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The artwork recreates the cover of the band's 1977 debut album with modern fashion icons Duckie Thot and Jazzelle Zanaughtti

'I've had the great privilege of producing some of the greatest artists in the world so when it came time to collaborating for my own record the barometer was shall we say pretty high' explains Nile. 'Nao, Mura Masa and Cosha were important to me and to be able to debut the songs we wrote live with them on Later . . . With Jools before we've even put out recorded versions makes it even more special.'

Nao shares: 'We all grew up on CHIC! No matter who you are or where you're from, they're one of those bands that have sound tracked at least one part of your life. So to now be part of that story and playing in the band - albeit temporarily - is just wild. We've had such great fun making records and playing together, it's been a joy. I'm so glad they're back, the world - especially right now - needs more CHIC!'

'BOOGIE ALL NIGHT' ft Nao is lifted from the long anticipated 10th studio album 'It's About Time'.
Coming this September though Virgin EMI, it's the group's first album in 25 years!!

Inspired by talent, multiple Grammy-winning composer, producer, arranger and guitarist Nile Rodgers is always collaborating, working with musical superstars and breaking artists alike. He amplifies his legacy by constantly traversing new musical terrain and successfully expanding the boundaries of popular music. The new record sees the UK's Nao, Mura Masa, Stefflon Don, Cosha and Craig David share in the journey alongside the likes of California's Anderson .Paak and Chicagoan Vic Mensa, with many more exciting collaborations to be announced.

The album's cover revisits a strong sense of conceptual aesthetics that have run through the bands career since the very start. The artwork of their debut self-titled album (inspired partly by Roxy Music album covers such as 'Stranded' and 'Country Life') featured Valentine Monnier and Alva Chinn, and personified the band's unique style and intent. The 'It's About Time' cover features models Duckie Thot and Jazzelle Zanaughtti. Shot by Britt Lloyd and directed by Greg Foley, co-founder of V Magazine, Duckie and Jazzelle are not only modern fashion icons, but also activists making huge strides for women of colour in fashion.

'When I first came up with the concept for the first CHIC album cover more than 40 years ago it was a deliberate statement that we could all be abundant, we could all be with the beautiful people, we could all be included, we could all have good times. Looking at the world today for the release of 'It's About Time' I felt that it was important to make those statements again for a new generation' Nile explains.

As the co-founder of CHIC, Rodgers pioneered a new musical language with chart-topping hits like 'Le Freak,' (the biggest selling single in the history of Atlantic Records!) and 'Everybody Dance', even sparking the advent of hip-hop with 'Good Times'.

His work in CHIC and his production work for artists like David Bowie, Diana Ross, and Madonna have sold over 500 million albums and 75 million singles worldwide while his innovative, trendsetting collaborations with Daft Punk, Avicii, Sigala, Disclosure, and Sam Smith have kept him in the vanguard of contemporary music.

Nile Rodgers & CHIC have already confirmed several festival performances across the UK this summer, including Isle of Wight and Wilderness, full list of dates below.

Rodgers transcends all styles of music with a catalogue of work that's garnered him plaudits from the Rock & Roll Hall of Fame (2017) and the Songwriters Hall of Fame (2016). More recently, he was appointed as the first ever Chief Creative Advisor for Abbey Road Studios to cap off a year that included 'festival best' performances at both Glastonbury and Coachella and a BBC Music Awards nomination as 'Best Live Performance Of 2017'.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Four-and-a-half decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.




It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."




It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).

New collaborative album from two of the world's most revered sound artists. 'At its best, William Basinski's music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead.' Pitchfork // 'Awe-inspiring: strange, elemental, and profound.' AllMusic // For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. The phrase Selva Oscura draws its root from Dante's Inferno. Literally translated as 'twilight forest,' it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one's way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiselled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.

Mit fast 18 Milliarden Streams ist Post Malone der meist gestreamte Newcomer aller Zeiten. Auf Spotify verzeichnet sein zweites Album - beerbongs & bentleys' in den USA vorrübergehend die meisten Streams innerhalb der ersten Woche nach Release - Anfang Mai waren neun Songs in den Top 20 und alle 18 Songs in den Hot 100 in den USA vertreten. Die Single "Rockstar," ft. 21 belegte über 100 Tage Platz 1 der Spotify Global Charts. Nicht ohne Grund ist Post Malone in der Kategorie - Artist Of The Year' bei den diesjährigen American Music Awards nominiert und begeisterte sein Publikum bei einem ausverkauften Konzert in Köln dieses Jahr. Nun erscheint das Erfolgsalbum - beerbongs & bentleys' am 26.10.2018 auch als Vinyl.

The New York Downtown Producer/Composer Returns With His First New Album In 3 Years

EIGHTEEN: the year of release, 2018. EIGHTEEN: the age at which I first used a synthesizer.

In creating EIGHTEEN I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.

The musicians are: Gabe Gurnsey (drums) of Factory Floor, with whom I collaborated on the Beachcombing EP and performed live at London's ICA. I appear on Gabe's newly released album Physical;

Larry Saltzman (guitar) has played in my Love Of Life Orchestra since the 1970's. Well-known for his work with Arthur Russell ('Kiss Me Again', Flying Hearts), he is in high demand in NYC by acts such as Simon and Garfunkel;

Paul Nowinski, (bass) has played with LOLO since the 1980's. Paul has an impressive list of credits, including Les Paul, Keith Richards, Bernard Purdie and the Boston Pops; Matt Mottel, (electric piano), is the newest addition to the Love Of Life Orchestra. He is half the duo Talibam!, a leading act in the noise jazz scene; Lewin Barringer, (guitar), is a talented guitarist and producer in Philadelphia.

After mixing the final tracks, I brought the mixes to Berlin. There I worked with the brilliant mastering engineer Mike Grinser who helped to give the album a unified sound.

I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds recorded on my phone, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Sometimes there are sustained clusters, generated by my leaning against the keyboard. Deliberateness paired with randomness: this is what guided the artistic process.

