Buscar:the flow

Favorite Recordings presents an exclusive collaboration between French producer Bruno ‘Patchworks’ Hovart (Voilaaa, Mr President, Taggy Matcher, …) and Australian NYC-based rapper and poet Nelson Dialect. The two artists met two years ago after Nelson’s gig in Lyon and, of course, they discussed and seriously planned to collaborate one day, both having an everliving love for early nineties hip hop. Then came the quarantine and Covid-19 with Patchworks locked in Lyon, Nelson Dialect in NYC: it seemed to be the right time to do it. A few months later and they finally drop Blue Benz, the result of their long distance collaboration, coming as a beautiful 7inch filled with proper Jazz & Soul Hip Hop vibes.
On A side, « Blue Benz » reminds indeed the best feelings of the nineties hip-hop with its infectious slapped bass rhythm and subtle Rhodes chords, all fiiting perfectly with Nelson Dialect’s serious flow!
On B Side, « Jazzy Blue Benz » offers an alternate take on the same groove, focusing more on the electric guitar gentle slides with a more percussive beat and horns arrangements with a proper NYC jazz
feeling.
From Adelaide, Australia, Nelson Dialect now lives in New York working with Bronx label Red Apples 45 started by AG of DITC and Ray West. Making music since he was 16, he has received critical acclaim for his work with producer Must Volkoff and their most recent album Magnetism. Before moving to New York, Nelson toured extensively in Australia supporting some of the biggest international Hip Hop acts including Mobb Deep, Lupe Fiasco, Ghostface Killah, GZA, RZA, Pharoahe Monch and DJ Premier among many more. He just released a new album Opal Mind with French producer NuTone.

So here we are with another first – the next vinyl debut on Cheezy Crust Records as well as thefirst ever release for the two-piece project that is CVSO which is their „Basic Cuts EP“.
Comprised of Mainz / Germany-based producers Mint Huus who made his solo debut on Cheezy Crust in 2019 and Get In Touch head honcho Willberg their joint venture project CVSO caters a total of four tracks on limited to 200 copies 12“ vinyl, all aptly named after their individual
placement and position on the actual record itself.
Mastered by electronic music legend and pioneer Thomas P. Heckmann the trademark sound of CVSO presented on this EP is informed by classic early to mid-90s Techno and Intelligent Techno vibes with its ever evolving flow and stripped down aesthetic which fuses subtle harmonic changes, spatial meanderings within the stereo field as well as a hypnotic, time-dissolving attitude for heavy dancefloor abuse.
This said, CVSO are aiming for nothing less than their introduction to the ivy league of Techno with these „Basic Cuts“, providing classy, absolutely timeless and expertly assembled DJ tools which are aiming to perfectly blend in with and match the vibe of all those now classic tunes that have never left a DJs bag for a quarter of a century or more, even though CVSO are tackling their sound design and production approach with a modern contemporary twist.

Multi Natural is a new example of Christina’s organic chamber music. We enter nine composed chambers. Nine rooms to inhabit, constructed out of elements that are slowly fusing. The album is a string of semi constant metamorphosis. A gesture appears, is elaborated upon—or is halted and replaced by a new gesture. Multi Natural has multi focal points, quite dissimilar to Christina’s other works that tend to have a more linear path.

Within this album lives a composer who is not afraid to let the content take over. In this, obviously composed work, there is still a large space for all those sounds to act freely. It is almost like Christina is waiting for the music to compose itself. This technique speaks of respect and trust for the listener, since it gives thelistener freedom to personally connect the lines.

When you put the needle on this record, everything turns to stone. The music flows and nurtures. Sounds that come from various realities—molded into a mutual understanding. With each spin, new events catch the ears. Like looking at alandscape, perceiving new details close and far with every gaze.

When Christina warps both time and space for you, it comes to you as a gift.

Atalanta’s hotly tipped Stefan Ringer comes correct with a four-track breeze through deep, hazed out, syncopated house for Second Hand Records. Following standout releases on the likes of NDATL, People's Potential Unlimited and Argot and comparisons with the likes of Marcellus Pittman and Kyle Hall, Ringer is a talent you do not want to pass up.

