Fresh on Francis Harris' Kingdoms imprint comes Adamo Golán's seven track LP, 'Exile And The New'. Golán is the alter ego of British-German artist Laurens A. Schmidt, who has been pursuing a more club-focused techno project, while developing an ever deeper fascination with experimental music, ambient and film scores. Drawing influence from his adopted homes Berlin and currently London, the 26-year-old has been uncompromisingly trying to develop his own musical voice.
'Exile And The New' expresses this ongoing pursuit and, being the first full-length and first ever release by Adamo Golán, marks the start of his most personal project to-date. Stretching over seven tracks, it touches upon a diverse set of sceneries, moods, and emotions whilst a distinctive sound design gives the work a subtle framework and guiding thread.
'Fis' starts the proceedings, introducing drones and field recordings and enveloping the listener in Golán's distinct sound world. 'Just Friends' merges distant snapshots of disembodied vocals with granular sound design and a sense of both space and creeping claustrophobia simultaneously. It's an approach the young producer has mastered - 'Replica' maintains an ambience of the deeply personal and a wider, hazy focus, realised via exquisite melodic fragments against a backdrop of pads and chiming electronics. Title track 'Exile And The New' unfolds around another cinematic world scored via a single stringed instrument, static interference and oceans of space. 'Lie to Me' brings a piano refrain to the fore, wrapped in luscious ambience and more fragments of a conversation heard through the rain. 'Then Rely On Me' slowly develops out of a haunting atmosphere and finds an uneasy but strangely beautiful flow, before 'The Hungry Years' closes out the album as it started - floating in space.
The 26-year-old artist sees the album as a journey that should captivate but never impose itself on the listener. It´s a gracious and neighborly invitation to dive in, get lost and explore its facets and peculiarities
It's been 4 years since the last music compilation on MindTrip. Mutable Minds brings together a mixture of five exceptional and talented artists whose sound matches perfectly with the MindTrip philosophy. Head honcho, Pfirter, and Swedish Pär Grindvik contribute the first track of the release with their diversified collaboration embodied in a hypnotic and extraordinary tune whilst Diego Amura takes the lead with a track that is characterized by driving rhythm and haunting sequences. Savas Pascalidis debuts on the label with a trippy-sci-fi interpretation and the release closes with one of the latest guests on MindTrip Podcast, Fanon Flowers, who takes us into a dark, mental and conceptual techno journey. The final outcome is mesmerizing and all four tracks can be seen on different aspects of an all night long set. This is MindTrip!
Double Vinyl edition of 300 copies w/ download code and etched d-side.
Breaching is the debut album from Leeds-based, 6-piece, post-metallers Hundred Year Old Man. Hot on the heels of recent EP Rei, Breaching emitsthe same heaving intensity and unforgiving, wall of sound approach. Dense and billowing riffs are intertwined with field recordings and spoken word passages to form an unyielding, sprawling piece of work that delivers the bands artistic vision perfectly. The more ambient, drone sections of the record compliment and allow the real songs to take flight. Debut single Black Fire is reworked to give the track a new lease of life, whilst the other heavy hitters here; The Forest, Long Wall, Disconnect and Ascension are a continuation of the excellent work found on the Rei EP. Breaching contains masses of atmosphere and is a ferocious and immersive listening experience. An epic, monolithic voyage full of texture, depth, aggression and emotion. This is an album that should be approached as a whole, with patience and attention. The rewards will deliver a unique, crushing and quite simply superb record.
The backroom club was packed with the hottest kids from the street. The movers and shakers wore their finest clothes to get down to the boassanova rock whilst the gangsters and players watched on from behind luxurious red curtains. In the murky shadows some exchanged more than just pleasantaries in the form of parcels and goods. They were devilish figures who existed only by night, when the streets were no longer safe for the do gooders to walk. This was a rough and ready town.
CYRK is set to release a new EP on the infamous Rawax record label. A charming assortment of well crafted house and some sophisticated electro cuts for the club. Rounded up by a fantastci remix from Claude Young!
Desolat's Loco Dice joins the roster of Martinez Brothers Cuttin' Headz label this April with
'$lammer', backed with a remix from Detroit Techno veteran DJ T-1000.
Du¨sseldorf's Loco Dice has long been one of the most respected figures in contemporary electronic music with releases over the years on leading labels like Cocoon, Cadenza, Ovum and of course his own Desolat as well as a heavy touring schedule taking him across the globe year in year out. Here though we see Dice offering up his new single courtesy of Cuttin' Headz, a platform the Martinez Brothers and associates to deliver high octane, dance floor focused House and Techno.
The original mix of title track '$lammer' leads with spiralling brass like bass tones, flute licks, shuffled shakers and resonant synth hooks running alongside a bumpy bass line and an amalgamation of heady, processed vocal lines.
Following is Detroit's DJ T-1000 stepping up on remix duties, stripping back the aesthetic of the original to lay focus on robust rhythms and various vocal refrains from the original whilst chugging bass and tension building atmospherics gradually unfold throughout.
In those times of newfound experimental conformity, it is sometimes needed to go back to simplicity. This may be where DJ OIL is leading us to. You think you know what you can expect but common ground is not always in your head, it is sometimes under your feet.
This is the second 12' of the BREF AVENIR collection (to be released digitally later this month), our Southern activist using well-known tropes and samples to provide necessary confusion.
TELEPHUNK is nothing else than a monster breakbeat funk (away from the new Lynn Collins dictatorship), unfashionably cool if you see what we mean. If PARESSE is its twin dark sister, locking electro in its black music roots whilst remaining strangely 'European', then FALL is its downer baggy brother.
Kicking off Vivod's new pheasant series and making their debut on the label, UNI.OMNI are a Glaswegian duo comprising of MWX and Wave Energy Converter. Inspired by feelings of duality and the unpredictability of our dynamic world, UNI.OMNI respond with challenging dark electronic notes, driven vocals and expansive percussive backdrops. Their tracks emit contradictory feelings of chaos and calm, motion and stillness, frustration and excitement, whilst using the energy and turmoil of big city life as motivation for their first EP. "Acceptance Resistance" kicks things off with an experimental, cavernous foray that shifts to the rhythmic, subliminal undertones of "Metaphysical Lives". Both "Sequential Self" and "Viral Dread" are attuned to empowerment, exacerbated by the strains of the modern world, with strong vocals reiterating the need for resilience in the forgotten generation.
Includes 12' Vinyl and Deluxe CD album, 30 page hard back book
Now that I've been to Nashville,' Kylie Minogue says with audible affection, I understand. It's like some sort of musical ley-line...'
Golden, Kylie's fourteenth studio album, is the result of an intensive working trip to the home of Country music, a city whose influence lingered on long after the pop legend and her team returned to London to finish the record: We definitely brought a bit of Nashville back with us,' she states. The album is a vibrant hybrid, blending Kylie's familiar pop-dance sound with an unmistakeable Tennessee twang. It was Jamie Nelson, Kylie's long-serving A&R man, who first came up with the concept of incorporating a Country element' into Kylie's tried-and-trusted style. That idea sat there for a little while, with Minogue and her team initially unsure about how to bring it to life. Then, when Grammy-winning songwriter Amy Wadge's publisher suggested Kylie should come over to collaborate in Nashville, a city Kylie had previously never visited, something clicked. You know when you're so excited about something,' she recalls, that you repeat it an octave higher and double the decibels I was like that. 'Nashville! Yes! Of course I would!'. I hoped it would help the album to reveal itself. I thought 'If I don't get it in Nashville, I'm not going to get it anywhere.''
