Jonic coast soundboys collective Butu Yard debut on the label with Good Ova Evil, an ode to positivity tuned on notes of freedom, cadenced on a halftime rhythm. A 150 bpm dubstep tune spreading echoes of hope from southern steppas, with Sativa Club maintaining the late-night pressure on the flip.
NYC-based collective MICHELLE release their debut album,
‘AFTER DINNER WE TALK DREAMS’, via Transgressive
Records.
MICHELLE recently announced new 2022 US tour dates with
Mitski. The band also toured with Arlo Parks and followed with a
string of dates with Gus Dapperton in November and a UK and
European headline tour in February.
Born-and-bred New Yorkers, MICHELLE formed in 2018 and
are comprised of Sofia D’Angelo, Julian Kaufman, Charlie
Kilgore, Layla Ku, Emma Lee and Jamee Lockard. The
predominantly POC and queer collective mix and match the
writing and production groups amongst the six of them.
The hallmarks of MICHELLE’s music - layered vocal harmonies,
analogue synthesizers, vibrant percussion, smouldering hooks -
dominate the sonic landscape of their upcoming album, with the
four female vocalists pushing the boundaries of their
considerable singing talents while Charlie and Julian fine tune
the production. Despite all the tinkering elsewhere, it is
important to note that the vocals remain largely untouched and
appear in their organic state.
Songs hop across genres, from funky R&B to bedroom slow
jams to amped-upbeat-heavy anthems and more. The
songwriting on ‘AFTER DINNER WE TALK DREAMS’ has been
elevated, as there is a depth and prowess at work that makes
good on the promise of the band’s early songs, something they
admit was learned by reflecting and allowing room for artistic
growth.
“crisp R&B with a bright indie flourish… musical serotonin you’ll
want to bathe in for hours” - NME
“A formidable new collective with a genre-bending approach to
songwriting” - The Line of Best Fit
“like an aural hit of Vitamin D” - DIY
“we can’t get enough” - Gay Times
LP pressed on Ocean Blue vinyl.
With a decade between releases, VILDHJARTA remain as inscrutable and as close to anonymity as a band can be. Their down-tuned, staccato riffs and pulverizing grooves are the sound of music stripped to its essence. Formed in 2005 in Hudiksvall, Sweden, VILDHJARTA has become an institution of omission. From their origins, they were unafraid to embrace the untraditional. Since dropping a minute of new live music in 2016, the band's focus has almost entirely been on the new album, “måsstaden under vatten” that was finally released October 15th, 2021, with drummer and now noted producer, Buster Odeholm (also known for his work with Born of Osiris, Shadow of Intent and guitar for Humanity’s Last Breath amongst others) heavily involved in the production, mixing and mastering of the music. While working on “måsstaden under vatten” the band also revamped their two first releases. Buster Odeholm comments: "Before I joined VILDHJARTA they were my favourite band. However, I always felt the production could be a lot better and serve the songs a lot more. After joining I asked for the files from those albums to be able to try my own approach. I’ve re-programmed/produced bass and drums from scratch. For producing the drums on ‘Thousands of Evils (forte)’ I got some help from Chris George from Sworn In. I've also remixed and remastered both albums. This has been going on a long time and a lot of remixing has been done as the years have gone by, but now it’s finally time to release it.". Don’t miss the chance to check out classic VILDHJARTA tunes in all their up to date glory, now entitled ”måsstaden (forte)” and “Thousands of Evils (forte)”. Both are available as Ltd. Gatefold marbled LP, Ltd. CD Edition and Digital Album.
