Things ephemeral, beyond perception.Blush Response' latest body of work, full length album DIMENSIONAL RESEARCH will be released on 24th of November 2023 on Kontaktor Records. The label is a further extension of Erica Synths showcasing boundary-pushing artists who fearlessly challenge the status quo of contemporary electronic music.
‘Double Pink’ is the debut album by And Is Phi (Andrea Isabelle Phillips), a multidisciplinary artist from Norway and the Philippines now based in South East London. ‘Double Pink’ is a nuanced world that draws on colours and texture; with influences of Joni Mitchell and Frank Zappa, 90's R&B and Madlib’s ‘Shades Of Blue’ blending languidly to produce a base for uncovering layers of self, a deep release, and fragile new form.
Written by Andrea and co-produced with Fiona Roberts and Lorenz Okello over a nine month period; ‘Double Pink’ thematically explores the many movements of internal change, speaking from a deep inner voice inside the body. The title track is an invitation to be as unapologetically hungry as you please after a long absence of life giving passion and trust in oneself. ‘White Noise’ is a recovery song playing in your soul the first time you made it back out to the dance floor after a heart break so massive it laid rest to the person you used to be. Songs like ‘Working’ and ‘Staaar’ come from a candid and contemplative aspect. Stages of grief and resilience and wonder and wisdom are all touched upon.
“The album explores metamorphosis, liminal spaces, and the multiple faces of love”, says Andrea. “I mention love as a key ingredient, because anyone who has had to push and pull and hold and yield themselves through great loss and transformation knows it ain’t gonna happen without love. Tough times ask for double love, a stronger heart, something like a double pink”.
Andrea’s story dots between periods spent living in Norway, the Philippines and England - experiencing joy and beauty battling corruption and violence in Manila, DJing in Oslo, losing her sizable record collection in a warehouse fire before making friends and family in the jazz scene in London. Every story needs a scene, a landscape, an environment; all things Andrea visualises when writing songs.
“At my heart I am emotional and imaginative, searching for freedom for my spirit. What grounds it all is coming from a family of storytellers. My father played drums and percussion, he was a great dancer and a true collector and connoisseur of music from everywhere. My wise mother instilled in me a sense of faith and grace”.
Andrea is far from new to the scene, having performed with Steamdown, Emma Jean Thackray, Hector Plimmer, Scrimshire, William Florelle and many more as a valuable and inspiring creative force within the South London music scene. Andrea also created the album’s artwork and music videos: musicality and painting evolved from her initial creative languages of drawing and dance. All aspects are dialects of her common language: singing what can’t be painted and painting what can’t be sung.
A new ensemble project from producer Chris Bangs, NOVA VIDA debuts on vinyl on BDQ records with a tasty brazilian samba for the dancefloor. My Only comes in 2 delectable flavours , a super sweet vocal version featuring Brazilian chanteuse KLEI and a spicy guitar instrumental featuring Argentinian ace FERMIN.
My Only was originally sung by French Siren Danielle Brisbois. Chris heard a snippet a restaurant scene in the film As Good As It Gets, Bangsy’s ears picked up and he thought I’m going to do something with it someday.A full on production job was the order of the day, vocals from KLEI , guitars from Fermin and a staggering piano solo and rhodes from Italy's finest, Abramo Riti.
Following much love for his EPs, remixes and club sets, the virtuosic DJ/producer Simo Cell’s debut album 'Cuspide des Sirènes' doesn’t disappoint. In fact, it takes things to a whole new level.
With a fantastical menagerie of anthropomorphism, sounds create characters and tools; the mermaid-like Sirens, the mind controlling Octopus and the Magic Conch Shell:
“Have you heard of the legend of 'Cuspide des Sirènes'? This is not a simple tale, but an incredible tapestry woven over many years and through countless wondrous adventures. I will recount the legend as it was recorded in the ancient scrolls.
The album’s story explores the themes of magic, enchantment, charm, and allure, but also personal fears. The protagonist (me) embarks on a quest to find the hidden lake and confront his own demons, in order to understand and master his own power.
The protagonist is armed with a powerful conch shell. As he embarks on his journey, he will encounter Sirens who will teach him various chants. These melodies hold unique powers and grant the main character the strength to confront and overcome any danger that may arise.” Simo Cell
Musically, the LP is a continuation of Simo’s journey that began with the ‘YES.DJ’ EP, with a synthesized/modernized take on noughties hip hop, bass music, trap, ghetto house and ghetto tech – but here he broadens the scope, massively.
Exploring new pathways through magical landscapes, via infused melodies, emo and pop, the sensations are bright and addictive, like a sugar and endorphin cocktail. There’s a screen sheen and video game quality too, sounding like the high-octane score to an action flick from the year 3000, with unimaginably wild SFX.
'Cuspide des Sirènes' is the kind of record to stop someone in their tracks, to ask “what IS this?”, provoking bass face, perplexion, fascination and manic glee, all at once. Not so much organised chaos as intricately-crafted-borderline-unhingement, the album is slightly bonkers, in a very good way. There’s a boundless sense of childlike, unencumbered imagination at play, and an abundance of fun, but there are moments of serious-deep-beat-science for the heads, and introspective passages too.
There’s a lot going on, with detail, layers, flourishes, arrangement, melodies and myriad fresh sounds – but it’s never too much; just a really engrossing listen – the kind that that ruins ones appetite for prosaic, vanilla dance music, rendering such 2D pursuits boring and obsolete.
Ideally, the album is meant to be experienced as a seamless narrative from start to finish, so leave any inhibitions or preconceptions at the door, and let the pied piper of electronic futurism lead you way down the rabbit hole.
Having been re-discovered as a groundbreaking slice of proto-grime from 1994, Dylan Beale’s legendary soundtrack for the SNES game Wolverine: Adamantium Rage finally gets the reissue treatment it deserves via Sneaker Social Club.
When the game came out in 1994, Beale’s soundtrack for the SNES edition stood out from the pack for its gritty beats, deceptively weighty low end and edgy orchestra stabs, but few would have guessed how certain tracks would predict the shape of music to come. Around 2016, the ‘Tri-fusion’ track in particular was picked up on by London-based producer Sir Pixalot as a mind-blowing slice of Eski beat coldness. To prove his point, Pixalot ran an acapella from J-Wing over the track and the results spoke for themselves.
