Debut single from the mighty Tim Maia! Released upon his return from the USA in the late 60's. Highly sought after and prized in its original form, we are very proud to reissue this record.
Maia sings in English here - influenced by his time spend travelling and working in the USA. Both songs are very soulful, reminiscent of the great soul singers of 1960's USA, who were clearly a powerful inspiration to him. Official Mr Bongo reissue. Licensed from Som Livre.
SJ Tequilla continues to build on his small but well formed discography with a new EP on Bright Sounds. His three originals come backed with a remix from cult producer SW. SJ Tequilla has released on his own Shot Of T imprint and DJ Fett Burger s Freakout Cult since debuting in 2017. The Japanese born, Berlin based artist is also close to Sex Tags Mania and regularly holds it down at OHM Club as well as for busking on his live, vintage hardware jams around the streets of Kreuzberg.
The opener is a six minute house bumper with a classic lead acid line and plenty of Detroit pads. The pinging analogue drums are lively and elastic while more thoughtful keys are draped over the top. SUED man SW. steps up to remix and brings a mixture of pad laced serenity old school rave basslines to his hard hitting drums. The B1 is another rugged mix of live sounding drums, acid snuggles and rueful keys while ambient synths stretch off to infinity. Last but not least, B2 sinks into a blissed out dub house vibe, rolling deep and smooth and showing off Tequilla s ability to cook up far sighted synths that have real emotion. This is an EP well school in traditionalism but that also brings some fresh skills and ideas to the grooves.
22a presents a collaborative project with the Polish jazz septet EABS and featuring Tenderlonious on flute and soprano saxophone. Strictly limited to 1000 copies worldwide, this 12' of deep jazz is housed in colour sleeve and
includes an insert containing sleeve notes and photos. The Electro Acoustic Beat Sessions collective (EABS) are without doubt the most accomplished jazz group in the world right now. They have a unique and
innovative approach to music, fusing elements of Polish and classic jazz with hip hop, funk and folk. Their debut album 'Repetitions (Letters to Krzysztof Komeda)' is a dedication to Polish Jazz legend Krzysztof Komeda that focusses
on compositions by Komeda between 1962 and 1967. The album explores Komeda's lesser-known compositions featured in ballet etudes, movies, short films, documentaries and animations.
'Kraksa/Svantetic' is the final part of a dedication to Krzysztof Komeda, recorded straight to tape at Radio Opole in Poland. Polish jazz has had a big influence on 22a and Tenderlonious and working with
EABS became a priority after hearing their album. Tenderlonious was therefore delighted to accept their invitation to go out to Poland to perform with them.
For Shelley's on Zenn-La, Oliver Coates designs a complex of bending truths and reverse walkways to vernal states. Open ears can peer down hidden aux channel corridors, while melodic patterns present two-way mirrors to rooms of other retinal colors. An endless euphoria is just beneath the dance floorboards of Shelley's, and an inquisitiveness unencumbered by the institution of knowledge surrounding its frame and inhabitants.
One Instrument presents ""One Instrument Sessions", a new format on which each artist shows a more personal narrative of the sound experiments they compose.
Neel opens the series with a solo record including "Aria", a 20 minutes long piece made with the E340 Cloud Generator of Synthesis Technology, and "The Morning After", composed with the Roland SH-01A.
The E340 Cloud Generator is an oscillator which Neel says has always been a fan of. It has eight sines and sawtooth VCOs with unique modulation capabilities. "Aria" came to life while he was preparing for a live techno set: when he stopped the recording the oscillator kept running producing the sound and tones audible in the composition.
The Roland SH-101 is Neel's favourite synth. "The Morning After" is one of the 9 experiments he created while using the boutique version of the machine.
This highly prolific UK Drum and Bass producer returns with his second Tempo Records release. This work sees Alex' Judd rhythmic tweaks and overlays of texture with intricate melodies, heavy dub basslines giving the tracks a live & energetic feel. He draws out each track with his own distinctive craftsmanship and still giving them space to breathe. ''U Got me'' might be his best work to date but that's just our opinion. ''No Hype'' on the flip side says it all; music shouldn't be a hype but this release surely creates a huge buzz with all the dj's worldwide. This release comes as a limited 140g crystal clear vinyl pressing with full artwork sleeve + white glossy inner sleeve, including a mp3 download voucher + a free poster/inlay and all tracks mastered by Stuart Hawkes of Metropolis Mastering London.
Early Dj Support & Feedback
More Coming Soon!
Ltj Bukem thanks For Sending'
Grooverider good'
Icicle thanks, I'll Support No Hype On Rinse Fm'
Dj Flight nice Release, U Got Me & Loved Up Are Probably My Picks On First Listen. Will Play The Former This Weekend.'
A-sides no Hype', Thanks!'
Doc Scott thank You'
Drumsound & Bassline Smith nice One'
Gremlinz dope'
Hyroglifics (aka The Executioner) nice Ep!'
Villem hype Hype Hype'
Lynx yesssss Not A Media Hype!'
Chromatic nice Ep, Big Up Alex!'
