Speicher 125 is a most auspicious collaboration between two great, inimitable voices in techno: Kompakt co-founder Michael Mayer, and Magazine’s own Barnt. They’ve both been productive of late, Mayer with his “Brainwave Technology” EP in 2021, Barnt with his first release on Kompakt, "ProMetal Fan Decor Only Product" in 2022. Of course, they’re also busy with their respective record labels, and international DJing schedules.
You may already have heard their first track, which appeared on Michael’s "&" album from 2014, the psychedelic “Und Da Stehen Fremde Menschen”. For Speicher, though, they set their sights firmly on the peak time dance floor – the result is two stunning cuts of techno euphoria.
On “Teller” Barnt and Mayer unleash a synth storm, tense and thrilling. Percussion piles up against the incessant buzz, but before too long we’re submerged in waves of dense texturology, making the track an object lesson in tension and release. “Duration” is a bittersweet anthem about "life long love". A moving voice tells us about "faith in life" while gleaming, synths, choral swarms and snares shower down from above to form an epic tale about duration and devotion.
Weirding the groove and updating the emotions, Speicher 125 is a monster.
Speicher 125 ist die Zusammenarbeit zwischen zwei unnachahmlichen Stimmen des Techno: Michael Mayer, Mitbegründer von Kompakt, und Barnt von Magazine. Beide waren in letzter Zeit nicht unproduktiv, Mayer mit seiner "Brainwave Technology" EP, Barnt mit seiner ersten Veröffentlichung auf Kompakt, "ProMetal Fan Decor Only Product". Natürlich sind sie auch mit ihren jeweiligen Plattenlabels und internationalem DJing beschäftigt.
Vielleicht hast Du schon ihre erste Kollaboration gehört, die auf Michaels "&"-Album von 2014 erschienen ist, das psychedelische "Und Da Stehen Fremde Menschen". Für "Speicher" haben sie den Peak-Time-Dancefloor ins Visier genommen - das Ergebnis sind zwei atemberaubende Stücke voller Techno-Euphorie.
Auf "Teller" entfesseln Barnt und Mayer ein Synthie-Gewitter, spannend und mitreißend. Die Percussion türmt sich gegen das unaufhörliche Summen auf, aber schon bald tauchen wir in Wellen dichter Texturen ein, was den Track zu einer Lehrstunde in Sachen Spannung und Entspannung macht. "Duration" ist eine bittersüße Hymne über "lebenslange Liebe". Eine bewegte Stimme erzählt uns vom "Glauben an das Leben", während schimmernde Synthies, Chorschwärme und Snares von oben herab eine epische Geschichte über Ausdauer und Hingabe prasseln.
Speicher 125 ist ein Monster, das den Groove neu erkundet und die Emotionen auffrischt.
Macht euch bereit für Movie Metal mit einem düsteren Touch!
Die Geschichten von CURSE OF CAIN spielen in einer dystopisch futuristischen Zeit und drehen sich um eine Truppe Aussätziger, die um die Welt reisen und Shows spielen, um unbemerkt ihr Hauptziel zu verfolgen: Die Welt zu retten und sie zu säubern von fiesen Parasiten,
die die Menschheit infizieren - willkommen in der Zukunft des Jahres 2076? Dieses einzigartige Projekt erschafft ein komplettes filmisches Universum mit vielen Charakteren, die uns in Musik, Film und Bildern unheilvolle Cyberpunk-Geschichten erzählen.
Das Album eröffnet das Schicksal eines Charakters namens Cain. Wir befinden uns mitten in der Ära nach dem Roten Krieg im Jahr 2076 und können dort die Kämpfe der Band und Cain hautnah verfolgen. Dieses Debütalbum, gemixt und gemastert von Alexander Backlund, ist das erste von vielen Kapiteln in der Bandgeschichte und erzählt den Anfang aller Legenden: Wie Cain zu dem wurde, was er ist und welche Schlachten er ausfechten muss, um die Menschheit heimlich zu retten.
Degiheugi presents his new project “Remixed Treasures”. A project that bears its name well. Like seabed adventurers, the remixers have been asked to rework in their own way some of the most significant tracks of a career spanning more than 20 years.
Starring L’Orange, Moderator, Souleance, iZem, The Architect, Senbei, Al Tarba, Mounika, DJ Vadim, La Fine Equipe, Kognitif, ProleteR and Scratch Bandits Crew, the XXL cast of this impressive crossover melts genres (hip-hop, electro, ambient, drum & bass, jazz…) and brings together no less than 13 beatmakers from different scenes and generations.
You just can’t imagine ho many Joe Johnsons soul singers were around on both coasts of the States at the crossing of the sixties and the seventies. And how long it took us to find the right one. Double banger here out of a privately produced Long Player that never had a 7” vinyl to lead to its publication. Until now of course, with that Time Capsule feel as trademark of our flagship record label.
