Life has changed in the eight years since the release of II. In ours, yours and Gala Drop themselves. Most times without noticing it, partly due to those two years of a semi-existence that still resonates and with the ongoing predatory gentrification process changing the landscape and life of Lisbon, home to the band since ever. Close to a decade and a half of existence, with various mutations along the way enacting new perspectives and moments of stillness and reflection to a sound that's been mutating itself to its own internal rhythm and agency under the guiding light of the core duo of Afonso Simões and Nélson Gomes. Now a trio, with Rui Dâmaso transitioning from II after the departure of Jerry the Cat and Guilherme Canhão, Gala Drop sound even more focused as a working band, with their new album title Amizade – friendship in Portuguese – making perfect sense in a celebration of their, by now, patented soundworld of cosmic inspiration: krautrock's endless and hypnotic potential, dub's sense of transient space, the throb of house, balearic dreams, polyrhythms and a communal sense of belonging.
Again, this sprawling sphere of influence opens itself to new shapes and inspirations, but there's a deeper sense of accuracy and direction, with the band channeling those legacies into something we can only grasp as the Gala Drop sound. An organic outcome of working steadily as a trio, made possible by a residency promoted by gnration in Braga, Amizade dwells on the psychedelic nature of the group through seven tracks made up of dreamy synth washes, loads of percussion, echoes, chilled guitars under a radiant aura. Gala Drop have never sounded as openly dubby as on 'Dub da Meia Noite' and 'Areal Dub' or capable of converging different tropes of the hardcore continuum – rave stabs and cut up vocals – on a slow burner as memorable as 'Monte do Ouro'. Or given free reign to electricity as on the narcotic guitars of 'Guitarra Voadora' – excepting the one off with Ben Chasny on 2012's Broda. 'Amizade' points towards all of that with comforting escapism and wrapping things up 'Raio' turns dubstep's original bass weight meditations into a cosmic funk workout. One last hug before we leave. An album that feels like a collective moment of celebration, just when we most need it.
Afonso Simões - Drums, percussion and synthesizers
Nelson Gomes - Electric guitar and electronics
Rui Dâmaso - Electric bass & guitar and synthesizer
Recorded by Budda Guedes at Estúdio Mobydick, Braga
Mixed by Gala Drop and Hugo Valverde at Estúdio Cão Andaluz, Lisboa
Mastered by Anne Taegert at Dubplates & Mastering, Berlim
Cover photo by Sara Graça
Design by Nicolai Sarbib
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Odd Mob returns with a kaleidoscopic new record ‘Been Dreaming’ and introduces his alter ego GD Vandal. As the first official release under this moniker for Brisbane-based Harry Hope, he sets out to combine the very best of Odd Mob’s banging basslines with the lo-fi, disco stylings that GD Vandal has become known for in his exclusive raw cuts.
Swirling with a mysterious ‘90s-tinged vocal loop, his flair for working a sample is on full display throughout ‘Been Dreaming’, which is both dynamic and determined to get you moving. Propelled forward by energizing percussive grooves and one tasty guitar riff working flawlessly in tandem, prepare to be magnetized to the dancefloor as Odd Mob’s signature juicy low-end takes over.
On the flip, the dance floor warper ‘XTC’, melding industrial leaning sounds with a thumping baseline and hypnotic vocal.
Whether it’s as Odd Mob or GD Vandal, or combining the best of both worlds, one thing is certain: there’s no doubt he knows how to craft an absolute banger.
