Suche:trans a m

Electro Transmissions 003, nothing to say about this assassin called Electro Nation that you don't already know. This EP contains four tracks produced during the lockdown, each track is full of analog synths, drum machines and vocoder. Very limited units, this time on splatter colored vinyl, packed in a really nice way as we have come to know by the Fundamental crew!

Previously unreleased and unheard until now, unearthed, cleaned, re-edited and remastered, these tracks capture that 90s drum and bass sound. Fusing the creative ideas, stems and music from well known original artists Omni-Trio and Syko under 'Persons Unknown'. We have worked meticulously to create these timeless tracks; adding to the Persons Unknown story.

"Latex Love" has been remastered for its first release on vinyl, nearly 30 years later. The Instrumental Version was transferred from the original DAT tape used by the band for their live performances. Kris Baha's inspired dub was re-made from the ground up. And this is the first official remix from Spotlight's Chris Cruse. The vinyl record package includes never-before-seen photography from Michael Matson, an essay from Ron Athey, and a reproduction of the original Drance sticker.
Drance's songs reflected an uneasiness towards disease and modern culture, a lust for the forbidden, and a raw power and rage to stay alive on their own terms.

Arkham Audio presents yet another delicious techno EP by renowned French electronic musician Electric Rescue alongside a solid lineup of remixers. 'Dream Warriors' follows on from Electric Rescue's recent album release on none other than John Digweed's Bedrock Records, and comes bearing more of the intoxicating rhythms that we have grown accustomed to and equally as indulging reworks by Denise Rabe, TWR72, and Arkham label head Cri Du Coeur. This record firmly establishes that his hypnotising yet adrenalizing sound is a force to be reckoned with as he unveils a relentless yet minimalistic techno sound that shows inspiration from his friend and mentor Laurent Garnier.
The rave begins with the original mix of 'Dream Warriors', which leads with an infectious beat and hazy serpentine melody that thrusts your mind into a powerful yet entrancing oblivion. Heavy percussions and lively daunting melodies set the tone for rest of the record. Cri Du Coeur's rework of introduces itself with a pommelling baseline, layers of stimulating hi-hats, and transcendental melodies that create the perfect inebriating brew. The Denise Rabe remix spices things up with a mind-numbing visceral baseline and spooky industrial sounds that echo throughout the atmosphere.
Next up is 'Einoeino' which has a playful beat that contrasts with a dark and fuzzy looping melody to create the ultimate heart-racing and thrilling experience for the listener, leaving you to imagine being chased around a haunted circus. The remix of 'Einoeino' by TWR72 delivers his signature sound that encompasses pulsing rhythms, unyielding muffled baselines, and a slightly off-beat groove that concocts the perfect smoky dancefloor track.
Bringing together an innately well-suited collection of artists, Electric Rescue showcases his industrial techno-wizardry and prowess in putting together enthralling and boundless soundscapes with his new EP 'Dream Warriors' on the newly-founded yet tenacious Arkham Audio label.

Repress

Vienna based artist jeånne maintaining ancient aesthetics on A side. fast pacing acid structures under aggressive beats, enveloped in melancholic strings and melodies.

DJ DISRESPECT aka Toni Moralez already proven his strong production skills on this and also other labels. He is now delivering two adrenaline kicking, schranz-like dancefloor destroyers out of the depths of Frankfurt am Main.

GES: Anthology of American Pop Music

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
GES (Gesellschaft zur Emanzipation des Samples)
-
Active members: Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany
-

GES Glossary

Acoustic Surveillance Series

A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Orecchio di Dionisio in 2021. GES is open to further suggestions on this subject.

Bundesgerichtshof (German Federal Court of Justice), Karlsruhe

“The use of audio samples as artistic practice may justify the infringement of copyright and intellectual property rights.” (ruling of the German Federal Court of Justice pertaining to Metall auf Metall II, 2016). The court is also the official headquarters of GES.
Circulations

What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

Emancipation of Sampling

Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition.

Field Recording

A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

Gambling

An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

Helmut Schmidt

Multiple identity and fictional character devised by GES. Figures variously within the semiotic system of GES as member, guest artist or public representative. Following the historical example of Subcommandante Marcos (EZLN).