This album is atypical for me as I am not playing saxophone. (I do play one reed instrument - a harmonica.) I grew up with the sax as my primary instrument. Yet my father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence in the family home. From an early age,

I experimented with the tape machine: recording, overdubbing and splicing tape. I learned about Varese from Frank Zappa liner notes; I read John Cage's 'Silence.' Electronic music was on my radar.

My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a firstgeneration Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California - San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70's and early 80's. In the same way, recording studio technology became accessible in the 90's. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.
Handmade music by way of digital technology: this is the music of EIGHTEEN

DESCRIPTION

FALK Records will be releasing 'Spaces' from Icelandic experimental producer AAIIEENN this August.

AAIIEENN is the solo project of electronic musician Hallmar Gauti Halldórsson. Halldórsson first came to
music though being a mover and shaker in Iceland's punk and hardcore scene where he was the 'harsh
noise guy' with local band Distill the World. With AAIIEENN however, Halldórsson moved away from the
guitars and screaming to a fully electronic world of experimental synth music and gorging on the
mathematical possibilities and expanses of arpeggio/sequencer driven ambient music.

'Calab-Yau' and 'Continuous Property 1' drip shards of pure crystalline sound into deep crevasses as
harmonic droplets ping of gleaming surfaces coated with spongiform bass. The light and effervescent
'Euclidean' evokes classic Ambient Works Aphex Twin, while 'Manifold' is more direct with a muscular and
sturdy bassline. Spaces closes with the fluttering and lush ambient sounds of 'Zariksi' that are carried into
the skies by a pulsing and gliding techno beat.

Repress!

Copenhagen's Terry Tester (Brownswood / BBE) merges his love for Midwest house and cosmic funk butter on four-tracker 'Space Million' for Creak Inc., journeying through dream state deep house, gritty MPC workouts and low-end boogie territory for an undeniably original take on four-to-the-floor rhythms.

Within Terry Tester's two-decade long career as a turntablist and beatmaker his eminent take on house, hiphop and soul has been commissioned by Gilles Petterson for his 'Bubblers' compilation series on Brownswood Recordings, Jahi featuring american neo-soul singer Dwele, and Marc Mac (4Hero, Visioneers, Nu Era) on BBE remixing alongside DJ Jazzy Jeff, as well as releasing two full-length solo albums 'Horses and Diamonds' and 'Short Suite'.

Auf ihrem zweiten gemeinsamen Album "Imagori II" zeigen Hans-Joachim Roedelius (Harmonia, Cluster) und Christoph H. Müller (Gotan Project) neue Facetten ihrer Zusammenarbeit. Die zwölf Stücke pendeln zwischen Zartheit und scharfen Kanten, zwischen Science Fiction und Garten Eden, lassen organische Klangkörper aufkommen, die sich wieder fragmentieren, erschaffen Stimmungen zwischen Melancholie und Euphorie, stets begleitet von jenem filmischen Pathos Roedelius', der ohne große Gesten auskommt und vielmehr die Grenzen des Minimalismus auslotet. Auffällig oft kommt dabei auch Sprache zum Einsatz, so zum Beispiel in der ersten Single "Fractured Being", der Miss Kenichi alias Katrin Hahner ihre Stimme leiht.

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

Inner is the 5th full-length from Bordeaux composer Franck Zaragoza's Ocoeur. Inner evolves from 2016's Reversed by arching away from the piano-centric works and focusing a bit more on ambient synth motifs. The piano (Mother, Unseen), strings (Inner, Shelter), and sound design (Passage, Echo) are still ever present, but Zaragoza elongates his sounds out by allowing the synths to swoon, drift, and decay. Each note having its proper and due time to ascend. While there is a transition in the overall feel of Inner from Zaragoza's previous output, it feels like the natural progression in the Ocoeur catalog.

»sichten« refers both to »opinions« as well as the »examination of material«. in lose sequence, we will invite friends and colleagues, but especially music lovers to share their opinions on music with us or to look through their collected materials in order to present music that tends to be out of the focus of current media channels. as a label for electronic music our focus is on examining exactly this genre. but in the context of the series, we are rather looking for more hidden, unknown, perhaps forgotten music. we want to present the yet undiscovered, and also offer a platform for other cultural environments with different musical approaches. each issue will be supervised and compiled by a curator. an introductory text shall explain the ar- tistic approach of the respective curator. in this sense, the format of a double lp can only provide a first insight and wants to invite to a more in-depth research. for the first issue of the series, »sichten 1«, we asked frank bretschneider to compile his own, very personal selection of current electronic music. his choice fell on six artists, whose different styles me- ander between accessible music on the one hand and very abstract compositions on the other hand.

"sichten" bezieht sich sowohl auf "Meinungen" als auch auf die "Auseinandersetzung mit dem Material". In loser Folge laden wir Freunde und Kollegen, vor allem aber Musikliebhaber ein, ihre Meinung zur Musik mit uns zu teilen oder ihre gesammelten Materialien durchzusehen, um Musik zu präsentieren, die nicht im Fokus der aktuellen Medienkanäle steht. als label für elektronische musik liegt unser schwerpunkt auf der untersuchung genau dieses genres. im rahmen der serie suchen wir aber eher nach verborgener, unbekannter, vielleicht vergessener musik. wir wollen das noch unentdeckte präsentieren und auch eine plattform für andere kulturelle umgebungen mit unterschiedlichen musikalischen ansätzen bieten. Jede Ausgabe wird von einem Kurator betreut und zusammengestellt. Ein einleitender Text soll den künstlerischen Ansatz des jeweiligen Kurators erläutern. In diesem Sinne kann das Format einer Doppel-LP nur einen ersten Einblick geben und will zu einer vertieften Recherche einladen. für die erste ausgabe der serie "sichten 1" haben wir frank bretschneider gebeten, seine eigene, sehr persönliche auswahl aktueller elektronischer musik zusammenzustellen. seine auswahl fiel auf sechs künstler, deren unterschiedliche stilrichtungen ich zwischen zugänglicher musik einerseits und sehr abstrakten kompositionen andererseits unterscheiden.