Kylie's Nashville trip involved working alongside two key writers, both with homes in the city. One was British-born songwriter Steve McEwan (whose credits include huge Country hits for Keith Urban, Kenny Chesney and Carrie Underwood), and the other was the aforementioned Amy Wadge, another Brit (best known for her mega-selling work with Ed Sheeran). It was then a truly international project: Golden was mainly created with African-German producer Sky Adams and a list of contributors including Jesse Frasure, Eg White, Jon Green, Biff Stannard, Samuel Dixon, Danny Shah and Lindsay Rimes, and there's a duet with English singer Jack Savoretti.
However, the album's agenda-setting lead single Dancing was, significantly, first demoed with Nathan Chapman, the man who guided Taylor Swift's transition from Country starlet to Pop megastar. If anyone knows how to mix those two genres, Chapman does. Nathan was the only actual Nashvillean I worked with. He's got a huge studio in his house, which is probably due to his success with Taylor... there's plenty of platinum discs of her, and others on his walls.' There's something of the spirit of Peggy Lee's Is That All There Is, of Dylan Thomas' Do Not Go Gentle Into That Good Night, even of Liza Minnelli's Cabaret about Dancing, a song which not only opens the album but sets out its stall, providing a microcosm of what is to come. You've got the lyrical edge, that Country feel, mixed with some sampling of the voice and electronic elements, so it does what it says on the label. And I love that it's called 'Dancing', it's immediately accessible and seemingly so obvious, but there's depth within the song.'
The experience of simply being in Nashville was an overwhelming one, before Kylie had even arrived. Once I knew I was going to Nashville, people talked about the place with such enthusiasm. They said without doubt I would love it and, I would come back with songs. They were sending lists of restaurants, coffee shops and bars. It really was a beautiful and genuine response and it felt like I was about to have a life changing experience and in a way, I did.' The reality came as something of a surprise, when she found a far more modern metropolis than the vintage one she'd envisaged. I thought it would be like New Orleans: little houses and bars, with music spilling out onto the street. It reminded me more of Melbourne: apartment blocks going up everywhere! The main strip, Broadway, where the honky tonk bars are, that's where the street was filled with music and it was just amazing.' Mainly, Minogue remembers the heat and humidity. It was 100 degrees. It was like it was raining with no rain.' She also relished the chance to wander around unrecognised, visit a few venerable music bars and soak in the atmosphere. I didn't get to the Grand Ole Opry or the music museums but I managed to go to a couple of the institutions there like The Bluebird Cafe and The Listening Room, and just by being there, through some kind of osmosis, you get this rejuvenated respect for The Song, and the writing of The Song. There's no hoo-hah around it. There's a singer-songwriter there, talking about the song and singing the song, to an audience who are there to listen. Although, I have to confess I was guilty of starting to clap too soon during a long pause at the end of one of the songs. The guy made a bit of a joke out of it and got a laugh from it, but I thought 'Of all people in the audience, no...''
It's probably no coincidence, therefore, that every track on Golden is a Kylie co-write, making it arguably her most personal album to date. The end of 2016 was not a good time for me,' she says, referring to well-documented personal upheavals, so when I started working on the album in 2017, it was, in many ways, a great escape. Making this album was a kind of saviour. I'd been through some turmoil and was quite fragile when I started work on it, but being able to express myself in the studio made quick work of regaining my sense of self. Writing about various aspects of my life, the highs and lows, with a real sense of knowing and of truth. And irony. And joy!'
The songwriting process allowed Kylie to get a few things out of her system. Initially, she admits, it was cathartic, but it also wasn't very good. I think I was writing too literally. But I reached a point where I was writing about the bigger-picture, and that was a breakthrough. It made way for songs like Stop Me From Falling and One Last Kiss. It also meant I had enough distance to write an autobiographical song, like A Lifetime To Repair, with a certain amount of humour. The countdown in that song: 'Six-five-four-three, too many times...'. I don't know if that will be a single, but I can just imagine a girl with framed pictures of past boyfriends, and kind of going 'Oh god, when am I going to get this right'' When she listens back to Golden, Kylie can vividly hear the Nashville in it. It is, she'll agree, probably the first time that a Kylie album has sounded like the place it was made. You wouldn't normally relate my songs to the cities. Can't Get You Out Of My Head sounds more like Outer Space than London. But Shelby '68, for example, was written in London but it was done with Nashville in mind. It's about my Dad's car, and my brother recorded Dad driving it! I don't think I'd have written a number of the songs, including Shelby '68 and Radio On without having had that Nashville experience.'
The latter, she says, is about music being the one to save you.' Throwing herself into the making of the record, she says, crystallised that idea. If there's one love that will always be there for you, it's music. Well, it is for me, anyway.' That song, in particular, carries nostalgic echoes of the golden age of Country, as heard through Medium Wave transistors and tinny home stereos in the distant past. Like any child of the Seventies, Kylie had a basic grounding in Country music, mainly absorbed from older family members. My Step-Grandfather was born in Kentucky and though he lived most of his adult life in Australia, he never stopped listening to his beloved Country artists.' If there's any classic Country singer whose imprint can be heard on Golden, it's Dolly Parton.
Kylie saw Dolly live for the first time at the end of 2016, at the Hollywood Bowl. It was like seeing the light,' she beams. It was incredible. Everyone, whether they know it or not, is a Dolly Parton fan. When I was in Nashville, I did pick up a T-shirt that said 'What Would Dolly Do' Maybe that should be my mantra.' And, whether consciously or otherwise, there's a timbre and trill to Kylie's vocals on Radio On that is distinctly Parton-esque. My delivery is quite different on this album,' she says. A lot of things are 'sung' less. The first time I did that was with Where The Wild Roses Grow. On the day I met Nick Cave, when I recorded my vocals, he said 'Just sing it less. Talk it through, tell the story.' This album wasn't quite to that extreme, but a lot of the songs were done in fewer takes, to just capture the moment and keep imperfections that add to the song. I remember on my last album, a lot of producers were trying to take out literally every vibrato they heard. And that's not natural to my voice. I mean, I can make myself sound like a robot, but it's nice to sound like a human!' Working within the Country genre also gave Kylie permission to write in the Nashville vernacular. Because we were going there, I wasn't afraid to have lines like 'When he's fallen off the wagon we'd still dance to our favourite slow song', 'Ten sheets to the wind, I was all confused', 'I'll take the ride if it's your rodeo'. The challenge of bringing a Country element to the album made the process feel very fresh to me, kind of like starting over. I started to look at writing a different way, singing a different way.'