Dj Clarky great Tracks On This'
Dj Chef (ministry Of Sound) big Ups Full Support'
Dj Tendai (swerve) loved Up Is Sublime'
Dj Kalm great Release Thanks!'
6blocc love The u Got Me' Track'
Earl Grey u Got Me Is The One, Badness.'
Arkaik will Be Supporting 'no Hype' Thanks'
Bulletproof Tiger (nyc, Usa) always A Pleasure To See Tempo In My Inbox. Biggups Y'all'
Dj Ros (addiction Fm + Label, Poland)'!'
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Radio & Podcast
Coming Soon!
Icicle (rinse Fm) thanks, I'll Support No Hype On Rinse Fm This Thursday 20-09-2018'
Dj Chef (ministry Of Sound) big Ups Full Support'
Onedek (origin Radio Uk) awesome!!!!!'
Andre (soulsurfer - Bassdrive) now This Is A Strong Release... I Agree That This Is Alex Greatest To Date. U Got Me, Loved Up And Feel Good Are Immediate Favorites. Support In Club And Radio!'
Benjamin (the Dance Mission Dnb Show - Kiss Fm Australia) cool Music'
Overfiend (bassdrive) superb!'
Stunnah (bassdrive) big Release!!'
Chris Muniz (insomniac / Bassrush) mashing It Up Proper!'
J Swif (dnb Hq Podcast) dope Release Duded, 'feel Good' Is The One!'
Stanislav (zima - Czech Radio 1) gonna Play no Hype' Today... Cheers. Stanislav'
Matze (urban Wildlife / Syncopix Records) 5/5 The Rework Of Sweet Sensation Is Killer. The Crowed Loved It. Cool Arrangement And Use Of The Vocals. Feel Good With It´s Long Bassline Is Also A Most Functional Dance Floor Banger. Thanks For This One!'
Jose (nas Radio Show - Brazil) awesome Crazy Material Right Here'
Simon (see You Next Life Podcast & Night) soul Intent Fan Here So It's All Good. Cheers!'
Francesco (delta9 Recordings / Podcast) interesting And Diverse Album! All Are Great, Fav Are Loved Up And No Hype'
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Reviews Blogs & Magazines :
More Coming Soon!
Julian (mixmag Germany Dnb Reviews) i Really Enjoy loved Up'.
Aliina (jungledrumandbass) big Up !!
Matthew (one Hour One Dj) great Tunes. Particularly Feeling The Two 2 Sides, Loved Up And Feel Good. Lovely Gritty Rollers.'
Rohan G. (dj Mag Spain) pow!'
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Returning for his second full-length LP of 2018, DJ Bone steps up once more to his own Subject Detroit imprint to present 'Beyond', a full-length and physical rumination on his own emotive and psychedelic contribution to contemporary techno. Loaded with the dynamics, charisma and widescreen appeal of his finest work, 'Beyond' sees Bone enter a musical state that reflects it's ambitious title, celebrating underground ideals in a style that could only be his own.
The second in a trilogy of albums to be completed in early 2019, 'Beyond' is culled from a sequence of no less than fifty tracks completed by the esteemed Detroit DJ and producer upon returning to his home city in 2017. With it being "unfathomable" to release an LP of that length, Bone has nonetheless captured this wave of creativity and a reconnection with his home city, along with the cathartic sense of soul and energy at the heart of his attitude to dance music.
Across 'Beyond' listeners can sink into an unrelenting sequence of tracks that speak from his experimental, musical and always unexpected mind. LP opener 'Dreamers 7' reaffirms his taste for offbeat electronics shot through with rigid dance floor dynamism; a theme reaffirmed quite literally on the forceful centrepiece, 'With A Vengeance'. Elsewhere, Bone delights in blurring the lines between exotic, futurist ambience on tracks such as 'Techno Aint Techno' and 'Ahhh Life', while further cementing his reputation as master of sheer, unrelenting rhythm on 'True Definition' and 'Rosedale Park'.
Austrian Ken Hayakawa keeps up Stripped Down Records' fine run of form with two new tracks that get remixed by John Tejada and Whitesquare.
Hayakawa's mother is Japanese but he hails from Salzburg. He is formally trained in piano and has performed Beethoven's music in a number of prestigious venues. That melodic, minimalist style still informs his own output and over the last decade has come on the likes of Audiomatique and Upon.You.
Superbly soothing opener 'Sonic Wave' is a brilliantly warm and spaced out deep house track that voyages into the cosmos. Dreamy pads drift by as muted acid lines flesh out the supple, subtle drums. It's a late-night groove to really get lost in.
American tech house titan and long-time Kompakt associate John Tejada steps up to remix and takes things even deeper, with pulsing, sonar-like acid blips and icy hi hats all working on melting your mind as warm, gurgling bass drives things forwards.
It is Italian producer and DFTD, 2020 Vision and Freerange house master Whitesquare who then remixes. He brings plenty of spine-tingling chords to his version, which is deep yet driven, with layer upon layer of rich sound all oozing real soul.
Hayakawa then finishes things off in style with 'Lost,' a brilliantly atmospheric track that is cavernous, dubbed out and finished with exquisite ambient details that cannot help but calm you.
This is a beautiful EP of deep, dynamic house music.