- A1: Dr. Jeckyll & Mr. Hyde - Genius Rap (7" Single Version)(1981)
- A2: Run Dmc - It's Tricky (1986)
- A3: Rob Base & Dj Ez Rock - It Takes Two (Radio Edit) (1988)
- A4: A Tribe Called Quest - Can I Kick It (7" Radio Edit) (1990)
- A5: Dj Jazzy Jeff & The Fresh Prince - Summertime (Single Edit)
- A6: Da Brat - Funkdafied (1994)
- B1: Cypress Hill - Insane In The Brain (1993)
- B2: Wu-Tang Clan - C.r.e.a.m. (Cash Rules Everything Around Me)
- B3: Mobb Deep - Shook Ones (Part 2) (1995)
- B4: Fugees - Ready Or Not (1996)
- B5: Nas - Ny State Of Mind (1996)
- B6: The Beatnuts - Watch Out Now (1999)
- C1: Outkast - Ms. Jackson (2000)
- C2: Clipse - Grindin' (2003)
- C3: Dead Prez - Hip-Hop (2000)
- C4: Three 6 Mafia - Poppin' My Collar (2005)
- C5: Too $Hort - Blow The Whistle (2006)
- C6: Ugk (Ft. Outkast) - Int'l Players Anthem (I Choose You)('07)
- D1: Travis Scott - Goosebumps (2016)
- D2: 21 Savage - A Lot (2018)
- D3: Doja Cat - Streets (2019)
- D4: Future - Mask Off (2017)
- D5: A$Ap Rocky (Ft. Skepta) - Praise The Lord (Da Shine) (2019)
- D6: Lis Nas X (Ft. Billy Ray Cyrus) - Old Town Road (Remix)(2019
- D7: Bia - Whole Lotta Money (2020)
Two mavericks, out on the weekend, trying to make it pay...
"Maverick was the word that came to mind when I listened to this music. A slightly wayward independence of spirit and outlook. The word originally referred to an unbranded male calf that had become separated from the herd (because Texan rancher Sam Maverick was so negligent in his branding - ‘if it ain’t branded, it’s a Maverick’). But Sam’s grandson Maury Maverick gave it a different twist in his short but stormy Congressional career as the only liberal member of the Southern Democratic caucus. Maury was so out of step with his own folks that he not only voted in 1937 to make lynching a federal crime, he even addressed the House to condemn the practice as barbaric. His attempt to ban racist mob murder sadly failed, but it’s that refusal to march in step which distinguishes the two ‘mavericks’ who made this record.
Who would attempt to combine cunning ethnological forgery, Scottish folk songs, claw-hammer guitar, untutored horn-tootling, elastically relaxed drumming and garage electronic fuckery? Only Greg and Stefan, high on sea, sunshine and mis-judged micro-dosing – that’s who. ‘Don’t drown’ was offered as practical advice during the self-described ‘Yellow Submarine’ phase of making this record. And while they managed to avoid literally doing so (phew), they sound here like they got pretty ‘deep in’ to an Octopus’s sound world all their own. This surprisingly clear analogue recording has just enough Bikini Bottom grit to ensure traction. The tunes are inviting, and the sonic disruptions are too good-natured and goofy to upset even the most delicate digestion.
The sessions have had a couple of years to marinate, courtesy of some pandemic, and are here offered in that most Archducal of vinyl formats, the double ten inch. What are you waiting for, a side of Crabby Patties? Get your water-wings and dive in (unless you’re tripping)!" - Bruce Russell (The Dead C)
Pumice is the long-running, endlessly inventive project of New Zealand native Stefan Neville (1974), whose shambolic music is equally reminiscent of Kiwi pop groups such as The Clean and Tall Dwarfs as well as the country's experimental noise-rock bands like the Dead C. Largely recorded solo by himself on junky equipment, his songs typically feature blown-out guitars, wheezing chord organs, and vocals disguised by tape hiss and static.
Greg Malcolm (1965) is a guitarist from New Zealand who has played everywhere on the globe and with all most everyone, including Rosy Parlane, Toshimaru Nakamura, Tetuzi Akiyama and Bruce Russell, as well as solo releases on his own label, Corpus Hermeticum, Kraak and Celebrate Psi Phenomenon.
A new artist on the Citizen Records / Clivage Music roster, Vhinz is a musician based in Brussels. After taking his time to break onto the electronic scene, he’s now ready to share Belvédère, his debut, dreamlike album, confidently intense, sweeping between cinematic songs and soaring, epic electronic sounds.
