Suche:two vibe

Welcome to Mateo & Matos under their acronym of "Raw Elements". "Raw Basics" is the first of two re-issue which will be released on Flash Forward licensed from Final Cut Records ! Timeless classic deep house with strong bassline, with hypnotizing ghetto vibes & jackin fluids from the Yorker duo that fear no dancefloor !

Richy Ahmed's Four Thirty Two imprint continues to shine a light on the freshest talent emerging from the house music underground, and on the label's third release, the London based Senzala get to flex their muscle on a fine release, backed with a remix from Ahmed and Jansons AKA Lovehertz.

Having previously released on the French label Mr. KS & Friends, and Politics Of Dancing, the Senzala boys, otherwise known as Jonni Santos & Sam Holland, deliver the goods once more on the 'Phase' EP.

The title track packs rolling 909s and looping filtered disco riffs into its punch; never letting the energy levels drop. Vocal licks and techno-laced stabs drive this club-focused track fantastically, with a glossy production that really shines through. Richy Ahmed and Jansons come correct with a Loveherts remix; a heavyweight analogue bassline dominated the mix and the vocal parts slide down the arpeggiated riff as incessant synth stabs ramp up the heat, taking their remix right to fever pitch.

The Senzala boys grind out more solid house grooves on 'All For You', deploying disco samples and vocals that are filtered and twisted around the tough drums to great effect, whilst on 'Agora', the mood remains unfaltering as feel good riffs and warm keys wrap around Senzala's steady beat to complete a stellar release that's packed with energy and infectious vibes.

Another Picture has the honour to welcome DJ Honesty to the label's crew! The Berlin mainstay keeps on delivering for two decades and counting. Now residing in sunny and meanwhile ultra-lively spot Lissabon/Portugal he shows up with two pieces of pure electronic groove with a dubby technoid flavour. Studio knowledge at work! Usually known for positive vibes with a still abstract feel now DJ Honesty reveals a darker shade of experience. Get involved with a tougher edge and face some deeper emotion and sonic consequence - see you on today's dancefloors.. DJ Honesty's releases come as various projects and collaborations: Honesty, Honeydrop, Slope (with Daniel Paul) and Suparaw (with Woody) on such labels as Cabinet, Sonar Kollektiv and Quality Vibe to name a few. He is part of the touring Cab Drivers live crew. Don't miss!

La Freund Recordings presents a new EP from Amsterdam based producer and modular synth enthusiast Sjamsoedin. Three varied tracks and two heavy remixes by Simon Weiss (Rush Hour / Voyage Direct) and Claude (a.k.a. Fulgeance) form the new label's second release.Sjam Sjamsoedin has been around the electronic music scene for over fifteen years, releasing music under various aliases. Since 2011 Sjamsoedin has been experimenting with a deeper and warmer sound built around strong grooves, combined with his love for (modular) synths and effects. Orion is Sjamsoedin's first full length EP under his own name.While "The Drums" and "Pastel" find their inspiration in the Chicago house sound of the good old days, "Orion" has more of a lush electronica vibe to it. Both remixes add a heavier sound to complete the well rounded EP.

This Rough Guide features deeply cool cumbia influenced by 1960s Western rock and the hippy movement, spanning the spectrum of psychedelic cumbia from the 1960s pioneers to today's innovators. A classic selection ranging from the vintage Peruvian recordings to classic contemporary bands from Colombia, Chile, Mexico and beyond highlighting how cumbia was reborn in the 1960s to make it relevant to the younger generation.

Includes a FREE download card allowing you to download the full album

Peru has had its share of great electric guitarists bending strings to the rolling beats of cumbia - from Enrique Delgado to José Luis Carballo - who came from its own important domestic tradition of criollo guitar music as much as rock). So it's not an exaggeration to say cumbia peruana (and regional variants at times referred to as cumbia andina, cumbia selvática, and more recently chicha) has had the lion's share of Carlos Santana influences evident in the mix.