It has been a good year for Idle Hands. The label reached its 50th release with a release from Livity Sound's Pev and November saw the release of Parris' latest 12' featuring a KMOS remix.
For the labels final vinyl release of 2018 it is the turn of Stockholm's Pistol Pete. Idle Hands boss Chris Farrell has long been a fan of this artists work. He may not have put much out over the years but each release has found a welcome home at the Bristol record shop from which the label operates.
On this release we find three club focused House tracks, each exuding a warmth one would hope for in these cold winter monts. 'Orphan' opens the set with crunchy, swinging drums and the deft use of a sample. 'Lundagatan' continues things apace with some concentrated drum programming and a chopped up soul sample. 'Esqpads' rounds things off with a warm Deep House feel and grooving bassline.
On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.
Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.
"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.
Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."
Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."
At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.
a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February
For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template.
The result is a true third act,in McDowall's career, that has seen him peregrinate from the late-70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the 80s and 90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.
With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall's boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.
Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener "Rhizome", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.
Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.
Packaged within a thick sturdy matte sleeve jacket featuring artwork/design by artist J.S. Aurelius (Ascetic House/Marshstepper).
For this third release on Dais, Drew McDowall reaches into concept, ritual, and immersion, in an exercise of unravelling the DNA of hallucination. The Third Helix is McDowall's product of deconstructive exploration, twisting the fibers of being into new structure, shape, pattern, and pulse, without reconstituting its inscribed template.
The result is a true third act,in McDowall's career, that has seen him peregrinate from the late-70s art-punk of the trio Poems to his work with Psychic TV and Coil throughout the 80s and 90s, into his current home of New York City, where he has composed with CSD, Compound Eye, as well his solo work. That triangulation is central to The Third Helix, as it begins with his dive into the existence of a sensory toolkit unique to McDowall before twisting faculties and reconfiguring consciousness by honoring inherent power, cognizant of memory yet agnostic of context.
With the tenet that journey is rarely linear, but rather an omnipresent oscillation of matter, sound is stripped to salient and primal, propelled by McDowall's boring into the core of memory and impulse, suturing together the silent awareness of excogitating experience.
Featuring eight new tracks of McDowall's dark, experimental electronics, including the opener "Rhizome", The Third Helix is a churning descent into emotion, provoking thought and reflection while carving out haunting space only to fill it with baffling and wondrous structures of layered sound. McDowall solidifies himself as an architect who transforms otherworldly materials into something fascinating and challenging in the process.
Unnerving, trancelike anthems for nervous meditation and anxious relaxation, fans of Coil will immediately connect and immerse, while the complex compositions welcome listen for drone and ambient enthusiasts.
Abstand is a duo project by Martin Brugger and Simon Popp, both members of the Munich-based jazz group Fazer. On their debut 12 Opek they provide off-kilter polyrhythmic percussion psychedelia, layering live and unedited drum tracks blended with sparse electronics that add a subtle Middle Eastern tint. On the B side we're treated with a remix by Stefan Schwander aka Harmonious Thelonious. The Salon des Amateurs denizen serves us a pulsating and more club-leaning take showing why he can always be trusted with turning live percussion into bold, hypnotic jams for the perceptive clubgoer. The Munich-Duesseldorf axis has once again been proven fertile and we will likely hear more coming out of that connection.
Deep'a & Biri curate a bevy of much-respected underground techno specialists to further unravel and reimagine the vital and sophisticated sounds of 'Dominance', their full-length LP released earlier in 2018.
Midnight Operator, the collaborative project of Mathew and Nathan Johnson, begin the set with their trippy and transcendent take on 'False Memories'. A rare remix from the pair, their return has been worth the wait; an expertly executed techno excursion, it simultaneously burrows deeper into the psychedelic textures of the original, while providing a club-centred kick.
Further blending the experimental and the physical, Peter Van Hoesen provides a typically complex and compelling take on Voltage, deconstructing the original and expanding each element in myriad, rave-specific directions.
Deep'a & Biri enlist rising Dutch DJ-producer Deniro contributes a rolling, hypnotic version of Dominance's spectral centrepiece, 'Alpha Cephei', while Z.I.P.P.O. charges down a tense, big-room industrial tunnel for his interpretation of 'Seeking Solace', hitting on a cathartic groove after a passage of uncompromising noise.
Concluding the EP, Steinlac'h Records founder Wice reimagines 'Theories of Loneliness' in dubby but propulsive fashion.
For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.
Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.
This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.
Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.
This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.
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Look! Ultra rare and super dope Disco-Boogie reissue alert!
That's right, Distinction's 1982 jammer 'That's the way I like it' is back! Fully licensed in conjunction with the rights holders and remastered for 2018 by Above Board distribution. This one's long been at the top of the wants lists of DJ's and dancers for ages, a masterclass in UK Boogie flavour brought to you by the production and writing prowess of Roy Carter who was a member of the UK's legendary Soul and Funk legends Heatwave and who worked extensively with Central Line, Junior Giscombe, Dee C. Lee and many many more throughout his long career. Pretty much all of Distinction's output is tough to find with the majority appearing on tiny labels, and second hand prices for these gems are always on the high side with this particular 12" being one of the most sought after. This is a proper and full reproduction of the original Hansa 12" from 1982 with the added bonus of the 7" mixes being included of both 'That's the way I like it' and b-side winner 'Looking for love'. This one has been booted before with severely lacking quality control, but we are proud to say this reissue has been fully licensed and made using the original tapes with all remastering handled lovingly by Optimum Mastering, Bristol, UK. This is an unmissable reissue if you dig this sound, don't miss out! Pure fire.