Though never in doubt, 'Side Notes' sets out Ringers stall for all to see. At points MPC crunched samples lay over the top of punchy basslines and echoed ad libs, at others free flowing keys dance around layered drum loops and off kilter percussive hits.

There’s a cut here for everyone - a deft magic, versatility and spark that you need in the bag.

Tape / Cassette

Ferdinand Domes is an all-round electronic music producer with a current focus on sound design and ambient tracks. Horror Childs Orient is a collection of live drum machine and syntheziser jams that were created live in Ferdinand’s studio. All tracks are a result of a flow in the moment, creating a sonic scene rather than an arranged track. The result is a collection of atmospheric rhythms, grooves and ambience. The focus is on the individual sounds and the characters of the different machines in Ferdinand’s collection; such as drum sounds from the MFB522 and TR626, synth lines from the Kawai 1M, Yamaha PSS380 and Mikrokorg. All run through tape decks and tweeked with Portastudio and guitar pedals creating a raw and warm analog sound.

Coming off a late summer 2020 release on Washington DC’s 1432 R label, Jackson Ryland keeps the momentum flowing with a 4-track self-release 12” entitled Acting Careless. The tracks were recorded between 2018 and spring 2019, intent on embodying a DJ’s record that could be thrown on at different moments and emotions during a set. The freeflowing, laidback and freewheeling feeling behind the house & warehouse party sound of DC inspired the recording process. Borrowing from the past few years’ experience recording at high speeds with the Rush Plus project, Acting Careless continues that same rhythmic intensity with a more uplifting and spiritually cleansing angle. A happy push-pull balance between fierce and sweetness.

Landscapes of dystopian worlds, both emotive and driving,
unveil new forms of life here as Nightdrive’s “Miracles” LP
travels through the far east regions of house and techno with
this 10-track release. As this marks “Rough Cuts 02” for Too
Rough 4 Radio, “Miracles” is as much a transcendent force
of ethereal tunes as it is effective for any dance§oor. What
you’ll uncover across this release from this St. Petersburg
based producer is a traversing blend through IDM, Deep
House, DnB, and Techno through the lens of lush,
atmospheric soundscapes

Black Truffle is proud to announce the first vinyl reissue of Rafael Toral’s Aeriola Frequency, originally released by Perdition Plastics in 1998. Toral made his name in the world of mid-90’s experimental electronics with two releases, Sound Mind Sound Body (1994) and Wave Field (1995), both now recognised as classics and reissued on vinyl by Drag City, which saw him exploring the potential of electric guitar and pedals to immerse the listener in seemingly endless waves of sustained tones. On Wave Field, inspired by the striking resonance effects he experienced during a Buzzcocks gig with bad acoustics, he achieved a synthesis—often imitated but never bettered—of rock guitar, Ambient, and the acoustic exploration of Alvin Lucier, a kind of "liquid, abstract flux of rock sound".

On Aeriola Frequency, Toral continued the explorations of Wave Field but dropped the guitar, creating a series of extended pieces using only a simple feedback loop designed to work with pure electronic resonance. The result is far more delicate than Wave Field, a steady but unstable flow of filtered tones that continually reorder themselves into new forms. On both the LP’s sides, the tones, like growing plants, imperceptibly shift from drifting freely in ambient space to weaving strangely natural melodic patterns, as the loops unfold and the resonance gently outlines recurring rhythmic shapes.

The overall effect is strikingly organic, as David Toop noted in the liner notes included in the original release (and reprinted in this reissue): “A crystal garden, the sound grows in reeds and streams, blown like spider web strands, glittering and invisible, pulsing with translucent colour, bubbling and imploding, fraying and powdering.”
A classic of the non-academic approach to electronics that flourished in the 1990s— and a big influence at the time on Black Truffle head honcho Oren Ambarchi—Aeriola Frequency ushers listeners into an endlessly fascinating world of gliding tones and shifting details that they might never want to leave.