There have been many versions of the Ritz Band. The Charleston, WV Night Club opened in 1982 and over the years showcased many of the area's top musicians and vocalist. In 1985 club owner Dick Allen had a vision of releasing a single which led to the recording of the only original music ever recorded by one of the many versions of the Ritz band. There were a couple of different versions of the band in 1985 but the musicians listed below is the version of the group that recorded the single "I Should Have Known" featuring Raye Smith on lead vocal, written and produced by Raye Smith and Steve Johnson and recorded and mastered at Chandler Audio in Ashland Kentucky by Studio owner Denny Chandler.
Extinguishers at the ready! Hot off the press, double trouble dub business that’s been causing a ruckus on dancefloors across the globe. Once only a weapon in a select few of the finest DJs record bags, these vinyl only head turners are now getting a full vinyl release.
ANGEL delivers a new dub techno EP, “Sous l’eau”, on the in Stuttgart-based label AMAS_Studio. The EP unveils 4 dub techno tracks including a remix by the Amas crew and Estrato Aurora.
it is a deep journey through and under the water of her mind and soul. listen and swim through her sound of berlin streets.
The original versions of “Particule I” and “Particule II” highlight a contemporary vision of dub techno, boasting some vocals and deep layers, while being aligned to the broader dub techno genre. AMAS Remix provides a singular vision of “Particule II”, with reverbs and harmonics that are more electronica-oriented, while the version of Spanish producer Estrato Aurora, working exclusively on analog instruments, unveils a deeper and more atmospheric touch.
the EP FACE I is an evolution from the previously released album JAHRE. it fits into the narrative of urban life and our own personal development. both chronology and emotions are explored here and adapted with lyricism and atmospheric digital and analog sound.
it starts with 1984, beginning of our emotional journey and also literary (GEORGE ORWELL) fixpoint of the electronic adaptation. we feel a kind of lightness in our society, upswing and freedom determine everyday life for a large part of germany. we are free, everything seems possible! almost we move through an utopia. new prosperity and contentment let us blossom, no digital friends and in-between worlds alienate our seemingly naive and peaceful being.
in TMV a first individual emotional world comes to the fore, the mood is mixed and seems fragile. euphoria and melancholy mix to an undefined state of emotional and musical confusion. LYRIK gets a first big space here and carries from the part of confusion into a part of detachment. despite the ambivalence of the first moment, the scene ends in a transcendental, positively driving state of letting go and rest ...
the next part takes us away from the familiar and seemingly peaceful MOMENTS. we jump into the year 2184! 200 years later we are sitting here now, society has turned into an emotional desert like in ORWELLS fiction. a lonely CYBORG sits in the ruins of our once joyful cathedrals and sings about his tearing apart. he can't be without, but also can't be with his own anymore. like a cursed of two worlds he sits stranded in space and time.
the conclusion is made by TMVA, here we get into a very intimate emotional farewell to a lost and unfulfilled love. the calm tempo lets everything flow out that has confused and driven us for years. who or what do we want to become emotionally? are we even capable of letting ourselves fall after decades of searching and disruption? are we already dying? in the end only art and the love of it remains to save us.
‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’
BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol
Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.
Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.
Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.
Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.
In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.
DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.
In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.
Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.
BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.
Ursprünglich 1991 veröffentlicht, war dies das vierte Studioalbum der Band, das über Atlantic Records erschien. Es erreichte Platz 29 der US Billboard HeatseekersC hart und ist bis heute eines der meistverkauften Alben der Band. Enthält die berühmten Tracks "Coma", "Frankenstein" und "Horrorscope".
Limited Edition in blau-schwarz marmoriertem Vinyl.
It's fair to say Malta's Sound Synthesis is associated with spacey, acid-flecked electro. But here, on his first album for Gated, a deep vein of old-school influenced breaks comes to the fore.
The infectious acid lines are ever-present - the hands-in-the-air breakdowns, the rolling basslines - but this is a different side to Keith Farrugia's prolific output that brings in influences from ambient to downtempo to bassbin-worrying bangers.
Take opener Ambient Talk, which kicks into life with skittish drums, or the woozy vocal-led All Night, which makes sharp use of the Amen break, as does album highlight 90s Chords.
Yes there are classic Sound Synthesis melodies throughout these nine tracks, but there's also a darker side, exemplified by the aptly-named 140BPMadness, which showcases Farrugia at his most ferocious.
„There are imaginary signs or signals that make your arm twitch mutely.
In such cases, you may have to interpret the meaning of such a "message".
If you ignore it, it's almost certain that nothing will happen, but you may also miss the chance to change your life because you passed a potential turning point and didn't notice.”
There were once many worlds on this Earth. Each had its own land, language, population, borders and history. There were people and societies.
They already looked alike, but they didn't realise it.
When the borders disappeared, the looked at each other, but by this time suddenly, the languages and the histories also disappeared.
The present worlds do not have any Earthly home, they have moved to the kingdom come of the collective subliminal sociostasis.
There they are still living for a while, exactly so long as humans have human form and the time for transhuman cultures arrives.
