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“Groove into Magic Touch’s pleasure factory, a floor-to-ceiling inventory of disco-covalence, guitar gush rush, even-better-than-the-real-thing sample soaring, and jumpin’ jackin’ flash. The A side has you feeling the burn after a serious night of get-down. Or tasting the burn after a serious night of get-up. Flip to the B side when you’re looking for love in all the ripe places. A vice is nice, but pills will never thrill you like the sensation of Magic Touch, that feverish fantasia of sweet heat. Let his fingers do the work, let the magic take you away, and please pump up these jams. If only to stop the longing. ‘I Can Feel The Heat’ features bonus shredding by So-Cal amigo Josh Anzano and ‘Clubhouse’ stars additional instrumentation by Miracle Clubber Honey Owens.”
200 Records presents a fresh artist — 23 year-old Constantijn Lange from Berlin, with his debut On The Hunts/Morning Dew. He has created two perfect summer tunes with uplifting grooves, beautiful melodies and great breaks. Includes a code for free downloading of all tracks.
Repressed! “A much-needed CD issue of an LP, released this last February in microquantities. The dastardly minds behind this project, a first spurt from the reactivated Poon Village label, have collaborated on the new package as well. And it is a deluxe eye-swim through various forms of feminine beauty, its 32-page booklet displaying images that look as though they were found in a smoky catacomb carved into the hills of Charlestown. By my count, Baroque Primitiva is the sixth album by Alvarius B. and is, like its predecessors, a deep dive through mysterious waters. The 11 tracks here were recorded at various sessions over the course of several years and range from ‘Humor Police’ (a track imagining what Syd Barrett might have sounded like had he been a devotee of Rembetika) to a trippily Beatles-damaged version of ‘You Only Live Twice’ (the sole surviving shard of the aborted Alvarius B. Plays The Bond Songbook project). Baroque Primitiva is the first long-format telegram from Alvarius B. since he lost his mothership (the Sun City Girls, with whom he employed his slave name, Alan Bishop) and it also feels like his most consistently non-acerbic — perhaps even most beauty-oriented — work. The songs often have a meditative pace, filled with gorgeous lo-fi blends of vocals, guitar, bass and keys. Eyvind Kang guests on several tracks, but the bulk of the material was broadcast direct from the naked soul of Alvarius B., which turns out to be a warmer, sweeter place than you might imagine. And while this CD will be available for a tad longer than the 30 seconds the LP lasted, a set as thoroughly gorgeous as this will not linger. Take a deep breath of its magic and go for it. Why deny yourself such bountiful pleasures?” –Byron Coley
“One live track a piece from Keith and Mike. Keith presents a noisy modular synth recording from the spring of 2007. Mike’s side is an excellent guitar/drone piece recorded during the summer heat of 2009.” Limited to 365 copies on 180 gram black vinyl.
“Much welcomed vinyl issue of the 2010 cassette release from John Elliott (Outer Space, Emeralds) and Sam Goldberg (Radio People, Docile Dawn, Pizza Night). Further exploring the zones on the previously released Mist LP, the duo take it one step further with their electronics unleashing a record which sounds like it could be the soundtrack to an amazing ’70s/80s sci-fi movie. The tracks have been remastered for vinyl by James Plotkin.” Limited to 500 copies on black vinyl. Last copies of this OOP release.
“The Midwest is a real Shangri-la for bohemia basement bleakness so it’s not real surprising that loner tape grime duo Providien hail from the snow-blasted state of Ohio, and have a grim grassroots aura that just feels right. Led by Sword Heaven electrician Mark Van Fleet and partner-in-crime/childhood friend Nathan Reynolds (also of weirdo goths American Jobs), Providien’s debut, Followed By A Wraith, sprawls from disembodied horror atmospherics to no-fi sludge death marches to pure weirdo home-taper acoustic guitar meltdowns, each new zone more unsettling and brainwashed than the last. Has elements of Mammal (especially the recent drone-suicide ballads), The Shadow Ring (just replace all the British stuff with raw American sloth), and various other esoteric cassette miserablists, but that’s just a roundabout way of saying this shit rules.” – Britt Brown. The LP is limited to 200 copies on black vinyl with color center labels and a paste on cover.