EFFECTIVE96 PRESENTS

THREE ANGELS AND NINJA RIDDIM EP VOL.1

Label boss Ishio D coraborat with three female Balearic' singer in this V.A compiration EP .

3 styles song for 3 style free electro musics.

First one' Jungle riddim shake Asian vibes' blue sea song from Yokohama Japan .

Second riddim Hawaiian funky lady' rapping high .

Third deep dub beats meets traditional August ' Yoga dance in hot summer Japan.

(Minyo dub .Bon-odori dub)

Nothing others ' Balearic Vibes meets brand new beats from somewhere this planet .

Children Of Tomorrow will celebrate soon its 10 years anniversary. The label was created by Emmanuel Ternois back in the day and being joined by Arnaud Le Texier in 2011. Since then they focused on Techno producing amazing artists, to name few: Terrence Dixon, Zadig, Tensal, Antigone, Oscar Mulero, Jonas Kopp, Samuli Kemppi etc... Children Of Tomorrow is now presenting the first album from Arnaud Le Texier. After almost 30 years Dj-ing around the world and almost 20 years producing. Signing many releases over the years and always busy delivering dance floor releases, it's been a long wait to finally get an album from ArnaudOn his first album we can feel that he wanted to tell a story and to express something deeper with his production experience. There is a different variety of Techno that stretches from ambient / broken beat / hypnotic / raw Techno along with subtles grooves, wondrous atmospheres & sonic textures. On A side the album opens with Dusk, an ambient atmospheric mid-tempo track with sonic sounds that is a perfect intro.Pattern 2 starts with drones and blip sounds and a broken beat groove follows with a pad that sounds like a voice coming from the space. The track ends with some modular click sounds that make the whole track clever. Followed by the album title Granular Therapy, a deep techno track with modular bass line and melancholic pad. A perfect track to play in after or to warm up a party.The B Side is more dedicated to the dance floor with Black Nympheas that is a proper dark modern techno with a grinding bass line and magic drones. A simple beat makes the track evolve in a nice way. Blade Pass frequency is 4/4 effective Techno with a 909 kick, a syncope acid bass line and a pad that sends you to another dimension. It is a powerful track but with a sense of deepness and sensibility that Arnaud can achieve sometimes. This side closes with Binary Sun Dawn which is an ambient track with melody that has a jazz feeling mixed with dark atmospheres, sonic drones and water drops. The C side opens with Mono Driver, a minimal track with a little synth that stays until the end repetitively until it makes you travel and lose your mind. Deep and dance floor at the same time.

Then Snapper is a more percussive track with some shinning bells and a grinding modular bass line.

The last track Virgo Consortium is a cosmic broken beat with dark atmospheric drone, simple bass and phasing efx. The D Side starts with Midi overdub which is a beauty. A mix between ambient and broken beat. The pad has the deepness that transports you somewhere else with an angel choir on top. The beat is spacial and groovy at the same time with smart high hats. This reminds Arnaud's past ambient production but with a modern approach. Surely a special track of the album.

Hideous Engine is more dance floor with metallic bass line and 4'4 beat going towards a sonic pad that closes the track.The last track Dawn is ambient with drones and blip sounds and an acid bass line modulate. A perfect end of the album.This album is an accomplished journey that makes you dance and travel from dusk till dawn. Arnaud Le Texier shows a coherent vision and illustrates his vast diversity in the techno world. Hopefully we won't have to wait 20 years to get another one.

Hound Gawd! Records Veröffentlicht Am 31. August 2018 Mit bring On The Mesmeric Condition Das Erste Album Seit 8 Jahren Der Garagen Rock Legenden the Morlocks International Auf Vinyl, Als Cd Und In Digitaler Form.

In Der Großen Zeit Der Sixties-rivivals Zu Beginn Der 80er Jahre, Als An Der Us-westküste Junge Bands Auftauchten, Die Räudigen Garagenrock Und Psychedelischen Pop Ebenso Neu Wie Kraftvoll Interpretierten, Zählten Die Morlocks Zu Den Protagonisten Der Garagen-punk-szene. Produziert Wurde Das Neue Album Von Jim Diamond Und Featuret Mitglieder Von Gravedigger V, Link Wray, Fuzztones U.a..

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

An absolute neck twister that majestically blends Acid House, UK Bleeps & West Coast Style Hip-Hop with refined, delicate & grimey production techniques.

It's a smile & groove attracting cross-over fit for House/Techno as well as R'n'B/Hip-Hop floors. B-side takes the tempo up, electro-fying & advancing beat programming, while portioning dark, well harmonizing & climaxing sections of melodies. Simply an ace & elegant Sex Tags Mania power move.

Mirror Box is the solo analog synth project of Dallas musician Sean Kirkpatrick. With an extensive resume that includes keyboard duties for Kill Rock Stars' 00s noise rock band The Paper Chase as well as his concurrent projects, dark post-punk-synth-rockers Nervous Curtains and darkwave duo Little Beards, Mirror Box is Kirkpatrick's first foray into the purely electronic realm. Blending together elements of Giallo moodiness, dub texture, techno propulsion, a passing nod to your favorite wave music, and a flare for the kosmiche, Mirror Box' debut release, Minimal Compliance EP, is a tour de force of the veteran musician's exploration of a wide range of influences and experience.

Released by Dallas-based Gavin Guthrie (TX Connect)'s TRU (Texas Recordings Underground), the 5-track EP kicks off with the immediately-gripping title track. A huge mid-tempo 808 beat drives the menacing Moog bass while cosmic synths explore the skies over gritty, urban terrain. 'The Body,' grounded by its stuttering and singular bass line, is an expansive reworking of a track from Little Beards' debut album which features Nan Kirkpatrick on the release's only vocal appearance. Side A closes with 'Destabilized Agent,' a retro-futurist dream that effortlessly voyages from Sagan's Cosmos to a melodic minimal wave refrain.