To fumble about in this gap of time bubble, that has been opened for a short time between the collapse and the vanishing of the borders of cultures: this is the science of Ishin-denshin burdened with Heisenberg’s paradox.
On Delta Estácio Blues, São-Paulo-based singer, composer and actor, Juçara Marçal delivers an electric, unflinching take on contemporary Brazil where samba, tropicalia and maracatu are reimagined via hip-hop production techniques.
Created under an oppressive political climate as Brazil suffered from the pandemic, pain, anguish, chaos and anger run through Delta Estácio Blues. Co-produced by Marçal with fellow Metá Metá founder Kiko Dinucci the album was partly inspired by Danny Brown’s 2017
leftfield rap masterwork ‘Atrocity Exhibition’.
For fans of: Metá Metá, Moor Mother, Kiko Dinucci, Damon Locks, Neneh Cherry
Revolver, die die Band 2020 auf ihr Cover setzten, bemerkten, dass AUGUST BURNS RED "den Schmerz so gut annehmen". Eine Wahrheit, die nie offensichtlicher war als auf "Death Below", ihrem atemberaubenden neunten Studioalbum. Aufgenommen mit den langjährigen Produzenten Carson Slovak und Grant McFarland.
In anticipation of Kerri Chandler’s forthcoming album Spaces and Places, his first in 14 years, that sees the New Jersey legend celebrating club and soundsystem culture by recording, writing and performing a track in twenty-two of the worlds most distinguished nightclubs, Kaoz Theory drop the second in a series of vinyl album samplers.
Sampler 2, a sublime gatefold, double 12 inch package sees Kerri soak up and channel the atmosphere of Dublin’s District 8, Glasgow holy grail Sub Club, NYC’s Output and Lisbon’s crowning jewel Lux into four trademark Kerri cuts, doubled up with a further mix of each track for good measure too. Piano-laden deep house, heads-down groovers, vocal-tinged soulful gems, recorded directly from each space, it’s brimming with future classics from start to finish.
Chart-topping afro house label MoBlack Records, favoured by the likes of Dixon, Black Coffee and Ame, returns with another scintillating four track sampler. Deep, emotive, richly textured afro-infused house cuts from the likes of Emmanuel Jal, Zakes Bantwini, Mowgan, Yass and Fnx Omar.
«The Rarities» ist eine Zusammenstellung von Fan-Favourites, Raritäten und bisher unveröffentlichten Songs, die alle von Mariah selbst handverlesen wurden. Auf der zweiten CD gibt es als Zugabe die noch nie zuvor in voller Länge veröffentlichte Audioaufnahme von «Live at the Tokyo Dome», Mariahs erstem Konzertauftritt in Japan, welcher anlässlich ihrer Daydream-Welttournee 1996 stattfand
yet is a slippery word in English. Amorphous, these three letters in dierent contexts can define contrast or emphasis, set a place in time, show an expectation that something will occur or, paradoxically, that it is likely to stop.
It is this mercurial nature that makes yet the perfect title for Tresor’s latest compilation: the label follows on from the more explorative sections of 2021’s landmark Tresor 30 boxed set with a compilation, featuring 13 artists making music that resists easy definition.
Every track hints at and borrows from the familiar yet none follow the expected path: halfway through Deserto, Nandele & A-Tweed dramatically reveal a very dierent sonic landscape that was initially suggested; DJ Sotofett collaborates with Sri Lankan artist Kavadi with results that are unlike anything in the Norwegian producer’s catalogue as yet.
Further invention can be found as Jean Redondo’s Hypersonic moves across spaces inhabited by digital hardcore and hyperpop before swerving o-road and into a futuristic hip-hop section; on No Longer Human, Ireen Amnes takes a dierent path at the crossroads melding hyperpop, trance, and sci-fi soundtrack atmospherics, Significant Other heads towards UK Bass and Dubstep, and France’s Willis Anne skims by the outskirts of footwork with a piece that is almost completely uncategorisable.
Yet more sonic experimentation comes from E-Saggila, Nadia Struiwigh, NVST, Solid Blake, and Viikatory who oer unique takes on the well-established electro blueprint, while Ryan James Ford, and Nit. both find ways to blend elements normally found in ambient pieces with those heard on a dancefloor.
The feel of the compilation is yet again reflected in the enigmatic artwork by Malik Arbab, where shapes and colours suggest animals and plants but in a world that appears to be transient and constantly evolving.
Elkka’s deep intuition is the unifying thread throughout Cardiff-born DJ and producer’s illustrious career. Vibrant releases for Local Action, Ninja Tune and her own label and party, femme culture, have marked her as an unstoppable force within the London underground.
This recognition metabolised when she was awarded BBC’s prestigious Essential Mix of the Year in 2021, spotlighting her radiant blend of classic house, breakbeat and experimental electronica to the world over.
As the next curator of DJ-Kicks, Elkka is voyaging through rave euphoria. “This is a really special moment for me because DJ-Kicks has been a formative part of my musical education,” she says.