Exactly one year after Lorenz's debut EP on Dirt Crew he is back with a super funky follow up. With the recent
'Marakuja' track on our 'Deep Love 2018' compilation he already set the tone to a much more fluid and organic live approach to his sound recording.
The opening title track 'Belair' is a heavy 'wurly' organ jam he developed mainly by playing live and afterwards finalizing it in his Cologne studio. After his recent tour and shows as part of the Detroit Swindle live outfit he really got into improvising and composing his tunes on the fly. The Funk is all over this one and it is a great uplifting 'sunny' jam to play out. Following this one is the slower and deeper 'Jubilee' that's adding even more soul to the 'Rhode' funk with an irresistible bass line and melody and when the clavinet break sets in it's nothing but Good Times on the dance floor! A certain rewind for us and favorite track off this new EP.
On the flip we added two remixes from his previous high in demand tracks 'On Top' and 'And I Said'. Lorenz has been working a lot on various projects with his good friends Strip Steve and Tensnake and both had their go on these tracks from last year. Strip Steve took the parts of 'On Top' and turned them into a deep Detroit flavored House Jam with stabby beats and beautiful strings added. Last but not least Tensnake fires up a high octane remix of 'And I Said' that leans much towards old school New York house rhythms and the additional 'Sax' topping gives it a groovy 90s feel to it. For sure bringing back that great happy and funky flow of the original.
We hope you dig this funk and soul laden EP by Lorenz Rhode as much as we do! Enjoy!
Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.
One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!
High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.
This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.
Juxta Position returns to his own Failsafe imprint with 4 post-modern techno pieces, exploring minimalist themes performed on more traditional sound sources, relying on pure sequencing rather than patch programming to convey moods and atmospheres.
Opener "Five Four Piano" recalls the work of modern classical composers such as Steve Reich, but reengineers the aesthetic to fit on techno dancefloors.
Likewise, "Orchestral Manouvers" continues this theme, whilst introducing a Millsian twist, and "Icicles" takes the idea even further into more looped techno territory.
E.P. Closer "Crisp Cold" concludes the record, with a cinematic and serious tone and almost gothic sensibility.
Four tracks which are a break from the usual, expected timbres of contemporary techno.
Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing "Liquid Love", a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your "Magic Polaroid" as proof that this wasn't an impossible Project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an "Afro-Funk Quintet" or merely described as a lively tribute to the artists which have influenced them: their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances.
And no one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of Onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic Space-Age yet to come, with a few key words serving as Mantra (Focus, patience, tears and creation): an invitation to drive off the Information Superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.
I Produced The Record That I, As A Music Fan, Wanted To Hear From Me."
Anyone Who Can Say That Has Already Won. "planet Of The Simius", The New Album Of The Berliner By Choice And Eternal World Man Kid Simius, Is The Opus Magnum
Created in 2006, SETENTA, the Latin Soul Band from Paris, spreads a unique mix over the world scene.
After sparkling debuts with their first albums Funky Tumbao (Hot Casa Records 2010), Latin Piece Of Soul (Hot Casa Records 2013), Paris to Nueva York (Latin Big Note 2016), following successful live experiences and strong links developed with New York and Joe BATAAN, the Latin soul legend, the French seven-piece combo is back with his modern definition of Latin music.
Composed and arranged collectively, this new opus mixes up Latin, Funk, Pop and Jazz, with the same percussive and strong vocal section, sung in Spanish, English, Creole and Yoruba, (cf. their arrangement of the traditionnal Rezo a Obatala). They also salute the great Camilo Azuquita with a rework of "Guajiro Bacan" (Ramon "Saoco" Perez), which they bring as a pledge of allegiance to the Latin Soul genre.
SETENTA spreads love, peace and positive energy all over the world, breaking rules and claiming We Latin Like That.
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Last delivered 2 years ago available to reorder, subject to availability
While perfectly fitting the deep house cabinet, this EP taps on various styles within this genre. Jayson Wynters, well known for his releases on Mr G's Phoenix G Label and Don't Be Afraid, sets the pace with Sherella's Kiss; a powerful groove and beautiful chord pads embedded in an upbuilding percussive atmosphere. This is a very personal track from Jayson and this dedication to 'Sherella' is testimony to the immortality that can be found in the power of a soulmate. Italian artist Duccio, who previously released on the label Greta Cottage Workshop delivers a melodic track with mediative vocals while Ukraine's Kiddmisha gets his well deserved second appearance on Batti Batti with an immersive electro cut . Hailing from Chicago, the artist Weakmassive makes his debut to the label with a smooth acidic track which could be a perfect opening or an encore to a long night out !