While ‘Tri-Fusion’ is a straight-up accidental grime sheller, there’s scores more heat packed away in Beale’s soundtrack for Adamantium Rage. The limitations of the space on the game cart meant Beale had to get creative with the most limited samples. Fortunately his background producing UK hardcore and jungle in Rude & Deadly and Stuck To Your Lips meant he knew his way around the restrictions of an Akai s950. Fuelled by the inspiration of jungle and West Coast rap, he worked on the game soundtrack with a similar spartan attitude, limited to 200kb with which to load up the music engine for the game, samples and all.
Given the importance of minimalism in the effectiveness of soundsystem music, it’s not surprising tracks like ‘Cyber’ and ‘Dark Queen’ pack a punch which could absolutely set a dance off. Watch out for ‘Weapon X Lab’ too - another stand out bomb creating a deadly machine funk out of the tightly clipped bass samples and weird animal groan loops. Alongside the full, original soundtrack, this first issue of Wolverine: Adamantium Rage OST comes with additional tracks never used in the original game which widen out the styles Beale was exploring within the shockingly limited means at his disposal.
“I vividly remember when we first played the soundtrack on a bigger set of speakers to the boss,” Beale recalls, “his initial reaction was one of amazement that we had created something so ‘real’and different in comparison to everything else out there in terms of video game music, which I remember with great pride and fondness. Comparing to everything out there, it was totally unique- a moment in time.”
The Stallions compilations have become a benchmark of Bosconi's position as one of the leading house and techno labels operating out of Italy. This third instalment marks a shift in sound which also comes full circle to the music that first inspired founder Fabio Della Torre as a DJ and producer around the turn of the millennium, when punchy electro production was driving European house and techno into new zones.
All the artists featured on Vol. III are Italian, holding true to Bosconi's commitment to supporting local talent from Florence and across the country. Amongst the familiar faces is Della Torre's own Minimono collaboration with Ennio Colaci, which indulges a proudly manic palette of tweaked bleeps and dirty low-end. Elsewhere, recent additions to the Bosconi fold include veritable legends Alexander Robotnick and Marco Passarani, who infuse their unpredictable approaches to electro-techno and italo disco with ear-snagging synth-pop and driving analogue box jams respectively to create vibrant, impassioned dancefloor monsters.
The Mechanical Man is an alias from Nicola Altieri, who leans in on a classic Italo arpeggio to create a seductive club sound which builds on his recent Bosconi EXV EP, while Cixxx J switches from the mood of his own Bosconi appearance for a new alias Queen Of Coins and a pivot towards heads-down electro-techno-trance with a whiff of International Deejay Gigolos. Lapucci builds on the promise of his 2021 Bosconi 12" with a sentimental fusion track which lands somewhere between old school Italo house, the snappy pulse of EBM and crisp 00s-era electro house. Meanwhile modern day Italian techno legend Lucretio of The Analogue Cops makes his first appearance on Bosconi with the playful video game stylings of 'Gradius'.
A great deal of space on Vol. III is given over to emergent talent, ranging from Miguel Herr's twitchy detroitian synth-pop braindance and Twovi's vocoder-charged electro funk to DJ Rou's jacking ghetto house flavour. Giammarco Orsini and Jacopo Latini appear as Data Memory Access and deliver an emotive, punchy strain of machine soul. Feel Fly rounds the compilation off in bombastic style with an epic, cinematic workout which draws on Moroder-inspired drama without losing the forthright peak-time focus which binds the whole collection together.
Even the artwork on Vol. III serves as an opportunity to celebrate Italian creativity, as pioneering crypto artist Niro Perrone builds on his accomplished work in the field of NFTs and a background in music production to respond intuitively to the vibrant, synthetic sound of the compilation. For all the futurism in the music though, there remains a strong sense of human feeling which has marked Bosconi out since the beginning. The label remains as inspired and inspiring as ever, celebrating the fertile crossover when people manipulate technology to express themselves in an honest, playful way. Independent of wider trends or fashions, Bosconi remains true to its own idiosyncratic passions, and so Bosconi Stallions Vol. III stands proud as a compilation like no other.
Die unnachahmliche Róisín Murphy veröffentlicht ihr mit Spannung erwartetes neues Album, 'Hit Parade' das sie in Zusammenarbeit mit dem Virtuosen der elektronischen Musik DJ Koze produziert hat. Das 13 Tracks umfassende Kompendium aus genreübergreifenden Perlen wird am 8. September 2023 auf Ninja Tune veröffentlicht.
Die warmen Klänge des HipHop, die psychedelischen Elemente und die eleganten, gefühlvollen Grooves sind allesamt Teil der Vision von Murphy und Koze, was zu einem Album führt, das man endlos wiederholen kann, während die Melodien darauf sich im Gehirn festsetzen. Die 13 Tracks, die zu dem mühelosen Glanz des Albums beitragen, wurden in sechsjähriger Arbeit fast vollständig aus der Ferne zusammengebastelt. Fans beider Künstler:innen werden wissen, dass diese inspirierte Zusammenarbeit aus Murphys Beiträgen zu Kozes 'Knock Knock' aus dem Jahr 2018 entstanden ist - insbesondere 'Illumination' und 'Scratch That' - und als Murphy mit Koze an 'Hit Parade' arbeitete, fand sie den gemeinsamen kreativen Prozess auf seine eigene Art und Weise aufschlussreich.
Seit sie in der irischen Stadt Arklow aufwuchs, schien die Musik Murphy fast sofort zu rufen, von dem Moment an, als sie im Alter von 10 Jahren die Kraft ihrer eigenen Stimme entdeckte, indem sie den ewigen Showtune-Klassiker 'Don't Cry For Me, Argentina' bei einem lokalen Poesie-Festival vortrug. Murphy stürzte sich kopfüber in die Musikszene, nachdem ihre Familie nach Manchester umgezogen war, als sie noch ein Teenager war. Nach einem kurzen Flirt mit Noise und Punk in Manchesters Umgebung trampte sie mit 19 Jahren nach Sheffield, um in die Clubszene einzutauchen. Ein zufälliges Zusammentreffen mit dem örtlichen Bassisten Mark Brydon führte die beiden zur Gründung der gefeierten Gruppe Moloko. Seitdem hat Murphy eine beeindruckende Solokarriere hingelegt, die sich über fünf hochgelobte Alben (mit einer Nominierung für den Mercury Music Prize für 'Hairless Toys' in 2015), gefeierte EP- und Single-Kollaborationen und in jüngster Zeit auch über Auszeichnungen für Videoregie und Schauspielerei erstreckt.