An intoxicating journey through Chicago house and disco, leftfield techno, UK bass and electro-punk, Elkka conjures up an atmosphere that is as primed for the club as it is the listener’s interior world.
After the enormous support received in previous releases, we believe that the time has come to give our music a bit of color and this time we have opted for green, the color of our natural habitat ... "La Jungla de Andalucía"
Sekret Chadow surprises us again and shows us the most sentimental side of him with his "I Love You Mommy" We can already imagine what this artist would be thinking about when creating this beautiful musical composition, a true tribute to one of the most important people in our life, without a doubt a track created with a lot of love, loaded with arpeggiated melodies, vocals, basses. and powerful breaks that create perfect harmony. Close your eyes and let yourself be hypnotized by the magic of his music.
Baymont Bross joins our family and we could not start in a better way than presenting this beautiful version of one of his greatest hits throughout his career "Enjoy Yourself" Do you remember those infinite closings at Carpas Yerbabuena? Are you one of those who danced in Mangueta Beach until dawn? Surely you once danced to this track and now we can relive those wonderful moments with this vocal version created on the occasion of the 10th anniversary and extended for this occasion. Welcome to the monkey family.
Adam Vyt brings us his track "Don´t Give Up" a message of strength and encouragement for the times. A track with piano melodies followed by an elegant line of atmospheres and basses, vocals and a powerful base with airs of Uk Garage, a mixture of styles that already define this artist. This track was previously released in digital version by the "Distorsion Records" label, making it one of the best tracks in Beatport's Top100. Never give up...!!!!
Case82 is back with us and this time with another of his most powerful tracks "Pump This Party" and that's how it is ... the party's pump .... !!!
Once again this Dutch artist shows us that his strength is pure Old School, a mixture of powerful bases, vocals, stabs and wonderful melodies with violins and piano to which he is already accustomed. This is "Lost in The Jungle"
Asphalt Records second output is a forward thinking, hardcore continuum friendly take on the grittier side of industrial techno from Birmingham by the neighbourhood's new pestilent squathouse residents NeonDemon. This EP has its roots buried deep in seamless concrete foundations scaffolded by Mick Harris, via Surgeon & Regis inspired techno half-times, while pushing tech-step’s most asphyxiating soundscapes to sheer schizophrenia (i.e Guided by Whispers). The grime influxed club architectures (Pattern Down), the weightless demonic punk industrial attitude reminiscent of Throbbing Gristle (Pentastar) and the dark humor embedded in this 12’ (Pandeirada de Tella Remix) make Stains EP the perfect soundtrack for today’s apocalyptic contemporary events. Mastered as usual by Jason Goz at Transition, pressed in thick asphaltic 180g and wrapped in our usual pavement-black outer sleeve.
Lord knows we have put out some rare R&B records here at Real Gone Music, but this one may take the cake! Mary Mundy’s 1980 album for the obscure Image label goes for hundreds of bucks if you can find it at all (which, as of this writing, you can’t). Loaded with bassheavy, disco-soul grooves over which Mundy’s voice floats like
a butterfly and stings like a bee, Mother Nature lives up to the collector hype. That Mundy’s discography consists of this album and a few scattered singles just adds to the mystique of this intriguing one-off, which sees its first reissue in any format here. Remastered for vinyl by Mike Milchner at Sonic Vision. We’re only making 1000 copies and you better not tarry…pink vinyl pressing!
KAU is an instrumental project based in Brussels consisting of André Breidlid (drums), Matteo Genovese (bass) & Jan Janzen (keys). Representing various European backgrounds, their coming-together is in the spirit of the city they grew up in.
Taking inspiration from jazz, they create a head-bobbing atmosphere using bassy beats and catchy melodies. By implementing acoustic instruments, the trio stays true to an organic and rich sound, granting themselves the liberty for improvisation & spontaneous happenings. Influenced by artists like BADBADNOTGOOD & Christian Scott, their music is contemporary, powerful, and audacious.
The EP "III" is the collaboration between the three core members of the band and Maxime Dereux, talented French saxophonist already guested on "II". Having built strong musical ties over the course of the last years, the idea to make more music together arose naturally without a shadow of a doubt.
The result is a 4 track EP with a high concentration of powerful riffs and sharp themes. The title song 'Mad Max' perfectly represents madness incarnated. On "Moonwalker" they go to new places with ever-changing melodies and sax lines. 4 minutes of holding on to your seat in anticipation of the next measure.
This EP also features Brussels born and bred rapper "Jay MNG" who has made a name for himself around many concert halls & festivals in Belgium. Having collaborated notably with Commander Spoon and Kuna Maze, the polylinguistic rhymes of Jay MNG left a mark on this emerging music scene. Enraged, banging in whatever language that may be, Dutch, French or English, he manages to make a massive impact on the atmosphere of the tracks and add his own flavour.
