Anton Klint has been on our radar for a good 10 years now with killer releases as Tiedye on Italians Do It Better, and under his own name on Public Possession, 2MR and Hivern Discs just to mention a few.
Since 2016 he's also been running the label Tryck & Ton together with his old Tiedye sparring partner Edvin Edvinsson.
We're psyched to have him onboard and we hope you are to!
Prins Thomas, January 2020
Music Mania and Indica Dubs is proud to present the 16th release: Dubs Convention LP. This killer LP was originally released in 1996! This joint album features UK Dub legends; The Bush Chemists, and The Dub Organiser.
This gem shows the true 90s Dub vibes through the raw mixing skills used throughout the album. From the lightening sounding reverb on the snare, to the phasing phaser on the chords; this is the sort of original sound that shaped the Dub scene into the “steppers style” that it is today!
The original artwork of the cover and labels have been maintained to keep the authentic look of the original pressing from the 90s. As well as the original master tapes to keep the audio at the best quality possible!
On »Tekkno Polo«, which was originally released on cassette and as a download by Oficyna Biedota in 2013, Jemek Jemowit addresses his Po-lish roots unsing the means of disco polo power. Disco polo is the Polish version of Italo Disco. It completely ignores everything that made Italo Disco great. It is known for its slightly bad arrange-ments, 3-tone melodies and forced rhyming, using pre-set sounds from the 1990s. On the EP Jemowit deals with total anti-patriotism (»An-typatriota«), grotesque hyper-patriotism (»Bigos») and Americanized over-patriotism (»Born in the PRL«). The EP ends with an anti-love-song (»O milosci«), using lyrics from Polish crooner Marek Grechutas’s »Będziesz moją panią« from 1970. The EP has been remas-tered by Jeans Team’s Franz Schütte in 2020 to stunning effect.
part 8[26,01 €]
Still deeper forays into the musical landscape of the Windrush generation. A dazzling range of calypso, mento, joropo, steelband, palm-wine and r’n'b. Expert revivals of stringband music, from way back, alongside proto-Afro-funk. An uproarious selection of songs about the H-Bomb and modern phones, prostitution and Haile Selassie, mid-life crisis and the London Underground, racism and solidarity, the Highway Code and a 100% West Indian Royal Wedding.
For example some frantic British-Guianan joropo music-hall about Eatwell Brown from Clapham, who starts out biting off a piece of his mother-in-law’s face at a party, then devours everything in his path… a chunk of Brixton Prison, a Union Jack, a policeman’s uniform. Or Marie Bryant — collaborator of Lester Young and Duke Ellington — taking time off from skewering the South African PM Daniel Malan at her West End revue, to contribute some arch, swinging filth about uber-genitalia. Superior sound, courtesy of Abbey Road, D&M and Pallas; lovely gatefold sleeve; full-size booklet, with full notes, and fabulous previously-unseen photographs, including a set from the family archive of Russ Henderson (who led the first, impromptu Notting Hill Carnival march, in 1966).
Tommy McCook was not only a founding member of the legendary Jamaican Ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of Jazz, R&B and in fact most music styles would always add another layer to any song put his way. This made him the go to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes.
Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At the tender of 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the Swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his Jazz technique and upon his return to Jamaica in 1962 began working Coxsone Dodd’s Studio One and became involved in the development of Ska. His knowledge of Jazz, R& B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Jackie Mitoo (Piano), Lloyd Brevett (Bass), Lloyd Knibbs (Drums), alongside Tommy himself on Tenor Saxophone. The group would back all the major Ska vocalists pf the day and would also go on to cut a catalogue of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid’s Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (Guitar), Neville Hinds and Winston Wright (Organ), Gladstone “Gladdy” Anderson (Piano), Hugh Malcolm and Arkland “Drumbago” Parks (Drums), Clifton “Jackie” Jackson (Bass), and Tommy and Hernon Marquis (Saxophone). The more laid back sounds from 1966-1968 would be given the name Rocksteady of which again McCook was at the forefront. The top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound.
We have compiled a great selection of rhythms that featured McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horns men.
We hope you agree like we do that they do this in fine style.
Sotomayor is the electronic music project with afro latin influence by siblings Raul (music production) and Paulina (vocals). It is a dance music project that fuses rhythms like cumbia, afro beat, dancehall, Peruvian "chicha" and merengue with futuristic electronic beats.