Vincent Honca is Belgian, with Armenian roots and a love of keyboards: the mini synth he used to play as a child, the classical piano of his years of training at the Académie de Musique, the Yamaha synth of his teenage years... During the noughties of his adolescence, electronic music was omnipresent in his life as he listened to and admired Daft Punk, Moby, Vitalic, Air and The Chemical Brothers. He also went out dancing, a lot, in the nightclubs and parties of Brussels and the vicinity, and soon his love of computers, technology and synthesisers led to him producing his own music. “I wanted to create beautiful textures with synths,” he says. “I wanted to have fun and discover the possibilities. As part of the internet generation, I taught myself everything I know through reading magazines and checking the forums.”
Vincent went on to become a computer programmer and decided to make music in as much of his spare time as possible. His first productions came out in 2015, including “Drastical”, one of three deep house dancefloor-orientated tracks recorded with none other than Kris Menace. “At the time I was really searching for my musical identity,” explains Vincent, and progressively his music started to lean towards another of his passions – films and film music. “I’ve listened to soundtracks a lot since I was a teenager, and they’ve been a big influence, in particular the music for Heat by Elliot Goldenthal, Gladiator (Hans Zimmer), Saving Private Ryan (John Williams), The Last Temptation of Christ (Peter Gabriel), The Virgin Suicides (Air) and Leon (Eric Serra).” Coincidentally, Vincent has already worked on two independent Belgian films by director Christophe Karabache, UltravoKal and Vortex, both collaborations with Michel Duprez.
Now Vincent has chosen the name Vhinz, bringing together his expertise with machines and computers, his passion and enthusiasm for the electronic sounds of his adolescence and his adoration of cinema’s powerful, impactful soundtracks. Vhinz’s first track is thus called “Aether”, a track brimming with character and confidence, with sung-spoken vocals that sweeps the listener up in bewitching synthetic themes and drums like an off- kilter heartbeat. The track perfectly encapsulates the Vhinz sound, and Citizen Records – the only label he sent it to – immediately loved it and were ready to release a 12” with more. “Then Covid and the lockdown happened, and everything came to a complete halt,” remembers Vhinz. During those long two years without anything being released, the project continued its gestation and has now grown in a mini-album of eight coherent, fascinating tracks. “I really wanted a strong concept for everything, and so was born this album that I’ve called Belvédère. I imagined myself on a belvedere with a panoramic view of the world, channelling all the emotions it elicited in me into music.”
Belvédère is a dreamlike debut album, confidently intense, sweeping between cinematic songs and soaring, epic electronic sounds. It’s a place for Vhinz to showcase his dreams, talk, sing and invite others too: Margot Ferro sings on “Le Passage” and “Envole-moi”, and Michael Meers lends his vocals to “Evolution”. “My album tells a story, with the tracks in chronological order. There are both times of hope and darker periods of my life, with sadness and love,” meaning that listeners are invited to experience a suite of different emotions and be swept along by the author’s musical daydreams. Musically, the album falls somewhere between Moby, Vitalic, Air and Serge Gainsbourg, with a density and atmosphere that are completely Vhinz. “With Belvédère I was looking for beauty, but also something darker, dirtier, more organic. The album is the culmination of that.”
Mahalia is set to release her brand-new, sophomore album titled ‘IRL’ on July 14th with the pre-order set to go live on May 11th.The album will feature the singles ‘Terms and Conditions’, ‘Cheat’ and ‘In My Bag’ with album features including Stormzy, JoJo, Joyce Wrice and Kojey Radical.
Aptly titled IRL, Mahalia is particularly incessant on doubling down on vulnerability, internal reflection, and a desire to feel, in the realms of love specifically as demonstrated on her last project. “I feel like there’s even more personality on IRL. I want people to see me how I see myself.” Emboldened by her inflections, insights and young adulthood, Mahalia is not only breaking the mould on IRL, but determined to live life cognizantly. “This is a real reflection of the journeys I've had, what actually happened and a celebration of everyone who got me there. There are names and family members I mention because it all helped in shaping who I am,” Mahalia rationalises. With an innocent, yet assured gleam appearing on her face, “I’m so proud of this project, and so proud of how much I challenged myself to just let those stories out.”