- Recorded at Noise Precision, Portugal, December 1997 and April 1998. Remastered by Rafael Toral in 2020.
- Liner notes by David Toop and Rafael Toral.

Following up on their debut LP Kick Drunk Love for Marcel Vogel’s Intimate Friends imprint a few years back, we are proud to present the next installment in the sporadic KAMM legacy: Cookie Policies.

Far more sonically rich and musically adventurous than its predecessor, Cookie Policies sees the band make bold strides into new territories where classically hardwired categories such as jazz, indie rock, and electronica melt into one another with immaculate, timeless ease.

The band members’ positions are more clear cut as well this round, with Marc David Barrite (aka Dave Aju, who also did one of his coveted mix engineering jobs on the LP) on prominent lead vocals in many of the pieces, Alland Byallo on trumpet, Kenneth Scott on synth bass, and Marc Smith adding guitar sections while the others shared the arranging and programming duties. This makes for a deeper continuation of the otherworldly combination of their known individual production styles, as well as a musical whole truly greater than the sum of its parts.

The set starts off with “Bird Call”, whose opening ode to Morricone ok corral-meets-samurai showdown riffs flow into a loose and drifting psychedelic boom bap blip, building until a glorious change-up of key and energy brings the track to its peak and deconstructed back down. “Rachel, the Largest Bullfrog” then takes things in a sweeter, slightly more traditionally-structured direction where dusty indie-folk ballad vibes intersect with an array of twisted cosmic tones, bits of computer keyboard percussion, and deep rolling sub bass. “Buckle Down” then moves things back away from acoustic restraints into a beautiful synth-laden musing on potential regret, with an ultra-potent horn section from Byallo vs a nasty stacked Roland SH-101 finish.

“CCBPGC” cools things off for a few minutes with an ambient field recording slice-and-dice motif, which slowly but surely evolves into a slinking jazz noir groove from another dimension. The more traditional song structures return on the lovely “La Luna”, where Barrite’s pen and soulful voice take to nautical longing themes over apropos waves of sonic textures. The ebb and flow of the verse/chorus sections eventually rise and give way to an absolutely gorgeous denouement. “Shleem” then takes us into pure unadulterated soaring sci-fi soundtrack ambient blast-off bliss, while the epic closing track “The Soft Glow of Electric Sex” gives a hearty nod to early masters of sprawling psychedelic jam sessions, from Pink Floyd and Can to In A Silent Way-era Miles and Liquid Liquid, while bringing it clearly into futurist millennia. The gradual evolution of the piece into its grand finale is the stuff we true music-lovers live and die for. We hope you enjoy the ride as much as we do.

Joan Baez is one of the most influential performers in folk music
history. She was a leading light in the musical protest movement
led by Pete Seeger. This brought her into contact with an up-andcoming young troubadour named Bob Dylan, whom she met in
1961 in New York’s Greenwich Village. Her self-titled debut
album, 'Joan Baez', brought her
to public attention following her discovery at the 1959 Newport
Folk Festival – her first professional engagement
coinciding with the first festival. A plainly produced, live-sounding
vocal and guitar album featuring a repertoire of traditional folk
songs, it put Joan firmly on the map. In 2007 she finally picked up
a Grammy for lifetime achievement.

Warok music releasing the fourth featuring collaborations with various artists, from breakbeat techno to mental driving techno.

In the Ponorogo series, Warok is continuing revealing the story behind the label which is inspired by the fascinating Indonesian culture.

French artist JC Laurent returns to label with a hypnotic cut in collaboration with label co-founder Coltur entitled "The Vault" featuring syncopated, spacious rhythms, zappy synths revolving underneath the reverberating bass grooves before Enemy Records' Blenk & Materia's Ruhbarb join to create a shimmering techno roller in the form of "Day One" which pulsates with breaky drums and rubbery modulations.

