Cerca:wa

Uruguayan Label as it is characterized, introduces the third conceptual 12” album that brings deep roots from Uruguayan culture once again. Unveiling truth bringing to light the hidden past known historical fact of Carlos Gardel "El Mago“ the most prominent figure in the history of Tango genre. One of the trailblazers of the video clip long before this term existed, promoter of the Radio broadcasting in Uruguay, and the first Movie shorts with sound from “el Río de la Plata”.

Gardel was one of the first artists to use “Lunfardo” and show it to the world in his lyrics, and long has been the debate of his nationality, but this time all is left clear.

This is how Lunfardo, brings 4 artists to represent this unique story divided into three nationalities Charlou from France with his track Les infernes tranquilleus, Fakk from Argentina with “Murmullo del chanta”, and the two Uruguayans “Cabanelas - Marivo” and Arturo with “ Bohemio”, the mystery will be unveiled...

From RSF's debut smash album "Metropol Nights", comes the first in a series of remix EPs from the long player. The "Metropol Nights" album is a tribute to the iconic Berlin club Metropol, and the italo, disco, and hi-nrg music with which it was synonymous; Mark Moore/S'Express, Ascii.Disko, and Punx Soundcheck pay homage with reworks of album opener "That Night In Brazil", featuring none other than Andy Bell (Erasure) and Boy George. Also included is album favourite "TV Tower Dating".

Part 3 in Legowelt's latest project "Hermit in a Rave Cave". Even lower slung house tracks with a twist from the unpredictable and unparalleled brain that roams the dunes of the Hague. Also responsible for Salamandos, Squadra Blanco, Polarius and a swath of other mysterious aliases.

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

Paul Bradley returns to Knite Breed with an absolutely EPIC release, the Dead Evil EP. Part of the hugely successful Move-E series which spans many of the Kniteforce Related labels, this one is dark and tough, as you would expect from an EP that samples The Evil Dead, but all the tracks on the EP show off Paul Bradleys skill and mercurial style....

Announcing Icon Roller's Debut Vinyl and Digital Release: "Anytime EP"
Following the success of Icon Roller's two digital-only releases, we are thrilled to announce the of his debut vinyl EP titled "Anytime EP." This highly anticipated release features four exceptional tracks that have garnered rave reviews and support from some of the most respected DJs and producers in the Jungle scene.
Tracklist Overview

A1. Anytime. The title track, "Anytime," is a masterful blend of influences from Source Direct and Total Science. It features filtered pads, dubbed-out effects, and intricately chopped-up Apache and amen breaks.
This track has received significant praise from Double O, who featured an early version in his Juno Daily mix. Jungle originator Bizzy B has also highly praised this track.

A2. Peaceful & Orderly. "Peaceful & Orderly" starts with a pulsing beep and filtered-down pad, as the filters rise, so does the track's energy, transforming it into a true dancefloor banger.
This track has received significant acclaim from the Bristol Jungle scene and has been played on radio shows by Amy Kisnobo (SWU/RinseFM), Leftarm (Eruption), and Aftershock (Afterdark Radio).

B1. Personal Riddem. Kicking off the B side, "Personal Riddem" is a dark roller featuring a warped, time-stretched melody.
This track has been played by Double O on his Rinse FM show and was featured in Bizzy B's YouTube show "Dubplate Wars," where it won the popular vote against nine other contenders.

B2. For The Listeners. "For The Listeners" is a chilled track that begins with a 2-step flow break and sampled Rhodes. In the second half, it transitions into more jungle territory with a syncopated and pitched break, offering a unique blend of styles that cater to both casual listeners and jungle enthusiasts.

Mastering and Production
The "Anytime EP" has been mastered and cut by Beau Thomas at Ten Eight Seven Mastering, renowned as one of the best in the industry. His expertise ensures that each track is delivered with pristine sound quality, providing an exceptional listening experience.
Stay tuned for the release of "Anytime EP" and join us in celebrating Icon Roller's debut vinyl release.

Ilian Tape have tapped up Jichael Mackson here for a double album of expressive and forward thinking electronic sounds. The atmosphere generally futuristic and intriguing, with tracks like 'Shangri La' riding on gentle breakbeats amongst air pads, 'Banana Jazz (Quartett)' is a high speed and live sounding jazz-breakbeat workout, 'A Jichalicious Something' is dubby and IDM inflected lushness and 'Good Morning Sunshine' is an interplanetary trip with distant cosmic pads and organic piano chords soothing mind, body and soul.