KAU is an instrumental project based in Brussels consisting of André Breidlid (drums), Matteo Genovese (bass) & Jan Janzen (keys). Representing various European backgrounds, their coming-together is in the spirit of the city they grew up in.
Taking inspiration from jazz, they create a head-bobbing atmosphere using bassy beats and catchy melodies. By implementing acoustic instruments, the trio stays true to an organic and rich sound, granting themselves the liberty for improvisation & spontaneous happenings. Influenced by artists like BADBADNOTGOOD & Christian Scott, their music is contemporary, powerful, and audacious.
"II" is the second EP released by KAU. After experimenting with beats and live instruments, this second opus marks the evolution towards a more hybrid and powerful sound defined by their willingness to create extended compositions. The trio adds a unique flavor to each track by inviting guest artists to take part in the production. The bobbing and gritting atmosphere reigning in this EP is in the continuum of their first release, keeping in touch with their identity.
third ear is u.r.trax's third ever release and first full ep on Trip after her contribution to "all his decisions".
throughout the seven tracks she plays with vocals creating textures, sounds and melodies and above all a clear aesthetic.
"I feel like this release faithfully represents my musical identity. I see and hear my sound becoming clearer and that's very satisfying. If I try to define the overall vibe of the record, I would say that it is like a mood swing, from deep, dark and cold atmospheres to uplifting, higher, sometimes ethereal energies." - u.r.trax
Through Crooked Aim has the feel of a record to accompany the listener on epic journeys through strange and daunting territories. Adjust the rear-view mirror and press play as the landscape rolls behind you. Filmic. Atmospheric. Classic, Americana and Folk influences peppered throughout, It's a journey that rolls through valleys, painting its own rich, vivid pictures inhabited by troubled, nuanced characters looking for ways to keep going. Recording it at Old Jet in Suffolk, an old US Airforce base turned creative arts community developed and run by Quin added its own majesty to proceedings. Waking up to see herds of deer walking through the moors and mist whilst surrounded by these aircraft hangers. You can't help but find some of that magic seeping into the recordings.
Buckle up for Dubblack002, this time courtesy of Italian rising star TAGLIABUE. The Milanese DJ & producer is a an ideal ambassador of the label’s ethos, with his deep and mysterious electronic attitude. The opening track ‘Odissea’ lays the groundwork for the record to rise, with a cryptic intro which breaks out in a progressive detonation, referring to a late 90s/early00s sound but interpreting the scenario with a modern, actual twist.
‘Baraka Trance’ keeps the standard high and, as the title suggests, offers the artist’s POV on the Trance matter with a high-tempo, neatly arranged beat and a slightly acid bass-line, both creating a constantly evolving eight minutes-long acoustic journey. ‘A Oltranza’ slows the pulse but doesn’t decrease the pressure with captivating rhythmics perfectly blended with an avant-garde harmonic section; a complex but never baroque arrangement that constantly holds the listener on the rope. Three tracks with unique features, presenting a vast array of musical influences all merging to produce a cohesive, new and unheard record. Music written and composed by Tagliabue, project curated by GNMR.
This EP gets off to a perfect start with "Keep It All Inside", a straight track with dirty kicks and snares meeting rough chords and melodies. Uhhh!
"Luv The Way" cannot be surpassed in its purity and its efficient minimalism. This track should be played at high volume!
The B-side gets us a little deeper with two versions of "Join The Jam" and rewards us with everything that enchanted us in the 90s: smashin' grooves, deep chords and soulful vocal samples become an incomparable musical and equally danceable highlight. Hypnotizing!
Flautist Johanna Orellana teams up with Carmen Villain for a collection of horizontal, pastoral field recordings and close mic-ed flute sounds that zero in on the instrument’s unstable resonance and levitational magic. There’s no cringe virtuoso business or fourth world firewalking here - just sonic purity, sublime minimalism and the precise capture of time, place and poetry.
You might have come across Johanna Orellana before if you’ve listened to Carmen Villain’s music (or seen her perform live), and Villain appears here in a producer’s role, using her engineering expertise to impart a level of restraint and sonic fidelity that’s quite startling. There are only really two central elements to the album: environmental recordings and flute. There’s no psychedelic delay, no cavernous reverb; no audible treatments at all - Orellana and Villain instead force us to consider the flute and its musical lineage.
‘El Jardín I’ introduces the instrument as a physical conduit; Orellana allows her breath to distort the sound - the padded pat pat of the keys forms a kind of rhythm, closely recorded so it’s amplified and jarring, linking to primal wind instruments like conch shells, bamboo flutes and wooden whistles. Recalling the way in which Debit interfaced with the ancient world using AI- assisted tech on last year’s ‘The Long Count’, Orellana uses a comparatively modern contemporary transverse flute, an instrument with roots that stretch back through the baroque era, into Medieval Europe, back to the Byzantine era and into Asia. The component that connects the instruments and eras is breath, and its amplification and modification through differently shaped pipes and vessels.