Black Vinyl, DL Card. Following Lucy Gooch’s acclaimed ‘Rain’s Break’, her first release on Fire Records earlier this year, the artist’s acclaimed debut EP ‘Rushing’ is revisited with new artwork and a brand new track, ‘Orthione’. “Lucy’s sound marries the etheral qualities of ambient music with buoyant, effortless pop” Crack ‘Rushing’ in its original shorter five-track incarnation was heralded as a touchstone beneath the cascading torrent of modern times and an oasis for turbulent times. An intimate collection of songs built around Lucy’s emotive vocals and unique ambient dream pop, the newly added stand-out track ‘Orthione’ trips into the esoteric world of Laurie Anderson and Philip Glass; here her voice is the grounding force that travels to a space that heals and grows. “For an artist whose favourite trick is the seemingly infinite crescendo, she clearly knows the value of restraint” Pitchfork // “Expansive, upfront, spectral pop” KEXP // “The pastoral element of the music resonates more as you tune in to Lucy’s unique vocal.” Loud And Quiet
Many of you will be aware of the band Homegrown Syndrome (we released the single a few years ago). They were also known locally as Homegrown Funk & the band Memphis that put out one extremely rare two sider. A party Side 'Shake and Rock' flipped with a top of the rung ballad 'Inside My Love', it has everything collectors want, Rarity & Quality so sells for 500+ all day long, below Robert Garcia gives us the history....
"Memphis" were members of the Memphis based group "Home Grown Funk." Home Grown Funk was also known as "Homegrown Syndrome," a controversial name bestowed to them. Before heading to LA they gigged all over Memphis. Some of the members were from an earlier 70s group called "Brothers Unlimited" and had earlier ties during the 60s with the "Memphis Invaders" (a peaceful civil rights activist group).
With aspirations of pushing Homegrown further, a few members including Jerry Jones made the move out west. It was LA 1977 when they were introduced to Ike Tuner through a mutual friend "Ricky G". It was a casual meetup. Then one night Ike had his son Ike Jr. go check them out while performing at the Soul Train hangout spot "Maverick Flats". Ike Jr. praised their performance to Ike and he had them come out to his Inglewood studio. The group walked into the studio with a funky track already playing and that's when Jerry Jones improvised this opportunity and started singing. Ike then turned and said… "Who is that singing?" Jerry said, "Thats me." Then Ike replied " YOU BIG MUTHAF***A! You could be my new Tina." From that point the group cut bunch of tracks with Ike over the years up until they're feature on his 1980 album "The Edge."
In 1981 Perry Kibble (Keyboardist for Taste Of Honey) was at "Concerts In The Park" and heard Home Grown Funk performing. He linked up with the group and got them a deal with Arista. During this time they recorded their hit track " Confrontation." Perry suggested that the group change their name because he didn't want another group with the work "Funk" in it and hence "Homegrown Syndrome." They also use the Arista studio to cut an unreleased acetate with tracks "Got the love" and "Party Vibes" soon to be reissued on ATON.
Around the same time they were introduced to a fella named Roger Green. Green asked the group to come over to his home studio to cut the track "Inside My Love." Upon naming the record Roger Green suggested to go by "Memphis" since they were all from there. This record was eventually pressed in 1982 as small run becoming extremely hard to find.
Words by: Robert Garcia
Many of you will be aware of the band Homegrown Syndrome (we released the single a few years ago). They were also known locally as Homegrown Funk & the band Memphis that put out one extremely rare two sider. A party Side 'Shake and Rock' flipped with a top of the rung ballad 'Inside My Love', it has everything collectors want, Rarity & Quality so sells for 500+ all day long, below Robert Garcia gives us the history....
"Memphis" were members of the Memphis based group "Home Grown Funk." Home Grown Funk was also known as "Homegrown Syndrome," a controversial name bestowed to them. Before heading to LA they gigged all over Memphis. Some of the members were from an earlier 70s group called "Brothers Unlimited" and had earlier ties during the 60s with the "Memphis Invaders" (a peaceful civil rights activist group).
With aspirations of pushing Homegrown further, a few members including Jerry Jones made the move out west. It was LA 1977 when they were introduced to Ike Tuner through a mutual friend "Ricky G". It was a casual meetup. Then one night Ike had his son Ike Jr. go check them out while performing at the Soul Train hangout spot "Maverick Flats". Ike Jr. praised their performance to Ike and he had them come out to his Inglewood studio. The group walked into the studio with a funky track already playing and that's when Jerry Jones improvised this opportunity and started singing. Ike then turned and said… "Who is that singing?" Jerry said, "Thats me." Then Ike replied " YOU BIG MUTHAF***A! You could be my new Tina." From that point the group cut bunch of tracks with Ike over the years up until they're feature on his 1980 album "The Edge."