Christened in many Grammy, BRIT, Soul Train and MTV Push nominations over the years, as well as two MOBO-wins for Best Female Act, and Best R&B/Soul Act, Mahalia still proves that beyond the accolades, an overarching dedication to persistence is what’s driven her to look inward, grow and ultimately challenge herself with each and every release to date. Standing as one of British R&B’s most successful contemporary faces, Mahalia continues to grow and establish herself in both her tact as an artist, but in building more robust ruminations sonically. As she evolves, her success becomes even more bonafide, both on home turf, but abroad too (she’s cracked the US Adult R&B Charts three times to date).
With her legion of 3.3M monthly Spotify listeners, the penultimate Saturday slot on the West Holts stage at this year’s Glastonbury festival and an opener performance for Adele at Hyde Park last summer, as well as a stellar prime-time Commonwealth Games closing ceremony set, there’s more territory to break. “I’m almost glad Love and Compromise didn’t go completely sky high, it’s given me room to keep developing, keep growing and go higher than I’ve ever been before. I’m so ready to bridge the gap now, I feel like I’m absolutely playing the long-game.”
On June 16th momentum continues apace for Alex Paterson’s Orbscure records, with the new album by Chocolate Hills – his duo project with Paul Conboy. Purveying world class melodic ambience and plenty beyond, colours in this high-fidelity-headphone-wonderland range from languid chill, kitsch exotica, library music, space age pop, ye olde folk and even drum and bass – all seasoned with (in)appropriately random plunderphonics from Paterson’s infinite goodie bag. Loosely based around a nautical journey to the Bermuda triangle and back, this is a fantastic voyage, but seas remain calm – more ‘Life Aquatic’ than ‘Moby Dick’. Tracks gently bob and float on bass which is roomy and buoyant like the hull of a ship, whilst luxuriously fluffy clouds meander overhead, before their vessel dives deep below to marvel at aquatic delights, guided by sonar. Paul Conboy’s approach as a member of cult analogue tinkerers Metamono – who use no computers, only old pre-digital gear – has carried over into his new joint venture. Both groups write, record and perform at same time, then later edit for release. For ‘Yarns from the Chocolate Triangle’ Paul set himself and Alex up with assorted gear, including a record deck, synths and drum machines, then the pair recorded the raw version of the album on the fly. These long live jams where then then discreetly augmented, embellished and edited, with a nip and tuck in Logic. As well as releases as A.P.E. on Dorado and Far Out recordings, TV and film scores plus his ongoing membership in Metamono, Conboy recorded three albums as part of Bomb The Bass, with whom he also toured Australia jointly with The Orb. On a boat trip over to Bali, Paul made Paterson pancakes, and their friendship was sealed. Having stayed in contact, many years later the duo began an exploration of ideas with their 2019 debut ‘A Pail Of Air’ on Painted World records (who’ve also released records by Nik Turner from Hawkwind, Youth, Roger Eno and Jaz Coleman). So far the duo have performed a low key gig at Paterson’s unofficial lair The Book And Record Bar, plus a bigger stage at the Roundhouse, alongside Leftfield, GAS, Ulrich Schnauss and System 7. Clearly making a lasting impression on Alex, the duo’s name was first referenced on The Orb’s own ‘Chocolate Hills Of Bohol’ remix of their single ‘Assassin’ in 1992, which was the same year Alex got blown away when visiting the prehistoric geological formations and enchanting jungles of the Bohol province in the Philippines.
Having released remixes for the likes of Fatboy Slim, Röyksopp, Moby, Kaskade and PNAU, Sydney-based producer LO’99 serves up a vinyl release with four of his rave-leaning jams that have been doing the business across the globe. The four tracker includes the tension building ‘Echo In The Dark’ that has been getting spins from the likes of Solomun, Dom Dolla and Fisher and the percussive thumper ‘Bumpin’’ supported by Adam Beyer, Gorgon City, Claptone, Anna Lunoe and many more.
Reissue of one of the Ultimate Soukous banger !
