Suche:ya ya

Speed Hardtek tribe, electro and acid.

Bobby Sparks II ist vielen ein Begriff. Sei es als Keyboarder bei Snarky Puppy, Marcus Miller, Prince oder Liz Wright, Bobby hat überall markante musikalische Spuren hinterlassen. Und nun ist es endlich soweit: Mit "Schizophrenia - The Yang Project" steht Bobby Sparks Debutalbum (2CD Set) zur Veröffentlichung bei LEOPARD an. Es hat gedauert, um diese außergewöhnliche Sammlung unterschiedlichster Songs zu produziern. Aber es hat sich mehr als gelohnt: zeigt sich darin doch das breite musikalische Vokabular und der schier unerschöpfliche Schaffensdrang des Keyboarders. Vom slammenden Funk bis zu langsamen, groovigen Soul-Balladen und Streifzügen in die Genres Straight-ahead-Jazz, Fusion, Orchester- und Weltmusik: das sehr passend betitelte Album "Schizophrenia - The Yang Project" vereinigt eine Vielzahl verschiedener Musikstile in sich, ohne dabei das Gesamtbild aus den Augen zu lassen. Mit an Bord auf dieser außergewöhnlichen musikalischen Reise sind eine Reihe seiner alten Freunde aus Dallas, sowie viele Stars des Genres - etwa die Bassisten Marcus Miller, Pino Palladino, MonoNeon und Hadrien Feraud, der Trompeter Roy Hargrove, die Sänger Frank McComb und James - J. Rob' Robinson, Snarky Puppys Michael League und Jason - JT' Thomas, die Gitarristen Lucky Peterson und Eric Gales sowie die Drummer Mark Simmons, Brannen Temple und John - Li'l John' Roberts.

For its 2nd release, Nanga boko Records is very proud to present you Ye Mot Ai Kare Mot,
the official 40 years anniversary reissue of the first album of the Cameroonian musician
Atangana Pascal 'Quelqu'un'.
7 raw Bikutsi & Soukous tracks (+ one exclusive bonus track !), recorded after midnight in a
single recording session in a nightclub of Yaoundé.
Deluxe hand-numbered edition, limited to 300, includes a bonus track never released on vinyl
before!
Each record comes with an insert that includes exclusive pictures and very detailed biographies
in both English and French languages, an HQ Digital Download Card and a A2 format (40 x
60cm) poster!
Approved by the artist himself, 100 % legit, all 8 tracks are under exclusive license of Nanga
Boko Records.

In 1986 iconic group The Future Sound of London released the UK Top 40 chart album 'Dead Cities', from which came a track 'Yage'. Such has been the interest in this masterpiece of electronica over the years that the guys have been back into the studio to revisit it.

Here, on this limited edition, individually numbered LP press exclusively for 2019's Record Store Day comes the results. 'Yage 2019' takes the core of the original and rebuilds it. All together there are eleven tracks reconstructions and interpretations, woven together (as FSOL do) into a 42 minute dreamscape journey across the 2 sides of vinyl. Only 1000 copies of this release will be pressed on vinyl.

Lunch Money Is A New Breed Of Psychedelic Jazz. Adventurous Compositions That Keep Both Body And Mind Fully Engaged, The Music Juxtaposes Expansive Textures With Off-kilter Hooks And Rhythms. Deep Basslines Rub Shoulders With Angular Post-punk Guitar Riffs, Floating Synths And Horns, All Blending Onto A Head Nodding Syncopated Drum Beat. A Heady Brew Of Dilla, Davis And Kraut Marks The Arrival Of London's Newest Jazz Deviants.

The Run Of 300 7" Singles Will Be The First Release From New Label None More Records. The Record Will Also Be Available Digitally.

The second of March's PY LPs is one the label has been eager to unleash for what seems an age. The killer new full length from ace experimental electronic musician Bernard Grancher. Coming to the attention of the label via his last record on ERR.REC; PY is mining much of this current wave of incredible French electronic music (as previous releases by Dialectric, Alexandre Bazin, (Arc en) Ogive and the mighty Cite Lumiere attest to) and is in hindsight, somewhat an extension of label head Dom's own record buying and digging habits just now (70s French synth LPs featuring heavily in his Utrecht fair baggage twice yearly!)

Grancher himself began his 'career' as a somewhat under the radar, host / director of 'mostly forbidden' radio programmes, where in Bernard's own words, he created 'incongruous sound collages, that gradually slip towards noisy or disturbing sounds intended to replace the music of others', within its broadcasts'. Then, armed with a large accumulation of 'machines I found at low prices, with an unknowing of quite how they function' he sought the help of friends Yan Hart-Lemonnier and Eric Lumbleau (from the hugely respected 'Mutant Sounds' blog, and his project Vas Deferens Organazation).