If ever Kylie lost confidence in the Country-Pop concept, and found herself pondering This is great, but back in the real world - my real world - how will this work', Jamie Nelson was there to badger her into sticking to the path. We found a way to make it a hybrid with what we'll call my 'usual' sound. It had to stay 'pop' enough to stay authentic to me, but country enough to be a new sound for this album. The closer we zoomed in, and the more we honed it, I knew Jamie was right. We sacrificed good songs that weren't right for this album, because we wanted it to be as cohesive as possible. The songs that were hitting the mark were these ones, so we decided to be strong, and that's how we wrapped up the album. What he said, that stuck with me, was that 'I'd hate to get to the end of this and really wish we'd gone for it.'' Having worked with Kylie for so long, Nelson was able to put this latest shift of direction into perspective. He said 'You've traditionally done it throughout your career. You had your PWL time, then you did a complete turn when you went to deConstruction, then another complete turn with Spinning Around, and R&B dance-pop, and then another turn with Can't Get You Out Of My Head, icy synth-pop, and this is another one.' He was right. It felt like the right time to have a change sonically. New label, new stories to tell, and a new decade almost upon me.'
Kylie Minogue will, it's scarcely believable, turn 50 this year. This looming milestone is partly behind the album's title, and title track. I had this line that I wanted to use: 'We're not young, we're not old, we're golden' because I'm asked so often about being my age in this industry. This year, I'll be 50. And I get it, I get the interest, but I don't know how to answer it. And that line, for my personal satisfaction, says it as succinctly as possible. We can't be anyone else, we can't be younger or older than we are, we can only be ourselves. We're golden. And the album title, Golden, reflects all of this. I liked the idea of everyone being golden, shining in their own way. The sun shines in daylight, the moon shines in darkness. Wherever we are in life, we are still golden.' One of the album's shiniest moments is Raining Glitter, an exuberant banger which ventures closest to Kylie's traditional dance-pop comfort zone. Eg White, who is one of the producers and writers and a great character, was talking about disco one day. I said 'I love disco, but you know the brief.' We needed to be going down the Country lane, so to speak. But we managed to bring them both together. When I wrote it, I was thinking about the Jacksons video for Can You Feel It where they're sprinkling glitter over everyone. And I think there's a Donna Summer record that's got that feel to it. I think that's my job: I basically leave a trail of glitter after every show I do anyway.'
Kylie is looking forward to the challenge of incorporating the Golden material into her live shows. Mixing these songs in with my existing catalogue is going to be fun. And it could be fun to do some of those songs with just a guitar. It'll make my acoustic set interesting...'Her incredibly loyal fans - to whom one Golden song, Sincerely Yours, is intended as a love letter' - will, she believes, have no problem with her latest stylistic shift. My audience have been with me on the journey, so I shouldn't be afraid that they won't come with me on this part. I've had fun with it, and I'm sure they will too.'
The time spent making Golden has, Kylie says, been a time of creative and personal renewal. I've met some amazing people, truly inspiring writers and musicians. My passion for music has never gone away, but it's got bigger and stronger.' And if there's an overriding theme to the record, it is one of acceptance. We're all human and it's OK to make mistakes, get it wrong, to want to run, to want to belong, to love, to dream. To be ourselves.'
I was able to both lose and find myself whilst making this album.'
With its latest reissue, Majik's Back Into Your Heart - Melodies International dug deep into the back catalogue of Hi Records, legendary soul label from Memphis found ed in the 1950s.
Originally signed as a recording artist, Willie Mitchell took the reigns of the label and guided it through its most successful period in the 1970s, notably producing a string of studio recordings for Al Green, Syl Johnson and O.V. right among other eminent soul musicians of the time. Whilst the Hi Records catalogue shifted hands multiple times since the late 1970s, it was mainly exploited as a means to reissue recordings from Al Green and other high profile Hi Records artists (notably by Motown) while the label's more obscure back catalogue remained largely untouched. Years later, a few lesser known one offs from the label's vaults holding the distinctive raw Hi Records production sound and a circling hypnotic quality that makes them potential successful records for modern day dance floors have been getting a second life with record collectors, DJs and on dance floors worldwide. As such, recordings such as Africano's Open Your Hearts have become You're A Melody classics for some years now and Melodies International are glad to bring you one more reissue which in our hearts hold at least the same level of quality and potential as the former. With Back Into Your Heart, Majik pull through with a strong up-tempo disco tune that embodies Mitchell's sound as well as a level of modernity that might explain why it has remained largely unnoticed up until now.
Licensed and re-mastered, MEL010 comes forth in its original 7' format with a folded 14'x14' poster designed by Mafalda.
There are some records that manage to sound both of a time and utterly timeless and Bon Voyage Organisation's Jungle Quelle Jungle (a nod to Supertramp's Crisis What Crisis) is one of those albums. Its silken-smooth production, irresistible grooves, funk-tinged guitars, lush soundscapes and general glowing presence could easily lead one to believe that have dug up a lost disco gem from the 1970s. However, behind the disco-pop gleam lies eerie dystopian sci-fi ruminations of a futuristic bent and tones that can often feel as French as they do Asian or African.
This sort of cross-continental exploration is an expansion on BVO's previous two EPs, the man behind the Organisation, Adrien Durand, says. 'I tried to continue the musical expedition between dystopian Science-Fiction Haunted Africa - plus Haitian Vaudou on 'Soleil Dieu' - and futuristic Asia. Addressing, in a double entendre manner, some of the political issues that I am sensitive to.' In fact the jungle in question in the album's title is a metaphorical one and one that creates a vast series of environments for Durand to explore such subjects as world trade, utopian ideals and themes of idols, as well as of time and communication. However, one will need to speak French to decipher such explorations, as well as shake off the natural impulse to move with every glorious beat on its 13 tracks, of which are moved along by Maud Nadal and Agathe Bonitzer's golden vocals.
Durand is a full-time producer based in Paris, working with the likes of Amadou & Mariam, so it makes sense that this record would absolutely sparkle in this department. Durand feeds off the variety of musicians coming and going during recording sessions as well as the rotating members and numbers of people involved with the band but fundamentally he writes all songs on piano first before bringing them to record live. 'We recorded a rhythm section of five - drums, percussion, guitar and myself on bass/synth bass and keyboards - at La Frette which is a studio located in a mansion outside of Paris and fitted with a beautiful 1973 NEVE desk. We only used analogue gear, by taste really, and found it a pretty reliable way of doing things. This simply consists of putting good players together in a room and waiting for the right take to happen.' Two four-day sessions and a 'cooling off' period (to let the recordings settle) soon followed before Durand picked the material back up to give it a final polish.
The resulting album is one loaded with intricacies and idiosyncrasies, something that Durand puts down to his own unique approach. 'I don't consider myself much of a songwriter but I love arranging rhythm sections and I'm pretty proud of the ones on this record.' This applies when it comes to working with such musicians as Inor Sotolongo Zapata, who with Durand used traditional Cuban percussive instruments and explored Haitian rhythms. When Durand expands on some of the ideas and influences that were funnelled into the record, you begin to get a sense of the vastness of the sounds that fill his world, from Trevor Horn's production work on ABC's Lexicon of Love, to the literary work of JG Ballard to the visual flair of the original Blade Runner and even the Tuareg sounds of Tinariwen, due to the fact that his studio neighbours their manager's and he would hear their rhythms bleeding through the walls. You therefore end up with an album that offers tracks such as 'GOMA' that fuses Chinese and African rhythms as well as 'SI D'Adventure' a piece of pop music that is dazzlingly hook-laden.