Interestingly the Peruvian psych sound so prevalent in the early 1970s had a profound effect on the originators of cumbia; hence we offer the two fine examples from 1970s Colombia that follow. We round out the mix with a gaggle of contemporary artists from Chile, Mexico, USA, Peru, Colombia, Argentina, and Germany, bringing the psychedelic tropical vibe up to date while still retaining the trippy trappings of yesteryear.

3xLP+CD Artbook
(en) - Nearly two decades after the last official GAS album release, Wolfgang Voigt returns to his iconic Ambient project with a brandnew full-length.
- NARKOPOP continues the classic GAS aesthetic of symphonic scope and subtle variation, taking the listener on an otherworldly journey to the depths of rapture and reverie.
- Available as luxurious hardcover CD incl. 24 pages booklet.

In the body of work of Cologne artist Wolfgang Voigt - who, like few others, has informed, shaped and influenced the world of electronic music with countless different projects since the early 1990s -, GAS stands out in particular as a saturnine sound cosmos based on heavily condensed classic sequences. Even after nearly 20 years, the sound of GAS doesn't seem to have lost any of its luster, as shown by the commanding success of Kompakt's fall 2016 re-release of the essential back catalogue as a 10xLP/4xCD box set.

The overwhelming feedback from a loyal international fan community and worldwide media outlets attests once again to the sheer timelessness of GAS. Which is why it will feel like hardly a day has passed since the release of the last official album 'Pop' nearly two decades ago, when Wolfgang Voigt resumes this specific creative path with the upcoming new full-length NARKOPOP.

Even in the here and now, the unmistakable vibe of GAS immediately hits home, taking the listener on an otherworldly journey with the very first sounds, drawing him or her into an impervious sonic thicket, down to the depths of rapture and reverie. From wafts of dense symphonic mist emerges a floating and whirling feeling of weightlessness, before the listener steps into an eerily beautiful forest of fantasy, pulled in by the allure of a narcotic bass drum.

While earlier GAS tracks were often based on the hypnotic effects of looping techniques, the 10 new pieces on NARKOPOP unfold their magic in a more entwined manner, sometimes with the sonic might of an entire philharmonic orchestra, sometimes as subtle and fragile as the most delicate branch of a tree with many. A main characteristic of Voigt's oeuvre, the coalescence of seemingly contradictory stylistic aspects such as harmonious and atonal, concrete and abstract, light and heavy, near and far is also a decisive feature of NARKOPOP.

In accordance with the transgressive spirit of his collective work, Voigt carries the aesthetic conceptions of his music over to the realm of the visual. Based on his abstract forest pictures, the GAS artwork addresses Voigt's artistic affinity to romanticism and the forest as a place of yearning. For the first time, a closer look at the cover of NARKOPOP reveals signs of architectural fragments which hint at another, maybe parallel world behind Voigt's forest. Truth is the prettiest illusion.
(de) - Fast zwei Jahrzehnte nach dem letzten offiziellen GAS-Albumrelease kehrt Wolfgang Voigt mit einem brandneuen Langspieler zu seinem legendären Ambientprojekt zurück.
- NARKOPOP setzt die klassische GAS-Ästhetik zwischen symphonischer Grösse und subtiler Variation fort, eine Reise zu den Untiefen von Rausch und Entrücktheit.
- Erhältlich als luxuriöse Hardcover CD- Erhältlich als luxuriöse Hardcover CD inkl. 24-seitigem Booklet.


Aus dem Gesamtwerk des Kölner Künstlers Wolfgang Voigt, der mit seinen unzähligen unterschiedlichen musikalischen Projekten seit den frühen 1990er Jahren wie kaum ein Zweiter die elektronische Musikwelt geprägt, gestaltet und beinflusst hat, ragt sein Projekt GAS, ein auf stark verdichteten Klassiksequenzen basierendes, düsteres Klangkunstwerk, in ganz besonderem Maße heraus. Dass der Sound von GAS auch nach fast 20 Jahren scheinbar nichts von seinem Zauber und seiner Kraft verloren hat, zeigte eindrucksvoll der große Erfolg des im Herbst 2016 als 10xVinyl/4xCD Box auf Kompakt wieder veröffentlichten Backkatalogs.
Die überwältigende Resonanz, sowohl seitens der treuen internationalen Fangemeinde als auch der weltweiten Presse, bezeugte einmal mehr die schiere Zeitlosigkeit von GAS. Daher fühlt es sich auch an, als sei kaum ein Tag vergangen, wenn Wolfgang Voigt nun mit NARKOPOP genau da den künstlerischen Faden wieder aufnimmt, wo das letzte offizielle Album »Pop« ihn vor fast zwei Jahrzehnten hat fallen lassen.