On the flip, Skrypton's Moteka & Shekon provide a psychedelic experience within "Gallia" featuring tunneling oscillations, rising synths and undulating effervescence taking you on an otherworldly trip until Eyth & Hearthug round things off with "Patchworks" which offers up acid squelches, alleviating, angelic pads and scattered, broken percussion which keeps the enthralling energy flowing until the end.

Sasanami" is the result of a dialog between the Japanese photographer Yamamoto Masao and the Japanese musician Uchida Akira (with 
Miu Sakamoto at the voice) initiated by IIKKI, between October 2019 and August 2020.

After to have worked as a saxophonist for several years, Akira Uchida, in 2007 learned piano tuning under Mr. Satoshi Yoshida. Planning and holding "Sound workshop" which is to introduce how to interact with various sounds from the viewpoint of sound turning. In 2015 while he was learning from Mr. Masahiro Adachi, Akira Uchida started to create a Clavichord (keyboard instrument), invented in the 14th century. 
"Making instruments, tuning sounds, being a musician, this flow is essential for me to see the world".

Yamamoto Masao was born in Aichi Prefecture, Japan in 1957. He started to photograph when he was 16 years old. He also studied painting but later chose gelatin silver print as his media. His first gallery show in the U.S. was in 1994 in San Francisco. In 1996 he had a solo exhibition at Yancey Richardson Gallery in New York. His works have been shown in Europe since 2006. Besides Japan, U.S.A., and Europe, his museum and gallery exhibitions were held in Moscow and Sao Paulo. Media coverage includes NY Times and other major art magazines. Yamamoto lives in Yatsugatake Nanroku,Yamanashi Prefecture where he enjoys creating his work while being close to nature.

German techno and house composer Tim Engelhardt takes you on a deep dive into his peculiar-yet-relatable world of musical meanderings with ‘Idiosynkrasia’. True to the nature of idiosyncrasy, the album is more than the sum of its parts.

‘Idiosynkrasia’ is an ode to the inspiration Tim finds in all kinds of spaces and places: each cut woven from the same cloth of meticulously formed melodic structures and expertly crafted harmonies, gently amplified and unfettered by genre. From the opening track it’s clear that Tim has a profound awareness of rhythm and sound, his background as a pianist lending an easy fluidity to the album as it expands and contracts to tell a story which is gentle, humble and reflective.

Using granular processed recordings of piano, floating strings and other instruments to transmute emotions like love, nostalgia, vulnerability and longing, the album shifts through meditative, flow-state inducing tracks, morphing into cuts designed for dancing it all out.

Take it straight, mix it up or down: ‘Idiosynkrasia’ is cinematic in form and orchestral in structure, each track is marked with Tim’s unique sonic signature and careful attention to instrumentation.

Inhale the spirited and lively flow; exhale and surrender into epiphanic moments: this is an album which will catalyse deep breaths, reflection and a different way of thinking.

Motus is more (to me) than just music made with analogue synthesizers, it is about attitude, a way of relating to sound and the (e)motion it affects. A lifestyle, where movement, being moved and moving become one. My practice is vibrational, about the skin, touch and surfaces and the gaseous medium in between. I dream of a dance floor where Motus would be enjoyed. What kind of world, or rather, what kind of society would allow that? And when? Is this futuristic? A situation-to-come, where the understanding of music expands greatly, when blissful moments are independent of simple melodies, where harmony appears beyond I-V-vi-IV chord progressions, when the techniques of social alienation, which determine the use of all the drugs that accompany recreational music, are reversed into creative tools of exploration. ‘Motus’ is part of this exploration: to find dance, free of clock, and groove, free of rhythm. There is pulsation, and the downbeat connects to the downward beings as in stones and minerals, the upbeat connects to the upward beings as in grasses, flowers, trees and stars. Binding both together, connecting sky and earth, is the dancer. The moves / the movement is pure. It is the kiss of spirit and matter.” (Thomas Köner)