As a result of this cooking pot of sounds, influences, thoughts and creations, Durand has more of a gumbo approach to making this music than a set-out scientific formula. 'There is no definite recipe for me to like the production of a record,' he says. 'Of course it really sticks out that my work is really influenced by the 1978-1983 period, the golden age and last stand of analogue studios and session musicians.' Whilst Durand adores the traditional and conventional music, he really views this as something bigger and wider. 'I have a taste for the otherworldly vibe from records coming from less sought-after musical scenes, particularly Poland, Haiti, Ethiopia, Somalia, Congo and early Cantonese pop. Languages and the rapport of the people involved in the making of those records really inspires me. I particularly hate the use of the word 'World Music' as a potpourri for everything that doesn't sound quite western enough.'
Label head Enzo Siragusa teams with Ibiza resident Nima Gorji for the slick 'Foreal EP'; the original mix (VINYL ONLY) rolls deep, building nicely with a warming pad whilst subtle tripped out sounds flicker throughout the mix. Djebali offers up more of a bassline friendly mix on the flip whilst Fuse mainstay Seb Zito dusts it down with a phatt kick drum and ups the PHUNK on his version.
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Last delivered 10 months ago available to reorder, subject to availability
"Real name Takeshi Fukushima, Takecha has been a key figure within Japan's electronic music scene for decades and belongs to the same pioneering crew as Soichi Terada and Shinichiro Yokota. Now in his mid- fifties, 'Deep Soundscapes' is an album encompassing Fukushima's sound with every track written by the producer between 1990 and 2013. Intricate percussion and crystalline chords set the tone in 'Deep Drive' before a funky bassline joins serene synths in 'Midnight Things'. Appearing in Soichi Terada's mix for Resident Advisor (under its promo title 'Deep Loop C'), 'Gradual Atmosphere' is comprised of a galloping beat and saccharine chimes, 'Factory 141' sees Takecha demonstrate a murkier aesthetic, whilst 'Rhodes Detox' is a definitive example of Takecha's flair for expertly balancing elements within his productions. An homage to Shufflepuck Cafe´, an old Mac Plus video game Takecha would play on a black and white 9- inch monitor back in the day, 'Shufflepuck' blends ghostly melodies with clicks, whirrs and pops. 'Calm Imagination' is a poignant affair from start to finish with its hypnotising atmosphere, contrasting to the more up-tempo 'Warm Rondo' with its soulful keys and purring low-end. Tying it all together, 'Genuine Innocence' is a cut that Takecha made two versions of; one with a solo from a pianist and another with more emphasis on the beat, the latter of which appears on this album."
Detroit duo Ataxia offer up their 'Kodak Moment' EP via Visionquest this March, accompanied by an edit from label co-founders Shaun Reeves and Ryan Crosson.
Eric Ricker and Ted Krisko aka Ataxia have been at the forefront of the contemporary house and techno scene for some time, racking up releases on some of the leading labels across the globe such as Leftroom, Nervous, Culprit and Play It Say It, making the duo one of Detroit's finest exports in recent years. Here we see them making their debut on Visionquest, the label of fellow Detroit natives Ryan Crosson, Shaun Reeves and Lee Curtiss.
'VHS' leads the package with murky synth swells, resonant synth sweeps and fluttering square wave bass tones at it's core as shuffled drums carry the ever-evolving hypnotic groove along. The original mix of 'Kodak Moment' follows, shifting the focus over to snaking bass lines, mind-bending, modulating synth whirrs and dynamic, choppy percussion throughout.
Reeves & Crosson's 'Edit' of 'Kodak Moment' then rounds out the release, stripping things back to ethereal atmospherics and shuffled drums whilst subtly stirring in the original's hooky bass groove as the interpretation unfolds.
* From the pumping heart of The Magnetic System comes the 'dirtiest' Da-Da-dancefloor anti-jams with this lost 1979 blueprint of Italian conceptual cosmic disco played by the cream of the Goblin studio band. Ultra-rare and unscrubbed,Finders Keepers finally snip the trip from the cash machine to the trash machine.
* Carving its own grubby niche as an early prototype of cosmic disco cum Italo space funk whilst simultaneously harbouring Dada hat stand satire with a junkshop glam aesthetic, this ecological illogical poplitical crab cabaret clearly broke the mould before way before the jelly had set.
* Fans of 'other' obtuse outernational agit-camp might find a fantasy fusion between France's JP Massiera and Sweden's enviroMENTAL marvel Kaptain Zoom while trying to unravel the Madfilth tangle - but rest assured there were method men behind this madness and a portal to Italian funk royalty still festers
at the bottom of the psych rap scrapheap.
* Originally drip-fed out of Cesare Andrea Bixio's Cinevox stable as one of a tight grip of non-soundtrack LPs, made to test the label's commercial potential, Madfilth would follow the band Goblin (and their non-cinematic Roller) as well as the hens' teeth eponymous long player by the group The Motowns in what was perhaps the last-ditch attempt at custom built popsploitation - combining the skills of overqualified composers with undercooked conceptual mind belches. Naturally, after almost 40 years in the barrel, this micro-brewed oddity finally quenches the acquired taste of a new breed of shambolic psychotropic guzzlers proving that 1979 was obviously good year for fool's gold. The Madfilth medicine has finally come to cure your psychic ills so open wide and don't bite the spoon.
* It is beneath the flamboyant rhythm rants and vari-speed osric slop of alt-comedic sarcy-satirist Alberto Macaro (a genetic beneficiary of a vaudevillian comic bloodline) that we find The Magnetic System maestros Franco Bixio and Vince Tempera as the sonic driving force behind this unmarked treasure trove of
B-musical diamanté discoids. It will also come as little surprise that
Cinevox/Dario Argento favourites Goblin were not too distant from the whiff of this curate's egg with the men who many consider to be the group's greatest assets - bass player Fabio Pignatelli alongside sports rock drummer Agostino Marangolo. It was this unison that remained consistent throughout Goblin's career, weathering the temporary departure of Claudio Simonetti and
maintaining the stylistic heartbeat of the group. Madfilth's inclusion of Goblin synth Maverick Maurizio Guarini and the band's mid-period guitarist Carlo Penessi (founder of the band Etna) pinpoints the jobbing Goblin session group during the time they recorded the soundtracks for the films 'Buio Amiga' and 'Squadra Antigagsters'. This lesser-celebrated late 70s era also witnessed the mutating Goblin rhythm section providing discoid backbeats for records such as Giorgio Farina's 'Discocross' album, Simonetti's own Capricorn alter-ego and the homoerotic nightclub spin-off Easy Going - all of which, alongside Madfilth,
provide a strong mutual stylistic support system for their claim to cosmic disco's deep red bloodline.