Auch hier und heute verfängt der unverwechselbare Geist von GAS unmittelbar und nimmt den Hörer bereits mit den ersten Tönen mit in eine andere Welt, zieht ihn hinein in ein undurchdringliches Dickicht aus Klang, hinunter in die Untiefen von Rausch und Entrücktheit.
Aus dichten sinfonischen Nebelschwaden entsteht ein Schweben und Taumeln, ein Gefühl der Schwerelosigkeit, bevor der Zuhörer von der Anziehungskraft einer narkotischen Bassdrum wieder hinunter in den schaurig-schönen Fantasie-Wald gelockt wird.

Während frühere GAS Tracks oft auf der hypnotischen Wirkung des Loops basierten, entfalten die 10 neuen Stücke auf NARKOPOP ihre Magie auf verschlungeneren Pfaden, mal mit der klanglichen Wucht eines ganzen Philharmonieorchesters, dann wieder so zart und zerbrechlich wie der feinste Ast eines weit verzweigten Baumes. Das für Voigts Arbeiten so typische Ineinanderfließen scheinbar widersprüchlicher stilistischer Aspekte wie harmonisch und atonal, konkret und abstrakt, leicht und schwer, nah und fern ist auch auf NARKOPOP essenziell.

Im Sinne seines grenzüberschreitenden Schaffens, überträgt Voigt die ästhetischen Konzeptionen seiner Musik auch auf die Ebene des Visuellen. Das auf seinen abstrakten Waldbildern basierende GAS Artwork thematisiert Voigts künstlerischen Nähe zur Romantik und dem Wald als Sehnsuchtsort. Wer einen genaueren Blick auf das Cover von NARKOPOP wirft, der wird erstmalig Andeutungen architektonischer Fragmente entdecken, die eine andere, vielleicht parallele Welt hinter dem voigt'schen Wald erahnen lassen. Wahrheit ist der schönste Schein.

End of February will see Luciano continue his newly launched Basaec imprint with 'Saved & Slaved', a two-track release featuring collaboration with Argenis Brito. Swiss-Chilean producer and DJ Luciano has been at the forefront of underground electronic music for quite some time now, heading up the infamous Cadenza imprint and releasing material for some of the industry's leading labels such as Perlon, Desolat, Cocoon and Poker Flat amongst many others. Here we see Luciano back on his recently launched Basaec label, delivering some of his signature stripped-back, dynamic and emotive material 'Lost In Lymbo' takes the lead and sees Luciano offer up a typically intricate twelve-minute excursion with subtly modulating and evolving percussion, spiralling synth swells, sporadic vocal chants and a smoothly unfolding aesthetic resulting in an archetypal and intriguing production from this forever forward-thinking artist. The latter half sees Luciano paired with fellow Cadenza artist Argenis for 'Pato's Track', stripping back the vibe to a raw cowbell and rim shot percussive-led state whilst lumpy subs, vocal murmurs and subtly unfolding flute like melodies ebb and flow throughout the composition.