Repress.
Back in 2015, Japanese DIY house pioneer Soichi Terada stepped back into the limelight courtesy of Rush Hour's 'Sounds From The Far East', a Hunee curated retrospective of material first released on his own Far East Recording label in the 1990s and early 2000s. Buoyed by the positive response and renewed interest in his work, Terada went back into studio to record his first new album of house music for over 25 years, Asakusa Light.
Developed over 18 months, Terada tried to recreate the mental and physical processes that led to the creation of his acclaimed earlier work. Those familiar with Terada’s celebrated, dancefloor-focused sound of the 1990s – a vibrant, atmospheric, and emotive take on deep house powered by the twin attractions of groove and melody – will find much to enjoy on Asakusa Light.
“I tried to recall my feelings 30 years ago, but when I tried it, I found it super difficult,” he explains. “I didn’t even know what I thought about myself five years ago, and the mental metabolic cycle seems to be faster than I thought. I tried different methods, including digging up my old MIDI data and composing by remembering old experiences. With the help of Rush Hour, I found some of the light from my heart that I had 30 years ago. I nicknamed the light I found in my heart, ‘Asakusa Light’.”
Produced using the very same synthesizers and drum machines that powered his 1990s work, the album is a joyous, colourful and life-affirming collection of timeless house music that not only recalls Terada’s own impeccable back catalogue, but also that of similarly celebrated contemporaries such as the Burrell Brothers or Ben Cenac (Dream 2 Science, Sha-Lor).
Terada, who has spent much of the last two decades writing video game music, has always had a gift for combining warm, undulating synthesizer basslines and perfectly programmed machine drums with stirring chords, smile-inducing melodies and mellow musical flourishes. It’s this immersive, sun-kissed and tuneful trademark style that takes centre stage on Asakusa Light, an album for the ages.
The set begins with the alien-sounding chords, soft-touch percussion and dawn-friendly warmth of ‘Silent Chord’ and ends on a high via the bouncing string stabs, starlight chords and thickset grooves of ‘Blinker’; in between, you’ll find a deluge of effortlessly feelgood music that’s the aural equivalent of a dopamine rush at sunrise.
There are subtle variations aplenty throughout the album – see the 8-bit lead lines and pulsing electronic textures of ‘Takusambient’, the vintage Tony Humphries flex of ‘Diving Into Minds’ and the effortlessly funky ‘Marimbau’ – but it’s the uniquely atmospheric, vivid and tactile nature of Terada’s loved-up sound that resonates. After well over 30 years in house music, the light in his heart is shining brighter than ever.
Repress!
Steppin up, steppin in. Darius Syrossian’s Moxy Muzik lets loose another bomb, this time in the form of Eskuche ‘Feelings’. The NYC producer delivers a house cut drenched in deep flavours and deft disco touches all the while maintaining a peak time dance floor energy.
On the flip Andrew Kay’s remix is definitely the one that has been turning heads the most – not least because Darius unleashed it at Forbidden Forrest festival and a subsequent online video led to a flood of ID requests. It’s a 130bpm, slamming yet minimal track with monstrous breakdown and dark in your face baseline.
Closing out proceedings, James Dexter remix is a lovely minimal interpretation doused in glitching synthlines and hypnotic rhythms to lock in a dancefloor.
“Crazy for the disco dance" was born from the collaboration of two musician producers, the "In da club" with Theo Spagna.
The request for a song to be produced came after the two grammys, from ASCAP Americana, assigned to Theo Spagna as co-author of the song "Ritmo" by the Black Eyed Peas and after the success of the song "Clap your hands" by the French DJ Kungs which sees Ivana Spagna as author.
"Crazy for the disco dance" is a song that deliberately recalls the atmosphere and sounds of the 80s and choosing Spagna as the featuring was a natural choice. The artistic production is by Theo Spagna. Executive producing by Angie C.
Video production "Mars Entertainment" for In da Club.
Contain 2 big rmxs by Joe T Vannelli!.
Tracks are mixed together.
"In this album, Akira Umeda mixes 42 recordings, dated between 1988 and 2018, which, in a sense, reflect the incredible range of his creative work: from songs, to ambient music; from field recordings to prank calls. The cassette tapes, whose contents make up this double-LP, had been stored in Umeda’s house in São José dos Campos, in São Paulo, Brazil.
Restless, and easily bored, Akira moved seamlessly from one activity to another – he was a little bit of everything (and nothing at all). Such people usually go unnoticed and unrecognized, something which Umeda found perfectly acceptable. Nevertheless, unlike most people, he had no right to see himself in this light – in the light of ephemerality and anonymity –, for in everything he tried his hand at, he inevitably left an impressive and distinctive mark.
The term cruising refers to the practice of seeking and obtaining instant, no-strings-attached sexual gratification with strangers. Akira Umeda was well-acquainted with this term, but his practice of it was not restricted to the aforementioned context. Rather it extended into all spheres of his life and work. A historian by training, he later became a ceramicist, a photographer, a visual artist, a draftsman, a graphic designer, a DJ, a musician, an audio technician, a writer, a researcher... He made forays into a myriad of artistic and academic fields – with a single intention: to achieve a specific objective and promptly exit stage left, as it were."
Vinyl Only
With open arms, Sous-Vide Records welcomes one of the genre's most celebrated producers Silat Beksi for our latest vinyl release SVR004.
The Ukrainian mainstay offers up three deeply submerged late night grooves that come dusted in tasteful sound design. Flexing his rhythmic aptitude, Beksi applies percussive elements and dubby electronic motifs to craft melancholic tones throughout the EP. Melodies may be in short supply, but Beksi's signature style creates invigorating and emotively fueled productions without them.