Intimate November tour also announced After their 2012 Mercury Prize nominated debut and 2015's Top 20 follow-up 'Born Under Saturn', musical adventurers Django Django are back for 2017, exploring new sounds with their brand new album 'Marble Skies' which will be released on January 26th on Because Music. Today the album launches with first single 'Tic Tac Toe', a rousing, trippy upbeat rock track with an enormous echoing hookline which will excite fans of the band's rockabilly-influenced elements. The accompanying video for 'Tic Tac Toe' was directed by John Maclean, brother of Django Django drummer/producer David Maclean and director of the critically acclaimed modernist western 'Slow West'. It depicts vocalist/guitarist Vincent Neff enjoying a rapid-fire day-trip to Hastings which takes a turn into the surreal and sinister when a ghost train puts him on a collision course with a grim reaper inspired by Ingmar Bergman's The Seventh Seal. As John Maclean explains: The film could be about the fading era of the beach arcades, time moving too fast, love and games, horror and happiness but it is actually about a man who needs to go buy a pint of milk to make a cup of tea.' After the brilliant, rave-shaped grooves and expansive arrangements of its predecessor, 'Marble Skies' is a more concise and focused offering which recalls the dynamic, genre-blurring music of their debut. It's a return to form, an album which finds them returning to the handmade, cut-and-paste approach of the past. Upon finishing the 'Born To Saturn' tour, Dave ventured to LA to work on a production project, whilst the other band members went to India with the British Council. When they returned, the new album process began with a back-to-basics approach which recalled the DIY ethos of the band's early days, Django Django - minus an absent Maclean - assembled at Urchin Studios in Tottenham, London with Metronomy drummer Anna Prior to experiment with the idea of coming up with new tracks through loose jamming sessions. After ten days of recording, there was plenty of raw material to send up to Dave (then back in his hometown of Dundee) for him to edit, refine and evolve. As ever, all four band members (completed by Tommy Grace on synths and bassist Jimmy Dixon) contributed to the band's music, melodies and lyrics as the final album took shape. Parts of 'Marble Skies' find Django Django sailing into uncharted territories, not least the driving title track (propelled by Prior's drumming), with its echoes of Krautrock and Suicide. Meanwhile, the hazy Zombies-like summer pop of 'Champagne', which explores the joys and ills of alcohol, was inspired by the band's over-indulgence during a boat trip on the Seine that was hosted by their label. Those drawn to the more dance-orientated side of Django Django will find much to love in the twisted '80s electro pop of 'In Your Beat' and the dancehall-influenced 'Surface To Air', a dreamy-headed pop song fronted by Rebecca Taylor of Slow Club. The collaboration came as a result of the two bands meeting up at SXSW some years ago, where Rebecca and Dave in particular bonded over shared interests in R&B, hip-hop and dancehall. Another more surprising collaborator is Jan Hammer, the Czech-born, American-based jazz-fusion and electronic artist who shares writing credits with the band on the gorgeously floaty 'Sundials'. If there's a mood running through 'Marble Skies', it's one of reflection on things past and present, and finding some kind of peace with your place in the grand scheme of things.
Scandinavian duo KSMISK return to Norwegian techno imprint PLOINK to drop their debut album this
February. Real names Truls Kvam and Robin Crafoord, KSMISK made a name for themselves as Trulz & Robin with releases on Planet Noise and Cymasonic, not to mention Prins Thomas' Full Pupp and Rett I Fletta. Since launching their KSMISK project in 2015 the pair have returned to some of these labels whilst also dropping two releases on renowned Bergen-based techno label PLOINK, of which 2017's 'Magma EP' is the precursor to their inaugural album 'Mikrometeorittene'.
Opening the package is the ominous and beatless 'Lonsdaleite', setting the tone for an otherworldly aesthetic throughout. Off-kilter kicks then rain down in 'Silicate' as sinister drones ebb in and out of the mix before meandering back into a ghostly ambient cut named 'Vesta'. Crunchy percussion and tantalising atmospherics then make up 'Blitz', moving into the twisted and syncopated 'Marinate' until the raw sounding 'Spherules' exhibits a compelling groove combined with echoing effects. The dusky 'Wustite' sees the album retreat from 4/4 once again, returning for the effervescent 'Westergas' before concluding on a melancholic outro entitled 'Chondrites'. For this release 2x12' LP PLOINK will release 100 numbered and limited grey vinyl as well as the usual black vinyl.
It was May 2017 when Earthboogie's debut release dropped on Leng. The soundsystem-loving East London duo rightly won praise for a fne EP that brilliantly joined the dots between all things intergalactic, terrestrial and tribal.
Having spent the last ten months recording their adventures, Izaak Gray and Nicola Robinson return with Silken Moon', the frst single from their forthcoming debut album, Human Call.
In typical fashion, Silken Moon' cannily combines musical elements from a myriad of styles - most notably Afro-disco, samba and mid-tempo Chicago house - to create a humid hybrid that defes easy categorization. There are bouncy organ riffs, undulating acid lines, clipped Afro-funk guitars, tons of tropical percussion and the chanted, carnival-friendly vocalizations of guest singer Nina Miranda.
The release comes backed with remixes from two members of the extended
Leng family: long-serving producer Felix Dickinson and Turkish rising star Ali Kuru. Dickinson sticks close to the original of Silken Moon' with a mix built around gently jacking machine drums and Earthboogie's sweaty guitar licks while Kuru takes Human Call' in an altogether more cosmic direction. Pushing the track's psychedelic TB-303 lines and tropical textures to the fore whilst
adding his own mind-altering electronics - most notably a fat new synth bassline - Kuru cleverly re-casts the track as a pulsating, late night throb-job.
People Places & Things is the single project of Manchester born & London based Mike Checuti. Mike grew listening to a heavy mixture of horror & film soundtracks an equal dose of the early electro via the legendary Spin Inn records & then the hedonistic sounds of The Hacienda & the more underground Thunderdome nightclub.
Mike was encouraged to press ahead with the project after a visit to Los Angeles & spending time in the studio with Atticus Ross (Gone Girl & The Social Network soundtrack composer).
Treating Patient A is the first in a trilogy of releases by People Places & Things each pulling from the above mentioned influences but each EP having it's own variation whilst keeping the references points clearly audible along with People Places & Things own take of these sounds at the forefront.
People Places & Things along with Gabe Guernsey of Factory Floor have recently just composed the soundtrack for the latest film for the forthcoming Adidas Spezial range which commemorates 30 years of Acid house.
Artwork for each 12" is designed by Andrew Jackson & each sleeve is individually hand printed thus having its own unique imprint and limited to only 200 copies.
The press & publicity for the release and project as while will be handled by 'The Rest is Noise'
In the late 1990's label manager Nik Weston was working for Island Records and in particular the label imprint Island Blue set up by Ross Allen. It was here that he first heard the timeless jazz version masterpiece of Amalia from Kirk Degiorgio's As One. The track featured on a promo cd but never made it to a commercial release for Island Blue and was later featured on the full length album release for San Francisco label Ubiquity Records a few years later in 2001. 'Amalia' is a sultry jazz classic featuring gorgeous keys from Jamie Odell aka Jimpster. As relevant today as it ever was when initially made and here presented as a single in it's own right for the very first time. On the flipside another track that never made it to single in this version was the unique jazzual 'Spiritual Rotations' by Butti 49 from Norway. Nik had later worked with Butti 49 whilst working for Exceptional Records for the Habit album in 2004 but 'Spiritual Rotations' itself initially featured as an exclusively album only track for Future Sounds Of Jazz Volume 8 in 2001 for German label Compost. So there you have it... two welcome killer Jazz classics that deserve a revisit for your attention cut on limited 180 gram vinyl for your ears, your turntable and your dancefloor....