Kraftwerk

The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

Marcel Duchamp

As the inventor of the readymade, Duchamp may be viewed as a precursor to the art of sampling. However, the artist is appreciated above all for his sonorous qualities, as his vocal silence has often been sampled and processed. It was the inspiration for Jelinek's radio play Zwischen.

Orecchio di Dionisio

This 65-meter-deep limestone cave in the Sicilian town of Syracuse, carved out of a hillside in ancient times, has exceptional acoustics: A person standing at the cave entrance can hear every word whispered deep down inside it. The painter Michelangelo da Caravaggio gave it its name (The Ear of Dionysius) in 1608. The cave indeed resembles an ear and – according to Caravaggio – had a specific function: The tyrant Dionysius I imprisoned his political prisoners in the cave in order to spy on them. Orecchio di Dionisio will be featured in the Acoustic Surveillance Series in the near future.

Sampling

Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.

Uguisubari

Sound-making floorboards in Japanese temple and castle complexes, featured in the Acoustic Surveillance Series in 2017. In the Edo period, the “nightingale floor” (literal translation of uguisubari) was a popular acoustic warning system. The principle was straightforward: When someone stepped onto the boards, nails would rub against metal clamps beneath the floor, creating a tell-tale squeaky sound that was said to resemble the chirping of the Japanese nightingale.

Wind

A generator of acoustic events and an amplifier/transmitter of existing sounds. A meteorological form of energy appreciated by the GES on account of its unpredictability. A series about wind as an acoustic phenomenon is planned. Working title: Hotel Corridors.

Zwischen (Between)

Radio play by GES member Jan Jelinek based on recordings of various public interview situations. From the speech of the interviewees (all of them eloquent personalities) the pauses between coherent utterances were extracted and assembled. What we hear is an archaic body language: modes of breathing, word particles and onomatopoeic turmoil. A key question for GES: Which comes first, personal rights or artistic freedom? For Zwischen, Jelinek used only recordings by public figures that were already available to the public.

RICO PUESTEL debuts on his TIME IN THE SPECIAL PRACTICE OF RELATIVITY label with a mind-boggling journey of 41 minutes — split in two parts to fit on vinyl! HEPTAKAIDEKA is what it won't be and will be what it never was: Something from in-between worlds, a place beyond far beyond, where time dissolves into relativity...

Every modern electronic music presenter should be able to find joyful, elevated, convulsing or simply useful moments within the extent of this track that is designed to have its inherent connecting factors and starting points in place for every DJ set — letting it be just a few minutes, well-placed groove looping or bigger amounts of its entirety for diving into a long night, bringing it to an end or making it standing out in-between.

Starting off with a hazy half-grasp hint of what's to come, a mysteriously pervasive bionic loop emerges, slowly coalescing with a bone-dry groove on the rise. Taking up a first quadrant of the track, already gnawing into the long-term memory, it manages to gradually establish itself along the pathway while the "rhythmatics" endure some subtle layer-shifting with occult-like strings come sliding in from somewhere unknown like an admonitory subtext.

Being halfway through (and all the way in), everything smoothly crumbles down to its basic framework, still shaking off its own reminiscences while foregone vestiges almost perilously try to reassemble themselves. All of that leading to a clearly unforeseen yet fortunate drift into a 1980's-like synth peak time section after about 27 minutes being in that track, finally cherishing an evolving emotional felicity and the climax of its own being that tends to feel like an overarching salvation.

As everything being eventually finite, the track starts to bring to mind where it came from by assuredly falling back into a story told before with the well-established bionic loop that once used to run free, sounding somehow different and more tamed now. Ending with dignity, the consistently resurfaced admonitory strings lead the way to its conclusion and possibly new beginnings, solely leaving behind the heartbeat-like booming that carried it all, now fading away...

Coming into existence during a series of multiple productions of exuberant proportions with Rico making the studio his citadel-like stronghold, this is an extensive story of desires, instincts, pride, fall, mirth, solicitude, tension, détente and basically life itself while subtly yet versatilely entertaining on a dodgy yet accessible level throughout the wingspread of Techno, House, Minimal, Dub, Electronica and Ambient influences.

The CD version not only brings you the title track in the guise of its non-split completeness but eminently churns out the extra drumming dub treat DEKAEPTA for a pleasurable groove-delight as well as the trippy bonus beauty VOSEM' that transits as a precious component of infinity.