The band debuted in 2015 with "Salvaje," an album that allowed them to perform in several festivals around the globe in countries like England, US, Mexico and Colombia.
The album received excellent reviews from foreign media in countries like Japan, Australia, United Kingdom, Chile, United States and Colombia. They also appeared in more than 25 lists of the best of the year from medias from all around the world. 2020 will see the release of "Orígenes" their 3rd studio album trough the NY based label Wonderwheel Recordings.
This album was recorded between Mexico and Puerto Rico, and was produced by the 28 times Grammy Winner Eduardo Cabra aka "Visitante" from the legendary band "Calle 13." In this production Sotomayor explores a new Afro Caribbean vision in the music, much more dance floor focused, and highly influenced by percussion
Maceo Plex's Lone Romantic welcomes ManEater for a superb debut single that comes backed with a remix from the ever-excellent Alinka.
ManEater is a mysterious name with no online profile but an evocative sound that goes way beyond the dancefloor and well into the future. They make music that is much more than club fodder, instead cooking up cinematic and evocative landscapes.
The excellent 'Hurry On Up' is an expansive electro trip to the edges of the cosmos. Distant pads shimmer like forgotten planets, crisp claps and slick drums make for a frictionless groove that always keeps you moving and the ominous bass and soulful vocal cries finish the whole thing in real style.
Chicago native Alinka is enlisted to remix. She is known for her weird and idiosyncratic take on house on labels like Crosstown, Classic and her own Twirl and is one of the most exciting names in the current Windy City scene. Her fantastic version of 'Hurry On Up' is harder hitting, with tough drums and a lead arp that lights up the whole track with a late night menace.
This is classy electro that really makes a mark.
xDream is the re-awakening of the child spirit. The child spirit lives everywhere: in our memories, the corners of our emotions, moments of mischief and euphoria, and whispers in the trees. In our youth, it grew from a seedling into the shape of the internal conscience, that little voice in your head that tells you right from wrong. The debut album by Dasychira features contributions by fellow artists Malibu, Embaci, and Baby Blue, as well as live violin by Iglooghost collaborator Vivek Menon and voice acting by mirukii and daisyvoice. Dasychira completed an Asia tour this year performing A/V sets with Yikii in Shanghai, Shenzhen, Hongkong, and Shenzhen before going to Seoul, Taipei, and Tokyo. xDream was released digitally on Halloween 2019 via Blueberry Records x UNSEELIE with music videos by Awe Ix, Dante Capone, Slama & Delong, and others.
Big mental (in)spirally tribe from Keja on the A side... Peacefull deepness...
The flip opens with more nervous item called Les Fondamentaux, the force of the Kick adding driving Harfloor.
Then comes 2 experimentals interludes... Mental electronica deeply good !!
Last tune is back to normal with a very good dancefloor feeling and structure !
Excellent Opus !
2 mental progressives tunes on the A Side. The flip opens with a very psychedelic track, naturally sounding as if you were irie... The last track is a dub tune, quiet collector of a style ! A very active processus... Sonic illusion confirmed ! And then will come teh first Reggae track on mackitek ! With Malcom & Jerash, Dub Sensi style !
For the 10th Shaw Cuts release, Lazarus and Farron join forces on their new collaboration project Pollaar, defying Pai Mei and his alliance with the ruling Manchurian Court who aim to quash the revolutionary rebels. Crane and tiger techniques vs. the seemingly invincible versatile villain and his squad.
The story begins when Pai Mei and his entourage raid the shaolin temple where the rebels have found refuge. Only a few rebels and students escape the attack, among them, Hung Hsi-Kuan. "Haslam" and its blasting drum patterns paired with bright sounding synth fragments help Hung Hsi-Kuan and his copartners to safety. They finally find a safe haven with a traveling opera group. Along the way, Hung encounters the fair Ying Chun, herself a master of the crane technique. They fall in love and have a son, Wen-Ting. Hung could not forget though, and dedicates himself to mastering the art of the tiger style for the next ten years, to finally compete against Pai Mei. The superiority of Pai Mei in the following clash is accentuated by the vigorous drum punches and spacial undertone of "Bonucci Unit". But Pai Mei spares the wounded Hung's life, letting him go. While Ying Chun teaches her son the crane style, Hung devotes himself to relentless tiger style training for seven more years, to challenge Pai Mei once again.