Bubblewrap Collective and The Gentle Good are proud to present 'Y Gwyfyn', a new EP entirely in the Welsh language to celebrate Welsh Language Music Day 2018. The EP contains brand new tracks and previously unreleased material as well as outtakes and an album track from the recent Welsh Music Prize winning 'Ruins/Adfeilion'.
In keeping with the'Ruins/Adfeilion'album, themes of the naturalworld,cultural identityandsocial justice feature prominently in 'Y Gwyfyn' EP. The title track describes a hot summer evening as perceived through the senses of a moth, whilst 'Briwsion' (Crumbs) is a critique of social inequality in today's modern world. Fan favourite track 'The Fisherman' (Y Pysgotwr) is reworked into the Welsh language, followed by a brand new recording of traditional Welsh folk song 'Cariad Cyntaf' (First Love). The EP ends with an epic 8 minute instrumental, 'Golwg y Gwdihw' (An Owl's Eye View), a musical representation of a nocturnal woodland scene originally recorded as part of a project for National Museum Wales. The EP features some of the finest musicians in Wales, including Jack Egglestone on drums, Callum Duggan on bass and Georgia Ruth on vocals. The EP also gives a platform to the stunning string arrangements of Cardiff based composer Seb Goldfinch, performed beautifully by the Mavron Quartet.
D.KO Records regular Mad Rey joins Rekids with a pair of deep house cuts this March.
The Parisian producer and Red Lebanese co-founder started releasing music as Mad Rey in 2014, providing D.KO Records with their second release (having already contributed to the D.KO01 various artists EP under his real name Quentin Leroy).
He now joins Rekids with a solid two track package initiating with 'In My House N°6', a lively slice of house featuring funky bass licks and jazz influenced melodies complete with a compelling groove. On the flip, 'L'orage (Dub)' 'L'orage (Dub)' slows down the tempo whilst exhibiting sampled strings, crunchy snares and twinkling effects.
Seven years ago, Unbalance created his own label as a base for his musical ideas; a platform to play around with the conception of what "techno" is and would be alongside his own creative progression. Come to present day and the label is now at its ninth release, reaching a point where the line of accumulated experiences must be drawn in the sand — and the experiences of previous projects and releases lead to venerable conclusion.
Enter Ten, an album of internalized strife that was created during a period of big changes in the artist's life. Between enduring personal experiences, his creative output veering between his straightforward club eccentricities and subdural sensibilities; Unbalance cultivates a symbiotic link between sounds played and sounds portrayed — whilst paying tribute to the essence of groove, vibration and the hypnotic unknown that exists to balance the scales. This album will be the final point in the label's journey into the depths of multifaceted techno music.
The next collaborative release between Freeride Millenium and Pauls Musique is a terrific two-tracker from Manchester artist Joseph Louis Harland Manning under his new alias Los Angeles with the 7 vinyl release artwork designed by Daniel Rajcsanyi as part of his 'BABY' exhibition in Austria. Joseph Louis Harland Manning was the drummer of the band Wu Lyf and is involved in projects like Los Porcos, the Mancunian boyband Menage a Trois and Dream Lovers. Under his other aliases he released on Aficionado, Cracki, Ocean Records and Is It Balearic sub label Uber as well as having made music videos for Molly Nilsson. Here he is fine form across a pair of delicate and moving synth tracks. Opener 'L'amour' is a gentle cut that starts with celestial chords and wide-open expanses of synth before a buried deep groove slowly comes to the fore. Breathy vocals also add to the loved-up, dreamy feel and the whole thing carries you away in a majestic reverie that shifts from ambience to new age house. The track features the artists own field recordings from the streets of Berlin, twisting up sounds from the sidewalk into percussive notes that give an organic feel. The perfectly soothing second offering is 'I Wanna Go To Heaven' is a gorgeous synth piece that suspends you in a crystal clear blue sky on a warm summer's day. Chords are smeared and stretched whilst angelic, wordless vocals drift by. It is the sound of a blissful passage to the afterlife and will leave you feeling cleansed. This is a truly emotive package of music that marks another first rate release on this ever evolving label
"Recorded over a period of three years, Intricacies Of Modern Life sees Glasgow DJ and producer OOFT! finally complete his first long-player. The 10-track 2x12"" takes in various moods and tempos whilst staying rooted in OOFT!'s low-slung house style.
Released on his own Foto Recordings imprint, this marks not just the debut album for the artist but also the label. Lovingly mixed and mastered by Rob Etherson.
Tardis Records are delighted to welcome UK tech-house hero Flow to the Tardis Records stable for their eighth release. The three tracks making up the Trine EP were recorded together with Simon Moorecroft (a.k.a. Simon Vinyl Junkie) around the time of his first vinyl releases back in 1996-1997. All three tracks sound completely contemporary whilst having more than enough old school flavour to give flashbacks to any 90's ravers. Lead track 'Boy Girl Action' has skipping, garage-influenced beats with rolling bass and swirling atmospherics, whilst a breakbeat, vocals and a stabby intro give 'Trine' on the flip a more ravey feel. Closing out the EP, 'I See You' is the dubbiest cut here, with another heavy bassline, cut-up vocals,and subtly swung percussion. Eli and Oscar have loved testing these tracks out on the road and can vouch for their impact on a peak-time dancefloor!
Next up on Francis Harris's newly-founded record label Kingdoms comes something very special from Brooklyn-based film composer, songwriter, producer and performer Léah Lazonick. Movimenti della Luna D'Oro ('Movements of the Moon of Gold' translated from Italian) is a four-track EP from one of the most exciting musicians and performers around - a beautiful quartet of contemporary classical music with a twist. Lazonick is something of a polymath, having composed and conducted orchestral and electronic scores for short films and commercials as well as being a classically-trained pianist. Lazonick is also a connoisseur of analog synths and vintage drum machines, and will release a second EP focussing on these passions during the course of 2018. Here we are treated to three luscious works for piano and string quartet, written for a one-off performance at Studio OFF Interarts, an art gallery in Montreal. The piece was performed in a forest-like immersive environment, and was originally called In a Forest (A Piece in Three Movements). Lazonick performed the piano parts along with a string quartet she had assembled for the performance/recording. Lazonick explains: 'As opposed to most of the other songs/compositions I have written, I have no concrete sentimental story behind writing this piece. The motivation, inspiration and overall idea behind composing it was of a more technical nature; attempting to relay the music in my head at its purest form, without any compromises, by primarily making use of melodic and harmonic dissonances whilst still keeping the content captivating, musical and continuous.