While the first side's lush synthesizers and sophisticated syncopation are somewhat of a departure for TRU, a label that has so far defined itself by bringing the electronic sounds of Texas' underground warehouse scene to dance floors across the sea, the flip side of the record is where the four hits the floor. 'Grifter React' opens with a hard kick and electro zaps, letting the rhythm take the lead until a distorted bass finally enters to provide the hook. Minimal Compliance EP finale, 'Critical Blitz,' weaves together all of Mirror Box' finer elements into a concise mission statement. Pulsing, hypnotic mono-synth, vintage mellotrons, classic hats and claps, sweeping production (courtesy of Alex Bhore at Dallas' Elmwood studios) and sparse synth melodies converge in dark analog pleasure that will guide you along like on a cool air-conditioned drive through a devilishly hot Texas night.:

Crazy 12 Track Library Music Style Album On This Ace Italian Label. All Based Around Bumping Live Rhythms Triggering An Obscure Japanese Drum Synth Module..recorded In 2017.
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It Was November 2017 When I Received A Call From An Old Friend, "hi Fabrizio, I Found A Rare Japanese Drum Machine, You Should Come And See It Before I Put This On Ebay." I Went To Check It Out And Immediately Realized It Had More Potential Than Just Drum Sounds Generation, It Was Able To Produce Quirky And Creepy Sounds If Triggered By Any Sound Source. So I Bought It And Brought In The Studio, Where Me And Alex Were Laying Down New Beats And Ideas. It Took Just Three Days Of Jams To Get The Skeleton Of This Record Done: I Programmed The Module To Receive Alex's Drum Hits And The Device Started Creating Synth Lines, Almost As It Was Speaking Its Own Language.i've Found A Soul In This Machine, And I Wanted To Bring It To Life In These Tracks, A Mix Of Arranged Compositions And Improvised Jams. No Root Keys, No Grids, No Clicks, Everything Came Out In An Instinctive And Natural Way

As Far As We Know It's The First Time This Synthesizer/drum Machine Is Been Used In This "improper" And New Way.

End of summer is nearby again and Luise is reminiscing this year's precious moments. With a touch of melancholy and weightless beauty Zazou & An On Bast are setting the right theme for the upcoming autumn days. While knowing and following each other's musical progression for years, this celebration of polish-german friendship came off with unexpected ease and utterly pleasing results. In the spirit of collaboration this release is supported by Basel's charming Arutani on the vinyl side and Luise's own Niju aswell as Plattenfreund Gottlieb Scheppert on the digital outlet. Completion it is by any means.

'Time flies' as the saying goes and indeed it has as Quintessentials celebrates its 10 year anniversary. For a decade this mighty label has been getting some true love and support from all quarters. Listening to the back catalogue now, most of the tunes still sound fresh and keep the label's famous "deep, raw and real" motto alive.

Quintessentials has always been a platform for new talents as well as established artists, and with he likes of Anton Zap, Vakula, Baaz, The Zohar, MCDE, Nicolas, Ugly Drums, Toby Tobias, Borrowed Identity, Mat Chiavaroli, 4004, Soul of Hex, S3A, Los Goddard, Felipe Gordon, Javonntte......to name but a few, it's an enviable back catalogue.
This "Ten Years Quintessentials" compilation offers a wide range of styles: Detroit inspired Techno and House, a ruff Chicago stomper, some proper deep House, a discoish tool, and crafty beats and basslines all over! We hope you enjoy this compilation as much as we do. We are ready for the next decade! Are you

ALEX is a dark, haunting and brooding synthwave record that sets the night on fire, taking you from darkness all the way to the shining lights of Broadway. With hints of cyberpunk, outrun and other 80's inspired retrowave influences, ALEX has developed a true signature sound that is funky, groovy and totally rocking. X takes you on a futuristic, electronic music trip that's filled with nostalgia and suspense. Artist bio: In the last few years, Ireland's Bart Graft has been releasing healthy amount of great music. His signature sound of pastel coloured and retro inspired synth music is stellar synthwave from the top of the shelve. Along with bigger names in the genre such as Mitch Murder, Waveshaper, The Midnight, and others, he truly is holding up the genre's current producer flame high. Inspired by the works of Talking Heads, Laurie Anderson, Talk Talk, Brian Eno, Pink Floyd, Tear For Fears, The Ward Brothers, Peter Gabriel, Frank Zappa, INXS, and many more... Nostalgic synth stabs accompanied by pulsating guitar licks, energetic drums roll around yet a bunch of track are plain chill. This album is a trip to the rooftops of 80s and 90s culture. From the fast-paced rock track, to ambient vaporwave, the balance is just right as 'Modern Life' cements Bart Graft as a force to be reckoned with.

Another very special EP on Al Zanders A to Z label

Teaming up this time with vocalist Sheyi, for a one-off foray into Broken Beat territory.
The story of its inspiration begins with a trip to Notting Hill Record & Tape Exchange...
After asking for some broken beat, the assistant ventured a withering opinion that "won't be monotonous enough, try the house music section instead"
Turns out it was Phil Asher of Co-op fame - who, after establishing a genuine desire for said genre - sold Al a bunch of West London music which became the influence for this EP.

Allowing Sheyi to shine over a bare bones, syncopated rhythm track on the title cut and an equally stripped down 'Satisfy' Al amps up the groove, with the G.I.T dub, which was made for IG Culture's radio show.

Limited run on these - don't snooze !