French producer Moresounds makes a welcome return to Cosmic Bridge five years after his debut. The Paris-based dub scientist was one of the first artist Om Unit picked for the label and the co-sign helped launch his career, which has since included contributions to Astrophonica, Doc Scott's 31 Records, and remixes for Machinedrum as well as a growing touring schedule that saw him take his unique live show to Asia and America in 2016. Mutation Experts catches Moresounds in a more experimental vibe with four cuts that play with the rhythmic potentials of jungle in a different style. Ting N Tings sets the mood with rolling breaks in a sea of soothing pads, subtle loops, vocal samples, and recurring sound effects anchored by deep bass to create a subtle, implied tension. Mutation Experts makes use of a catchy melody to take the listener along and once again the mood is one of subtle changes and blissful exploration, a junglist daydream. Ruff Times is the darker of the tracks on offer, a creeping roller wrapped around a two-note melody and drenched in dub, a hypnotic descent down a rabbit hole. The EP closes with Positive Yourself a mellow, downtempo production that plays with African motifs and samples for a gentle return to reality. Mutation Experts offers a perfect example of how Moresounds combines the rhythmic appeal of jungle with the transformative potential of dub, sidestepping obvious signifiers to play with possibilities. Mutation Experts invites you to take a different trip with Moresounds as your guide

Vlad Dinu opens Mihai Bravu's 1st release starting the audio journey with 'Deep in my house' , a track that occupies the entire A side, just like a proper tool should.
As the name of the track hints, we find ourselves submerged in deep territory : a tight and groovy bass line, laced with a steady percussion, sprinkled with some 16bit arcade reminiscent accents and soothing intermingled vocal cuts. The deep vibe is crafty perpetuated by several synths at play,
which together combine in such a way to add a wide atmospheric feel to the composition. Definitely 'Deep in my house' sounds and feels more like of a 90's tune, and while listening to it, one could easily find himself drift into the nostalgia of the good old days.
Side B goes even deeper with two tracks defined by the notion of 'head tracks' . 'Gun Zah' continues the storyline with twisty percussive rhythms and a groovy atmosphere, tailored into a bangin floor choon while 'Questions Answered' submerges the listener into layers of groovy basslines, swifty percs and milky synths, all put together into the form of a most 'alive' track.

Finally, the battle is about to reach its thrilling finale after three exhausting rounds. Our pugilists are staggering on their feet and the bookies are running around frantically, taking the final bets. Will the Bad Guys suckerpunch the Good Guys into oblivion, or does team Good have an epic deathmove in store for its malevolent adversaries Amsterdam native Nachtbraker steps back into the arena for the fourth chapter in the saga. The Quartet Series label boss and Heist and Dirt Crew mainstay has defected to the bright and sunny Good Guys. Piano chords, chopper effects and toms are the main ingredients of his funk-laden and groovy energy drink. Better than steroids they say. Laurence Guy (Church, Rose Records) joins forces or heads in this particular case with a much-needed supplement that tugs on your heartstrings with its lush keys and deep pads. This London lad has been stirring up the scene with his flawless and addictive chords, not to mention the big support he's getting from maestro Move D. Will this dapper duo be strong enough to floor the misfits featured on the flip Great precaution is imperative with two heavyweights in the other corner. First mr. Tommy Vicari Jnr (Cabinet Records, YAY Recordings, AMMO84) comes barging in. This Sheffield veteran has been making killer cuts for years now and is about to step into the ring with his slamming snares, and wonkly wobbly bassline swinging around a phat kick. To keep both The Bad Guys feet on the ground LK (Shall not Fade, Hokkaido Dance Club) adds some extra meat with a deep, heavy bassgroove, while a sexy vocal and steady chords create that gangsta vibe that will boost the Bad Guys' confidence.

Outplay's newest project is a special 10" vinyl release with 2 tracks by artist New Franklin Theory.
The name was inspired by a past in Midwestern USA.
As to who is behind the project, some ears might pick up the resemblance to another artist you all know well. Digging into his past is the main inspiration behind New Franklin Theory's two-tracker.Expect two uptempo percussion filled melodic tracks with a slight afro-inspired tropical vibe.
Comes with a full colour sleeve design by joosprintsandpatterns.nl!