Moods & Grooves proudly introduces another new face, this time from the Detroit scene. DJ Eternal Student (aka Marvin Prather) steps up to the plate with his melodic track Hear Me Though and a deep groove entitled Transpose Deep.

Hear Me Though combines a funktastic bass line with some heavy breathing drums, strumming synths, xylophone like keys, and a sexy vox to create a wonderful head bobbing groove all on its own. Hot remixes of Here Me Though come courtesy of Domenique Xander (Berlin) and Deepset. Domenique puts a nice wash over it with panned and echo'd claps, drums, and very dreamy pads to create a stellar remix. Deepset ( a partnership between Brian Neal and Avalon Kalin) provide an up-tempo deep groove with a banging kick and swinging vocal chops to accompany the original vox of the track. A new bass line and funky congas produce a warm and lush version of the original. The synergy these producers had is incredible, all vibing from Marvin’s original version.

Transpose Deep is a climber. It starts off very unassuming with a solid 4 on the floor kick that morphs into solid synthy pads, and a funky bass line before it breaks into a full sprint of these elements, a bass that growls at you, and hats that swing hard.

The global lockdown has seen a number of new hobbies and skills adopted. Yoga mats now decorate homes. Bread makers jockey for space in kitchens. Soiled paint brushes caked in acrylics lie abandoned. At Frigio Records HQ, confinement might have changed the rhythm but it hasn’t changed the aim; to find new and exciting music for 2020. The result? Frigio Allstars 3.



Daniel Holt returns for this new instalment in the Allstars series. Diving deep into the darkness, Holt resurfaces with the nine minute industrial throb of “Vaccuous Transient.” A stomping beat pierces sci-fi score synthlines in a track brimming with menace. Staying in the US, Grey people debuts on Frigio with the grime smeared jack of “Bruxism.” The flip is all first timers to the Madrid label with Scannoir offering “De Panaesher.” Sitting somewhere between synth lament and uplifting wave, this track is a true modern classic from a member of the GOTT camp. Madrid’s very own Negocius man follows with “101 Wars” a winding worming work of glazed electronics to kill any dance floor and the amazing finale, “The Smile Of The Body” coming care of Bari’s talent based in Berlin under the moniker of Sons Of Traders.



Frigio Allstars 3 comes from the murky underbelly of electronics, where the nights are long and the days are short. Ashen tones pricked with lighter shades, all smeared with attitude in this collection of underground tracks made for the underground.

vinyl pressed on yellow 180 gram vinyl

After being summoned from Ohio to London by Adrian Sherwood, Nick Riggio and Rebecca Magnetic have brought their Midwest musical experience to the South London electronic music scene with a unique creative vision. Fusing elements of techno, post-punk and psychedelic rock they explore spiritual connections and transcendence while Rebecca Magnetic's introspective vocals set against a tough backdrop of Detroit influenced rhythms and vibrations leave you in awe.

Their superb single 'My Future' is a brilliantly cosmic exploration of spaced out and spacious grooves. Crashing hits bring an edgy mood, while lurching drums drag you forwards.
Molten acid synths and the strained and pained vocals from Rebecca add further layers of intrigue to this most adventurous electronic trip.

First to remix is Oosh! man Dan Wainwright, and his version is laced up with sci-fi chords and echoing vocal sounds. The downtempo drum rotations are superbly heavy and trap you in a trance.
Next up, Retroforward is Al Mackenzie's solo remix/music project named after his successful Birmingham night.
Al is one half of Field Of Dreams. His 'No Future' remix is an airy and atmospheric remix that takes the track to the farthest edges of space on smooth, hypnotic grooves and beautifully astral melodies.

Lastly, Richard Sen has already been getting support for his remix from ALFOS man Sean Johnston, and he goes for a superbly rugged yet slow motion chugger that is dubbed out and expansive thanks to the arching guitar riffs that ring out to the heavens above fat-bottomed drums.

Whether experienced on the dance floor or in metaphysical states, this music is medicine for the mind and body.