"P-9" and its forceful breakbeat punches, energizing pads and resonant percussion, sets the tone of the duel resulting in Pai Mei's victory and Hung's death. Wen-Ting vows vengeance and continues to tirelessly perfecting his crane style while still dedicated to learning the tiger style. Both combined is the only way to defeat Pai Mei. One year later, Wen-Ting is ready and embarks on the journey to Pai Mei's temple. The menacing and gritty atmosphere of "Compound" and its spellbinding groove filled with abstract machine sounds pushes Wen-Ting to his limit. The white-bearded master has been vanquished, but is he gone forever? Judge for yourself...
After a few other successful projects, Franck Biyong, French-Cameroonian Afrobeat composer, guitar player and singer is back on Hot Casa with a hot futuristic Afro-Brazilian club anthem. The similarities and filiations between traditional West-African drumming and Afro-Brazilian religious musical rites are many: under colonial rule African people and African slaves outwardly practiced
Christianity but secretly prayed to their own God, Gods, or Ancestor spirits. So we aimed at keeping the gritty urban menacing sound and poetry of Afrobeat with the percussive mass rumble of Batucada and poignant beauty of Carioca. We then got in touch with Cristina Violle, the first lady of “Samba de Roda” in Paris who graced us with a startling inspired and heartfelt melody. The first completed version of the song then briefly went on alternative radio, we also made plans to release a vinyl version, but for one way or another we shelved the project, without thinking we would get back to it again…until a few months ago. We went back to the studio last summer and started ironing the song again from scratch. That same initial spirit and energy caught hold of us again from the day we started and we worked relentlessly to create a balanced but experimental track, showcasing rootsy sound, pop instrumentation, tight world beat drumming, song structure, jazzy horns, spacey synthesizers, choral-like vocal harmonies with call and response figurative vocals.
We now proudly present this brand new record; Like our predecessors years ago, we subconsciously did our best to keep alive a longtime tradition of cultural tradition of African Artistic
Renaissance, pushing further musical themes of contemporary African sound. To be continued…
'IMB12001' shipping to You in a designed Uni Cover with a Sticker of the Label "The Inbeciles" on it!
This is the music for our times; our darkening times. The Imbeciles are making the soundtrack for the world we really live in, which is set to become increasingly angry, unhappy, unfair, and messed up. “The world is slowly imploding.” That’s the warning from The Imbeciles, and the message behind its first album. The idea of what to do emerged like a surprise attack.
“I don’t even know where it came from… it ambushed us,” says Butch Dante, of the band’s forthcoming self-titled debut album. “To us it looks like mankind will endgame itself in this millennium, and probably within the next 100 or 200 years. The Imbeciles as harbingers of that fall. We’re pointing out that the world is imploding, for many reasons — environmental, political, technological, and ultimately because human beings themselves forgot how to be humane, how to be kind.”
“Saying we are political would infer that we have some faith in the political system. We don’t. Or that we have answers, a solution to prevent this coming slow apocalypse. But we don’t. We are sitting at the side of an innocent-looking pool saying: hey, you’re drowning but you don’t even know it. And we’re giving you some music to listen to as you go down.”
Inspired by the likes of Wire, Devo, Gang Of Four, but utterly unique, a new form of avant-garde art punk, against greed and mendacity. The band’s forthcoming album was recorded deep down at Sonic Ranch on the Texas/Mexico border. All analogue, in seven days. Produced by Calvin Voltz.
Latest single “D.I.E.” is “a lament for the end of the world. With references to global endgames. They’re grim. All self-inflicted. The chorus is epic when played live. It’s incredibly passionate. People really get into it.” And now it’s been remixed.
Red Rack'em's take on is wonderfully curveball as one might expect; homing in on one unique part of the vocal and making it the fullcrum, from which his psychedelic, deep-house, hardcore jazzathon is then able to blossom and unravel before your very eyes. Atmospheric, experimental and hooky too - clever business from the Bergerac boss.
Next up we have the amazing Oliver Ho and his Broken English Club. Here we witness a more flagrant and faithful use of stems, and through layering both the band's parts, and instruments of his own design - he transforms 'D.I.E.' into a towering slab of dark and raw, industrial EBM.