Aussie rare groove ensemble Kerbside Collection's second album of instrumental funk and jazz grooves "Trash Or Treasure" (released May 2015) gets the remix, rework and re-use treatment with a variety of re-interpretations with everything from downtempo hip- hop/neo-soul and dusty analogue lounge beats, to fuzzy, Balearic electronic club workouts and even some broken beat flavours.Kicking off this limited edition 12" vinyl, AV artist/DJ/Producer Sampology lights up the sitar disco vibes of "Strawberry Fields" taking the track into sizzling Balearic, club work-out territory with added afro percussion, squelchy wobbles and effects, perfect for summer festivals and hazy end-of-night vibes. Vinnie Laduce's follows with his cruisy vocoder and lo-fi indie beats reconstruction of "Shake 'n' Bake", while another local Brisbane producer TwoDee (who also appears on "Mind the Curb" remixed) delivers an eighties, electro break flavoured re-work of 'Rabbit Hole'.Side B starts JNBO (The Cactus Channel bass player) and his unique wonky, analogue and quirky touch to the title track for a fuzzed out, analogue electronics burner for fans of Floating Points, Cro Magnon, Dabrye and Dimlite (bounced to tape no-less for added bump!). Closing in on this special vinyl is Kerbside's drummer Paprika who takes the coastal groove of 'Bogangar' to the afro side with his 'Mountain Air Afro- dub', recreating a low slung, Tony Allen styled afrobeat groove with added melodic movements and dubby effects, while he adds another remix taking "Trash Or Treasure" into future jazz/broken beat territory with added percussion, moog bass and a surprise heavy change up at the end, almost reflective of some classic Fat Freddy's Drop!

Originally released in 2014, Luciano's 'The Great Amael' is an enchanting and endearing trip; a lo-fi bubbling groove and dusted Hammond organs that hustle along whilst live percussion cuts through the oceanic atmospherics. Two years on, and Cadenza Music call upon a brace of remixers to provide fresh and unique interpretations of this hidden gem in Luciano's catalogue. Having recently released his first album in over 10 years, Matthew Dear AKA Audion boldly steps up to the mantle and stamps his intelligent techno sound all over 'Amael' in the first of our remixes. Cutting a sprightly pace from the off, Audion melts stuttering sine waves and bulging tones over concrete beats, tweaking in the original organ riff and fathoms deep pads whilst adding additional vocal refrains as he playfully teases the arrangement before dropping a superb riff in his 'Backward Melody' Remix, which takes a most psychedelic and unexpected twist! Two other musical heavyweights collaborate on the second of the remixes; Phil Moffa and Seth Troxler are no studio strangers, having released a joint project on the British Hypercolour label last year, and remixed for Tiga a few months back. Their LSOS LOVE/GOD Remix builds from ambient beginnings, save for a rhythm carved out of spongy electronics, a sturdy beat kicking in and setting the controls destination unknown, as the duo steer through breathy vocal cuts and propelling bass, stripping the remix back before leaping back into hyperspace with some adventurous and dubbed out vibes, before coming back down for landing with those unmistakable pads from Luciano's original.

Gerd Janson and Phillip Lauer are creatures of habit. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes. And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years.

Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live at Robert Johnson. And then there are the remixes—Azari & III, Scuba, The Juan Maclean, Fort Romeau, Avalon Emerson, Massimiliano Pagliara and Sinkane are just a small sampling of the artists who've enlisted Tuff City Kids to work their studio magic.

Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background. After all, the LP is anything but shy—thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau—and even the album's instrumental cuts feature some clear nods to various eras of dance-pop, from the boogie-inflected funk of 'Wake People' to the breakbeat techno of 'Boilered' and the tweaky rave nostalgia of 'Nordo.' Elsewhere, first single 'Labyrinth' is an infectious bit of new wave, while the guitar-driven 'Scared' recalls the gloomier side of '80s pop and 'Tell Me' is perhaps the record's most playfully soulful moment.

DJs will likely gravitate toward the darting strings of 'Aska' and breezy vibes of 'Farewell House,' yet Adoldesscent isn't entirely focused on the dancefloor. Dreamy opener 'Ophmar' evokes the legacy of John Carpenter, while the crunchy 'R-Mancer' offers up a sort of psychedelic synth freakout.

Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit. More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways

Tale Of 2 Cities (or T.O.2.C for short) is the culmination of what was just a whim of an idea from label owners Mike & Justin. It's the first of its kind for us & anyone who knows anything about Kolour LTD should know that we shall leave no stone un-turned on a release of this magnitude. This 14 track, 3x12 vinyl compilation is a smooth journey throughout the realms of deep house, mid-tempo grooves, funk/soul, with an edit (or two) for good measure.Disc #1 features the incomparable talents of Jimpster (under his Franc Spangler alias), Admin, Ugly Drums & Lady BlackTronika, Henry Wu, and The Hue ft. Kissy Asplund.
Disc #2 features the FOUK boys, Frank Booker, Vincenzo de Bull & Halve Soul, & Inkswel.
Disc #3 features the talents of Eddie C, Napoleon, Sleazy McQueen & VinylAddicted, Patchworks, and LeBlanc.
3 x LP in a Trifold sleeve & Poster.

TS08 is the 3rd EP of the TONE SERIES project and in line with the previous two releases TS09 and TS10. However, its two tracks HAWAIAN JAM and 24 BAR PER DAY present rather refreshing grooves, right on time for the summer.

HAWAIAN JAM makes you feel like in a Jeep, driving around the Hill of Mauï while looking at the best waves. And whereas HAWAIAN JAM follows the rythm of cutting edge and caraibian slide guitars with a touch of reggae, 24 BAR PER DAY unveals jumping drums and druggie pumping sounds surrounded by bitchy voice cuts.

With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, HAWAIAN JAM and 24 BAR PER DAY distinguish themselves from each other through their vibes and colours, although they remain in the same spirit.

TONE SERIES was born from the collaboration between Villa's former bouncer (one of the most underground clubs of Berlin) - Wolfram, French music producer, live performer and DJ - David K, and LumièresLaNuit's co-founder and An der Grenze's
founder - Edouard. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality
comes out of colours.

When Kompakt came across Amsterdam-based Harm Coolen and Merijn Schotte Albers aka WEVAL back in 2014, we were blown away when we heard their slow-burning, darkly emotive tracks.