Two hot property New Zealanders under the guise Manuel Darquart take the WOLF reigns for their debut on the label. Drawing influence from classic Italian house labels such as Irma, Antima and Palmares (alongside having that South Pacific sea breeze ingrained in their souls), the duo let loose on a three track EP that could have easily been plucked straight out of a ‘90s Key Tronics Ensemble stash. WOLF mainstay Medlar completes the package with a percussive workout remix of ‘Parkour!’, dubbed, rerubbed and full of that timbale goodness.

With a string of releases on the likes of Coastal Haze, Childsplay and Infinite Pleasure, Manuel Darquart transport you to a distant island life where corona’s claws have yet to cause chaos. Opener ‘Keep It DXy’, sees sweeping pads caress the shores as bumping basslines mix with punchy stabs and dreamy toplines.

From the beach to the jungle, ‘Miranda’ is a stomp through the undergrowth, the tropical landscape calling out at every turn, as synth melodies dance around steamy bass arps and streams of percussive hits.

Flip it to the B for ‘Parkour’, a proto-house gem that captures that ‘80s feel with gated snares, thumping kicks and synths galore, before Medlar closes out the EP with a ripping whirlwind of percussion for his remix of ‘Parkour’.

Three years after their last collaboration “Lost in the Moment”, part of Darius’ debut album Utopia, the French producer and Nigerian born future soul artist Wayne Snow unveil their stellar single “Equilibrium”.

The message of unity has never felt more relevant than the times we are living through right now. This project composed one year ago, serves as a stark reminder that we can all transcend above our differences and connect through the experience of music together, regardless of colour and race.

The undeniable synergy of both artists create a harmony magnified by the richness of their diverse cultures and musical background.

The beat instantly catches us in a warm and arresting atmosphere. The main melody reveals an uptempo rhythm gently interwoven in Wayne Snow’ emotive voice, born in Nigeria, living in Berlin in preparation for his next album. His lyrics infuse a carefree candor, which only suggests love and euphoria, fruit of an universal balance and a collective caring energy.

After multiple collaborations among “Helios” or the “Nightbirds” improvised live project (feat. FKJ and Crayon), the two artists reunite once again on “Equilibrium”. Heady and joyful, only few seconds are enough to form a timeless memory and make this track an instant classic. Darius holds Wayne’s powerful vocals, which travel through the composition as gospel pipe dreams. His Funk and Disco influences, embodied by his heart-warming and dynamic groove reminds us of his iconic project Romance (2014). Driven by a festive and upbeat energy, Darius finally renews himself with a return to his musical roots, whilst Wayne Snow steps up towards an audacious expression and a peek into his forthcoming artist album.

Lovers of pastel and retro aesthetics, we find the artist’s aesthetic language elevated through an impressive video treatment by the esteemed French director Alice Kong set for release on July 23rd. The audio release will precede a week earlier on July 16th, part of his forthcoming project.

Reissue of this long lost funky Afrobeat/Reggae classic from 1978
For fans of Fela Kuti, Peter Tosh, Bob Marley, Segun Bucknor

The year is 1978 and one hot thing from the musical underground is Reggae music from Jamaica, the USA or the UK, where most of the acts had musicians of Caribbean descent. Reggae had the groove, the rebel spirit, and the relaxed attitude all in one, to enchant a big part of the world’s inhabitants. And while at least Jamaica as a relatively poor and so-called "Third World“ country proved to spawn Reggae acts of the highest quality, literally nobody dared to look further and dig deeper into the underground except of a few maniacs who were not satisfied with spinning Marley over and over again. And maybe they stumbled over the 1970s Afro Beat sound from countries like Zambia or Nigeria and then got interested. What did they find in the simmering metropolises of this still mysterious continent? Somewhere in Nigeria, they would have certainly caught a glimpse of mind-blowing performances of The Sea Lions, a six-piece group mixing the then hip Reggae and Afro Beat styles to generate fresh and furious music with a hypnotizing atmosphere.