Welcome to Aqualaxy, a collaborative project where Warning joins forces with art historian C.C. McKee from Philadelphia and international queer activist dia_shi from Berlin. Accompanying McKee’s book on the debut album by late-90s electronic pop band Aqua, Aqualaxy is a compilation of contemporary queer artists from North America and Europe commissioned to create their own takes on songs from Aqua's debut album. The result is an expansive blossoming variety of music, from sizzling trance pop, to eerie darkwave atmospheres, to cheeky dancefloor weapons.

With Aqualaxy, Warning presents a release that playfully deviates from the label's usual tracks, highlights trans musicians, and offers fresh takes on nostalgic favourites to the community. Embrace Aqualaxy’s endless fluidity, a space where everything becomes possible, where some changes aren’t even a second thought. Did you know that when the kobudai reef fish reaches a certain size she changes her sex from female to male? Did you know that when the largest female in a school of Clownfish dies the male swaps sex to take her place? Protogyny, protandry, it all just seems like fun; not to mention the host of genders and ways of fucking we don’t even have words for as humans! In Aqualaxy, everything is possible under the water. Imagination, life is your creation!

2024 Reissue

Missing returns on his Sub System Recordings label with some 80’s inspired vibes. Keeping the presentation on the 80’s tip we have opted to press this on a fluorescent pink 10”.

Fugitive is Dave Wallace from Aquasky, dusting off his old alias that he used to record under on Underdog Recordings back in 1994. Digging deep for some 80s licks, while rolling out the beats! Watch that drop! On the flipside M-Beat returns to the label for a proper remix on that 94 tip.

Classic R’n’b and Afro Beat a fusion and perfect match. Modern and warm, pounding beats and pulsing baselines are the ingredients of this German-Nigerian extra ordinary colabo. This is the door opener for our Sedsoulciety Recordings gold line, which displays the modern and zeitgeist driven section of our catalogue. Expect nothing less than powerful, driving beats and smooth vocals. The gold line embodies Rap, HipHop, R’n’b, Neo-Soul, Neo-Boogie and Neo-Funk, not necessarily in one track but as a pool of artists and productions.“Tell Me What You Want” and we deliver it. This time in two outfits, the Afro Vibe Mix on the A-side and the Groove Mix on the flip… This new release on Sedsoulciety Recordings is an unreleased exclusive vinyl 45!

Donald’s house and DJ Chrysalis give the UK’s Not An Animal Records the intercontinental treatment with a four track transpacific delivery of psyche-laden progressive house music melded with the sleazy stylistics we have come to expect and love from NAA releases, the outcome is a cohesive late-night package who’s sound is exceptionally current whilst somehow remaining thoughtfully reminiscent.

Title track Pound Bend leads in with a breakbeat whilst the scene is set by layers of proggy synth patterns before descending into a powerfully dark, driving bassline.

Apiento’s remix of the title track takes a more introspective approach, stripping the package back to a reprogrammed bass groove, infectiously enlivened by an earworm synth loop that is likely to stay with you for eternity.

A Curious Warmth delivers a bassline that ploughs through a soundscape of delicately programmed drum patterns layered with pads and new-age trance synths. A scattering of housey breaks and pads reinvigorate the track in the latter half.

Tingler Ring brings things down to a slower burn as the bassline is left to drive the track, accented by a haunting of delay laden stabs whilst acid synths sit at the forefront to take the EP to its close.

2024 Reissue

Köhncke rides again with another 12“ having 2 sides that couldn‘t be more different: the A-Side, „Timecode“, is a clock-ticking electronic disco tease promising a joyous release by building up tremendous expectations over its course of 8 minutes – and of course not delivering the final dance floor orgasm since the night has to continue in mutual happiness and expectations on the floor. But well, surely lots of „pre-cum“ spreaded...

The „flip“, „The Answer Is Yes“, displays Köhncke‘s love with The Beatles or Prefab Sprout and the likes, in a masterly programmed digital simulation of the „played“ sound of the likes (Köhncke cannot play any „real instruments“ except for a bit of Barré-Punk-Guitar). It‘s a love metaphor about 2 photons in „entanglement“, which is a proven very psychedelic effect in quantum physics. The photons are „entangled“ and „know“ each other‘s „spin“ in immediacy, thus not bent to the speed of light, even if they are 100000 light years from each other - a theory that even Einstein considered absurd when the pioneers of quantum physics came up with this in the 1930s. So Justus put his fascination with quantum physics into a pop love song metaphor – how much more do you want?