Orellana lets the environment sing: insects, rushing water and zephyr-like winds form a stage that presents her mortal energy, suggesting a harmony between our use of breath and its environmental ubiquitousness. Her technique is steeped in folk history and decouples itself from expectation by rooting itself in nature. It allows her to bridge the gap between equal temperament and less ordered (less commercially-focused) microtonality without overstating the concept. Other sounds waft in from the sidelines; what might be an Indian bansuri, stray notes, a gust of air.
There’s a link to the foundational new age recordings that Joanna Brouk made with Maggi Payne back in 1980, but Orelanna also absorbs the outdoor folk magic of Fonal or Stroom, and the improvisational grist of Bendik Giske or legendary US horn duo Nmperign.
Jazz music has more than its fair share of overshadowed figures that whilst contributing much to the music have little presence in its collective conscious. One such musician is the talented multi-reedist, Sahib Shihab. Born Edmond Gregory, as he was known before he adopted the Muslim faith in 1946, Sahib Shihab's music background shows a deep and significant evolution, influenced by Thelonious Monk, Dizzie Gillespie (his experience in Dizzie's band marked Sahib's switch to Baritone, the instrument he became most readily associated with), and above all by Charlie Parker's Bop. Had it not been for the post-war migration of many top American jazz musicians to Europe, it is quite likely that the legendary Clarke-Boland Big Band might never come into existence. Sahib, one of this musicians disillusioned with the politics and racism of the United States, accepted to join the band of Quincy Jones for an European tour in 1959. When the tour ended, Shihab he remained in Europe where he joined, in 1961, the Clarke-Boland Big Band. The collection 'Companionship', whose line up consists of seven elements which derives from this original band, spotlights the consummate musicianship and individuality of Sahib Shihab and is testimony to his special musical gifts - not only as a top-rank flautist and baritone saxophone but also as a composer. Furthermore, it provides a welcome reminder of the high quality of the Clarke-Boland Big Band's rhythm section, the lively style of vibraphonist Fats Sadi and the power and personality of two of the C-BBB's horn-playing stalwarts, Benny Bailey and Ake Persson. Here's a real rarity, surely a desert island disc. This double album has it all from frantic banging percussive workouts to modal numbers to beautiful ballads. It's a staggeringly good piece of music and worth every penny of the price tag it commands. Let's have a look to the most significant pieces. Francy Boland's "Om Mani Padme Hum", taken from a Tibetan prayer, shows Shihab in exuberant mood, playing against a vigorous percussion background and making dramatic use of his special technique of combining voice and flute. Boland contributes an incisive, effervescent solo. "Bohemia After Dark", a classic original by bassist Oscar Pettiford which he first recorded back in August 1955, finds Shihab in exultant form on baritone. "Companionship" has a Bossa Nova beat and features Bailey on flugelhorn and Shihab on flute, playing with a limpid, floating sound. Bailey's minor-key original, "Stoned Ghosts" was, he says, inspired by listening to some music written by Bela Bartok before he emigrated to the United States. The piece has an infectious back-beat pulse and showcases the superb walking technique of Jimmy Woode. In "Con Alma" Shihab's mellow flute set against a churning 12/8 beat in this stylish Boland arrangement. Woode's performance of the superb Mei Torme ballad, "Born To Be Blue", reveals his great affection for the song. "lt is the perfect combination," he says, "a beautiful melody married to a great lyric. I really love that tune." It is a song of rueful resignation, putting a brave face on the blues. "Balafon" is an up-tempo Francy Boland original written for the French mime artist, Marcel Marceau. The rhythm section really cooks on this track with Kenny Clarke's cymbal work outstanding. Boland's solo here is notable for its neat, left hand punctuations. "Calypso Blues" has been written by Nat King Cole and Don George. lt tells the wry and wistful tale of a Trinidadian in New York desperately homesick for the land where everything 5 so much cheaper (in New York "a dollar buy, a cup of coffee and a ham on rye") and the girls more natural than the artificial, painted beauties of New York. Woode's composition, "Sconsolato" is a haunting theme in A minor and it brings to a close a truly fascinating album. This is dynamic music played with vigour, verve and vitality - and it is an enormous pleasure to rediscover it. A shadowy fugitive from his home in the land of jazz, Sahib Shihab remains a true unsung figure, worthy of more attention. With his equally expert technique on Baritone, Flute, Alto and Soprano saxophones and his capacity to adapt easily to a variety of musical settings. His warm, individual, singsong sound in improvisation and his unusual and interesting compositions mark him out as a hidden treasure in the dusty corners of jazz archive.
JIMMY EDGAR's latest release for Innovative Leisure, LIQUIDS HEAVEN, is a psychedelic canvas of future R&B, euphoric bass, mutant tear-theclub-up rap, foundation-splintering noise, and gossamer soul.
On a surface level, it is a starburst of avant-garde fusion, collecting a diverse cast of eccentric geniuses and re- configured into an anthology of n - musique concrete.