Over the last several years, the Zappa Family Trust and UMC have lovingly been restoring Frank Zappa's iconic catalog together by reissuing his classic albums on CD and pressing long-out-of-print records back on vinyl. Next up in the ongoing vinyl initiative, coming on the heels of the reissue of his enigmatic Burnt Weeny Sandwich, is Zappa's 1970 stylistically diverse and subversive album, Chunga's Revenge, which will receive a 180-gram audiophile repressing on black vinyl on July 20. Supervised by the ZFT, the record, which has been unavailable on vinyl for more than three decades, will be press pressed at Pallas In Germany and feature reproductions of the original artwork. Chunga's Revenge, although released under Frank Zappa's own name, introduced a new Mothers lineup that included former Turtles members Howard Kaylan and Mark Volman, aka Flo and Eddie, as well as keyboardist George Duke, drummer Aynsley Dunbar and multi-instrumentalist Ian Underwood. The album is one of Zappa's most eclectic efforts, encompassing the improvisational title track, the raucous guitar jam "Transylvania Boogie," the bluesy "Road Ladies" and the jazzy "Twenty Small Cigars," along with more conventional rock numbers like "Tell Me You Love Me," "Would You Go All the Way" and "Sharleena."

Glasgow's Wheelman provides the tenth iteration of DBA's Dubs series, following a series of high profile releases on Huntleys & Palmers, Studio Barnhus, and his own Stereotone label. Signal is Wheelman's most ambitious effort to date, its searing amen stabs and deep sub bass guaranteed to wreck any club, while floating pads and crystalline strings add a bittersweet moment of rave nostalgia to the breakdown.

On the flip, in line with the DBA Dubs concept of pairing a house track from an up and coming UK producer with a remix by an established techno name from across the pond, Detroit In Effect provide a cold, bleep-drenched take which raises the tempo of Wheelman's original to an almost breakneck speed. D.I.E, also known as Cybonix, were prolific throughout the late 90s and early 00s on their own M.A.P. label and more recently on Rotterdam's Clone.

To coincide with the release of the tenth edition in the DBA Dubs series the label are also making all ten original tracks available as a digital package, while all ten of the remixes from the series get their own bundle, with Wheelman and Basic Soul Unit providing a megamix of each edition respectively.

N8noface Was The Vocalist For Underground Synth-punk Legends Crimekillz. He Is The Younger Brother Of Tucson-bred Modern Boogie Rocket Man Zackey Force Funk, Both Now Residing In Long Beach, Ca.in 2017, Hit+run Released N8's Visceral Debut Album Stories Of Those, As Well As Demos And Demons Vol. 1, A Ten-track Collection Of Home Demos Recorded Between 2015-2016. On Dia De Los Muertos 2017, Noface Also Unleashed The First Single From His Forthcoming New Album True Story, The Haunting Double A-side Lathe Cut idgaf / Say Goodbye.'
True Story, The 14-track Lp Due This August, Reads Like A Collection Of Compelling Mini-narratives, Brief Yet Honest Tales Of Personal Struggles, Anti-establishment Rants, Dead End Loves, And Real-life Tragedies. N8's Minimal Wave Sound Is Not About Nostalgic Lo-fi Nor Home-recorder Formulas, But His Own Instinctive Style That Defies Categorization And Comparisons. The Result Is A Distinct Sound Of Rapid-fire Hardcore Punk Moshing With Awkward Pop Music. Standout Tracks On The Dense 18-minute Album Include not Like You', bad Day', men Who Dress Well' And glasgow Smile'.

The music on this EP was conceived in China, between 1989 and 1993. The original tracks were mixed to DAT in real time, in a small neighbour-proof studio inside my apartment in Macau, a 19th floor with a view to the hurricanes. There's a small, unexpected or improbable story behind each track, some little magic fused with the local atmosphere, certainly guaranteeing their lasting authenticity 25 years later.

TAIPEI DISCO
Late 80s Guangzhou was an exotic city where the traditional past coexisted in harmony with the present and even already with the future.
I'd rather spend my weekends in Guangzhou than diving into Hong Kong consumerism - as most ex-pats in Macau did. I took a cab at the border and travelled 150 Km through chaotic roads with family and friends until reaching the hot, humid, mega South China metropolis.
We ate on street joints in the evenings, went on to a karaoke bar and ended up at Taipei Disco, the only proper club in town. All the others were inside hotels and played generic music or they were seedy, sleazy, smoky cabarets.
Taipei Disco used to be a cinema and played cantonese pop music and anglo-saxon pop/rock (that was new). The spacious dance floor was generously lighted, the atmosphere was airy and modern. Boys and girls were in the habit of dancing in pairs, one in front of the other, observing a respectful yet sensual distance. When the girl took a few steps back, the boy went along and vice versa. With legs and feet (more than the upper bodies) synchronized with the music, they never exceeded in extroversion. Cool.
I always carried a MicroComposer and a portable DAT recorder in my travels through China and weekends in Canton. Any spontaneous musical idea was imediately recorded and memorized. The MicroComposer allowed multitrack recording, which was very handy on the road. Based on the emphatic choreography of Taipei Disco's dancers, i started to compose a rhythm track while sitting at a table, with headphones, listening to Cantopop in the background. As if by magic - not a rare occasion in music - everything began fitting together. Odd as it may seem, the track ended up sounding more germanic (Kraftwerkian) than Cantonese pop.

The story ends in a circle: the cantonese DJ at Taipei Disco, whom i used to ask to play certain records, wanted to play my music at the disco when it was basically only just a rhythm track and little else. From a cupboard under his set up he took out a battered keyboard (unrecognizable brand) and invited me to play over the track with the available sounds on the keyboard. The circle was complete, with Cantonese clubbers happily dancing forwards and backwards, as if it were another Cantopop hit.
I didn't get payed but the house offered us free ice cream cups in which little Portuguese flags were sticked.
The track would be finished later, in studio, with vocoder strings ensemble and synth solos.