Then, having released what he describes as two 'rather talkative' LPs by taking again 'the concept of it's emissions: Hallucinatory slogans and Electro punk', Grancher, then released with ERR.REC, leading in turn to the PY full length here.

A fabulous LP hugely recommended to all kraut heads, experimental electronic sound collages, motorik grooves and minimal synth all figure strongly. To use one final quote from Grancher; 'Abandon any idea of listening comfort; this record leads you into a dangerous race that will be impossible to jump on'.

300 copies on vinyl only, released 2nd week of March.

Killer trip into unknown South-East Asian Melayu & Pinoy Funk -
Rare Groove - Deep Soul - Disco & AOR!

Release no. 1 on Rapscallion brings 3 ridiculous broken reworks that are sure to raise an eyebrow or two.

We're not being told who in particular is responsible for such goodness here but rest assured an accomplished veteran must be at the helm for sure...

Kicking things off is 'A Dis Yah Secret Friend' - A Secret Friend of messrs Asher and Forge at the legendary Inspiration Information nights. A proto broken sound, at a point where Sir Paul was playing with the influences, instruments, melodies...definitely an important piece in fusion history. Kaidi's 'Dis Yah On I Love' provides the beat.

First up on the flip is 'Find a Way'. Take two different versions of Stanley Cowells I'm Trying to Find a Way/ Trying to Find a Way (Both as deserving of an edit as the other), add a bus load of bottom end, beautifully layered percussion and a jazz mash up it is then! A Dingwall's classic in its origin guise, and a future classic in it's reworked (clouseau-esque) Rapscallion disguise.

'Little Rudeboy' closes things...Originally out in '84, only 1 minute at 32 seconds in length and strewn with proto Brazilian boogie synthesizers boogie vibes, a rework/edit of this has been a long time coming. Paired with the Cosmosis broken classic and a surefire dance floor stormer is upon us...Clever stuff indeed !

* Five years have passed since the first release of Nowadays Records.Launched with Fakear's signature (seen on Ninja Tune), the label founded by oOgo and Chomsky from La Fine Equipe has seen the growth of many projects such as Clément Bazin, Everydayz, Phazz (who produced for Travis Porter, did remixes for Soulection, Interscope and Mad Decent), Leska, Jumo and many others, all of them carried by the irreplaceable quartet of La Fine Equipe.

Five years during which Nowadays Records released 75 EPs and LPs, toured in and outside of France, and generated several hundred millions stream plays.With its heart in the right place, its eyes on the emerging scene and its ears open on the world, Nowadays built itself a singular and racy identity through the time. Fed by inspirations like Stone Throw, Ninja Tune or Warp, the label places itself as an ambassador of a fast growing scene, defending it through its shows, releases, and events like the two Boiler Room shows in Paris and London.Without sticking itself to a musical gender, Nowadays keeps on widening its horizons by working with foreign artists and mixing the inspirations through its releases, driven by its sound and visual trademarks and aesthetics.

In order to celebrate those five years spent defending as many projects as musical crushes they had, and to thank its community made of more than 150 000 followers around the world, Nowadays unveils the 'Nowadays V', double album with a digital and physical release on November 30th.Through this compilation, Nowadays gathers on one side the tracks that marked its history and, on the other side, unreleased tracks that sometimes lead to collaborations such as the one between Clément Bazin and Leska, or the one between Fakear and La Fine Equipe.

CAVE are kind of beyond time. You might feel like it's been
awhile since you've seen or heard them but when you see
or hear them again, that moment will feel like 'Allways'.
During the making of the last album, 'Threace', CAVE was
in the process of becoming a quintet. They toured the
world afterwards, playing on four continents and eighteen
countries - as close to everywhere as they could get. Then
they took a minute. They recorded it over time, in Chile
and then Chicago. You can hear all of this, the energy of
liveness, the reps, and consolidating expanded possibilities
within their new alignment, the time away, the distance
and the freshness of returning to recorded sounds,
everywhere on 'Allways'.
In the past, much has been made of CAVE's use of
particular compelling tropes but their inspiration comes
from everywhere - Miles, psych, beats, exotica, library
music, rock, punk, the Germans, the New York guys too,
minimalists, the Dead, music from India, everywhere. This
is a bunch of guys playing rock-based music in a way that
pushes them forward from everything they've experienced.
When you listen to the new CAVE you hear guitars - lots of
them - bubbling under, scratching, fanning, locking in and
taking off, soaring on acid-washed wings, with keys that
pump, burr and whoosh in and out of the rhythms.
Half-speed mastering of 'Allways' at Abbey Road has
allowed the activity at all frequencies to present with a
liquid fullness and ripe detail. 'Allways' is a blueprint for
your ears to read and a map for CAVE to follow through
the world.