Silat Beksi writes a new chapter in minimal education for those versed in the field.
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Purple Disco Machine unleashes ‘playbox’ the thrilling next chapter of his disco-house odyssey.
The Dresden based disco megastar leads a rallying call to his disco army of super fans across the globe, with the release of his new single ‘Playbox’, a vibrant, high energy, disco-house treat that marks yet another exciting chapter of his sophomore album release.
With three extraordinary singles having made their way into the ether, Purple Disco Machine has kept his fans grooving throughout this past year - providing a huge ray of sunshine as we need it most. Already a globally renowned producer, Purple Disco Machine has quickly become a household name with the success of his international hit singles ‘Hypnotized feat. Sophie and the Giants’ (an anthem the world over having been streamed over 250 million times) and more recently ‘Fireworks feat. Moss Kena & The Knocks’ (with over 35 million streams to date).
‘Playbox’ is accompanied by an extraordinary video illustrated and animated by Juppi Juppsen, and Mathias Lemaitre Sgard, who created a vibrant homage to classic science-fiction, cyberpunk, retro-futurism spiced up with disco influences for ‘Playbox’. In the clip, Tino, in the form of a space superhero, and his female droid search for an ancient artefact which is said to hold the essence of music and, therefore, possess unimaginable power.
With just shy of 900 million streams across his catalogue to date, and over 9 million monthly listeners on Spotify, Purple Disco Machine continues to live up to the hype of #2 Beatport Artist of All Time. With a succession of notable remixes for Dua Lipa, Mark Ronson, Foals, Calvin Harris, Fatboy Slim, Sir Elton John, Royal Blood, Lady Gaga & Ariana Grande, Duke Dumont, and Diplo & SIDEPIECE, coupled with his own dominating originals ‘Body Funk’, ‘Dished (Male Stripper)’, and ‘Devil In Me feat Duane Harden & Joe Killington’ from his debut album Soulmatic, Purple Disco Machine continues to innovate and elevate at every turn.
DONNA SUMMER gained prominence during the 1970s disco
era, propelled by her incessant and creative driving force
behind the genre’s global popularity, rightly earning the title
“Queen Of Disco” and becoming one of the most
successful recording artists of the entire decade, now
having sold more than 130 Million records worldwide
Donna’s ‘80s close-out album was 1989’s ‘ANOTHER PLACE AND TIME’, which paired her with multi-hit making,
multi-million-selling UK producers Stock Aitken Waterman. The album is widely regarded as the best album they
produced, and which was heavily featured in the recent two-part TV documentary Stock Aitken Waterman:
Legends of Pop.
• The album’s lead single ‘This Time I Know It’s For Real’ was an uplifting, club floorfiller and radio-friendly hit,
peaking at #3 in the UK (#7 on the US Billboard Hot 100), giving Donna her highest charting solo single for more
than a decade.
• Four further singles were released from the album including the two Top 20 hits, ‘I Don’t Wanna Get Hurt’ and
‘Love’s About To Change My Heart’, giving Donna back-to-back UK Top 10 hits for the first time since 1977, as
well as remixed versions of ‘When Love Takes Over You’ and ‘Breakaway’.
• This special Picture Disc edition has a zoetrope effect on Side 2 that incorporates elements from the ‘This Time I
Know It’s For Real’ promo video and which gives a continuous dancing effect. It is best experienced using a
smartphone running a third party stroboscope app.
We are happy to announce that Ruf Dug, the Mancunian record producer, radio host, and self-professed video game freak is the latest artist to climb aboard the Pinchy train.
Well known for his kaleidoscopic approach both in the DJ booth and in the studio, Ruf Dug has touched on genres as diverse as street soul, vaporwave, and acid house over the years. He has released material on labels such as Rhythm Section, Klasse Wrecks, and his own Moodymann approved Ruf Kutz.
For his Pinchy & friends’ debut (there's a 6-song EP in the works as well) the NTS radio host distils some of these aforementioned influences and presents a two-track 12" that explores dub techno, Chicago acid, and atmospheric balearica.
Built around a solid, techy thud, "Thru The Night!" rides seismic bass waves and reverb-laden stabs to more tropical climes, thanks to gusts of echoed flutes and a catchy, 8-bit vocal hook.
On the flip, "I Love You" takes a minor-key synth riff and sends it off to music school for some late-night nasty dance floor bliss.
Bingo Club demands no rules for entry. Everyone knows your name. The hours are endless and the dress code remains
unspoken.
Martin Rousselot opened the doors to the Bingo Club at the dawn of the 2020's. Joined by Neysa Barnett, Vassili
Yatchinovsky, Marie-Paule Bargès and Emile Larroche, Bingo Club puts down its signature sound-stamp and juggles with
styles of different kinds; if five songs throb to the clank-clank of New York trains, five more drift lazily like Marseille's sailspotted waves.
Group signifiers and visual tropes are reduced to a molten wash of melodies and images that, whether heard or seen, unite
kindred spirits.
Whether as a duo or as a soloist, in English or in French, a warm mix of soothing voices is blanketed by soft rock
instrumentation. The videos are filmed with an analogue camera across the four corners of the globe.
A first EP, "Separated," released in 2020, sees a collaboration with Al Carson (Weyes Blood, Ariel Pink, Jessica Pratt...). In
2021 the single "Someday," featuring Annie Lime & Jonas San, comes out. In 2022, Bingo Club presents its debut album «
Better Lucky Than Beautiful », produced and mixed in Paris at Studio CBE by David Mestre (Sebastien Tellier, Chassol, ...).
The album is a collection of ten songs, written in different times and places, like a musical travel diary or sound-postcards.
Two lost Disco classics appearing for the first time on a single 12” featuring soul legend Leon Ware and Jo Ann Harris, a little known backing singer for Bob Dylan throughout the 80s.