Unknown Truths is the debut album from Tony Beardsley (aka Dark Strands). What can be said about this album.. for one, it is a body of work that has been crafted as a labour of love with sources of inspiration taken from the late 80's underground warehouse parties and clubs where no one speed or style of music was played.. curve balls as they say, was a good thing. Ambitious maybe.. but the only aim of the album was to actually not to have one. No one genre or concept can be applied, but this is not by design, purely accidental as the music weaves between various electronic strands and rhythm forms. Its fair to say that his music has not been compromised to follow latest trends or fashion. It is for everyone, but no one. It's only true purpose is to liberate senses and provide a lasting sonic soundtrack to the modern age.
"In 2016, 21 years after Acid Mothers Temple & The Melting Paraiso U.F.O. were founded in Osaka, Japan, there was a major shift in the line-up and "Next Generation" was added to the bands name. We now view the first 20 years of the bands career as chapter one in our story, and we are now turning the page to start chapter two. In 2018, it's time to re-record our classics with this new line-up, we just opened the door to the next stage!' (Kawabata Makoto 2018)
Twenty four years into their existence, Acid Mothers Temple & The Melting Paraiso U.F.O. have circled the globe at least a few dozen times, released over 100 albums in their various guises and played thousands of shows.
In recent years, they've experienced seismic line up changes which has given them yet another new lease of life ... or a rebirth if you will. Original members Kawabata Makoto (guitar, speed guru) and Higashi Hiroshi (synthesizer, noodle god) are now joined by Jyonson Tsu (vocal, midnight whistler), Satoshima Nani (drums, another dimension) and Wolf (bass, space & time) and as anyone that has seen the new line up live will testify, things have gone even more cosmic ...
'Reverse Of Rebirth In Universe' sees the band return to their old label Riot Season for the first time since 2012's 'IAO Chant From The Melting Paraiso Underground Freak Out' (CD still available). Both label and band have gone on some wonderful journeys during that time apart but both felt the stars were finally correctly realigned to renew their partnership in all things weird.
Long time AMT fans will immediately recognise some of the song titles listed on the album sleeve here. But the songs themselves have been reworked and transformed far away from their original versions. New boy Jyonson Tsu's quiet, almost whispered vocals bring a whole new aura to proceedings, despite the familiar riffs hidden in the depths below them. It's so laid back in places it's practically horizontal, with only occasional trademark piercing guitar squeals threatening to destroy the peace and calm. The whole of side two is taken up with the twenty minute epic 'Black Summer Song' .. and if this is an indicator to where the AMT mothership is heading going forwards we're all in for another fucked up and magical ride.
If you stepped off the AMT ride over the years, possibly overwhelmed by the amount of releases they were once firing out ... it could be time to step back on it and check out where they're currently at. In a world that's more messed up than ever, we could all use a little break away from the norm, and nobody takes you as far away from the norm as possible as Acid Mothers Temple & The Melting Paraiso U.F.O.
"In 1978, Nova performed for Obama. Well, kind of: Nova was the band for the Punahou School prom in Honolulu, Hawaii, and a young student named Barack (known then as 'Barry') was in attendance.
Backtrack to 1976, and Nova was the opening band for Donald Byrd at the nearby Blaisdell Arena. The day was Sunday, June 27. The following day, Isaac Hayes would perform on island for the admission price of $1.
Nova, led by singer Checo Tohomaso, was one of several go-to party bands during the golden era of Hawaii funk and soul music in the mid-1970s through early 1980s.
The band's infectious gospel-funk-disco can be heard on their sole release, a self-titled 1980 LP that feels like one big party recorded live in the studio. (Check out the Marvin Gaye-inspired 'I Feel Like Getting Down' on the 2016 'Aloha Got Soul' compilation on Strut Records).
The story is all too familiar, however: funk band releases LP, the music goes dormant in years to follow, and today original copies sell for hundreds online.
Not long after the album's 1980 release, Checo met Marvin Gaye, who was living on Maui (where George Benson also resided). Shortly after, Marvin invited Checo and his counterparts to join his multi-city tour across Europe. Videos of Checo rocking keyboards, percussion and singing background vocals for Marvin Gaye's last European tour can be found online.
Checo, born in Florida yet raised in lush Manoa Valley as well as Okinawa, Japan, now resides in Vancouver, Canada, where he leads the VOC Sweet Soul Gospel Choir and continues to deliver his signature sound: high energy, positive, 'sweet soul' music.
AGS-7010 features two non-stop groovers with a 7' edit by Roger Bong on the A-side. LP reissue in the works!"
Late November will see Tact Recordings vinyl only sub-label Tactics return with 'Vol.4', a various artists package featuring Jor-El aka Joel Alter, Imugem Orihasam and Benjamin Brunn.