As with all of his work, there is a deeper and subversive intent.
Do not mistakenly believe that LIQUIDS HEAVEN is merely a technicolor dream of ethereal abstractions. It bangs as hard as anything to ever bump from a subwoofer.
Over a polychromatic blast of crunk, bounce on Everybody like a rap
rave inside a 31st century space station. Bite That 2 finds Trinidad James spitting flames over booty- shaking, wall- crumbling bass. On Ya, 645AR chirps over a metallic chassis of booming industrial funk.For all the high energy propulsion, there is a counter-balance of melancholic beauty.
The album's opener, Euphoria features a Liz Y2K vocal that levitates with plaintive longing. The Milk- aided Dreams 1000000 sounds like the chimerical soundtrack to a manga utopia that needs to be imagined. Milk also appears on the finale, Never Leave, which
captures a bittersweet sadness, the wistful emotion of the tide slipping away.
Jimmy's career has been a series of fascinating left- turns. Signed to Warp Records as a teenage electronic music prodigy, his work needs a scholarly bibliography to properly assess. He's recorded for the world's most respected imprints (Warp, K7, Hotflush, Innovative Leisure and his own New Reality Now).
Raised in Detroit, there have been stints soaking up inspiration in Berlin, Atlanta, LA, and New York. His list of close collaborators includes the most innovative musicians of the millennium, including Hudson Mohawke, Danny Brown, SOPHIE, DAWN, Mykki Blanco, Vince Staples, and several full projects with Machinedrum
as J-E-T-S.
Omni AM presents the long-awaited reissue of “Can We Get / Keep Doing That.” This timeless record sent dance music in a new direction. Euphoria Record’s vaults are open and finally, for the first time since 1997, this seminal tech-house classic is available to everyone for the very first time in over 25 years. This 1997 indie record was Euphoria Records second release – and their first international record. Whether you agree with it or not, many people consider this one of the pioneering records of American Tech-House. Both sides and several mysterious alternate versions have graced the decks of DJs like Evil Eddie Richards, Terry Francis, Derrick Carter, Tyler Stadius, and Magda. The list goes on.
We were lucky. Curve Pusher lovingly remastered the original four tracks from the 1997 studio masters. Then, he went a step further, and remastered some previously unreleased versions – including a live version in Chicago that encapsulates what Omni AM was back then: ambient house. There’s a bit of Chicago, a bit of London, a bit of New York, and a bit of Tokyo in every second of these classic, genre-defining tracks.
A1.
“Can We Get” happily sits with the finest works of Ron Trent, Chez Damier, and Mood II Swing – and goes further, as Omni AM has never feared genre definitions. It opens with classic deep house chords, floating synth pads, and sparse vocals. The bassline is deep and warm. Marky Star and Adam Collins expertly work the percussive effects but always keep the theme simple and clear. Everyone knows this is a classic house track because it hypnotizes you.
A2.
“Keep Doing That” continues the theme with another classic late-night killer. However, this one is totally different – almost industrial, yet clearly housey and ambient. It drives deep into a tough groove that just builds and builds. The dub-influenced bass line gives way to a more angular synth riff that both offsets and adds to the track's forward thinking sound design. It’s dark and dirty, yet terribly sexxxy at the same time. It was and always will be mesmerizing. Once again, musical magic by Marky Star and Adam Collins.
B-Sides
The flip side features two remixes of “Keep Doing That” by UK tech-house legend Mark Ambrose. His bubbly, psychedelic take on the track pumps up the percussive Chi-town groove while going in a distinctly London afterhours direction. Trippy, for sure. Fun for all, for sure. These remixes are guaranteed to make your afterhours weird.
After the successful 7-inch release of Agip, Roman producer and composer Azzurro 80 is back on Four Flies with another triple-single that continues his love affair with dreamy synth-pop and Italian Eighties culture and society.
"Notte Inchiesta", on side A, could be the title music to an imaginary '80s investigative/true-crime program broadcast on late-night television. Clearly reminiscent in mood and texture of the soundtracks of late-70s/early-80s Italian detective-action films, it brings back the jazz-funk, post-prog and fusion overtones that characterized the music of those films. In short: a contemporary-retro sound nestled somewhere between Goblin's funk-oriented recordings, Azymuth's "Jazz Carnival", and electronic disco with a sprinkle of new wave.
Side B opens with "Equilibrio", which could serve as additional, more dynamic music for the same TV program mentioned above. The style is once againelectronic jazz-funk, but here we have abreak built upon a trail of notes chasing each other.
In contrast, "Sambuca", the single's closer, is deliberately nostalgic and melancholy. Perfectly suitable for visual narratives of an Italy that no longer exists, it sounds like one of those great Italian soundtrack themes that are able to convey tension and calm at the same time. The track is titled after the anise-flavoured liqueur that Italians often drink after their espresso, because "making references in my music to things that are part of our national popular culture is really important to me", as the artist has explained.