Both songs originally appeared on the ‘20 Minute Workout’ Video and LP released in 1983 by Canadian label Ronco, ‘What Does It Take’ providing an uptempo crescendo to the third part of the workout and ‘Never Gonna Give You Up’ the final warm down track. Licensed from producer Ira Newborn, Hollywood soundtrack royalty who composed the scores for an incredible run of films including The Blues Brothers, Ferris Bueller’s Day Off, The Naked Gun trilogy, Weird Science, Ace Ventura and Uncle Buck. Ira’s lawyer persuaded him to get involved in the project for Ronco and it was Ira who hand picked Leon Ware and Jo Ann Harris to add vocals to two tracks to aid the commercial potential of the album.
There are two original versions backed with extended instrumentals sourced from a rare Lazer Disc Version of the album. It feels right to shine a light on one of Leon Ware’s lesser known performances, whilst the Jo Ann Harris cut has a distinct Balearic air featuring sultry keys and sax at a tempo of 98 BPM.
“In the Flesh” is the brainchild of Egyptian-born, New York-based conceptual artist Nader Sadek. Known for his impressively twisted sculptures, masks, and installations used for example by bands such as MAYHEM and SUNN O))), Sadek is now venturing into the realm of recorded music- including songwriting credits on this album! The band NADER SADEK emerges out of a collaboration between Sadek and some of extreme music’s most talented artists with its core made up out of songwriter/vocalist Steve Tucker (ex-MORBID ANGEL), CRYPTOPSY drummer Flo Mounier and Norwegian composer/guitarist Rune Eriksen (AVA INFERI, ex-MAYHEM). A host of guest-appearances lends additional weight to the musical impact of “In the Flesh” by leading artists such as Attila Csihar (MAYHEM), Travis Ryan (CATTLE DECAPITATION), Tony Norman (MONSTROSITY), Descructhor (MORBID ANGEL), and Nick McMaster (KRALLICE). “In the Flesh” is firmly based on a technically masterfully executed unique style of Death Metal with a pitch black twist that creates a multi-cultural symphonic abyss where melody and corrosion meet. As a work conceptual art “In the Flesh” is best explained like this: NADER SADEK invite you on a journey to the depths of the earth, where substances of a repulsive nature dwell. Beneath the earth’s crust, over millions of years creatures have disintegrated and decayed until taking on ghastly new life as petroleum. Like a return of the undead, petroleum and its derivates have wrought cross-cultural conflict, environmental pollution, and economic distress. With a visual and aural assault, Sadek’s new work “In The Flesh” re-interprets petroleum’s sinister insinuation into our everyday lives. Nine songs and a series of original drawings video works explore several aspects of the commodified resource we find ourselves fatally dependent on. “In the Flesh” exploits the sonic links between death metal and gasoline-dependent heavy machinery such as automobile and airplane engines. These links shaped the process of musical composition itself: The album opener, “Petrophilia”, kicks in with a sound evoking an engine starting up. Another song, “Of This Flesh (novus deus)”, follows the sonic structure of a car shifting gears. While continuing to link musical composition to mechanical transformations, other songs depart from engine-based references. The outro to the album, “Nigredo in Necromance” which is already accompanied by a video, dwells on an individual’s recognition that he must die in order to reunite with his deceased lover. The song riffs on the life-in-death of an oil-drenched society, as the lovers’ reunite in their decomposition and rebirth as petroleum. This theme also drives the track “Mechanic Idolatry”, which channels the uncanny thrust of Sadek’s recent artistic output, as live human beings provide the fuel for machines transforming themselves into flesh.
Repress!
Amazingblaze is the latest red-hot new talent to be signed up by Charlotte de Witte's KNTXT label. The Russian artist serves up four fierce techno weapons on his Venture EP, due for release on 25th February 2022.
Though a relative newcomer, Amazingblaze is already making big moves mixing up heavy-hitting hard trance and techno. He has a sound that combines old school influences with new school sound design, and it never fails to captivate the dance floor. On this first EP for KNTXT, all of the signature Amazingblaze essentials are here: weighty drums, massive synths and authentic atmospheres.
Says the artist, "The Venture EP was started when I was living in Saint-Petersburg and there was a pandemic situation. Experimenting with different shades of techno I created a pretty authentic sound which works very well on the dance floor. After leaving Saint-Petersburg I decided to move to Moscow, gladly the pandemic restrictions there were lifted and I became inspired by the new city and parties where I've never been before, I completed the EP adding some new bangers with an already experienced touch.”
Says Charlotte de Witte, “My eye fell on Amazingblaze for the first time during the preparation of my Tomorrowland Around The World Set, where I closed with his beautiful track "Stratosphere". A couple of months later, I fell head over heels in love with his track "Venture", which, I'm proud to announce, turns out to be the title track of the newest EP on KNTXT. Venture captures every crowd of people I’ve played it to, ever since I debuted it in my set at Exit Festival. The entire EP is an out of the box masterpiece.”
First up is the mighty 'Venture' with its pummelling drums and turbo-charged trance stabs. They are bright and bring the energy while a rapped vocal adds something utterly fresh. 'Inner Fire' ups the ante further with a diva female vocal straight from the classic trance era. She brings waves of euphoria and, after a spine tingling breakdown, the machine-gun grooves fire on. There is terrific turbulence in the synth stabs of techno gem 'Flashback' as well as industrial textures and walls of white noise that bring real tension. ‘Neutron’ closes down with the most fierce groove of the lot, this time rippled with cosmic psy trance chords and irresistible video game synths to take you into the next dimension.
Venture EP is a superb outing from Amazingblaze.
re:discovery records is proud to release for the first time, a vinyl edition of 'Two Zeroes' by Grain for it's 25th anniversary.
Grain was a west coast project that emerged out of the psychedelic music and art scenes in Los Angeles in the early 1990s. After a few of their tracks were featured on the key chill out compilations United State of Ambience 1&2 and Excursions in Ambience
and many local live performances, they released two ep's on local labels. Shortly after in 1998, 'Two Zeroes' the full length project appeared. A west coast chill out classic that unfortunately did not get much disribution outside the west coast let alone to the world.
To classify this album is very hard. Think early Jammin Unit with a touch of the Orb and dash of west coast breakbeat and chill out styles and you still can't fully pin it down. A unique album that sonically, was leaps and bounds ahead of most albums in this style thanks to sound designer, audio instalation architect, scientist and artist Jimmy Johnson along with illustrator and fellow sonic artist Peter Ehrlich. Featured on double vinyl with updated artwork by the original designer, Kevin Hanley and presented on beautiful gatefold with a shimmering silver vinyl to match. This could be one of the discoveries of the year for those that have never heard this album. Dare to Dream with us.