In 1981 Perry Kibble (Keyboardist for Taste Of Honey) was at "Concerts In The Park" and heard Home Grown Funk performing. He linked up with the group and got them a deal with Arista. During this time they recorded their hit track " Confrontation." Perry suggested that the group change their name because he didn't want another group with the work "Funk" in it and hence "Homegrown Syndrome." They also use the Arista studio to cut an unreleased acetate with tracks "Got the love" and "Party Vibes" soon to be reissued on ATON.
Around the same time they were introduced to a fella named Roger Green. Green asked the group to come over to his home studio to cut the track "Inside My Love." Upon naming the record Roger Green suggested to go by "Memphis" since they were all from there. This record was eventually pressed in 1982 as small run becoming extremely hard to find.
Words by: Robert Garcia
Our exploration of Ballet Mechanique’s old DAT archives, stack full of unreleased material from the 90’s era, continues with our sixth release and materializes into the third volume of the “1992-1999 Collection” series. Like the previous two volumes of the series did, also this EP brings to lights the diverse and varied approach of Jeroen’s productions: an A side featuring more “ravey” and uplifting tunes, and a B side focused on funk fuelled electro and IDM.
To many AxH represents one of the few out there who has held underground strong through the many peaks and valleys of Dubstep, and as such pushed the sound forward all the while. Through Releases on Artikal, Boka, Tempa, and many more AxH has year over year maintained his position as the stateside stalwart. LoDubs is pleased to bring forth three new tunes emblematic of the AxH DNA: Fearsome, at times Frenetic, yet always forward thinking.
The always impressive Mesck makes his DDD debut with the Terror Management EP. Stepping straight into uncertain future realities, Mesck's beats deliver just the right amount of bite, crunch and distortion, balanced with the heaviest bass weight known to cyber space. Anyone familiar with sets from the DDD crew will already be familiar with these tunes, which we have been itching to sneak out of Mesck's tightly-guarded vault.
El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA's blending their signature cinematic soul sound with influences from Turkis Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls "a carnival of dusty funk and soul". The EP starts off with the unreleased gem "Messy Grass" whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi's Qanun dances over. On "Cham Cham" EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season's "Perfect Harmony". Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; "Poison Song", "Uncut Gem", "Smoked", and "Progress" are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago's Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.
After more than a year of strengthening our bodies through workout, our poetic endeavors via the discovery of our inner worlds, and also the life of plants and mushrooms, insects, arachnids, birds and wild mammals, after a year and a half that saw us in lockdown, shattered around the planet, after one a and a half year in which we deepened our production skills and also the meaningfulness of our work, Cómeme returns to a new planet with new music.
The beginning is this unique collaboration between Medellín based musician and DJ Julianna, and Matias Aguayo aka “The Don” himself.
In this deep therapeutical exploration of rhythm and sound, these artists established a magical dialogue on distance, leading up to this EP called “Que si el mundo”, roughly translated: “What if the world”.
Between soulful industrial expressions, emotional breakdowns but also discoveries free of any grids and algorithms, Julianna and Aguayo have created a beautiful piece of work, intense as the movements that we had to experience mentally and economically. “Que si el mundo” is state of the art electronic music of today, a work that is both introspective but also extremely open to the outside world and the universe. Compositions reminiscent of Coil, Angelo Badalamenti, Closer Musik, Steve Pointdexter or Mark Broom, shaped this EP that can be considered a short album in its conceptual layout and narrative. Let’s dive into it...
A1. Hiedra
One of the more danceable tunes, ideal for both a sensual warmup or the very late night to the rising sun sensitivity, is polyrhythmical melancholy and hypnotic inevitability, slow dance, deep trance.
A2. Primer Paso
A fat, slick and modern synth sequence, accompanied by heavy drumming and celestial drops that seem to fall onto the body of the listener or dancer, this post EBM stomper is a manifestation of elegant minimalism and reason. As if Liaisons Dangereuses reincarnated in a cloudy forest, to then pause towards the end of the track, with sentimental and gloomy synth chords that open the view towards the horizon.