TAIPEI DISCO (LIVE)
The live version of 'Taipei Disco' was recorded during a live set at the China Pop venue, in Macau, 1993. China Pop was a rock club built in the ample space of an old fishing warehouse, located in the labyrinthic Inner Harbour area. It was decorated with large Mao Zedong and Cultural Revolution posters and memorabilia and had a unique atmosphere, fusing Pop Art with film noir. We began our performance at 1AM, pretty early for Macau's nightlife standards. We were lucky. An audience showed up. And in Macau there were always several friends among the audience, which tranformed a musical performance into a relaxed party.
The atmosphere was particularly surreal on that night. The front row was dominated by French Crazy Horse dancers, a sort of Oriental Moulin Rouge. The girls had finished their last performance of the evening at the Crazy Horse and were still energized from their show. During our performance, right in front of us and perfectly synched, we could hear the famous irreverent screams of can-can dancers. You always had to expect the unexpected in Macau.

RED MAMBO (IMPROMPTU)
I was familiar with the Portuguese-speaking African countries well before having lived in China. I found myself returning several times to one in particular, always attracted by its magic and very distinct, identitary culture and music: Cape Verde.
During the early years of DWART a lot of the inspiration for drum machine rhythms (Roland's TR series) came from African music, especially from new musical trends that gained full autonomy with Cape Verde's independence from Portugal, as was the case with funaná.
I had the privilege of having known and befriended some of the greatest Capeverdian composers, musicians and singers during the 70s and 80s, such as Bana, Luís Morais, Cesária Évora, Paulino Vieira, Chico Serra, Tito Paris, and historical bands such as Bulimundo (ambassadors of funaná) and Os Tubarões (great innovators of morna, coladera and funaná, with the sonic impact of an afro-beat big band).
When Luís Filipe de Barros began playing Os Tubarões for the first time on Portuguese radio, that was the turning point for African music in Portugal. The 'Tabanca' album was so widely heard and talked about that it quickly got a Portuguese release through one of the big labels of the time.
The mystic of this band from the Santiago Island would reach the East. Os Tubarões played to a packed room in Macau in 1992, and after the bombastic gig we arranged a dinner and party at my place.
We ate and drank generously and the moment came for a jam session at the small studio on the 19th floor. Because Os Tubarões didn't all fit in the studio, we recorded an impromptu with only three of the musicians: Tótó Silva (electric guitar), Mário Russo Bettencourt (bass) and Zeca Couto (piano). And there we were improvising without barriers, suddenly detached from cultural roots, labels and constraints, a truly unique moment. The track is now being released exactly as it was recorded, imbued with the real communion between the musicians. And it could only be titled 'Red Mambo'. I wish to dedicate it to the memory of Ildo Lobo and Jaime do Rosário, founders of Os Tubarões, sadly and too soon departed from the land of music.

Kevin Murning is a musician, producer and DJ from Cape Town, South Africa. He describes his music as fake jazz, probably because he dropped out of jazz school. At 23 years old, Kevin's music is youthful yet precise and his debut EP offers an intriguing cross-section into his varied musical experience to date. The release comes out via Cape Town based imprint, Quit Safari, home to some of SA's most exciting producers.

Kevin's debut comes in the form of a 5-track EP called Mode's Arp. Comprised of 3 originals and 2 remixes, the release serves as a dual functional one with tracks for home and club use. Taking 2 years to fully complete, Mode's Arp is a wonderfully considered body of work and speaks volumes about Kevin's talent and his ability to create music that is beautiful and banging. Both Kevin and Quit Safari label head, Zanasi Wifi, are on remix duty for the EP, taking the originals and recontextualising them into high octane percussive workouts.

DJ support already includes The Maghreban, Turbojazz, Severino, Laurent Garnier, Mystic Bill, Edmondson and more.

Tribe pumpin dancefloor newskool sound ! Funky Ixi style:)

The long awaited answer from the notorious southern-hemispherian sound system, Subtle Sound System. This debut release from their record label aptly named Subtle Recordings is bringing some heavy weight straight out of Christchurch, New Zealand, first up with local legend Headland. Exquisitely imprinted 'no holds bar' by the masterful Optimal Media in a full art sleeve, this 180 gram, vinyl only, no-repress recording superbly ushers in a new beginning for the sound system and is another pillar of foundation to the future sound of bass music.

Headland, with his atmospheric soundscapes, sparatic drums, jarring percussion and punishing basslines, has been taking his unique sound to the world for the past few years and has sequentially been picked up by some of the most forward thinking labels in the bass music scene. From notoriety like Innamind Recordings and Zam Zam Sounds, Headland is one of the most noteworthy artists on the scene today and is a staple in sets from artists including, Samba, Mala, VIVEK, Commodo, Sleeper, just to name a few. Headland's infamy continues on Subtle Recordings debut release with the two outstanding tracks, Quiver and Deathbed.

From a spacious beginning, Quiver quickly builds pressure, manifesting into a track that by the end of, you'll have to regroup your crew as all would have been taken on their own solo journey. Navigate through high level percussion, sonic stabs, sub-temperate basslines and menacing vocals, all encompassed within a 130 bpm landscape where the richters leave you feeling vulnerable and insignificant. Quiver is a force of nature not to be taken lightly. After setting the stage, this behemoth pushes to another level, with erratic note changes and misplaced beats, before opening up to a plateau of relative safety within rolling basslines and familiar haunts. Recollecting yourself, you are once again thrust into unknown territory. A barrage of death blows commences until eventually you find yourself on the other side, disorientated, demoralised, but thankfully unharmed. With support from dons like Gantz, Boofy, J Kenzo, Mr K, Quiver has begun to leave its mark through the next frontier of bass music.

A usually silent, still and chilly affair, Deathbed is anything but, with its uplifting groove, conscious beat scape and warm bassline. But don't get too cosy, cause this assortment of frequencies is cold. Foreboding basslines. Wholesome mids. Trademark Headland accents. Deathbed builds in monumental 140 bpm splendure, in a simplistic formation, that will have you calling home to tell Mum of your triumphant return. Bask in all the glory as the track sheds back into its essential ingredients before collapsing into a well rewarded breakdown. Another confident drop will re-immerse you within the ride, reminiscent of what has been conquered and celebrated in the dystopian sound Headland has crafted in this atmospheric masterpiece. Banging dancefloors worldwide by artists like, Commodo, VIVEK. Deathbed produces the goods for an old fashioned shelling.