Brothers Reginald Omas Mamode IV and Jeen Bassa come together as Mama Odé on full length album 'Tales And Patterns Of The Maroons'. At its core this is a classic "hip hop" format LP - but have you ever heard Creole Sega Rap Roots music before? Of Creole descent from a group of African islands that transiently have hosted many settlers, west African slaves, colonialists and the potentially indigenous East African-Malagache Maroons; the brothers have an inherent spirit of diversity that runs through their recordings. Musical influences consist of jazz, funk, blues and reggae to un-placeable but definite Afro-drum patterns, through to their Golden-Era-Rap vocal flows, which have a sure nod to ATCQ and Slum Village. The album's deep grooves overwhelmingly seed optimism, subscribing to a positive future drawn from historically multi-ethnic ancestral lines. The brothers' natural vocals carry messages of unity, love and well being as well as a conscious questioning of humanity's ill practices and ideas.

Part 2 of the compilation series sees the journey evolving, this time with a more upbeat affair. Not much has changed in terms of selection, as we continue to draw inspiration from the wider world, we bring to you the sounds of artists originating from Argentina, Japan, Netherlands, Portugal, Brazil and the UK. Beyond the restrictions of this physical realm, let you ears nourish the mind & soul as they traverse the world for you…

Argentinian resident Silvio Astier introduces us to the record with the aptly named ’Santa Maria del Buen Ayre’ - the former name of his hometown Buenos Aires. Easing us in with a wonderfully atmospheric piece, carefully mixing simple percussion patterns with his own well-crafted luscious guitar work.

Next up, we have Japan native/Berlin resident Kotoe continuing the flow of downtempo sounds that slowly settle us into this compilation. ‘Ondami’ conjures up images of a distant dream… the floating vocals and echoing chimes capable of drifting the listener to a place of blissful escapism.

The tempo is turned up a notch for the last track of side A, provided by UK born folklorica maestro El Buho. Renowned for his love of merging the traditional and natural sounds of South America with modern electronica, ’Swifts’ certainly ticks those boxes with an added touch of dance-floor-ready groove.

Portuguese native duo Oxhala continue to push the sounds on the flip side into heavier territory. ’Earth Spirit’ builds from an amalgamation of stomping tribal drums, hypnotically playful keys and distorted vocals, channeling the listener to our innate primitive spirit - this is one for the body & mind.

Dutch party-starter Mytron’s contribution ’Oil’ provides the fuel for the party as he turns to fast-paced conga rhythms, cowbells and elephant trumpets. These exotic sounds bounce along with ever-persistent energy to create the soundtrack to a hedonistic carnivalesque celebration of all things wild.

If you haven’t already peaked with the previous offering, Brazilian native El Peche wraps things up nicely with track ‘Rastro De Fogo’ (ft. Mari Branco). Tripped out vocals phase in and out as the track is dominated by a tight bassline before delicate keys bring in a softer element to finish.

Even if you don't know her name - you will know her voice. It's 'Melbourne's High Priestess Of Soul' Kylie Auldist's unmistakable vocals on the 2016 global dance hit 'This Girl' by Kungs vs Cookin' on 3 Burners - the track that not only topped almost every pop chart across the planet, featured in many TV shows, adverts and films and social media memes, and has achieved over 1 billion streams & climbing. But of course, that's far from the whole story. Kylie established her enviable reputation as the featured vocalist in the awesome Australian outfits The Bamboos, and Cookin' On 3 Burners, and her fantastically well received solo albums for Tru Thoughts; 'Just Say' (2008), 'Made of Stone' (2009) and 'Still Life' (2012) and 'Family Tree' Freestyle Records (2016). Kylie's brand new album - 'This Is What Happiness Looks Like', her first for Greg Boraman's brand new label Soul Bank Music, further develops the musical approach she began on it's predecessor 'Family Tree' - and is very firmly entrenched on an electro boogie tip, rooted deep in the New York club scene of the early 80's. The opening track 'Everythink' sets out that 1980's electro-boogie sound and then fuses it with the song writing of a classic Wham or Hall & Oates tune - it has an infectious, slinky Moog synth bass line that will lodge itself in people's minds. Kylie's simply stunning vocal performance on this breezy and summery tune will surely make it a future classic. Producers Warren Hunter and Lewis Moody skills in the studio have brought forth many musical highlights on this album, but special mention has to be made for Is It Fun? This is where a brilliant and incredibly infectious composition is further enhanced by some top notch instrumentalists, perfectly executed production, a simply beautiful vocal performance, and results in what should surely end up being an anthemic, brand new 'soul weekender' style classic. Soul boys & girls, funkateers and disco fans won't be able to stop themselves falling deeply for this new collection of tunes, because it's not only a highly original take on a classic sound, but it was conceived, performed and recorded with a genuine passion and love, as Kylie says "Some albums are written fast, some take a long time, some albums experience setbacks, become beset by creative blocks and personal issues, and can generally be a whole lot of hard work which makes you question why you even bothered to start it in the first place - this was not one of those albums - hence the title 'This Is What Happiness Looks Like'!