Polyrhythmic beat patterns build the foundation, the utterly fruitful soil for the heartwarming melodies wailed out by the guitars and the commanding vocals with their conjuring charm. Great organ work builds the link between the groove section and the melody instruments. You can imagine what a pleasant experience this band might have been live back in 1978 when their sole album "Free The People“ got released. And this album, of which copies in only good conditions already fetch prices of $450, while nice clean pieces might go up to $1200, lives up to the expectations one might have from watching a live show by the Sea Lions. The sound is vivid, transparent, powerful, and clean enough to make the music a real pleasure listening to, but earthy enough to present nothing but the band going wild here. The songs all have a similar pace, not too fast, but swinging and pulsating to spread their energy to and among the listeners. The melodies are simple but come from the depth of the heart. This feels typical for African 70s music and despite being kind of reduced, these melodies keep haunting you still even hours after the record been taken off the turntable and put back into its sleeve. They bring images of an ever pulsating city by night, warm climate, palm trees, people at the bar, a witches cauldron of sounds, smells, voice, and pictures. And you feel the magic floating through the air while this groove will not let you go so easily.

You can either dance your soul out to this ultimate reissue or you can sit down, listen and let the music tell you a story of the dark corners of the big city, the narrow alleys that lead you into a boiling labyrinth of mystical dreams. And in songs like "You Can Make It If You Try“ you will find the whole magic of the African world, a world so fascinating for us Europeans but still so unapproachable in some ways and dangerous for the weak. Do not try to resist, this is your pleasure. Grab a copy and the Sea Lions will carry you off to their place. I haven’t heard such a killer Afro Beat and Reggae album with songs this exciting and wild in a long time. If you equally love Peter Tosh, Bob Marley, Segun Bucknor, and Fela Kuti, look no further. Here is the spiritual essence of all these great artists merged into one giant act.

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

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

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

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

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

”Marking the fifth communication from his self-titled label, Evigt Mörker’s latest EP offers deft instruction in the tranquilising tension between infinities and physicalities.

Arriving as the follow-up to his stunning debut album for Northern Electronics, the EP makes further illustrations toward the total spectral intensity of Evigt Mörker’s world. Across three tracks we trawl through three effervescent enclaves that each wind a different route to heady clubbed-out ravines. A shuffling impermanence remains at the core of the work, keeping us in a persistent transit between movement and reflection. Cycling a wealth of sonic detail over the listener, Evigt Mörker’s command is as effortless as it is chilling.”

„Gianmarco Liguori has created his own fascinating niche in music which exists at a place where jazz, soundtracks and improvised art music intersect … mesmerising, sometimes eerily ambient … grounded in electronica soundtracks, experimental Miles Davis of the Seventies, slightly funky Eighties jazz-rock with a nod to minimalism and impressionism … Albums by Liguori offer the indefinable and stand at some distance from just about everything else going on in New Zealand music.”
Graham Reid, NZ Herald

Duga-3, composed and produced by New Zealand-based multi-instrumentalist Gianmarco Liguori, was originally released in 2011 in an edition of 200 copies. The album quickly sold out, with original copies sought after by collectors and fans of Murray McNabb and Kim
Paterson (who appear on the LP), both pioneers of jazz rock in New
Zealand in the early 1970s.

Co-producer Murray McNabb (1947-2013), keyboardist with legendary NZ jazz rock group, Dr Tree in the
1970s, recorded his album Song For The Dreamweaver with ECM artists
Ron McLure and Adam Nussbaum in New York (1990), and had performed with the
likes of Don Cherry, Ed Blackwell, Charlie Haden, Joe Henderson and Sam Rivers. He
was also a top-tier composer/arranger for film, television and radio.

Shadowy transmittal from clandestine crew known as 'Ring' and that's about as much as we know! But these killer, haunting, electronic steppers, steeped in murk and dread.

We are really excited to announce that the second edition of the long sold-out Non Plus Ultra 1980-1987 is now available. This is the first retrospective published in the XXIst century devoted to the electronic and underground “Tecno” (the flip side to the mainstream Movida/Nueva Ola) from 80s Spain. The record is a showcase of our identity and approach, as refers both music and aesthetics and was in its time a milestone for Domestica when it was first released in January 2012.

Non Plus Ultra is a hand-picked collection of hard-to-find recordings from the 80s pioneer Spanish electronic scene. Most of the tracks featured on the album should be regarded as demos, even some bands had the chance to record on cassette or reel-to-reel but they had a very limited distribution. We present a repertoire of pioneering groups, which are as unknown as they are interesting, creative, and ahead of their times.

For this second edition of only 200 numbered copies, we have redesigned all the graphic elements. The cover has been hand printed with stamps and the release comes complete with illustrated dossier and English bio of all bands featured plus numbered postcard and download code.