Deadbeat graced ZamZam with a release in our very first year of operation. Lending his name & gravitas to our young effort with ZamZam06 meant a lot to us at the time, and is something we never forgot, so we couldn't be happier to have him back for a second outing. Canadian by birth, now residing in Berlin, Scott Monteith is known the world over as one of the most adventurous and reliable producers in the areas of techno and dub-inflected electronic music. Extremely tight quality control over multiple full length albums and countless singles on seminal labels including ~scape, Echochord, and his own flawless BLKRTZ have made him a household name in dub techno and beyond.

Deadbeat's second ZamZam sets aside obvious techno constraints for a mid-tempo reggae scorcher that sounds like it was beamed straight from the humid & heady glory days of the Black Ark studio. Anchored by a tar-thick bassline recalling Lee Perry's 'Dub Organizer,' 'Wail Ball and Cry' leans hard into its rockstone drum kit, with whip-sharp turnarounds, clattering Binghi drums, melodica stabs and restrained yet ever-present flange and reverb keeping the atmosphere swampy and sparkling. A sweet falsetto intones on the loneliness and alienation we all navigate in these times of political debasement and (social) media spectacle.

'Dub Ball and Flange' mutes the vocal for a traditional version focused on nuance rather than over-the-top effects; high hats take the spotlight through expert filter & phaser work, as the heat inches up in the room with a stew of bubbling reverb & delicate echo trails adding to the already simmering & shimmering vibe.

Mastered by Sam at Precise

The Moment We've Been Waiting For. Youngsta's Sentry Records Continues To Set The Pace And Raise The Standard With One Of The Most Sought-after Artists In The Current Dub And Dubstep Scene. After Releases On Institutions Such As Deep Medi, System And Zamzam Sounds - Egoless Is Back For Another 12' Shell. Revealing The Next Masterpiece Of The Croatian Heavyweight, The Prolific Imprint Welcomes Its Next Family Member And Two Mammoth Tracks. From Vintage Fx To On-the-fly Arrangements And Live Instruments - Egoless' Production Style Encapsulates The Jamaican Roots, Transferring Its Spirit Into The Modern Era.

Heading Straight Into The Abyss Of 'decolonize', We're Being Greeted With Tastefully Overdriven Tape Hiss, Obscured By Reverb. Oriental, Sitar-esque String Plucks Take Form, Wielding An Increasingly Inquisitive Nature. Alongside The Organic, Percussive Swing The String Plucks Cease For A Moment - A Fierce Vocal Statement Excites The Air As The Full Intensity Of This Sonic Weapon Hits The Speakers And Every Last Fibre In Your Body. The Superbly Orchestrated Arrangement Flows In A Continuous Groove, Led Onward By Haunting Surges And Psychedelic Flute Arpeggios. On Top Of The Stomping Foundation, Longing Spheres Conclude The Anthem And Leave Us Crave For A Rewind.

Turning To 'global' - The Alarm Bells Of An Apocalyptic Future Reverberate Into To Your Ears. Gargantuan Drone Pulses Lead The Way For Tribal, Acoustic Drums To Stir The Dance. A Daunting Swing Hurls Its Monumental Weight. Deeply Imbued With Rhythm - The Meticulously Crafted Sound Design Leaves Us Dancing In Awe. Life-like, Vibrant Flute Performances Form A Harmonic Composition Of Exceeding Quality, Sure To Fire Up Any Dance. Polished By Creative Vocal Sampling And Egoless' Fine-tuned Sense Of Controlling Tension & Release - These Tracks Will Stand The Test Of Time - For This Year And Beyond.

From 'Breaking Bad' to Danish films and albums
Asger Baden is a productive composer and has created music for countless films, television productions and series. He has worked with directors such as Christoffer Boe, Nicolaj Arcel and Martin De Thurah, and his music is featured well known productions like 'Breaking Bad', 'The Wolfpack' and 'VICE' on HBO.
'Zarniqa' is recorded with a 40 piece major symphony orchestra in Prague. On the album, Asger Baden chases music's untouched essence.
Asger Baden is a composer and producer based in Copenhagen Denmark. 'Zarniqa' the 1st album in his own name - 16 cinematic, timeless compositions with a dramatic and dense expression ranging from melancholy to an etheric ease.
The main part of the album is recorded with a 40-piece symphony orchestra in the majestic Rudolfinum Dvoák Concert Hall in Prague. In stark contrast to the orchestra are the piano pieces - recorded solo by Asger Baden in Copenhagen. The contrast between the grand symphonic sound and the intimate piano pieces defines the album

Producer Okzharp and vocalist-artist-dancer Manthe Ribane both hail from South Africa, where Manthe still resides, while Okzharp lives in the London where he is a DJ and producer, initially cutting his teeth in LV, who in 2007 were one of the very first acts signed to Hyperdub. Manthe has been at the forefront of South Africa's cutting edge fashion, art and dance worlds for over a decade. After leaving LV, Okzharp and Manthe started collaborating, going on to release two well-received EPs on Hyperdub, 'Dumella 113' and 'Tell Your Vision', recorded in Joburg and London respectively. The recording of 'Closer Apart' reflects the title. Okzharp says 'Most of the music came out of headphone moments in hotel rooms, planes and airports in the brief periods of time that we spent together.' Describing Manthe as a co -producer, he continues 'She selected instrumental sketches and we developed them together, sometimes just keeping the bare bones or a melody or rhythm, or trying different elements or sounds.' Even though the album was built long distance, the short periods they spent together were the ground zero for creativity. Okzharp recalls 'One particular moment in Milan last year, we had a whole free day before our flight so we visited the Salone di Mobile design show. We were so inspired by an installation there just walking around, listening to the amazing soundtrack. That evening our flight was delayed, so we sat on the floor of the airport terminal putting musical ideas down for 'Time Machine' on the laptop speakers and writing the lyrics. "Tic Toc time, we'll be fine / Airport queues, cerulean blues / Viper trails cross the skies / Lights reflect in your eyes...' ' 'Closer Apart' has a softness and openness that contrasts the tougher sound of the EPs. Manthe explains, 'The new music is a 360 turn, an expression of my 'Lady' side. I grew up listening to Jazz, Classic and Gospel, I am a very soft spoken person, and it resonates with being confident with that. It's been crazy finding balance and finding a smart way to strengthen my weaknesses, I had to trust the process.'