Tactics was launched in late 2017 by co-founders of the imprint Yard One with their 'Vol.2' EP, following on from the 'Vol.1' various artists EP released on the main imprint Tact Recordings back in 2012. Since its inception last year and it's two releases so far from founders Yard One and Fletcher, the label has garnered the attention of DJ's like Varhat, Roger Gerressen, Raresh, Malin Genie and Andrey Pushkarev to name a few. Here though we see the imprint welcome some of it's favourite artists from over the year onto the roster, namely Echocord artist Jor-El aka Joel Alter, Ilian Tape's Imumgem Orihasam and Smallville regular Benjamin Brunn. Leading on the package is Sweden's Jor-El with 'Remember Tomorrow', a gritty dance floor workout fuelled by dusty drums, fluttering stab sequences and sweeping synth strings before Japanese producer Imugem Orihasam edges into dub territory with a cinematic two minute soundscape opening the composition before weighty drums, swirling pads and dubbed out metallic chimes dynamically unfold throughout.
Hamburg's Benjamin Brunn then closes the package with 'ResoPlanet', as always delivering smooth, understated electronic music via wandering ethereal pads, resonant bleeps and bumpy, off-kilter 808 drums.
LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Piano Viberations' 'small group jazz featuring piano and vibes with rhythm' makes for a gorgeous Francis Coppieters showcase, surely one of Belgium's best-kept musical secrets. Released in 1975, and arguably the most low-key of the KPM and Themes records we're re-issuing, this is easily our current favourite.
'The Open Highway' is the appropriately-named opener, and immediately demonstrates Coppieters' dexterous interplay between piano and vibes in assured, joyous fashion. The shufing bossa of 'Sales Notes' is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break
that is 'Funky Chimes' brilliantly demonstrates Coppieters' quiet majestic side with its slow-motion funk rhythm with beautifully refective notes throughout.
The upbeat and joyful 'Cross Talk' closes out side A. Vibes and piano are defnitely at the heart of the arrangement here. The quick cut movement of 'Piano In Transit' is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, 'To Shearing With Love' is a warm, slow, romantic piece in the style of George Shearing. It's
plaintive and sublime.
Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was frst released. Piano and vibes with rhythm indeed.
As with all ten re-issues, the audio for Piano Viberations comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
Russian producer Nocow returns to Rekids with an enthralling full-length album entitled 'Atoner' this November.
Real name Aleksei Nikitin, Nocow is known for his versatility, producing a large body of genre spanning work on labels like Clone Royal Oak, Figure, Fauxpas Musik, Gost Zvuk and Styrax. The St. Petersburg-based producer debuted on Rekids last year with his 'Samaya Dolgaya Noch' EP, a mellow release complete with vocal driven cuts as well as 2-step rhythms, and now returns with a myriad of productions in a fourteen track album entitled 'Atoner'.
'Atoner' opens with an eponymous track that gently unravels with soaring synths and subtle percussion before Nocow's voice emerges alongside twinkling atmospherics in 'Complie'. Throughout the long player are also intricately produced short tracks sitting between the two and three-minute mark such as looping vocal number 'Dancerecter', the melodic and rattling 'Leto' and ominous 'Delore'.
Ostanovitsa' is a murky offering featuring a meandering organ riff, leading into the pitter-patter drums and serene chords of 'Starveme (feat. Tayut Ogni)'. 'Come Along' is a crystalline and otherworldly experience from start to finish, whilst 'Melting Lights' is comprised of echoing, subterranean sounds, making way for reverberating snares and metallic stabs in 'Standalone'.
Husky murmurs and soothing notes then make up 'Neva', moving into the syncopated beat and idyllic chord sequences in 'Can't Get Enough' ahead of 'Stonecold' and its icy aesthetic. Finally, the album reaches a mesmerising conclusion with the spellbinding 'Footer'.
LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Released in 1976, Distinctive Themes / Race To Achievement is legendary arranger Nick Ingman exploring the two distinct ideas of 'impressive themes varying in style from 'Basie to Elgar'' and 'a study in the pressure and rewards of achievement'.Distinctive Themes is a veritable indulgence of variously-tempoed, full orchestra, big band workouts, from relaxed swing to more propulsive themes. The progressively building 'Expanding Markets' is a true highlight, with its rolling pianos, contemplative electric guitar solos and moody horns over skipping beats.
The dramatic 'Against The Odds' is another stand-out.
Race To Achievement is all rugged funk with stabbing chords and strutting horns and it's probably our favourite side. Of course we have to acknowledge the fantastic 'Tense Preparation', sampled by Prince Paul and Dan The Automator for Handsome Boy Modeling School's seminal 'Magnetizing' with Del Tha Funky
Homosapien. But the whole side's range from tense underscores to fast and punchy chase themes makes this is a gem of the KPM catalogue.
As with all ten re-issues, the audio for Distinctive Themes / Race To Achievement comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current
custodian of KPM's brand identity.
A-Sim, born Simon Hamelin, is a fresh electronic music producer from France. His productions wind up somewhere between UK bass, electro and techno with a focus on the rivalry between the dark and sweet side of all textures coming from electronic instruments. He released stuffs on R&S, Eddy Larkin and Rawax.
Ghost of Skye glides between lost innocence and joyful tears. It shines like a blurring star, like the glowing glass of your last drink on a late night.
My Opinion (even if you don't care) is the rotating, meditative call to prayer pumped on detroit electro steroids. Take my hand and dive into oblivion.
Unpeaceful Mind re ects our apocalyptic erra. The neverstopping dark and anxious pressure of society. The need of relief. Of escape. Of freedom.