Their debut EP 'Half Age' on Atomnation featured painfully intimate and surprisingly kinetic electronic chamber pop that convinced us they were a perfect fit in Kompakt's family. Following two widely acclaimed EPs for Kompakt and playing numerous festivals including DGTL, Reeperbahn, Iceland Airwaves and Piknic Electronik, we now see the two tackle their self-titled debut full-length WEVAL. What you have before you is not a mere collection of tracks, but a complete listening experience with organic flow, emotional heft and a narrative thread.
Smitten with WEVAL's uniquely personal and catchy approach to producing dark electronic music, it didn't take much to win us over... and so came WEVAL's acclaimed 2014 label debut EASIER EP (KOMPAKT 318), followed by the bold and beautiful 2015 offering IT'LL BE JUST FINE / GROW UP (KOMPAKT 344) which saw the two soundsmiths digging deeper into the granularities of electronic funk than ever before. However, Harm and Merijn's music - while astonishingly fully-formed even in its earliest stages - always seemed destined for more, a bigger format, more space to explore the nooks and crannies of their rapidly evolving sound cosmos. Simply put, they needed to think about an album and their beloved living room studio wasn't cutting it anymore.
An old school building became WEVAL's new home, repurposed to house small creative businesses - but in the summer of 2015, it was abandoned most of the time, with everybody out in the sun while our heroes turned the building's attic into a sweet spot to make some noise, have 24-hour access and lose track of time. And apart from a sketchy tenant being evicted, the occasional soccer game with friends and live gigs across Europe, there really was no interruption to the focussed vibe. It's not like they were looking for distraction anyway: "working on the album all by ourselves in this bloody hot attic was all we had on our mind", the artists admit. And they decided that their album shouldn't sound too clean: "We try to find the beauty in imperfection. It makes things sound more human".
Weval draw their inspirations from no single genre of music but a cumulation of music that inspires them. The results present an astonishingly coherent vision - cuts like the dramatic THE BATTLE, bass growler I DON'T NEED IT or the trippy epic MADNESS share the same DNA of zestful nostalgia, a knack for immersive sound-sculpting and that certain kink in the groove. They also feed on deeply personal experiences and moods, as exemplified by the haunting electronic ballad YOU'RE MINE, the carefully layered, polaroid-tinted JUST IN CASE or the beautifully voiced closer YEARS TO BUILD. And sometimes, it's just an old, out-of-tune piano that stands in the hallway: "Whenever I'd pass by it, I couldn't resist playing it", says Merijn, "so Harm decided to start recording and it became an integral part of YOU MADE IT (PART I)". No doubt about it: this is WEVAL's most powerful and organic material yet - which means a lot, considering the amount of skill already on display in their small, but weighty portfolio.
(de) Als sich 2014 in Amsterdam Kompakts Wege mit denen von Harm Coolen und Merijn Schotte Albers aka WEVAL kreuzten, waren wir sofort Feuer und Flamme für ihre schwelenden, emotional aufgeladenen Tracks. Ihre Debüt-EP "Half Age" auf Atomnation präsentierte intimen und überraschend kinetischen, elektronischen Kammer-Pop, der wie angegossen zu Kompakt zu passen schien. Nach zwei vielbeachteten EPs auf dem Label und einer Reihe von Festvialgigs (inklusive DGTL, Reeperbahn Festival, Iceland Airwaves und Piknic Electronik) nehmen Weval nun mit dem gleichnamigen Release ihr erstes Album in Angriff. Und legen dabei nicht einfach nur eine Ansammlung von Tracks vor, sondern kreieren eine komplette Hörerfahrung mit organischem Flow, emotionalem Gewicht und einm roten Faden.
Angetan vom einzigartig persönlichen und mitreissend düsteren Klang WEVALs brauchte es nicht viel um uns zu überzeugen... und so kam es 2014 zum gefeierten Labeldebüt EASIER EP (KOMPAKT 318), gefolgt vom kühnen und wunderschönen 2015er Release IT'LL BE JUST FINE / GROW UP (KOMPAKT 344), für das die beiden Soundtüftler tiefer denn je in die Granularitäten des elektronischen Funks abtauchten. Nichtsdestotrotz - und obwohl sie schon von Anfang an ausgereift klang - schien die Musik von Harm und Merijn auf dem 12"-Format stets bestimmt für mehr: mehr Freiraum um auch die äussersten Winkel ihres rapide expandierenden Soundkosmos zu erkunden. Sie mussten schlichtweg zum Langspielformat wechseln, und ihr heissgeliebtes Wohnzimmerstudio konnte da nicht mehr mithalten.
Ein altes Schulgebäude wurde schliesslich WEVALs neues Zuhause, umfunktioniert für kleine Kreativunternehmen - doch im heissen Sommer 2015 stand es zumeist leer, da alle draussen in der Sonne badeten, während unsere Helden im Schweisse ihres Angesichts das Kellergeschoss in ein lärmfestes Aufnahmestudio verwandelten. Mit Studiozugang rund um die Uhr liess es sich bestens die Zeit vergessen. Und abgesehen von der Räumung eines zwielichtigen Nebenmieters, dem gelegentlichen Fussballspiel mit Freunden und natürlich Live-Gigs in ganz Europa, gab es auch keine Ablenkungen vom hochkonzentrierten Kreativfluss. Ablenkungen, die das Duo ohnehin nicht suchte: "ganz allein in diesem verdammt heissen Keller am Album arbeiten war alles, was wir im Sinn hatten", geben die Künstler zu. Und sie entschieden sich, dass ihr Album nicht zu sauber klingen sollte: "Wir versuchen die Schönheit im Makel zu finden. Es lässt die Dinge einfach menschlicher wirken."
Weval beziehen ihre Inspiration nicht aus einem einzelnen musikalischen Genre, sondern eher aus einer Akkumulation von Musik, die sie inspiriert. Die Ergebnisse zeichnet eine beeindruckend kohärente Vision aus - Aufnahmen wie das dramatische THE BATTLE, der Bassknurrer I DON'T NEED IT oder die Trip-Saga MADNESS teilen diesselbe DNA aus schwungvoller Nostalgie, einer Schwäche für immersive Klangschnitzerei und einer gewissen Delle im Groove. Sie nähren sich auch aus zutiefst persönlichen Erfahrungen und Stimmungen, wie zum Beispiel bei der eindringlichen elektronischen Ballade YOU'RE MINE, dem vorsichtig geschichteten, polaroid-gefärbten JUST IN CASE oder dem wunderschön gesungenen Schlussakt YEARS TO BUILD. Und manchmal ist es nur ein altes, verstimmtes Klavier, das im Flur herumsteht: "Immer wenn ich dran vorbei lief, musste ich darauf herumklimpern", erklärt Merijn, "also wurde es ein zentraler Bestandteil von YOU MADE IT (PART I)". Kein Zweifel: dies ist WEVAL's stärkstes und organischstes Material bisher - was durchaus was bedeutet, wenn man das Talent bedenkt welches bereits in schmalen, doch gewichtigen Portfolio der Band steckt.