Macho Diva is the anarchic queer electro-wave project of Mima and Spacemaker. After five years of live gigs, doubt, activism, sadness, and revolt, the comrades of Macho Diva release their much-anticipated mini album Fetishista Kommunista.
A musical troika supported the creation of this great release: Vive la Fete remixed two tracks with great results, Rude 66 was also on remix duty and delivered a smashing electro-disco punk mix. All other tracks are produced by Venderstrooik. Let's dance on the ruins of capitalism, solidarity, and equality for everyone!
Das beliebte Duo Angus & Julia Stone hat sein Comeback angekündigt und verrät, dass ihr erstes Album seit fast vier Jahren der Soundtrack zum kommenden Videospiel Life Is Strange sein wird: True Colors.
Das Album wurde in den kurzen Zeitfenstern aufgenommen, in denen Angus und Julia nicht an ihren jeweiligen Soloprojekten arbeiteten. Das Album selbst ist einzigartig, da die Gruppe mit den Tracks neues
klangliches Terrain betritt.
George Palmer is a young artist from the DUB and sound system scene where he quickly stood out thanks to these stage appearances. It was with the international label Irie Ites Records that he wanted to collaborate in order to produce his first album.
Entitled "Working Man" this opus is composed of 10 titles including 2 combinations with LION D, famous international singer based in Italy and SOLO BANTON, famous English singer and toaster who needs no introduction.
The instrumentals are composed by big names of the genre: Sly & Robbie (Jamaica), Jammy's (Jamaica), Naram (New Zealand), Med Tone (Israel), Irie Ites (France) giving this project a great scope.
After the release of 6 music videos from the album and the physical (CD) and digital release at the end of June 2022, the project will soon be released on LP due to strong demand from its fans. In addition, this summer you were able to find George Palmer alongside Irie Ites Sound for fiery stage performances at various European festivals.
To accompany the release of the LP, several clips will be released and a new tour is in preparation.
"‘Soil’ by Amsterdam-based producer and musician Jelee is heavily influenced by video game world-building. Like a beat alchemist, he carefully pours his love for beats into his lifelong passion for video game soundtracks. That far exceeds your typical 8-bits and bobs: Soil unfolds like a challenging adventure game, held together by a sonic palette of hip-hop-minded drum programming, jazz-inspired chords, and synthesized sounds.
The album features tight-knit homegrown collaborations with jazz multi-instrumentalist Guido Hoek, rising deejay Jerrau, producer lofi prototype (“one of Amsterdam’s best-kept secrets when it comes to beatmaking,” says Jelee), deejay, producer, and keyboardist Mo Wrights, and singer Erosi. With influences ranging from Brainfeeder’s roster to Zelda games, Jelee presents a multifaceted take on music.
Jelee’s music has been featured on compilations by Resilienza Records, Stamp The Wax, and Carista’s ‘Modern Intimacy Volume 1.’ Jelee is also known for his expressive live sets, such as the support act for Onra, Samiyam, and Salami Rose Joe Louis."
After being part of the various artists "Sentence Four", Tim Williams releases his solo EP on the SNTS' label Sacred Court.
Musique Pour La Danse is proud to present the Donkey Kong Country 3 OST Recreated of the much appreciated and globally followed Donkey Kong Country OST recreation project led by NY-based composer and producer Jammin’ Sam Miller.
Using hex SPC data crudely converted to MIDI, Jammin' Sam Miller painstakingly recreated DKC's soundtrack note by note, by finding the original equipment used to create it, translating the MIDI into a modern studio context, adding in keyboard samples, and re-mixing the sounds with added effects and mastering. To find out more about his process watch an explanatory video here: cutt.ly/ulUHE6J
Remastered for vinyl, licensed, and presented in a limited edition blue cascade double LP.
Music From Memory is delighted to be turning 50 with a special release: MFM050 - V/A - Virtual Dreams: Ambient Explorations In The House & Techno Age, 1993-1997 (3xLP/2xCD). The first in a series of compilations, alongside more in depth artist-focused releases, Virtual Dreams will delve into music produced during the 1990’s that redefined the boundaries of ‘Ambient’. This was music that explored the possibilities of Ambient music within a new setting, created often by House & Techno music producers for a world beyond dance floors but made very much with the pre and post-clubbing listener in mind.
When House and Techno exploded out of America in the mid 1980s a whole generation was redefined not only musically but also culturally and chemically speaking. Peaking, quite literally, with a second ‘Summer of Love’ in 1988, millions of young people across the world would experience the life-changing ups of a brave new world but with it of course came the downs; enter the concept of a ‘Chill-out’ room. Whilst early Chill-out rooms lacked a specific sound and were often soundtracked by music such as reggae and soul, slowly young Techno and House producers themselves would become increasingly interested in developing a futuristic ‘Ambient’ soundtrack to a world beyond the thud of the main room.
‘Ambient’ in this new age now though had sharper teeth than in Brian Eno's key text for ‘Music for Airports’, instead here the sounds were the mode of transport rather than the backdrop. While the melodies were pretty, the soundscape steered away from the pastoral, dreaming of outer-space and technology as opening up exciting new dimensions. Much like in the first Summer Of Love; the musicians were again exploring psychedelic, mind-altering and transcendental possibilities of music. And also much as in the first Summer Of Love, a psychedelic visual language would accompany the music. Though now the tracks could be accompanied by music videos, utilising early CGI techniques, they would look almost entirely to the future: envisioning technology, nature and humanity intertwined in a new Utopian future. Virtual Dreams of a better world.
From Ambient and early Chill-out classics, to lesser known one-off projects, as well as Ambient deviations by some of House and Techno’s leading producers, Volume One of Virtual Dreams features tracks by Bedouin Ascent, LA Synthesis, LFO, Marc Hollander, Mark Pritchard & Kirsty Hawkshaw, Richard H. Kirk and more.