All tracks mastered by Pole at Scape Mastering in Berlin.
UK Techno heavyweight Mark Broom and Berlin's Discrete Circuit have teamed up before - but this is their first fully-fledged collaboration aimed squarely at conveying just how well this combination works. A heavy hitting merger from both sides of the channel, boldly stating that form follows function. This collaboration is to the point.
MBDC The A side opens with a superbly engineered kick and counterpoint texture that allows for an otherworldly synth to slowly worm it's way out of the abyss. Frequencies open and shut to allow for the exact exchange of energy welcome in the mix. With no trickery, and at just the right moment, a pulsating binary hook reveals itself in the track and guarantees the desired effect. The A2 tilts the hat toward a stripped back motor city influence. Groovy, tooly, slightly dissonant. Blips, claps, punctuation where it works. Just the right shade of reverb and modulation, push and pull in the arrangement, reveal the versatility of the track and round out the opening side with punch. The flip side, and third track from the collab is also direct, firing up with the ubiquitous clap on the one. Looping acid and a purist minor stab alongside sizzling hats and rides force the energy ever upward. The break is needed as the expertly air drenched acid line opens up the whole space before driving back down into the intensity for the remainder of the cut. The final track of the EP features a remix of the B1 by Astray's other in-house producer, H4L. Back with a frenetic, broken, idm influenced belter of a remix with scattered and distorted 808's - all reigned in cohesively with some stellar beat science and gnarly touches. These 4 numbers are built for impact.
LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Released in the same year as Synthesis over on KPM, 1974's Synthesizer and Percussion is its essential companion piece. 'This record features the many distinctive sounds of the ARP Synthesizer plus percussion in various moods and tempos' is the even more underwhelming than usual library record sales pitch for
Alan Hawkshaw and Brian Bennett's second collection of what is basically minimal G-funk, with overtones of primitive acid house. This is ridiculously good.
This is one of Hawkshaw and Bennett's wilder joints and aeons ahead of its time.
Bennett's tough drums provide the underpinnings for the prominent bass, keys and bubbling synths high up in the mix, alongside Hawkshaw's deranged clavinet-funk-rock. There are heavenly break loops galore.
Opener "Mon Amour" is ultra-smooth funk, all inter-weaving melodic lines whilst the seminal "Oddball" is an incredible hard electro strut with a knocking break.
"Mile High Swinger" is a tranquil Spaghetti Western whistling theme over double tempo rhythmic movement and the pulsating "Auto Pilot" has a percussive groove elevated by electric piano and synthesizer. Check "Driving Force', 'Home Run' and "Pacesetter" for electroid prog-funk dripped in acid squelch.
All fve fnal tracks are beatless synth workouts, because they can.
As with all ten re-issues, the audio for Synthesizer and Percussion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Alan Hawkshaw (piano/Hammond) and Shadow's drummer Brian Bennett are responsible for some of the slickest, funkiest and most sought-after library records ever made in the UK, particularly ones recorded on the legendary KPM label. Their work has now become the go-to place for sampling in music today.
Artists such as Dilla, Nas, and the xx, right through to the billion selling Kanye & Drake have taken Hawkshaw's and Bennett's immaculate beat-driven soundscapes for their own usage.
Their new album, in full, iconic KPM cover is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves and thrills with a fair these two have perfected over years.
Standout tracks such as "Hole In One", "In The Clouds", "Interchange", "Oasis", "On The Nile" and "Corcovado" are no mere excursions in nostalgia, for they carrylots of deft studio work that many a producer would give their right arm for.
Hawkshaw's arrangements allow the drums, guitar, bass, strings, Hammond, fute and brass to swirl elegantly around the 12 original tracks; a masterclass in recording.
Cut by Pete Norman, housed in a beautifully designed Richard Robinson sleeve and pressed at 180g by Record Industry in Holland, this release has been aforded the care and attention it rightly deserves. Essential.
Earlier in the year, Red Light Radio co-founder Hugo van Hejiningen and Identified Patient joined forces to debut their new musical project, Stallion's Stud. Artificial Dance is ready to release the first fruits of the duo's studio collaboration.
The four-track EP digs deep into their shared love of electronics, post-punk era experimentation, DIY music culture and dubbed-out drum machine rhythms. The results are undeniably dark and intoxicating, with former punk singer Hugo fronting proceedings via mind-altering vocals and twisted lyrical flows.
Opener 'Promising Promises' sets the tone for what follows, with Hugo's spoken vocals wrapping themselves around ricocheting industrial dub rhythms and raw, delay-laden electronics. The delay trails to oblivion remain a force to be reckoned with on the creepy, fuzz-fuelled cold-wave doom of 'Instrumental Aria', while the throbbing and clanking 'Unpredictable' and 'Voice of No' ratchet up the intensity by several notches via end-of-days guitars, heavyweight bass and face-melting percussion.