B1. Que Si El Mundo
The title track keeps up the more melodic approach - somewhere between ambient, avant- garde and late night jazz. Morphing melodies that are both disturbing and soothing at a time encounter smooth free jazz drumming with drums that seem to have travelled from the sixties to today’s world.
B2. Bajo Tierra
This track continues the deep drumming experience that this record means, between laid back rides and intense taikoesque drumming. Distorted dark pads and subterranean choirs build up to a heavy sadness and intensity. Again, a therapeutical track to send those demons fly.
B3. Micelio
A more hopeful conclusion of the EP is “Micelio”. Open chords, soothing and melancholic, spread over profound drum grooves of champed and house. Nothing seems as it was before. A new life has begun.
2022 re-press, 180g vinyl
A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.
AVA. Records celebrates its 10th anniversary with 52 artists. “10 Yahre” is a 4LP compilation housing 22 tracks, a printed 30 pages magazin and a mixed CD. All wrapped in a custom made silkscreen sleeve, also including a textile keychain and stickers. Sonically spanning from ambient to techno, 10 Yahre carries new and exclusive material, all woven around the label’s decade focus on dance floor culture, started 2011 in Cologne, Germany.
The 4LP vinyl includes music by: Am Kinem, Andy Hart, Axel Boman, Cinthie, Damiano von Erckert, Dman, Dogpatrol, форм, Jürgen Ratan, Jus-Ed, Lauer, Lowtec, Move D, Paingel, Paradise Grey, Retrogott, Robi, Ron Trent, Sinoesin, Tito Wun, U-I, Will Saul and Wolfey.
The mixed version of the entire compilation is contributed by Sally C.
The full color magazin and video includes works by: Alina Bader, Andy Kassier, Angel, Anna Beil, Ata Macias, Bailey Keogh, Damiano von Erckert, Dirk Jeans & Lou de Bètoly, Funkycan, Guido, Jana Marei, Jana Maria Dohmann, Joana Pratschke, Johannes Wohnseifer, Juri Bader, Kuchenbaum, Manuel Fischer, Maria Sécio, Martin Fengel & Public Possession, Mathias Schmitt, Maximilian Schweizer, Michael Satter, Naum Hirsl, Nicolas Wenz, Peter Wolff, Rein Vollenga, Rucksack Leer, Stelan Mergenthaler, Suzanne Caroline de Carrasco, Twit One and Yves Taron Harouche.
Compiled by Juri Bader and Damiano von Erckert, mastered by Enyang Urbiks. Design and concept by DVE 1989.
A wicked encounter between hardtek old school and newskool Pumpin sound.
Tunes are fluid and delivers a bit of explorations & suspense.
Sound is big.
Superb stuff again !
Los Angeles-based duo SANA SHENAI began in 2009 when their Dublab radio-affiliated ambient quintet Golden Hits went on hiatus. Jimmy Tamborello (Dntel, The Postal Service) and Mitchell Brown (LAFMS, Sun Araw, Sissy Spacek) have since amassed a mountain of material culled from 10 years of home recording. In late 2018 the 5-song digital EP "Forewarm" was released by Leaving Records, which now joins seven other pieces on this physical debut double LP for Les Albums Claus, "WARM FORMER".
Brown reveals: "We initially set out to make oddball minimal techno using 50's-80's musique concrete studio techniques and modular synthesizers. This almost happened, perhaps best exemplified by the cut "Humid Beings", but even by the first session's end we'd given in to the open-endedness of our gear, jamming entirely different stuff." Warm Former's sound palette is vast with plenty of almosts and could be's, hosting shape-shifting polyglot sound-field games to investigate, decipher and redecipher. Tracks "Frozen Host" and "Laqua" might be considered uncanny and reminiscent of memories not quite your own. "No One There to Confirm" is the moody melodic sprawler that heavily features both Serge and Buchla synths. Wonky, splicey 1/4" analog tape loops are hiding all over this album but are definitely the stars on "Wizard A Baby". "Worm Farmer" might be the most accessible tune, falling near the crossroads of motorik 70's krautrock and the sprightlier side of Tamborello's own Dntel catalog.