Mutant jungle forms, hazy glitch experiments and trance inducing downtempo collide with sharp percussion and dense low end on this latest Alter 12'. Helm's recent 'World In Action' EP for The Trilogy Tapes is reworked by a whole host of favourites including Laurel Halo and Parris who offer up two distinctly different takes on 'Blue Scene'. No Symbols boss Beneath turns his hand to title track 'World in Action' with that typically murky, deconstructed club aesthetic whilst Parisian mainstay Low Jack gets deep on the A2, his five and a half minute version of 'Candy' sounding like a cross between Nuno Canavarro and Whitehouse. Delivering what might well be the records most subdued moment, Brussels' Sky H1 slows 'After Dark' way way down with some barely there auto-tuned vocals helping to bring things into the fold.'
Southend quartet Ghost Music release their evocative debut album I Was Hoping You'd Pass By Here via Arlen on 19 January. They create careful, considered songs, weaving lo-fi lullabies with gliding guitars and understated arrangements. Influenced by Silver Jews, Flying Nun and K Records, they explore themes of nature, love, loss and a melancholic English romanticism embellished with beautifully spectral melodies and executed with startling subtlety.
Despite this record being their debut, the band has produced a veritable wealth of music over the past 20 years in various guises. Ghost Music revolves around the songwriting partnership of Matt Randall and Lee Hall, who had played together in the 90s with John Peel favourites Beatglider. More recently Randall has received critical acclaim as Plantman, with his three albums Closer to the Snow, Whispering Trees and To The Lighthouse receiving praise from The Guardian, Uncut and Mojo. When Randall and Hall reunited to collaborate on another album together, they brought in the talents of Roy Thirlwall on bass (Melodie Group) and Leighton Jennings on drums (Dark Globes) to complete the band.
The original idea would be that the songs would be 'ghosts' and create 'ghost music' to resurrect and dust off old songs that they had already started. Lee had found the beginnings of 'Home Dog' on a dusty old 4-track and he had recorded 'Strange Love' on his iPhone in 2014, whilst Matt had written 'My Cloud' as far back as 1997 (the night he moved out of his parents' house). As the album began to take shape, the ghostly premise took a back seat, as they began to breathe new life into the songs they found the impetus to write new ones.
Randall explains the songwriting process; 'When we were in Beatglider together and in the past we'd made a 'thing' out of writing long songs with a lot of changes. This time we pared it back a bit and stuck to the melodies more. We really wanted to make a proper guitar record. Lee's my favourite guitarist and it was lovely to see him stretch out on these songs with his diamond fingers.'
Not afraid to wear their influences on their sleeves, Ghost Music's sound is instantly familiar, echoing beloved bands from the 90s such as Pavement ('Home Dog' has a definite 'Range Life' feel), Galaxie 500 ('Blindspot'), Yo La Tengo ('Heart Shaped Holiday' is influenced by the languid YLT songs that peak after a short intro) and even old-school rock'n'roll ('Strange Love' was born out of an appreciation for the instantly engaging opening riff in 50s songs). Yet Ghost Music's work never feels derivative, being instead effortlessly emotive, melancholic and affecting, creating a world of sound that is hugely reassuring and a tonic for the modern age.
The second release from De Grey introduces the debut 12" from Yorkshire native Jack Angle
WEEK-END, opening proceedings, with skeletal kicks and jacked percussion combining to maximize damage on the dancefloor. 6PNHHPE follows up with brooding acid and sub bass pressure. On the flip, STABILIZER lightens the mood with lush synths whilst SEITA rounds things off with playful melodies juxtaposed with an industrial framework.
Dedicated to giving newcomers an honest platform to showcase their talents, this run of compilations is to be comprised of crystalline electronic music, spanning out across various forms. The inaugural offering sees Villanova and Time team up to reshape La CHICA's Oasis with brushstrokes of subtle melancholy, TEHO fuse contemporary Deep House with UKG and YEUZ' pair of idiosyncratic compositions, for the modern dance floor. Label founder, Agoria, ventures South of one hundred and ten beats per minute on his remix of Embers, cloaking Stefan Smith's original in humility and innocence. A FEW WORDS FROM THE ARTISTS ... about their tracks Oasis: 'The original track brings us a very unique vibe, the work of the analog textures implement perfectly the unique voice of La CHICA ...as soon as I listen to it I was hooked to make a remix that would keep the same feeling .. but adding the energy and dynamic to make it floor friendly.' Embers: 'Other than Music, Stefan's only other Passion in life is reading Samuel Beckett. Whilst reading his radio play Embers he got a call from Nicolas Becker asking him to contribute some work to a project. He set about composing this track with Becketts words reverberating around his head. This track somehow made it into the hands of Becketts friend/collaborator Agoria and here we are.
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Syncopated percussion and murky atmospherics form the basis of 'Mutual Romance' before Dicicco introduces an ominous melody to generate the duskiest track on the package. 'Virgo Love Affair' then meanders forward with tight kicks and a hypnotising chord sequence before making way for the deep and scintillating 'Filling Pieces'. Concluding the release, 'How We Live' combines organic drums with sweeping effects whilst distorted keys operate throughout.
The debut Vinyl release on Re-Fix Recordings is an E.P from Waxwing who utilizes many years of studio experience and previous releases under different aliases to deliver 4 funky chunky house cuts. Unleashing vintage tones,the US garage influenced house beats shuffle and swing their way throughout,whilst warm,weighty organ stabs provide the backbone for the dubby grooves A
Our sixth release is two previously unreleased versions of 'Signs Of A Dying Love' with the A side being much slower in tempo than the vinyl release on OTB Records. Whilst on the flip the song appears to be the same as the OTB records version, but without the spoke rap at the beginning. This is a timeless piece of soul music that deserves a wider audience.
This is available for pre-order and is a Love Vinyl DRS Ltd distribution title.
Releasing an album into the world is a special moment for any artist but when you're an artist who grew up in remote northern Ghana with no schooling, spending a life herding cows and goats, building your own instruments and teaching yourself to sing, then there's a particular sense of occasion and celebration in finding recognition and an audience for that music.
This is the case for Guy One, an utterly unique artist who is writing and performing Frafra music, a style that originates from a small area in the north of Ghana. Whilst Guy One is already loved and adored locally by now - building up a fervent following in local villages in which no funeral or wedding would take place without his soaring voice and deeply rhythmic playing, before then transforming into an award-winning, TV appearing artist in Ghana - his music is now to find a much wider audience through Max Weissenfeldt's Philophon label (Jimi Tenor, Hailu Mergia, Alemayehu Eshete) on this Berlin meets Bolgatanga release.
Guy One's international debut #1 is an album rooted in tradition as much as it is the contemporary ("Frafra music Made in Germany" says drummer producer Max Weissenfeldt if he's forced to put a label on it) but given the fact that the traditionalism of Frafra music itself is a largely unknown force, the results are more even more potent and stirring in their creations. Choirs, trumpet, organ, bass, drums, synthesiser, vibraphone, saxophone and piano, the album is as bursting with instrumentation as it is ideas and innovation.
The album's perfect positioning between the old and the new and in taking that middle ground and launching it into completely new territory is enough to completely unglue the definitions of what music can be.