This is a long overdue reissue of a fantastic album! Here we find a pure disco classic from the US scene of the late 70s. The original copies retail at plus $300, that's only if you can find one at all! So those who love to spin good music, but are unwilling or unable to lay down too much money can now lend an ear to this fine vinyl! The opening track is 6.5 minutes long and consists of ongoing grooves with a hint of rock thanks to the melodic lead guitar. The driving rhythms are irresistible with soulful and strong female lead vocals that capture you right away. This reminds me strongly of the lengthy Donna summer dance classic, released during the same period 'Better than walking out' which became a dance floor sweeper. There is nothing complicated here, just sheer groove interwoven with catchy melodies. 'Lovin' you is so easy' follows and is a mid-paced soul anthem that comes as clean, slick and close to pop music a tune can come, but the melody of the chorus will stick to your mind. The arrangements are tight revealing several layers of instrumentation on second take. The lead singer's expressive voice matches with the best of its genre. A grand dame of soul familiar to a wide audience. While we ruminate about the different stylistic ingredients of this album we reach ''Woman', an entire instrumental with a straight groovy beat paired by cool funky rhythm guitar that lies beneath a soundscape made by the electric piano. Both seem to interact tightly and communicate with another. This tune just moves you physically with ease. Lushly orchestrated ''Our love is special' turns out to be a wonderful soul pop anthem of the kind that stays with you when you have only enjoyed it once. I'm almost certain that most fans of the late 70's soulful dance and pop will spin this record over and over again. This is what the DISCO LADIES are made for. Their music has this certain disco feeling but the classic 60s Motown Soul roots are so obvious and keep the whole collection of songs so grounded, that the music will go straight to the heart, nestling there for a long time. ''I second that emotion' is again a mid-paced groover that has this fluttering beat with great instrumental figures build upon this footing. One might hear elements of reggae, gospel and funk melting into an utterly joyful soul pop tune that eventually would become an evergreen in the clubs. Last but not least we are treated to ''Woman', again the arrangements of lead and backing vocals are amazing! These are footed by equally amazing strings and horns. These melodies, soulful, expressive, intense and full of joy! The last tune is a vocal version of 'Woman'. Definitely being the highlight of the entire album and a worthy finale for a record that sticks out of the masses of disco music productions of it's era! All this makes a wonderful and delightful reissue ! worthy of joining every black music aficionado of the 1970s.
Kami Is The Fourth Opus Of Foudre! - A Telluric Drone Quartet Composed Of Frédéric D. Oberland (oiseaux-tempête, Le Réveil Des Tropiques, The Rustle Of The Stars, Farewell Poetry), Romain Barbot (saåad), Grégory Buffier (saåad, Autrenoir) And Paul Régimbeau (mondkopf, Autrenoir, Extreme Precautions) Who Meet Punctually For Sessions Of Ritual Improvisation Where They Invoke Noise And Drone And The Deities Of Chaos. Improvised And Recorded Live At Le Rex De Toulouse Supporting The 10th Anniversary Of French Doom Metal Band Monarch!, Kami Extends The Cosmogony And The Sound Of The Band By Taking Excursions Into The Invisible And Ambiguous Side Of Nature. In This Orgiastic And Surprising Mix Of Sonic Textures And Rhythms, You May Hear Strange Phenomena, Summoning Of Animistic Spirits, Shamanic Calls, Siren Yellings And Growls. The Original Chemigram Artwork Was Created By French Artist Fanny Béguély By Painting With Chemicals On Light-sensitive Paper. Following The Sold-out Earth Soundtrack (gzh71, 2015), Kami Delivers An Immersive Soundscape For Abstract Clubbers, Where Kosmiche Electronic, Power Ambient And Industrial Punk Music Are Freely Invited To Commune. This Pagan Ceremonial Is An Ode To The Ever-changing Vortex Of Life - A Sonic Dream Machine For The Occurring Now.
300 Beer-coloured Vinyl With Black Inner, Poly-lined Paper Sleeve.
After a five year release hiatus, in 2018 Yura Khlop is putting out music under his SE62 alias again. "Jazzed EP" is the second release in the SAFT X series and the Kiev based producer has delivered a class record.
The A-side opening track; "Swing Tool" is built around more jazzed out samples than the other tracks. SE62 cleverly plays original notes together with a hazy sample that serves as the core element. "Jazzed EP" will be available through all specialized retailers in the autumn of 2018. On A2 we find "July". Again a very dance floor oriented record with taints of emotion. The very present chord and bassline dominate the tracks structure until at one point; a beautiful sample is introduced. Positive sounds for lovers of classic deep house.
The title track "Jazzed" is a signature piece of thumping deep house, using swinging MPC style drums and an evolving digital piano riff. This together with some submerged sounding sample shots, create a dance floor worthy ambiance. After "Jazzed", we find "Pitch Black", a sample-heavy jam that is based around a set of characteristic drums. A swinging chord and an infectious chord progression do the trick on this true dance floor record.
Following their previous Mantra EP, Polybius Trax present here another three track EP from Mantra showcasing a variety of acid styles. Opening track, Blackout, is a solid, no-nonsense acid techno workout, perfect for a strobe filled warehouse, and features builds and drops layered with ethereal tones. Emanation is a maelstrom of moving synth sounds, bouncing delay lines and vocal-like klaxons that combine to disorientate the listener. Final track, Mirage is a classic bad attitude acid track with an unnerving acid line that weaves in and out of aggressive percussive lines.