Rian Treanor returns to Planet Mu for his raw and energetic second album "File Under UK Metaplasm". The enigmatic, sweaty energy of Tanzanian singeli and Chicago footwork are juxtaposed with slick, high-def bass weight which sits at the centre of the album. Opening track 'Hypnic Jerks' is the perfect example of this, with crinkled percussive loops cut through by machine-gun kicks and acidic wobbles. Elsewhere, 'Vacuum Angle' takes Sheffield's Warp-ed legacy and brings it crashing into the future, with rhythms collapsing into static and noise but never deconstructing or losing the flow. 'Debouncing' meanwhile folds gliding square synths into rattling dancehall kicks, joining the dots between SND, Equiknoxx and Wiley with a neon Sharpie. "It's using all those formulaic dance structures but just slightly mangled or messed up," he says. "I'm still focused on making dance music for clubs, but how far can you push that before it's just no."

Over the years, the sonic world of Heist has grown into a place where energetic house, live instruments and worldly electronics move together in the most natural way. We're very proud of the fact that we can showcase artists that cross boundaries or simply create their own universe, while keeping a strong connection with the identity of the label.

Our next release, the 'Exposures EP' by Teleseen, fits perfectly into this aesthetic. Teleseen is the main project of nomadic DJ, producer and multi-instrumentalist Gabriel Cyr and draws influence from deep house, afro house, samba, batucada as well as the experimentalism and sound system cultures of his home town NYC. His sound leans heavily on polyrhythmic programming and he's nothing short of a synth wizard. His 'Exposures EP' features 3 originals, and a remix by Berlin based Italian house guru Black Loops.

The record features a number of collaborators and recordings of various instruments, ranging from percussive sections to synths and guitar. This live approach to electronic music is one that is deeply rooted into Gabriel's work. His upcoming release on Soundway as 'Thaba' is another good example of this approach and also shows how diverse his sounds really is.

The title track is a thrilling synth affair with tribal-like chants running through a vocoder. The combination of handclaps, crunchy synths and steady drums make for a thrilling afro house track that hints towards early motor city electronics.

Black Loops is known for his deep grooves and built his fame with his releases on Freerange, Pets and Shall not Fade. His take on 'Exposures' sees him upping the tempo to a pacey 130 bpm, where an introvert vibe of reverbed hits and bleeps take you into full dream mode. He expertly chops up the original into a contemporary track that fits somewhere between high tempo tech-house and minimalistic deephouse.

On the flip we get to hear more of the sonic world Teleseen has to offer. 'Dekalb' is a track that seems impossible to box into a genre. Its mood is set by a lovely section of free-flowing Rhodes chords and the chopped vocals and open synth- bass give the track a whole new feel. It is that ballsy electronic edge combined with dreamy textures and live rhythms that give 'Dekalb' its unique vibe.

The final track of the EP -'Transfer'- takes us down to a mid-tempo percussive workout with a balearic twist. The steady electronic groove and the free flowing guitar take you to yet another corner of Teleseen's beautifully crafted universe.

Enjoy the music and play it loud!

Yours Sincerely,
Lars & Maarten