Genre: Electronic, World (Arabic). 180gram vinyl includes 12'x24' art print poster + 320kbps DL card. RIYL: Matar Mohammad, Pauline Oliveros, Nadah El Shazly, Lucrecia Dalt, Chino Amobi, Sote, Arca, Fatima Al Qadiri, Tacita Dean, Stan Brakhage. Jerusalem In My Heart (JIMH) returns with Daqa'iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If I f If If If (ye ar-end li sts at The Wire (#39), The Quietus (#24) and A C loser Listen (Top 10), among other accolades).
Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, Big Brave) and abetted by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa'i q Tudaiq translates as 'minutes that bother/oppress/harass'—which presumably needs no further explanation—and features two distinct album sides of music. Side One realizes a long-held dream of Moumneh's to record a modern orchestral version of the popular Egyptian classic 'Ya Garat Al Wadi' by the legendary composer Mohammad Abdel Wahab. JIMH assembled a 15-piece orchestra in Beirut, enlisting the celebrated Montréal-Cairo composer Sam Shalabi (Land Of Kush) as arranger and musical director for the session. Anchored by the stately hypnotic pace of mallet and percussion instruments (riq, santur, derbakeh, kanun), the piece unfolds with lush, languid, reverb-drenched manoeuvrings through virtuosic Maqam shifts (Oriental scales). Moumneh's melismatic lead vocals and electronic production sensibility pay homage to the genre's documented historical recording traditions, while pushing things subtly and respectfully into new territories of sonic distortion and noised, artefact-laden transmission.
The song's original title (with lyrics penned in 1928 by the poet Ahmad Shawqi) translates as 'Oh Neighbour Of The Valley', but JIMH takes a different line from the original lyric as the new title for its orchestral-electronic re-interpretation. 'Wa Ta'atalat Loughat Al Kalam' (' The Language Of Speech Has Broke Down') is an expression of wordless love and transcendent communication between two lovers' eyes in Shawqi's poem; JIMH re-titles the song with this line, exploding the sentiment with more complexity, tragedy and socio-political meaning - also prefiguring the formal aesthetic ruptures JIMH bring to the piece itself. Love in a time of politics, politics in a world conspiring against love, and the specificity of Arab diasporic experience in our brutish 21st century. Side Two comprises four tracks of non-ensemble 'solo' material by Moumneh which push rupture and decomposition/recomposition of tradition further into avant-garde territory - voice, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loopdriven instrumental 'Bein Ithnein' ('Between Two' ) and the stunningly unsettling processed vocal track 'Thahab, Mish Roujou', Thahab' ('(The Act Of) Departing, Not Returning, Departing'). Daqa'iq Tudaiq is a masterful, mesmerizing artistic statement and confirms Jerusalem In My Heart as one of the most engaged and forward-looking avant-Arabic projects at work in contemporary music today. Thanks for listening.

Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis's exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis's alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n' Spell to the accompaniment of the randomised melodic patterns of DeMarinis's homebuilt electronic instrument 'The Pygmy Gamelan', the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis's restless probing of the possibilities of new technologies, from the hacked Speak n' Spell (which gives us the austere 'Et Tu, Klaatu' 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy's synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin's voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator's musical life). In between we get a rich sampling of DeMarinis's signature work with speech melodies - usually unnoticed melodic inflections that lie within speech patterns - which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing ('Cincinatti (1830-1850)' sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven's Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is 'a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic'. Presented in a deluxe gatefold sleeve with archival images and liner notes by Paul DeMarinis. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

YANGA brings a new dimension to the rapidly growing scene of Afro-Latin independent music taking shape in Los Angeles and concentrated in the fertile enclave known as the Inland Empire. Intertwined with other intrepid musical explorers who call the IE home, YANGA has sprouted their own distinct branch on the tree of Caribbean music and culture.

Much like their cousins and Names You Can Trust label mates of the same Southern California region (QUITAPENAS, EL SANTO GOLPE and BUYEPONGO), YANGA creates new recipes based on a traditionalbouillabaisseof Afro-Carib rhythm, sharing a few ingredients and musicians to develop a deeper chemistry and cohesiveness but cohering into their own piquant flavor.