Originally recorded in 1992 in Paris , « Eki Bis « is a party classic. The chorus « 100 % 100% » became a common expression all over the world helped by the hypnotic guitars of the maestros Diblo Dibala and Rigo Star and a smashing uptempo electro acoustic drum beat.
Le Cobra de Sundama is a famous singer from Kinshasa (Democratic Republic of Congo ) who composed more than 12 albums backed by great band such as Empire Bakuba , and was considered as The voice like Kofi Olomide or Papa Wemba mixing lingala and French street expressions.
After many concerts and tours allover the continent , he finally settled in Angola . The B side features a Dj / radio edit with the addition of few electro synths . Produced in Paris by the great producer Jacky Toto and now officially licensed.
Remastered by The Carvery and pressed on limited 500 Deluxe vinyl copies
If 2021’s “Sometimes I Might Be Introvert” catapulted Simz into the big leagues, crashing into the top 5 of the albums charts, collecting Mercury Music Prize, Mobo, Ivor Novello and Brit Award wins and earning her the biggest live audiences yet in the UK and Europe yet, “NO THANK YOU” is yet another delicious left field turn for 29-year old Simbiatu Ajikawo.
Sleek, succinct and utterly propulsive, it’s Simz’ defiantly punk rock, two fingered salute to conformity and fame, and all the expectations and restrictions that come with. Recorded with her regular collaborator Inflo, this is Simz at her most free, daring and spontaneous.
Chart-topping afro house label MoBlack Records, favoured by the likes of Dixon, Black Coffee and Ame, returns with another scintillating four track sampler. Deep, emotive, richly textured afro-infused house cuts from the likes of Emmanuel Jal, Zakes Bantwini, Mowgan, Yass and Fnx Omar.
The first VA release from Scottish rave Headset, showcasing unsung Scottish artists making sound system music in any tempo.
LWS opens with a broken UK techno tool. Kamus follows with a halftime 90bpm techy stomper.
On the B-side, Aggregate Culture go hardcore jungle rave. With Delahunt closing the EP with a unique, dubbed out 160bpm number.
Pressed by Mobineko (Taiwan)
DJ approved by Hodge, Yushh, Feena, Om Unit, Peverelist, Chris Farrell (Idle Hands) & many more
Having been given the seal of approval from Rolling Stone, NME, TheFace, Danny Howard (TOTW), Jack Saunders (TOTW), Zane Lowe, Mary Anne Hobbs, Matt Wilkinson and more. An artist on the rise and poised to soon be one of the world’s most recognisable names, in the last year alone, Nia has won a MOBO award for ‘Best Electronic/Dance Act’, the NME Award for ‘Best Producer’, been hotly tipped by BBC Radio 1 Dance as a ‘Future Star’ and Spotify as their ‘Our Generation’ cover star. With additional accolades such as #3 in the BBC Sound of 2023 Poll and a Brit nomination for the ‘Rising Star award’. Alongside her cover debut on one of the world’s most prestigious dance music publications, Mixmag, Nia Archives has been given the seal of approval from tastemakers across the board from British Vogue, Pitchfork, The Fader, i-D and CRACK. Sunrise Bang Ur Head Against The Wall is available across retail on Limited Edition Red Vinyl and will be released on Friday 10th March. This game changing EP features ‘Biana’, ‘So Tell Me’ and brand new single ‘Conveniency’ released on Friday 3rd Feb.
Die Nautik Doom Metal Meister AHAB stechen endlich wieder in See!
Acht Jahre nach ihrem von Fans und Presse gefeierten, letzten Studio Album „The Boats Of The Glenn Carrig“, welches 2015 als erstes Nautik Doom Album ever die deutschen Album Charts enterte, sowie der Veröffentlichung von „Live Prey“ (2020), wird die Doom Metal Größe AHAB im Jahr 2023 ihr 19-jähriges Bandjubiläum in glorreichem Stil feiern. Dieses Mal inspiriert von Jules Verne’s Meisterwerk 20000 Leagues Under The Sea, kehren die Wegbereiter eines ganzen Genres am 13. Januar 2023 mit ihrem fünften Studioalbum, The Coral Tombs, über Napalm Records zurück!