Berlin / NY collective Climate of Fear releases its debut EP, “Laika’s Revenge” by тпсб – two tracks of sorrowful and menacing technoid expansions. Side A’s “Escape Pod” shimmers like a mirage on a desert landscape, nearly evaporating in the heat; on Side B the title track is five minutes of roiling thunderstorm ferocity. Following his breakout 2018 lp “Sekundenschlaf” on Blackest Ever Black, “Laika’s Revenge” expands on the artist’s fevered vision of the dance.
Auf "Small Favours" - der 6–Songs Vinyl–Auskopplung des Albums "Favours", verbündet sich Elektronikmusik–Zauberer Wolff Parkinson White mit verschiedenen SängerInnen, unter anderem Norah Jones, Natalie Beridze und Pascal Leboeuf.
Wolff Parkinson White's typisches Maschinengewehr–Feuer aus manipulierten Audio–Splittern steht hier in krassem Kontrast zu der Wärme der menschlichen Stimme. Seine erste EP–Veröffentlichung auf Nonplace bedient sich an vergleichsweise bekannten Liedstrukturen und beantwortet die Frage, wie ein Projekt von Björk und Venetian Snares klingen würde, wären sich beide jeweils der Nachteile diatonischer Monotonie und der endlosen harmonischen Wüste bewusst.
Die 6 Tracks der EP wurden von Labelchef Burnt Friedman persönlich von den 13 Album–Tracks ausgewählt. Der Schlagzeuger Jochen Rückert, der hinter dem Spitznamen "Wolff Parkinson White" steht, spielt auf "Heaps Dub" (nonplace20) von Root 70 und "Coptic Dub" (nonplace27) von Hayden Chisholm's Projekt The Embassadors.
Banging acidcore for the start with ITO, a 160 BPM dancefloor destroyer.... The second tune from 3Sans3 and L1Sekt tribe-drive mental and clear 170 BPM. Second side strats with a Kebrat 173 BPM kick and a long mental break... Records finishes with Radikal 715 at 162 BPM, dark and mental tune. Well done !
Samuel Rohrer CONTINUAL DECENTERING With his Arjunamusic label and a growing catalog of categorydefying releases, Samuel Rohrer continues to quietly, yet confidently, make a name for himself as a genuinely unique Gigure within the European electronic music realm. In the current era, talk of blurring boundaries between musical genres and attitudes is more the rule than the exception, but not always something done with any degree of success. Rohrer is one of those rare alchemical explorers to have truly created a hybrid which is all his own, one that does not just exist to melt distinctions for its own sake, but is a natural result of years of experimentation with both the determination of electronic music and the ludic spirit of ‘free improvisation.’ On his newest offering, Continual Decentering, this vision is applied to a set of mostly in real time (live) performed explorations. In keeping with his many years’ worth of fruitful collaborations, the tonal palette on this new record is one that is expectedly rich for those familiar with his work, yet still surprising in terms of how exactly the differing tonal colors come together. Representative tracks like Spondee and The Fringe are brimming with dub pulses, noir shivers and blooming timbral variations that are in many places carefully isolated / focused and in other places blended together in vivid fusions. In terms of the emotional atmosphere created here, the pensive and questioning tone hearkens back to the ‘wide open’ state of electronic music in the mid-late 1990s, yet with a greater clarity and maturity of vision that makes this music feel like a possible answer to aesthetic questions being raised at that time. As with Rohrer’s most recent solo work, like the Range of Regularity LP, Continual Decentering showcases the artist’s skill in turning the drum kit into a lead instrument. While the term “lead instrument” denotes a kind of exuberant “Glash,” or a clear separation from the rest of the voices in an ensemble, we can take the term to mean something different throughout this listening program of 13 short vignettes: that is to say, everything else within the audible environment exists to complement the character of the percussive playing rather than to stand apart from it. It helps that Rohrer has, in fact, developed a unique and complex hybrid system in which drum hits trigger modular synthesizer processes, the use of which makes for an incredibly fluid response time between distinct sonic events. In contrast to the previous Range... LP, this new offering is propelled less by interlacing threads of intensity and more by a shared sense of deep listening. As displayed on pieces like All Too Human, there is a profound sense of attention to silences or thoughtful pauses that maybe hints at another crucial aspect of Rohrer’s style: over the course of this program, we tend to hear the player not only playing but listening, an activity which makes perfect sense given the sense of instrumental dialogue already mentioned. All of the above come together to give Continual Decentering a “live”-ness that will easily translate from recorded document to dynamic performance.