To celebrate our 50th release the first 1000 copies include a holographic 'Virtual Dreams' sticker plus a special insert poster with artwork by Victoria Pacheco and design by Steele Bonus.
Oyez ! Oh yeah ! Cheval Detroit is here! Mmmh presents his new project with his most accomplished piece of music, a triple albummmh curated in his Parisian basement aka the sm dungeon. For 2 years, Mmmh has seen no other light than his own computer screen. No need, indeed, to confront the world and its urban apocalypse when you have a vessel shaped to produce light and hope. Hidden behind a rough cover, we have no doubt the music will penetrate your heart. As in a video game experience, you can dive and evolve in his childish world, level after level, adventure after adventure. This very colorful album is not your usual techno tool - It jumps from aquatic and dancefloor beats to hopeful ambient textures, or fast paced, funky and threatening techno. We must warn you : This is highly addictive.
Reissue of a traditional French Experimental/Folk rarity.
Be ready for a spaced out trip through French medieval times. Ancient instruments, musique concrete, spoken word, old Occitan dialect minstrel songs, drone, from dark ambient and minimal percussive tracks to Middle Ages fuzz delirium. File under : medieval folk / ambient / experimental.
The album began to take shape duringJanuary 2019.
It has been recorded live by Matt Bordin ad Inside Outside
Studio, in Veneto, Italy. The choice of this method is due to the
desire to avoid the use of any post-production tool, to
maintain a natural sound and a hard impact on the listener.
"Robox" is made of nine instrumental songs characterized with
A furious post-punk full of violent and high impact riffs.
The artwork has been realized by Lacy Faery: nine monstrous
creatures, everyone of which portrays a song.
The cover art is the final portrait: the representation of
Dante's infernal journey, here embodied by the Robox, who
goes through the nine circles of Hell and faces the ancestral
traumas that affect the human psyche during its
trasformative path.
On Oct. 14th "Hard Pop" - first official single, published along
with a video - has been released.
The video has been realized by Mauro Romanzi in the ''lounge''
room of the Astro Club in Fontanafredda.
In few days the video reached more than 10k views on Youtube.
A red suite, a robot mask, violent riffs and
furious post-punk: this is Robox.
Francesco “Cesco” Cescato – Bass
Carlo Veneziano (One Dimensional Man, Orfaust, Julinko) – Guitar
Franz Valente (Il Teatro Degli Orrori, Buñuel, Snare Drum Exorcism) – Drums The Robox project was born out of the idea of making music that points towards future and innovation. This music wants to escape
from the monotony and from general music trends of the music industry.
The band uses the sound as a carrier for the lightning of the senses, to give a strong emotional shake to whoever listens to it.
After a long period made of musical experiences and geographical
distance, the Robox project starts to take shape in 2016.
During this period the songs start to sound defined, also because of
the practice coming from the first live shows.
Cesco, struck by a vision, since the first gigs starts to go on stage with a specific outfit: a bright red suite and a golden mask, evoking the image of a robotic man, the Robox: a superhero that fights the eternal struggle between instinct and reason.
Re-mastered from original masters
- Heavyweight 180 gram vinyl (including download coupon)
- CD special digipak edition also available with bonus video footage.
- Liner notes by Kurt Cobain (written in 1993).
- Additional song "Fairytale in the Supermarket" included.
1 Fairytale In The Supermarket 2 No Side To Fall In 3 Adventures Close To Home 4 Off Duty Trip 5 Black and White 6 Lola 7 The Void 8 Life on the Line 9 You're a Million 10 In Love 11 No Looking
(Produced, Arranged and Conducted by Claus Ogerman)
Not long after the dawn of her career, as a teenager in Rio de Janeiro, Joyce was declared “one of the greatest singers” by Antonio Carlos Jobim. Yet despite reputable accolades and the fact that she has since recorded over thirty acclaimed albums, Joyce never quite achieved the international recognition of the likes of Jobim, João Gilberto and Sergio Mendes, all of whom became global stars after releasing with major labels in the US.
There was a moment when it seemed she might be on the cusp of an international breakthrough. While living in New York, Joyce was approached by the great German producer Claus Ogerman. Ogerman had already played a pivotal role in the development and popularisation of Brazilian music in the 1960s, recording with some of the all-time greats like Jobim and João Gilberto, as well as North American idols like Frank Sinatra, Billie Holiday and Bill Evans.
"I met him in New York City, in 1977”, recalls Joyce. “I was living and playing there, and João Palma, Brazilian drummer who used to play with Jobim, introduced me to Claus. We had an audition, he liked what we were doing and decided to produce an album with us.”
Featuring fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and some of the most in-demand stateside players including Michael Brecker, Joe Farrell and Buster Williams, the recordings for Natureza took place at Columbia Studios and Ogerman produced the album, provided the arrangements and conducted the orchestra.
But mysteriously, Natureza was never released, and what should have been Joyce’s big moment never happened. As Joyce remembers, “I returned home, but Claus and I remained in contact, by letters and phone calls. He was very enthusiastic about the album and tried to hook me up with Michael Franks. He wanted me to go back to NYC in order to re-record the vocals in English with new lyrics, which I actually wasn’t too happy about. But then I got pregnant with my third child and could not leave Brazil. And little by little our contact became rare, until I lost track of him completely. And that was it. I never heard from him again."
While Claus was known to be something of an elusive character, the album’s disappearance might also have been a result of timing. The Brazilian craze was coming to an end, making way for disco and new wave at the end of the seventies, and Ogerman struggled to find a major label interested in a new Brazilian sensation. Additionally, as Joyce mentions, it wasn’t quite finished. Ogerman wanted to add finishing touches to the mix and to record alternative English lyrics for the US and international markets - a critical artistic difference between Joyce and Ogerman.
As the military dictatorship’s grip on Brazil began to subside in the 1980s, Joyce had a handful of hits in her home county, including a tribute to her daughters ‘Clareana’, and the iconic ‘Feminina’ - an intergenerational conversation between mother and daughter about what it means to be a woman. But already a feminist pioneer, these successes were hard fought. Joyce had caused controversy as a nineteen-year-old when she became the first in Brazil to sing from the first-person feminine perspective, and the institutional sexism she faced was worsened by the dictatorship who would often censor her music. Even once the Junta was out of the way, Joyce found herself up against the male-dominated major record companies in Brazil, who sought to dictate her career and sexualise her image, before dropping her for refusing to play along.