Die Meister des Nautik Doom Metals interpretieren musikalisch wie seither einen maritimen Roman. Doch Album Opener „Prof. Arronax’ descent into the vast oceans” entpuppt sich zunächst als Überraschung, als ein Sturm aus Blastbeats über den Hörer herein bricht, bis er in die epische Erhabenheit unendlicher
Melancholie-meets-Heavyness eintaucht, die AHAB’s unverkennlichen Sound definiert.
Auf dem Album geben sich hochkarätige Gäste wie Chris Dark von ULTHA sowie niemand Geringerer als der Meister des extremen Dooms höchstpersönlich, Greg Chandler – Sänger und Mastermind von ESOTERIC – die Ehre.
AHAB haben vor rund 19 Jahren nicht nur das Schiff ihres Genres erbaut und steuern es bis heute, doch mit The Coral Tombs werden sie ohne Frage unerreicht als eine der besten Funeral Nautik Doom Metal Bands die Top- 2023- Album Listen des Jahres anführen!
The third release from Edinburgh-based rave Headset, showcasing unsung Scottish artists making alternative house, techno, garage & breaks in dubby styles.
Debut release for DJ Posture, straight outta Livingston, providing 4 tracks of spacey, deeper House & Beats.
Pressed on heavyweight 180g vinyl
Mastered & cut by Optimum Mastering in Bristol (Livity Sound, Tectonic, Pressure Dome)
Pressed by Mobineko (Taiwan)
DJ approved by Hodge, Daisy Moon, Gulia Tess (Rinse), Chris Farrell (Idle Hands) & many more
- A1: Ekonda Musicians - Généalogie De La Walé (Rumba Rules Edit)
- A2: Brigade Sarbati - Rando
- A3: Lumumba Ya Muana - Tozozela Ba Ancêtres
- A4: Brigade Sarbati - Edenda
- A5: Église La Résurrection - Nzambi Ya Babo
- A6: Werrason - Block Cadenas
- B1: Brigade Sarbati (Choeur) - Ma Descendance
- B2: Brigade Sarbati - Tshouna Baby
- B3: Papa Wemba - Excuse Me (Live Au New Morning, 2006, Rumba Rules Edit)
- B4: Franco Et Le Tout Puissant O K. Jazz - Kinshasa Makambo (Live From Télé Zaïre, 1982, 2022 Remaster)
- B5: Lumumba Ya Muana - La Vie Est Belle
The official soundtrack of the 2021 'Rumba Rules, New genealogies' documentary movie by Congolese artist Sammy Baloji and Quebec filmmaker David Nadeau-Bernatchez. A deep dive into Kinshasa’s vibrant Rumba scene, including remastered classics by Brigade Sarbati, Werrason, Papa Wemba, Franco & le Tout Puissant O.K. Jazz
Rumba Rules, New genealogies is about contemporary rumba in Kinshasa, but this music has deep historical roots nevertheless. Born in the interstices of the colonial world and thriving during the three decades of the Mobutu era in Zaïre, Congolese rumba has been iconic and popular all over Africa for decades. The roots of Rumba are even deeper, and the many paths it evokes trigger the imagination. The story goes that this music came with the migration of the ‘Kumba’ drum and dance in previous centuries, African slaves having carried it all around the Americas and giving birth to Cuban ’Rumba’, Colombian ‘Kumbia’ and many others. With its varied rhythms, guitars and horns, through LPs and radio stations, Rumba came back to (re)conquer Africa throughout the 20th century, paving the way for new practices. One could say this music is a sort of palimpsest, a memory in itself of Atlantic migrations and histories.