YANGA's singular focus and strength is their inspiration from and adherence to the beloved rhythms found throughout the Caribbean coast of Colombia — rhythms like cumbia,garabato, tambora and zambapalo. These rhythms form a touchstone and a proud statement of purpose for their debut on Names You Can Trust.

Led by John D'Alessandro's accordion and the fiery female voice of Eddika Organista (El Haru Kuroi), this new recording is an intense ode to the band's fundamental influences, conceptually crystallized in the studio of Chicano Batman bassist Eduardo Arenas with veteran Marcos Garcia (Antibalas, Chico Mann, Here Lies Man) crafting the mix. It's a realized and impeccably executed scene of dark, gritty and saturated drums and bass, the entire sonic landscape dosed with subtle psychedelia and studio wizardry that never overshadows the band's natural performance or their reverence for the classic sounds of the tropical '70s. The finished product is a perfect juxtaposition between vintage and modern. This special edition, double-issue single packed with deep dancefloor grooves are a sure-shot entry into the timeless canon of Afro-Caribbean recordings.

YANGA brings a new dimension to the rapidly growing scene of Afro-Latin independent music taking shape in Los Angeles and concentrated in the fertile enclave known as the Inland Empire. Intertwined with other intrepid musical explorers who call the IE home, YANGA has sprouted their own distinct branch on the tree of Caribbean music and culture.

Much like their cousins and Names You Can Trust label mates of the same Southern California region (QUITAPENAS, EL SANTO GOLPE and BUYEPONGO), YANGA creates new recipes based on a traditionalbouillabaisseof Afro-Carib rhythm, sharing a few ingredients and musicians to develop a deeper chemistry and cohesiveness but cohering into their own piquant flavor.

YANGA's singular focus and strength is their inspiration from and adherence to the beloved rhythms found throughout the Caribbean coast of Colombia — rhythms like cumbia,garabato, tambora and zambapalo. These rhythms form a touchstone and a proud statement of purpose for their debut on Names You Can Trust.

Led by John D'Alessandro's accordion and the fiery female voice of Eddika Organista (El Haru Kuroi), this new recording is an intense ode to the band's fundamental influences, conceptually crystallized in the studio of Chicano Batman bassist Eduardo Arenas with veteran Marcos Garcia (Antibalas, Chico Mann, Here Lies Man) crafting the mix. It's a realized and impeccably executed scene of dark, gritty and saturated drums and bass, the entire sonic landscape dosed with subtle psychedelia and studio wizardry that never overshadows the band's natural performance or their reverence for the classic sounds of the tropical '70s. The finished product is a perfect juxtaposition between vintage and modern. This special edition, double-issue single packed with deep dancefloor grooves are a sure-shot entry into the timeless canon of Afro-Caribbean recordings.

Label fresh outta Glasgow. First release showcases a single sided journey into the heart of it's originator. With the track rolling around the city's underground for too long- its now time to introduce Watermelon Records and it's head honcho, DD Watermelon.

The four tracks on this EP represent a bit of a transitional phase for Louis Jaquet (aka Kid Who), marking a move from a basic setup with an MPC2000XL sampler and a computer to a fully-fledged hardware studio. The initial versions of these tracks were quick jams that he had made early on in this change, but which had lay dormant on his hard drive for some time, before being revisited and reworked for this release with the new equipment.

'Rhythm Code' began life as an exercise in using only freely distributed software synths, and the majority of those sounds are still there, bar some additional acid sequences and tweaks to the rhythm parts.

On 'ZF Cut' his focus switched to samples, in an effort to squeeze the most he could out of his MPC, which at the time had only recently been upgraded. The unassuming beige box gives colour to anything you feed into it (breakbeats in particular), and a host of basic onboard effects add further quirky character, in this case hollow drones and rumbles which are the core of the track.

One of Kid Who's early purchases was a cheap old Yamaha multitrack cassette recorder, which presents many opportunities for sound manipulation. Different tape speeds, tape types and manual manipulation during playback open up a world of noisy, woozy atmospheres, some of which formed the basis of 'Spool Night'.

Of all four, 'Timescape' required the least revising, and the version presented here is very close to the original, 100% computer-based draft. Although the beat was built with Roland 707 drum machine sounds, a staple of early Chicago house records, he wanted to juxtapose these with a more up-to-date techno aesthetic, with a handful of final touches added in the new studio to finish