A 150/160 BPM mental prog' acid tribe/tekno. Tripy at the trance frontier... or at least very musical : for instance the ambiance of "Biolumiescence" definitely fits perfectly with the Jellyfish design.... And the flip keeps on offering the same dark sweetness pleasure.
Spacial !
PS : fits perfectly with CC ATOM 04 Pain-Beurre tune and the Acid Night 07 Sevenum Six A side ... The Truth :)
Karma Sutra were an anarcho pacifist band from Luton, Bedfordshire who formed in the early 80’s after the demise of the legendary the Phallic Symbols. Karma Sutra only had one release at the time - an album self released in 1987 called Daydreams of a Production Line Worker which came towards the end of their lifetime. Sealed Records now release the earlier years of demos and compilation tracks on a 15 track round up. Be Cruel with Your Past and all Who Seek to Keep you There includes their first and primitive demo The New Economy Roast from 1983. It’s very basic and has a Bullshit Detector Compilation quality to it. A few years later came the second demo Shoppers Paradise which is the best material Karma Sutra recorded. Six tracks of well produced classic 80’s Anarcho punk with a driving sound. It’s passionate, tuneful and politically aware. How this wasn’t released at the time on vinyl, is a travesty. Also included is two tracks from the Mortarhate Compilations Who? What? Why? When? Where? and We Don't Want Your Fucking Law!. Finally the last three tracks were from the final line up of the band and were recorded with Spon from UK Decay adding more post punk elements to the sound. The LP comes with a 40 page booklet of Lyrics, handouts, fanzine interviews and statements. FFO: OMEGA TRIBE, CRASS, EXIT STANCE, ALTERNATIVE
"We all know what teenagers are like. Bratty little gobshites. Moody shits. Forever toeing the line between cocky arrogance and whiny self-doubt, and to hell with anyone who gets caught in the crossfire. And this old fucker should know; he was really good at all of the above (still keeping on top of the ‘gobshite’ part, you’ll notice). For some reason, the entirety of rock’n’roll is predicated on music made for and about these states of mind - well, I guess if you mix ‘em all together, they can make for one helluva sense of reckless abandon. So it shouldn’t come as a surprise that Melbourne quartet Mr Teenage sound exactly like their name suggests: chaotic, raw, emotionally volatile… and of course they bind all this together with their own brand of heroically melodic garage rock. Produced by Billy Gardener (of Ausmuteants, Smarts, Cereal Killer and god knows how many other vital Aus-punx), this debut EP snarls, spits and swaggers with all the glorious self-belief of a drunken 4am stumble to the petrol station to buy a pack of skins. And the songs are fucking great too. Title track ‘Automatic Love’ expertly showcases the combined sounds of their cited influences (Thin Lizzy, Dictators, Martha Reeves, etc), with frontman Nic Imfeld’s voice at times edging close to the sandpaper soul of their countryman Shogun (ex-Royal Headache). Meanwhile ‘Waste Of Time’ sees him blending their garage licks with Joey Ramone bubblegum, just as ‘The Loser’ fashions a delightfully adolescent chorus of ‘the loser says what?’ from an airy melody that either The Shangri-Las or Del Shannon would be proud of. They wrap things up with another slab of pure punk/pub rock genius called ‘Kids’ that’ll get the hairs on the back of your neck standing on end, as you fight the urge to crank-call your former school teachers and blame the kid who used to take your lunch money. Of course, singing about ‘kids these days’ marks Mr Teenage out as being older than their name suggests, and sure enough their name comes from an old wrestler rather than identifying with an age bracket they’ve outgrown. But with tunes like this… honestly, who gives a fuck what they’re called? This record is perfect." Will Fitzpatrick.
Crazy superb romantik Speedcore... Here you can listen MP3 as 33 rpm AND 45 RPM (its original speed, of course). But as 33 RPM it's not that bad as well as we say ^^ ahahah
A superb 13th OPUS in the vein of some XMF or INGLER oldskool tunes