Köhncke kommt zurück mit einer 12“ - 2 Seiten, wie sie unterschiedlicher nicht sein könnten: Die A-Seite, „Timecode“, ist eine tickende elektronische Disco-Versuchungs-Zeitbombe, die über ihre Laufzeit von über 8 Minuten extreme Erlösungsversprechen macht, sie aber selbstverständlich nicht in einem endfinalen Floor-Orgasmus auflöst, denn die Nacht soll ja weitergehen in gemeinsamer Glücklichkeit und Erwartung auf der Tanzfläche. Allerdings, eine Menge „pre-cum“ wird schon versprüht in dieser unwiderstehlichen Spannungserzeugung von Track.

Die „flipside“, „The Answer Is Yes“, stellt Köhnckes Liebe zu den Beatles oder Prefab Sprout etc. ins Licht, in einer meisterhaft programmierten digitalen Simulation des „gespielten“ Sounds der Großmeister (Köhncke kann keine „echten Instrumente“ spielen außer ein bißchen Baréegriff-Punk-Rhythmusgitarre, sein Instrument ist der Sequenzer). Es ist eine Liebesmetapher über zwei Photonen im Zustand der „Verschränkung“, was ein heute wissenschaftlich nachgewiesenes extrem psychedelisches Phänomen aus der Welt der Quantenmechanik ist: die Photonen sind „verschränkt“ und „kennen“ ihren aktuellen „Spin“ (Rotationsrichtung des Teilchens) unmittelbar, also nicht gebunden an die Lichtgeschwindigkeit. Auch wenn sie 100000 Lichtjahre voneneinander entfernt sind – eine Theorie, die sogar Einstein absurd fand („Spukhafte Fernwirkung“), als die Pioniere der Quantenphysik sie in den 1930er Jahren postulierten. Köhncke verewigt seine Faszination für Quantenphysik hier also in Form eine Retro-Pop-Lovesong-Methapher – was will man mehr?
Downloads

Into The Woods London returns with their first VA of the series. They have curated a collection of artists for the heads on this one as they welcome seasoned production warriors, Crihan, Jay Tripwire & Miller and Vlad Arapasu alongside the up and coming t.na. The VA is very much sequenced for the club as Vlad leads this release with an A1 roller made strictly for the dance floor. On the B1 t.na adds something with a little bit more grit as quirky vox drops and a sub filled baseline carry the track throughout. On the inner sides you’ll find the deep and textured craftsmanship from both Jay Tripwire & Miller A2 and Crihan B2 have a palpable effect! In the world of minimal and tech, there is something for everyone here!

Celebrating thirty years of collaboration, Loren Connors and Alan Licht performed for two nights at OTO on May 5 and 6th, 2023. The shows celebrated a new release titled “At The Top of the Stairs”; a document of the pair's reunion in 2018 after a period of 8 years not playing together. It’s a dark, swirling two-sided spectral noir session, put out by the duo’s home label, Family Vineyard, and we expected a similar kind of atonal abyss to appear at the OTO residency. On the second night however, with the stage lit in blue, Connors took up a seat on the piano stool whilst Licht picked up the guitar. What followed was the duo’s first ever set with Connors on piano - one of only a few times Connors has played piano live at all - here captured and issued as The Blue Hour. Its spacious warmth came as a total surprise live, but makes complete sense for a duo whose dedicated expressionism takes inspiration from a vast spectrum of emotion. Both opening with single notes to start, it doesn't take long before a surface rises and begins to shimmer between the pair. A run up the keys, the drop of a feedback layer on a sustained and bent note. When the two begin to exchange notes in tandem, brief touches of melody and chord hover and the hush of the room is palpapale. After a while, Connors picks up the guitar, stands it in his lap and sweeps a wash of colour across Licht’s melody. Sharp, glassy edges begin to form, open strings and barred frets darkening the space. When his two pedals begin to merge, Licht finds a dramatic organ-like feedback and it’s hard not to imagine Rothko’s Chapel, its varying shades of blue black ascending and descending in the room. When Connors goes back to the piano for the second side, the pair quickly lock into a refrain and light pours in. It’s a kind of sound that Licht says reminds him of what he and Connors would do when the duo first started playing together 30 years ago. It’s certainly more melodic than some of their more recent shows, and the atonal shards of At The Top of the Stairs seem to totally dissolve. What is always remarkable about Licht is that his enormous frame of reference doesn't seem to weigh him down, and instead here he is able to delicately place fractures of a Jackson C Frank song (“Just Like Anything”,) amongst the vast sea of Connors’ blues. Perhaps it's the pleasure of playing two nights in a row together, or the nature of Connor’s piano playing combined with Licht’s careful listening, but the improvisation on The Blue Hour feels remarkably calm and unafraid. There’s nothing to prove and no agenda except the joy of sounding colour together. Totally beautiful.