Far Out Recordings proudly presents the self-titled debut album by Rio de Janeiro born multi-instrumentalist, composer and arranger Tunico. Honing Brazilian roots rhythms like maracatu, xanadu, and samba, to combine with a global contemporary jazz outlook, the newcomer adds a modern classic to the ever rich vein of Brazilian instrumental music.
Consider it a natural evolution from the legacies of greats like Quarteto Novo, Hermeto Pascoal, Banda Black Rio, Tamba Trio, and Dom Um Romão, Tunico’s debut brings together an eye catching ensemble of talents from the Rio jazz community, with whom he performs on a weekly basis at celebrated live sessions and jam’s at venues like Macuna and Comuna Lapa, which often go on all night.
Released in 2022, the album’s rip-roaring lead single “Galope” features the effervescent vocals of Katerina Assef, as well as consummate solos from all over the band, as Sounds & Colours put it “…it exudes distinction and promise”. “Sambola” calls on the signature swagger of Far Out favourite Antonio Neves, indulging us in irresistible swinging samba-funk, undeniably reminiscent of the aforementioned Banda Black Rio in their late 70s heyday.
Born and raised in an artistic Rio household, Antonio Secchin aka Tunico’s father was the painter Guilherme Secchin, whose original work is lovingly repurposed to create the album’s cover. Antonio learned his trade on guitar from a young age, which remains his primary method for composition, but at the age of eighteen he started to gravitate towards the saxophone, and in particular the soprano sax, from which he now leads bands despite being entirely self taught. He would develop his skills busking on curbsides and metro stations before becoming a mainstay player in venues and clubs around the city.
When the pandemic struck, Antonio retreated to his family home in the Rio countryside. With time and space to breathe and reflect in a natural environment, he set to work at fleshing out the compositions he’d written throughout his musical life into full bodied works. His affinity with his rural surroundings is reflected in the luscious, blossoming feel of this groovy, mystical and poignant instrumental debut album.
Tunico will be released on vinyl, CD and digital platf
MOOD CHILD is the new artistic platform of DJ/Producers, SIRUS HOOD & MANDA MOOR.
Evolving from a collective idea during our difficult pandemic period, MOOD CHILD is, at its centre, about community, collaboration, friends and family. Working together, feeding each others creativity and forging fresh and exciting new sounds and projects.
MOOD CHILD is an invitation to a journey that blends different feelings, emotions and desires. To activate your inner child. Reinvigorate the wild, primitive and unfiltered state of being and create an almost divine sense of unity. All through the power of music and art.
Their collective sensibility is nurtured upon the dancefloor and last summer they were blessed to have presented a first MOOD CHILD experience in collaboration with Hï and Café Mambo in Ibiza. The mood then took them to Bagatelle in Zürich and Lovefest in Serbia and they now prepare to launch their 2023 campaign alongside the elrow family for a sold out event in Andorra 1st of April.
However, what is a party without its soundtrack? Their first release, as its title suggests, brilliantly displays the labels primal perception… ‘Homo Sapiens’ is the mood child of Sirus Hood and Malikk. Four carnal creations, all guaranteed to ignite a rabid dancefloor response.
‘Booty Side’ uses its compass to expertly navigate its way through bubbling acid and rolling snares as we go in search of Jack, while the title track will have us going ape to its chest-beating bump and knuckle-dragging groove.
Silverback beats swing low on the flip too as ‘King MTF Kong’ bites hard with its heavy Chicago hustle and detuned synth, while the feral Juke-infused finale, ‘Gorilla Walk’, is a break-neck bass-driven and bruising encounter that is more Jersey club than Empire State building.
The ‘Home Sapiens’ EP is released on the 14th April and will be available on vinyl and digital formats, alongside a series of exclusive NFTs.
MOOD CHILD’s official online store will launch soon and feature not only the music and digital art projects, but also an official clothing brand, sample packs and exclusive content from their artists.
Futuristic electronics by Niels Luinenburg (Delta Funktionen) under his new guise Immediate Proximity - in collab with Diana Napirelly. Ambient, Bass, Electro and Techno are the main identifiers for their output. Deep and emotive is the mood, but at the same time the music is playful and has a robust and confident character. This distinct direction, which was laid-out on the pair's debut LP '2334', has now led to the start of their own label: IMPROX - on which they'll release a series of EPs. On IMPROX, the duo experiments vivaciously with color, rhythm, space and tempo. Hi-tech, yet tribalistic rhythms are interlaced with elusive sci-fi themes. Big stage anthems are comfortably combined with cinematic ambient excursions. And through self engineered audio-gen modules, backed by a stark focus on sound design, the IMPROX series marks a powerful upgrade to Luinenburg's production capabilities.
Renowned Deep House artists Djebali and Hipp-E have returned to the roots of the label with their latest EP, titled "Fall Into Groove." This impressive release features three expertly crafted tracks, all of which are highly versatile and suitable for any club setting. Additionally, the EP includes a remix by M-High, the A&R over at PIV HQ.