Heavyweight soul providers Fat Freddy's Drop are about to take flight once again with the worldwide release of new album Blackbird on 24th June 2013. Blackbird is the third full-length release from the New Zealand band and will see Fat Freddy's Drop exceed half-a-million album sales worldwide, the result of playing over 800 shows in their career-to-date, clocking up 412 appearances in Europe, 27 Australian Tours and over 300 shows in their homeland.

Fat Freddy's Drop celebrate a decade of European touring by releasing Blackbird in East London. The already sold-out show at Village Underground attracted over 4,000 hopeful ticket ballot entries in just 24 hours for only 500 lucky spots.

Featuring nine tracks, Blackbird was written and recorded at Bays, the band's own studio, which was one of the last vinyl pressing plants in New Zealand and then an apostolic church. Fitchie says, 'What you hear on the album is the sound of Bays, the room itself, the vibe of the place and the performance we can get out of the band in there.'

'Blackbird is truer to FFD's musical philosophy than anything else we've done', says Chopper Reeds. 'The song structures are open and unruly - just like our live shows - whilst we've pushed ourselves to deliver rich and deeply layered arrangements that showcase Joe Dukie's exceptional voice. We feel totally at home melding together this unholy mix of disco, rootsy dub, blues, soul and electronic funk - it's what we do.'

Fat Freddy's Drop have released two studio albums, 'Based On A True Story' (2005) and 'Dr Boondigga & The Big BW' (2009), two live albums, 'Live At The Matterhorn' (2001) and 'Live At Roundhouse' (2010) and a stash of limited edition vinyl singles, including the now legendary 'Midnight Marauders' and 'Hope For

After the first Ricardo Tobar remix edition (featuring remixes by John Tejada and Fairmont) on Cocoon Recordings we are proud to present the next chapter with remixes by Lawrence and Midnight Operator (Mathew and Nathan Jonson). 2016 seems to continue as we started it: With high quality music by great artists presenting us amazing techno in an unique and tasty style. Midnight Operator, the joint project of the two Jonson brothers, picked Tobars Angora' for their remix and the result appears very fresh and housey. Their bassline programming adds a nice italo-disco vibe to their version of Angora". Together with their strings and melody-parts the Midnight Operator remix is turning into the perfect soundtrack for the upcoming spring nights: We hear flowers, birds, butterflies and feel the warm air ... not to mention that our feet start moving and dancing. Dial mastermind Lawrence contributes the fourth remix to Tobars album: His version of Red Light' explores the emotional side of techno and house. We dive into deep spaces, spheric melodies and an atmosphere close to the vibe of the great works of Kraftwerk - this is impressive! Lawrence Red Light' version presents the musical side of techno to us - a timeless piece of music with a chill-out flavoured beat and synth programming.