A few years after the success of her albums Feminina and Agua E Luz in Brazil, Joyce’s music began to find its way to the UK, Europe and Japan, and “Feminina” and “Aldeia de Ogum” became classics on the underground jazz-dance scenes of the mid to late-eighties and early-nineties.
The full-length version of “Feminina” from the Natureza sessions was first heard on a Brazilian Jazz compilation in 1999 and “Descompassadamente” was licensed for a CD compiling the work of Claus Ogerman in 2002. Following these, word began to get out about an unreleased Joyce album with Claus Ogerman and the legend of Natureza grew.
Forty-five years since it was recorded, Natureza finally sees the light of day, as Joyce intended: with her own Portuguese lyrics and vocals. Featuring the fabled 11-minute version of ‘Feminina’, as well as the never before heard ‘Coração Sonhador’ composed and performed by Mauricio Maestro, Natureza’s release is a landmark in Brazilian music history and represents a triumphant, if overdue victory for Joyce as an outspoken female artist who has consistently refused to bow to patriarchal pressure.
***Disclaimer! While “Feminina” and “Descompassadamente'' were mixed by legendary engineer Al Schmitt and mastered from the original master tapes, the remaining five tracks are unmixed. Due to significant deterioration of the master-tapes, the best audio source for these tracks was an unmixed tape copy Joyce had kept of the recordings. The best care has been taken in the restoration and mastering of this release, but the sound quality may differ from other releases on Far Out Recordings. We advise listening to sound clips before buying where possible.
The ultimate battle track from south coast artist Crippled Bitches. Taking aim at the dutch gabber scenes biggest artist “Neopyhte”. This coloured vinyl 7” comes with a sticker pack & CD containing the music video for “Fuck Neophyte” as well as a whole host of little extras. Very limited vinyl release with full colour insert.
Music expression leads to the opening of massive portals, so sound waves generate connection to other dimensions within time and space. When the vortex unlocks, we are transported into the realm of sensation and freedom.
This Chilean Duo, Etro Hahn & Herman Saiz architect the alchemy of sounds to dissolve the limits of the linear mind.
Raising this release to another level is Romania’s finest talent, Herck, infusing his unique sound with his remix for Stargate.
Andromeda label boss VID brings his Romanian minimal house vibes for the pristine remix for Looking Glass.
Welcome to BM-18 the biokinetic realm created by Dana Kuehr, a lush audio environment where organic and synthesized matter coalesce. As we float disembodied above this verdant pixel plain, Dana offers us shifting repetitions and sequences in disguise, each track a landscape within a world created in the utmost detail, from the minute bleeps and chirps to the enveloping and bumping bouncy basslines. Flickering drums explode like dandelion seeds in a breeze, searching for a place to lay, grow, and flourish. Sounds are captured (fingers tapping, rain patter, Belgian parakeets released from a '70s zoo, vocal oohs and ahhs) and hybridized with patterns, samples, and musical manoeuvres (jungle breaks, west coast hip hop, layered drums, IDM crunch and twinkle, reverb, delay, '90s R&B, underwater video game soundscapes). As in any imaginary sphere, there are characters who exchange and converse: rivers, coasts, clouds, lakes, echoes of dolphins, and peaceful frogs. Amidst their complex chatter, the sounds of BM-18 extend an invitation to dance, to feel our bodies alive and present, to acknowledge the impulse of movement and the pulsing heartbeats of each track. An ode to the Taoist consideration that all creatures live together in mystic unity, co-evolving and feeding each other, Dana brings together cloud ethereal with earth pounding, and like an orca's tail upon a restless sea, it slaps!!! All tracks written and produced by Dana Kuehr between April 2020 and November 2021 in Brussels, and mixed by Dan Piu at Checkpoint Charly Studio in Zurich between November 2021 and March 2022. Mastered and cut by Stefan Betke at Scape in Berlin. Original artworks by Camiflage and text by Ailsa Cavers. A1 was first digitally released on Ojoo Music. Dana thanks Michiel, George, Jakob, Camiel, Ailsa, Tania, Victor, Jill, Karen, Daphne, Arne, Oscar, Joe, and Gwenan for the love and inspiration. True voyage is return!
Berlin-based Brizman is launching his label, Silvi. He is keeping the theme personal as a tribute to his dear mother, who sadly passed away recently. Roy has contributed two original cuts to this EP called The First Year.
On the A-side, the title track "The First Year" is featured a 12-minute implacable groove followed by a grand piano line that will ring in your head for days.
In contrast, the B side "Feels Like Home" is a classic morning glory moment track with a euphoric yet melancholic melody that will undoubtedly warm your club nights indoors or outside.
The EP comes to a satisfying conclusion with a well-crafted remix by Vid.
Hot on the heels of last year's Dear Diary EP on Lobster Theremin, explosive performances on HOR and an intimate interview with celebrated German publication Groove Magazine, frequent Berlin & Leipzig DJ Narciss comes through with four deep and groovy cuts of bass-driven techno.
'Feather Boa Constrictor' features one of Copenhagen's most exciting emerging producers in recent years - Vixen - fresh off her own acclaimed release, Hard Magik For Soft Souls, on Lobster Theremin in December. Now the pair link up on the DJ Mag Breakthrough Label of the Year imprint that blends all the best elements of the Berlin and Copenhagen scenes in a highspeed trip through psy-trance, synth-wave and techno.
Narciss is on his ones as we enter the A2; 'Lovechild' (Outrun Mix) is aptly named with its reference to the 1986 arcade game Outrun, which featured some of the best video-game music to ever be created. Deep basslines, swirling synth-stabs and a soothing deepness and contemplativeness that can only come with driving a virtual car down a never-ending highway. 'Tokyo' makes use of polyrhythms and textures blended with what sounds like an old Sampha record. It's a wonderful combination of dark, deep and forward-thinking sound, before Copenhagen producer Repro comes through with a typically EBM-focused remix combining elements of every track.