A first-ever collection of the highly sought after and largely previously unheard recordings of the one of Turkish pop and rocks best kept secrets - featuring the two rare has hen's teeth 1 Numara 7' singles (which fetch in excessive of £200 on certain internet auction sites) - including a previously unreleased extended version of Evren The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside Ilhan Mimaroglu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s - sending teenagers wild with his custom built guitars and back lines - helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey's first national television channel TRT 1. Despite having a modest discography of only four 7' singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture. Compiled with unparalleled access to his private studio vault, Finders Keepers proudly presents the first-ever collection of Gökçen Kaynatan's pioneering early electronic works. Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles - including a never before heard extended version of Evren - as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 - most of them never to be repeated. In helping Gökçen end his self-imposed 44-year exile from the record industry we can now share with you the first of these important recordings from a genuine maverick who helped shape the face of modern Turkish music, as well as shedding some light on the rise of one of Anatolian rock and pops must fruitful and experimental periods that began with the arrival (and subsequent explosion) of domestic synthesisers on the Turkish scene.
The fifth album, from 1976, originally out on Cobra. 'Intense, violent, bitter, abrasive, uncompromising prefigurations of Industrial and post-rock. It is easy to understand why Merzbow, Wolf Eyes and Oren Ambarchi all wanted to collaborate. Whilst run-of-the-mill comparisons between Heldon/Pinhas and King Crimson/Fripp are hitherto sustainable, Un Rêve Sans Conséquence Spéciale explosively busts open new ground.'
Discrepant is proud and excited to present a magical live recording from the legend that is Pierre Bastien, showcasing his mecanoid orchestra at its intricate best during a performance at Studio M, the historical studio-concert hall of Radio-Television of Vojvodina, Serbia.Around 1986, French composer and multi-instrumentalist Pierre Bastien started creating and building his own orchestra called Mecanium: an ensemble of musical automatons constructed from meccano parts and activated by electro-motors, that "play" on acoustic instruments from all over the world. On this record the Mecanium plays amplified Meccano parts, drums, reeds, rubber bands, paper, nails and flutes whilst Pierre plays kundi, rubber band, prepared trumpet, video loops, nail violin and râbab. Recorded live at Studio M, Novi Sad, October 8, 2016.
For more than 30 years music has been the most important thing in my life - this is a clear and true to the heart statement by Soulsurfer, DJ and drummer for the Hanover-based outfit named SUPERSOUL. And yes, SUPERSOUL are a real band. A band in love with analogue instruments and mastering their craft. A rat pack of five groove fanatics accumulating enough years, wisdom and experience to tell truly authentic stories within their songs - songs which are taking the bands audience on a journey into the 60s and 70s sound of Black America. SUPERSOUL are playing Funk 'n' Soul on a hot, steamy, energetic and passionate tip, performing self-written songs with stories told in the bands mothertongue - German ! With Arne Busch as vocalist and band leader SUPERSOUL is built around a true force. His vision and expression of Soul is phrased like the emphasis of a preacherman's gospel whilst fat and funky grooves are masterly crafted and carefully layered by Margot Gontarski and drummer Lars Heindorf a.k.a. Soulsurfer, glazed with wah-wah-heavy licks played by guitar wizard Toni. Their experienced interplay on the latest SUPERSOUL album is polished with loads of analogue engineering magic at Studio Nord Bremen and perfectly complemented by solos and arrangements of Lutz 'Hammond' Krajenski and seven other guest musicians making and appearance on this longplay piece.
It's not big of a surprise that these musicians, all of them rich in experience due to their contributions to other bands and projects, met in Hanover, Germany's secret capital of Funk. But it is quite a surprise that it took that long for an album to appear on the record store circuit that amalgamates German lyrics and urban Funk in a previously unheard manner like SUPERSOUL does.
And for those who come across this longplay piece whilst being on their next dig we go along the lines of the words by the famous man Miles Davis as - We suggest to you to play this record at the highest possible volume in order to appreciate the sound of SUPERSOUL .
MW present two classic Minimal Wave tracks which have been on heavy rotation for years now, Computer Bank' and Like I Am, Comme Je Suis' remixed by The Floor (Veronica Vasicka & Karl O'Connor).
Five Times Of Dust was formed in Bristol, U.K. in 1981 by Mark Phillips and Rob Lawrence. Mark had answered an advert that Rob had placed in a local record shop and later that year they went on to record and release their first tape, The Dadacomputer. A standout track from that tape, Computer Bank' is a seminal, proto-techno banger'. The Floor remixed it a while ago to DJ it out and since then have been receiving many requests about where it could be purchased.
The flip side features Unovidual & Tara Cross' Like I Am Comme Je Suis'. It appeared on our first compilation entitled V/A The Lost Tapes LP, in 2006. Unovidual was a Belgian producer involved with the Micrart Group (Autumn, Linear Movement, Twilight Ritual) and Tara Cross, a long lost girl from Brooklyn' who used to play in small NYC downlown clubs alongside Madonna during the early 1980s when she was still an unknown. Unovidual and Tara collaborated on several tracks through the mail during this time as well as in the studio. Like I Am Comme Je Suis' was recorded in a studio in Ghent, Belgium in 1985.
We find both of these tracks prime examples of innovative and pioneering synth wave tracks that work on and off the dance floor. And through these mixes, The Floor aim to stay true to the artists' original intentions whilst making the songs more dance floor oriented.
Featured alongside these remixes, are two unreleased tracks. Rob Lawrence's Armoured Car' which at one point was released on a compilation CD as Robert (not to be confused with Rob Doran from Hard Corps) and Unovidual's Imponative', a beautiful minimal synth track which has remained unreleased to this day.
The Five Times of Dust / Unovidual & Tara Cross EP is pressed on standard weight royal blue clear vinyl and housed in a hand stamped disco sleeve. Limited to 600 numbered copies.
Noplace is an improvised collaboration between Aidan Baker (Nadja / Caudal / B/B/S/), Simon Goff (Molecular, Bee & Flower) and Thor Harris (Swans, Shearwater, Thor & Friends).
Having known each other for a number of years and previously contributed to one another's recordings this trio finally came together as a whole on May 7th 2017 at Redrum Studios in Berlin. In a short, improvised session of just a few hours they set about laying down as much material as possible which was then subsequently edited and re-worked (without overdubs) to form this album.
The same evening the trio played together as part of a 9-piece Thor & Friends ensemble which also included Christopher Hefner (on musical saw) whose artwork graces the cover of the record and gave it its name.
Noplace is a hypnotic and deep listen. Kinetic rhythms pulsate throughout whilst the guitar and violin jostle and weave around the metronomic beats, creating a cathartic and all-encompassing experience. The very nature of the instrumental repetitions give it an immediate avant/krautrock feel but the whole record is coated in a wonderful psychedelic atmosphere that's both melodic, textured and innovative.
Without doubt a perfect marriage and the sum of its parts. You would be forgiven for thinking Noplace took years to craft but that's testament to three excellent musicians who have produced a real treat of a record. Broken down into seven pieces but very much best enjoyed as a thrilling whole, Noplace is a powerful and highly addictive album.