29 Speedway is a record label and performance series based in Brooklyn, NY featuring forward-thinking improvisational music and live multimedia. Founded in 2020 by Ben Shirken a.k.a. Ex Wiish (‘Shards Of Axel’, Incienso 2023), 29S serves as a platform for artists exploring the fringes of interdisciplinary art and music. Hosting D.I.Y-guerrilla style sound and performance art concerts at Pioneer Works (NYC), Public Records, and in Europe in partnership with Index Records, they have worked with artists such as James Hoff, J. Albert, Yolabmi, Robert Aiki Aubrey Lowe, AceMo, Flora Yin Wong, Nexcyia, Young Boy Dancing Group, UMFANG, Color Plus, Poncili Creación, Special Guest DJ, Arushi Jain, Drumloop, Isabella Koen, Ben Bondy, Kamran Sadeghi, Yawning Portal, James K., Syndey Spann, Debit, Pent and many others.

Resident Advisor called their most recent compilation record ‘Channel Plus’ “one of the most stunning documents of the ‘modern ambient-techno movement pioneered by labels such as Motion Ward and West Mineral’, with a focus on New York as well as a global outreach that encompasses chilled-out trap, electro, downtempo and even early '00s electroacoustic music”. Their debut solo artist release from J. Albert and Will August Park, entitled “Flat Earth” (2023), was based on free improvisation and ambient jazz, receiving praise from Philip Sherburne, Shawn Reynaldo, and was included in RYMs top EPs of the year. 29S has been written about on ID, Bandcamp Daily: Best Ambient, Boomkat, Paper Mag, Artnet, Dazed, Clot Mag, Nina Protocol, and Document Journal.

The newest release from 29 Speedway, UltraBody, is a compilation record featuring the music of Jake Muir, Pent & Dylan Kerr, Nexcyia & Mu Tate, James K, Flora Yin-Wong, Ex Wiish & Dorothy Carlos, Kamran Sadeghi, Tati au Miel, James Hoff, Eric Frye, Muein and Maxwell Sterling. The record is emblematic of the artists who have performed at 29 Speedway shows in New York and Europe during the past two years, and is the third in a series released by the label.

The record was born out of a desire to investiage how the self, spirituality, and language are intertwined with the intervention of subjectivity by new technologies. With increasingly sophisticated tech, and the supposed ability to remake the world and ourselves, what differentiates our individual discretion from the will imposed upon us by software? Quoting Walter Chaw from his piece on David Cronenberg’s Videodrome, “Decades of rampant, unregulated and ill-considered technological leaps have begun to evolve, to mutate, humans at a biological level”. This haphazard acceleration towards a techno-utopic transformation of humanity has faulted, and as William Gibson put it, is leading us to live in a “half assed singularity”. In this reality, artistic processes are influenced by excessive access to computational tools and assistance, but not utterly controlled.

This in-between state of dominion is explored in 29 Speedway: UltraBody. “Incoherences” samples the utterances of Dylan Kerr’s voice processed between Pent’s percolated glazes, muddying the gulf between vaporous ambient and reflexive sound design. The voice on James Hoff’s “A... ...Cha.... A... I feel l” was created by trying to get voice cloning technology to sing a gps data stream, the music an extrapolation from an earworm he got stuck in his head while shopping in Kyoto. On “Plogue Chain”, Eric Frye’s most speculative sci-fi observations spiral into a glazed pool of digital cacophony, while Kamran Sadeghi’s “Formula Fiction” is an experiment in (un)controlled generativity. Incorporating minimal pings from a 3D simulation scene based on gravitational interaction, cello bits evolve on “Assimilation”, a collaboration between Ex Wiish & Dorothy Carlos.

On UltraBody, sound has no separate existence from space.