Rumba is nowadays discussed all around the world, igniting many debates among the Congolese diaspora. Being the constant talk of the town sometimes overloads public debate, and many people get tired of this broken record. Thus, over the last decade, enterprising producers have worked hard to promote Kinshasa’s musical diversity and tried to emulate new sounds to reach worldwide attention. But Kin’ locals and urban dwellers will not be fooled : new shoots cannot hide the forest. Despite some difficulties to innovate, despite the pastoralist sermons and the diaspora fighters pushing for concert cancelations, rumba is still at the core of the Congo today. Talented artists such as Fally Ipupa, Ferré Gola, Brigade Sarbati and others are leading the fifth generation, and the religious world has also proven to be a nurturing environment for the cultural and economic dynamism of this music.
Focusing on the music of Brigade Sarbati and his Orchestra, this record offers a deep dive into Kinshasa’s rumba scene. Halfway between professional studios and Zoom H4 field recordings, the rumba herein is about today’s youth: dense, full of energy and breakdowns, insights and name-dropping. The cavacha rhythm, the solo and bass guitar’s playing style, the singing style and numerous dedications all resonate with the history of Rumba. In an era where digital sound is taking over, it is interesting to highlight the instrumental and live performance compositions of this music. Digital technology is indeed used during the recording and mixing phases, but Congolese rumba still relies strongly on instrumental playing. There is all that but also, many other things to hear on this record… It’s time to let it be. A big thanks to Étienne Tron for making it possible: it is on his initiative and through his patience that this album is in your hands today. (David Nadeau-Bernatchez, december 2021)
- A1: Les Pensees
- A2: L'usine A Disques (Duke Ellington & Louis Armstrong Remix)
- A3: Dreader Than Dread (Feat L'entourloop & Skarra Mucci)
- A4: Who's The Real Skinhead? (Ska Edit)
- B1: Old Mob Blues (Feat Shaolin Beatmaker)
- B2: Design Of The Future (Feat Dizzy Dustin (Ugly Duckling)
- B3: Streets Of Neryhi
- B4: The Earth Is My Witness (Feat Caminuksuk (Bloc)
The Architect is an artist that travels through styles: Swing, Jazz, Electro, Soul, Funk and Hip Hop... A real digger of hidden samples, he is also beatmaker for the famous collective L'Entourloop! 2019 marks its big comeback, with the announcement of a new album and a new immersive live under the name of The Architect & the Unique Orchestra. The 1st EP of the beatmaker The Architect entitled "Foundations" is finally available on vinyl more than 6 years after its original release in 2013 !
Drumcode continues its commitment to releasing the scene's most cutting-edge techno. With releases this year already from Adam Beyer, Pig&Dan, Alan Fitzpatrick, Dense & Pika and Julian Jeweil, this July see's the return of Enrico Sangiuliano with 'Astral Projection'.
After his remix of Moby's of 'Why Does My Heart Feel So Bad' back in November last year, Enrico sought creative inspiration from his travels, transcending that into his productions and long studio sessions during the winter months. The result brings a mind and body melting release from the Italian producer.
The title track 'Astral Projection' is a captivating, big room techno masterpiece. Deep reverberations punch alongside a sinisterly crisp percussive drive. Launching into a groove laden synth modulation of low end textures, it breaks down into an ethereal amalgamation of pads and synths before the vocal launches, taking this track to another level.
'Blooming Era' has destructive dancefloor intent. There is no holding back with the low end synth modulation which Enrico has mastered to perfection. A tightly woven percussive flare moulds flawlessly with the rolling oscillations of the beast of this track.
If you have seen label head honcho Adam Beyer playing anywhere on the globe in the last 5 months, this has been a peak time favourite. Road-tested to the max, and with much success.
Coyu's remix for 'Natural Blues' was just the prelude for our big hommage to one of the biggest pop and electronic music artists of the 90's, Moby.
We are proud to have this great bunch of remixes of some of the classic Moby's anthems, with different options from Deep House to Techno, for a wide range of DJs and music lovers.
Four awesome artists, Victor Ruiz, Julian Jeweil, Reinier Zonneveld and Oxia deliver seven remixes of tracks like 'Natural Blues', 'Go', 'Porcelain' and 'Why Does My Heart Feel So Bad'. Enjoy the package!




