Repressed. “The Path of Spectrolite is the latest full length recording from Imaginary Softwoods. Early comments have praised this album and state that while this recording retains some of the icy drone sound from some previous Softwoods releases, this is a great progression and a bit more active. An extremely beautiful album entirely of sounds created by synthesizer and voice, this is an essential piece of the Imaginary Softwoods discography that you are sure to love.”
Ann Aimee goes darker and more minimalistic than before with this debut release by Area Forty_One. This unknown producer gives us his personal interpretation of modern techno. This double pack contains five solid techno cuts, filled with spacy and robotic sounds, together with one imminent ambient track. Discharging Clouds has a unique vibe and will please anyone with a preference for the dark, sinister techno sound. The mysterious Area Forty_One is one to keep an eye on.
The second release on Arms & Legs comes along with four jaunty tracks. With “Everybody Everybody” and “My Feeling,” Daniel Steinberg brings you two powerful, pleasant primetime tracks in his typical style on the A-side. Nils Ohrmann’s “Hoopin´” on the flip-side is a hip-shaking, deep groover with a tender touch of old school, and Oliver $ does his remix-thang very well in a dubby way.
2008 release. This is the soundtrack of the new French electronic generation. In 1997, Daft Punk released their debut album, Homework, and revolutionized electronic music globally. With the French Touch, a whole generation of rockers and others discovered the joys of dance music, free of barriers and prejudice. Ten years later, two Parisians offered us a “dance-for-all” ticket. In 2007, Justice released Cross, a crossover, unifying record that reconciled electro clubbers and young rockers in slim jeans on the dancefloor — a hybrid music, symbol of a generation, aptly-named French Touch 2.0, and gravitating around the label Ed Banger. But they are not alone. Since then, other young producers eager to transcend the genres have been working in the shadows, preparing a new electronic revolution. Who are they, and what does today’s music sound like? That’s what the Dum Edges project is attempting to uncover, with a compilation featuring the most promising artists of that scene. Among these hopefuls, the Jesus look-alike Breakbot, who produced some excellent remixes for Metronomy and Sebastien Tellier; the clubby Parisian duo Gentlemen Drivers who inevitably set the dancefloors on fire; and Nils Hartman from Lyon, whose unusual electro flirts with the experimental. This trio is an awesome representation of the current ultra-inventive, bubbling electronic music scene. In this era of blogs and easy access to the entire history of music, they are among the few French producers who still explore new paths and lay bridges between the genres. These 16 exclusive or rare tracks offer a panorama of this extremely free, vital, eclectic scene. Be it Anoraak’s romantic ’80s electro-pop or Discodeine’s quirky mental house, they all took their cue from the first French Touch: musical open-mindedness, hedonism and innovation. This is a snapshot of a “family” of producers who decided not to choose between darkness and fluorescent hymns, dancefloor power and home listening, underground and mainstream. In short, here is the soundtrack of an era — our era. Other artists include: Donovan, Mondkopf, Rove Dogs, Digikid 84, Djedjotronic, Stereoheroes, Spoek & Cerebral Vortex and Spa.
This is the electro quartet’s third single from their album The English Riviera (BEC 5772894). The album has received a mass of critical acclaim from all corners of the industry. NME and Drowned In Sound gave the album a rating of 9/10. “The Bay” is one of the highlights from this fantastic album, well-placed as a future dancefloor classic. Includes a rework by Erol Alkan.
Limited edition one-sided 10″ — 300 copies only. Massive remix from the two Black Acre heavyweights.
Taken from the Kryptic Minds’ sophomore dubstep LP, the Youngsta collaboration “Arcane” has been a favorite of many. Based around a rolling 808 groove and laced with the Detroit vibes and techy flourishes that are the trademark Kryptic sound, “Arcane” takes the listener on a late-night ride through darkened subways and deserted moonlit streets. Scuba reworks “Can’t Sleep,” converting the powerful groove into a pacy 4/4 format around which he arranges a relentless mid-range growl and delayed vocal refrains.
