French music producer, live performer and DJ David K, and LumièresLaNuit's co-founder and An der Grenze's founder.

Michigan artist John Beltran's 13th studio album and 3rd on Delsin is his most complete and personal work yet. Written largely on modular synthesizers for the first time, it melts 90s intelligent techno with post rock and ambient with leftfield downtempo. The seventeen tracks draw on his expert knack for sound design; for melody and atmosphere and make for yet another hugely absorbing affair.

RAWAX is very proud to present the 5th release of the "Paul Johnson Traxx Series" on Chiwax!
We're celebrating the 20th Anniversary of Paul's legendary album "Second Coming".

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create a two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound. Silent Around Them' exclusive to LP vinyl (no CD/digital)

Double LP heavyweight vinyl, gatefold sleeves, printed inserts and download code.

Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

The album should be considered a continuation of 2013s critically heralded album "This Time We Go Together". The story follows a duo of wanderers finding each other and traveling through life - hand in hand without roots. A 'love conquers all' theme which has been a highly embraced motif in his more recent works.

'We become Ravens' con- sists of 15 electronica vignettes which craftily utilize synthetic soundscapes, memorable melodies, timeless introspection and Gudmundsson's signature electronically infused beats.

Having been an integral part of the Icelandic Electronic music scene since his debut album in 1999. 'We Become Ravens' is a pinnacle release by a well seasoned veteran of electronic music's fringes.

Wally Badarou was at the cutting edge musically with his fusion of African grooves with the emerging electro sounds of the early 1980s. His debut album 'Back To Scales' in 1980 has been long out of print and is considered a treasure by many connoisseurs. 
Wally plays synthesizer, co-writing and performing Level 42 often considered their 'fifth member'. He also played with Robert Palmer, Talking Heads, Foreigner, Grace Jones and Manu Dibango. He also known for a later hit single Chief Inspector', and Mambo' from the same year (1984) was sampled by Massive Attack
This is a great album deserving appreciation by a wider audience with such an amazing collection of important songs. It was recorded in France, the country of his birth, originally released on French label, Barclay

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

Mammal Hands are a trio of like-minded musicians: Nick Smart piano, Jesse Barrett drums and tabla, and Jordan Smart saxophones. Floa is their second album for Gondwana Records and in the 18 months since their debut, Animalia, they have carved out a growing following both here and abroad for their hypnotic fusion of jazz, folk and electronica: winning fans from Bonobo and Gilles Peterson to Jamie Cullum. Landmark live performances have included shows at King's Place in London and the RNCM in Manchester, as well as a barn-storming debut at the Montreal Jazz Festival. Drawing on a rich well of influences from Sufi and shamanic African trance music, Irish and Eastern European folk music, to Steve Reich and Philip Glass and more contemporary electronica influences, their music is built around deceptively simple sounding ideas that are lent power through the use of repetition and rhythmic loops. They have been compared to both Portico Quartet and GoGo Penguin for the way in which they navigate the choppy waters between contemporary dance music and jazz. Floa (an old Norse word that means to deluge or to flow) is the sound of a more confident, experienced band: one that has grown together naturally through touring and gigging and through mammoth writing and rehearsal sessions where all three bring rhythmic, improvisational and melodic ideas to the table. Floa was recorded at Gondwana's home from home, 80 Hertz Studios in Manchester, reuniting the band with producer Matthew Halsall and features some of the Gondwana Orchestra strings who played on Halsall's acclaimed album Into Forever. Together they have crafted a wonderful sounding record, the richness of which perfectly illuminates the band's music. Artwork is from Gondwana's in-house design maestro Daniel Halsall whose artwork of symbols created from older symbols perfectly illustrates the creative ideas that drive the band's music.
The release is supported by an extensive UK tour including dates in Norwich, Bristol, Brighton, Manchester and beyond. The band support Matthew Halsall at St John's Hackney on May 26th and have their own head-line show at the Jazz Cafe, Camden on 31st May. Confirmed airplay from Jamie Cullum BBC Radio 2, Gilles Peterson 6 Music, Radio 3 Late Junction, BBC Scotland Jazz House, Jazz FM, John Kennedy X and full servicing to all specialist and online radio stations. Reviews from The Guardian, Mojo, Record Collector, Jazzwise, Nos Magazine, Nowthen and local press. Online support from AllAboutJazz, Quietus, Access All Areas, Bebop Spoken Here and beyond.

German techno auteur Pantha Du Prince (aka Hendrik Weber) releases 'The Triad', his first proper studio album since his 2010 breakthrough
'Black Noise' and 2013's collaboration with The Bell Laboratory, 'Elements Of Light'.

4 tracks from Zavor shows at his most versatile yet and clearly displays the producers talent for constructing both strong atmosphere as well as sheer dance-floor effectiveness.
Enjoy!