* "Of all the dubplates in my bag from this last few years, the ones I've selected most often have Walton's name scribbled on the sleeve. 'Black Lotus' is a unique creative statement; I'm very proud to release it on Tectonic and to support Walton, who I believe is a true talent." Pinch

* On July 6th Tectonic recordings presents the game-changing second album by 26 year old Mancunian Sam Walton, better known as simply Walton.
* 'Black Lotus' follows his inclusion on Tectonic's landmark 100th release - Riko Dan's 'Hard Food' EP, plus the 'Praying Mantis'/ 'Koto Riddim' 12' (also on Tectonic) and the 'Taiko' EP on Kaizen - the latter two of which hinted at the album's sound, but didn't fully prepare us for the brilliance to come.

* Abstract electronics, grime, dubstep and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed or Tectonic catalogues for pure futurism and new-terrain-traversing brilliance.

* Spacious and modern sounding, with just the right amount of grit, on 'Black Lotus' Walton has taken things the next level - setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal 'Ni - Ten - Ichi - Ryu' and 'The Water Margin'.

* Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes.

* The album kicks off with 'Black Lotus', which makes it quickly evident that this isn't just another generic longplayer; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass.

* 'Point Blank' offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying 'Koto Riddim'.

* 'No Mercy''s Yakuza crime riff is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a guttral and unsettling, demon-like wretch.

* 'Mad Zapper' is abstract, comprised of simple yet challenging beats, tones and stutters, whilst 'Angry Drummer''s taiko/kumi-daiko style percussion has a rousing, heavy thump.

* 'Pan' sounds equally enthralling whether soundtracking a dark movie scene of impending danger, or carying enratptured ravers on a danceflor journey, especially one suited to the synapse-prodding drama of a high production, lazer-heavy festival set.

* Choppy drums and bouncy bass tones are laced with the georgeos melody of 'Ehru', and 'Vectors' is sleek 'n' deep breakbeat-garage-meets-IDM.

* Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track 'White Lotus', which has a wow factor akin to hearing Aphex's Twin's 'Jynweythek Ylow' for the first time.

* 'The title came from the idea that I wanted it to be sweet and melodic in areas, but dark and grimey at the same time', recalls Walton. 'I never really listened to much Japanese and Chinese music before working on this, and that element originally came from listening to a lot of Sino grime stuff. It wasn't until I was deep into the process of making the album that I started listening to loads of traditional stuff on YouTube for melodic ideas, which changed how it turned out. The whole dubstep techno crossover thing was also a big influence.'
* 'I'm really happy to have Riko Dan & Wen on there', he adds. 'I've done a few remixes of Riko tunes which have had a great response, so it's been wicked to get some original material done together. The track with Wen was first started a while back, so I'm glad it was finally finished and will see a release.'
* Walton has been steadily gaining serious clout through releases since 2011 on Hyperdub, Keysound, Tectonic and Kaizen, with supporters including Mumdance, Logos, Slimzee, Laurel Halo, Wen, Hodge, Mary Anne Hobbs, Giles Peterson, Paleman, Teki Latex, Commodo, Loefah and Kode9. Key club, festival and radio shows include FWD at Plastic People, Fabric, Outlook, NTS, Rinse and BBC 1xtra.

The second part of the Seltron 400 trilogy on MOST, Trans i Bas, sees the group re-embark on their singular journey in search of the essence of the rave. Since the first EP in the series - Zabawa Trwa - came out last year, they have augmented their back-to-back dj sets with a full-on live show, which again fed back into their recording process.

The record's title cut, Trans i Bas (also available in an earth-shaking drum version) is as uplifting as it is spontaneous, complete with trance-infused pads and heavy, tripping bass. Jest Nadzieja brings a little swing and a mental breakdown, while Oo is all crunched riffs and one-finger-string-solo glory. Nuff said.

Lloyd Miller, Jahrgang 1938, ist ein US-amerikanischer Musikethnologe, Arrangeur, Komponist und Multiinstrumentalist. Millers Karriere begann in den 1950ern mit Dixieland. Aufenthalte im Nahen und Mittleren Osten weckten sein Interesse an orientalischer und speziell persischer Musik. Das machte aus Miller einen Pionier des Oriental-Jazz. Während der Siebziger hatte er als Kurosh Ali Khan sogar eine eigene Fernsehshow im Iran. Die Sendung lief sieben Jahre und brachte dem Musiker eine große Popularität ein Neben diversen erkussionsinstrumenten spielt Miller Bass, Flöten, Kamantsche, Klarinette, Oud, Piano, Santur, Sehtar, Tabla und Zarb. 2010 veröffentlichte Miller mit der britischen, vom Afrofuturismus angehauchten Spiritual-Jazz-Band The Heliocentrics ein gemeinsames Album, das Strut nun in einer limitierten Auflage von 1000 Exemplaren als Doppel-LP neu auflegt. Hier beweist das Londoner Musikerkollektiv, das im Jahr zuvor (2009) mit Mulatu Astatke, dem großen Ethio-Jazz-Veteran aus Äthiopien, ein viel beachtetes Werk in Umlauf gebracht hatte, einmal mehr seine musikalische und instrumentale Vielseitigkeit