Phoebe Killdeer & The Shift is the collaboration between newly Berliner Phoebe Killdeer (Nouvelle Vague, The Short Straws) with experimental musicians Thomas Mahmoud-Zahl (SFX, The Nest, Tannhäuser Sterben & das Tod, Von Spar) and Ole Wulfers (Kapaikos, Party Diktator), supported by actress and singer Maria de Medeiros (i. e. »The Saddest Music in the World«, »Pulp Fiction«).

»The Piano's Playing The Devils Tune« is »free music« in a most emphatic sense: The interplay between the abstract instrumentation on the one hand, equally recalling genres as diverse as noise rock, bass music and musique concre`te, as well as the intimate, concrete humanity of the sound on the other hand establishes a sprawling sonic space that gravitates around the haunting vocal passages of Killdeer and de Medeiros. »The Piano's Playing The Devils Tune« thereby succeeds in combining a decidedly experimental gesture with an urgent, uncanny familiarity and warmth; a precise sense of composition with an almost lavish casualness.

Phoebe Killdeer & The Shift do not resolve the numerous paradoxes that mark »The Piano's Playing The Devils Tune«: The result is an equally challenging and rewarding album that in fact — as played out as this predicate may be — truly defies categorization. Devils tunes.

"THE REVENANT" is the new Alejandro G. Iñárritu one year after the brilliant and Oscar winning "Birdman", "Babel", "21 Grams" and "Amores Perros". Produced and distributed worldwide by 20TH CENTURY FOX, "The Revenant" stars Leonardo DiCaprio and Tom Hardy.

Following the success of 2014's Birdman (Winner of four Academy Awards including Best Picture and Best Director), director Alejandro G. Iñárritu pushes the limits of film making with the survival epic The Revenant. Starring Leonardo DiCaprio (Titanic, Wolf of Wall Street), Tom Hardy (Mad Max: Fury Road, The Dark Knight Rises) and shot in the frozen Canadian wilderness with only natural lighting, The Revenant is a story of loss, revenge and resilience in the face of impossible odds against the furies of man and nature itself. The film is heavily favoured to be a critical darling as awards season gets under way.

Director Iñárritu has chosen to forgo almost all dialogue in favour of a gorgeous soundscape and a sweeping score. A film of this magnitude deserves a composer who understands creative artistry and unbridled passion. Japanese master and Oscar winner Ryuichi Sakamoto (Merry Christmas Mr. Lawrence, The Last Emperor) fits the bill perfectly. Along with fellow Yellow Magic Orchestra member and frequent collaborator Alva Noto, Sakamoto has created a gripping soundtrack that is sure to be a treat for the winter crowds. Bryce Dessner (writer for Kronos Quartet and the LA Phil) also supplies additional music.

Here we are, finally ! After numerous months of hard work,
today is the release day of " Good Vibes "
from SoulChef on Délicieuse Records !


This is definitely a 2.0 project : a beatmaker based in New-Zealand, a french label, some french scratches, some english, north american, swedish emcees, etc. it's a countless number of emails that allowed us to release this beautiful project that you can listen today.


We're so f****g happy to finally be here ! This album sounds old-school, but it's message and conception are definitely modern. Enjoy, Love is the Message !


Soulchef revives with Good Vibes the original spirit of Hip Hop.


The New Zealand beatmaker gives new life to this still living memory that we're honouring on Delicieuse Musique since our inception. Taking us back to our classics, Soulchef shines a new and personal light on hip hop : the result is positive, groovy and true to its initial roots.


Good Vibes is the result of an exchange of more than 18 months between the producer, the label and various rappers. The album is a mapping of a league that helds the oldschool hip-hop standard : there can be found a whole bunch of more or less notorious MCs on it from Declaime to Croosh, a young talent spotted on Soundcloud.


Gathered around the unifying aura of Soulchef, Delicieuse Records decided to step out of its usual field, offering to its public its first Hip Hop release.

Dear Vinyl Enthusiast / DJ,

The tracks on this 2 X 12" received some special individual treatment which I hope you'll enjoy listening to or playing in your local disco as much as I did making the. Box Saga has been a firm favourite of mine for a good 20 years already and although it's baggy pants and loose groove is exactly why I love it so much I thought it would be fun to do a slightly different take on it.

Ü is a recent fave of mine but as the record is super long and has a very DJ-unfriendly ambient intro, I gave it a couple of chops and hope you're brave enough to bring it to the dancefloor where it belongs. The tracks by Joachim Holm & Alejandro Mosso, Actress, Hieroglyphic Being and Blacknecks are all quite sparse to begin with and with the approval of all involved you can now smile or cringe at these "Versions" where I "join the band" on some of my recent favourite records. Thanks to the artists and labels involved for letting me use their music.

Dark Entries and Honey Soundsystem Records have teamed up again to release another volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. Perhaps one of the most revolutionary and influential people in the canon of disco music, Cowley created his own brand of Hi-NRG dance music, ''The San Francisco Sound.'' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create radio jingles and electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. He would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.