LP version on 180 gram vinyl. Of all the Hans-Joachim Roedelius solo releases, this is the one which most closely resembles the work of Cluster. Wasser Im Wind sees Roedelius use a wide variety of musical and sonic ingredients hitherto associated with Cluster, almost as if he sought to erect a monument to the group. Right from the word “go,” the familiar sound of the Drummer One rhythm machine can be discerned on the opening track, like a wood gnome crashing his way through the shire; then we hear those hand-played, swirling keyboard patterns so typical of Roedelius; his drifting melodies, with no beginning or end, gone before one has barely recognized them; synthetic sounds recalling the heroic era of the mid-’70s; and occasional glimpses of the shadow of Dieter Moebius as sounds and forms emerge from his cosmos. Might one suggest that Roedelius recorded a Cluster album all by himself? No, absolutely not! The astute listener will note how effortlessly Roedelius performs his balancing act on Wasser Im Wind. The album captures Roedelius on the threshold of something quite new to him. On the one hand, the electronic elements he utilizes recall the Cluster virtues he knew so well, on the other hand, he is already experimenting with a wealth of baroque forms which will come to influence his playing in the future, particularly with regard to the piano. So Wasser Im Wind is no longer the past, nor is it quite the future. Piano features prominently on this LP, but has not yet taken center stage. By inviting the saxophonist Czjzek to join him on three album tracks, Roedelius manages to confuse matters splendidly, as two seemingly incompatible musical notions meet head on. Nevertheless, Roedelius’ spirit floats above these waters as well, transforming the listener’s initial irritation into baffled amazement.
2LP version. Hans Nieswandt — the Jack of Clubs around the world — has completed countless remixes throughout his life. This release is the first collection of remixes that he has done for his favorite artists, compiled and annotated by Nieswandt himself. Browsing the track list, Nieswandt confesses: “Looking at this collection of remixes I did for some of my favorite artists, I realized: all I can do is disco (and house — but that’s basically the same to me). Remixing, for me, essentially means making disco versions of songs. Whatever the song, I discofy it, I house it up. It’s especially fun to do it with a song that never knew it could be disco in the first place. Maybe that’s why I’ve remixed so many songs with sophisticated German lyrics, lately — there’s a global shortage of that type of disco. What the world needs now is more disco with smart German text. So, in all humbleness, that’s the kind of disco I’m delivering here. Welcome to my haus!” Includes free download code.
“Soft Metals’ first full length, a self-titled release with Captured Tracks. The album is a further expression of their romance, but now – 2 years into their relationship – the two are looking a bit more outward. They explore fantastical soundscapes which conjure the dramatic cinematic worlds of Dario Argento, Roman Polanski, Stanley Kubrick, David Lynch, and the Czech New Wave. Ultra-saturated colors with a touch of noir, opulent architecture, and mysterious femmes all spring to mind. From the deep examinations of the human psyche found in Adam Curtis documentaries (the subject matter of their track ‘Psychic Driving’), to the controversial bridge between science and the soul via Carl Sagan and Ray Kurzweil, the duo revels in the trans-formative power of love, knowledge, and imagination. The outcome of all this is a collection of bittersweet electronic pop songs balanced by a delicate surrealism, a patient sense of experimentation that leaves you floating in your subconscious and moving to the beat. The sonic landscapes are sleek, but never icy. Even at her most dreamlike, Patricia’s vocals reach an eerie beauty that is always deeply emotional. This emotional force is mirrored in her lyrics. For example, the gloriously cinematic ‘Voices’ features our heroine conquering her inner narrative of fear and weakness and finding the vitality to achieve her dreams. In ‘Pain,’ Hall sings the word with an almost brazen confidence. ‘It’s that pain,’ she coos, in a song about the sometimes oceanic distance that develops between two souls, as though her familiarity with pain is so deep that she can begin to play with it. Finally, the vintage synthesizers and drum machines evoke a Space Age dreamer’s vision of the future as evidenced most clearly in the gorgeously atmospheric ‘Celestial Call’. Soft Metals have a strange nostalgia for a place not yet visited – a place where we live among the stars.”
LP version. Includes free mp3 download code.
Following releases on Moon Harbour, this is Luna City Express’ debut EP on Clap Your Hands. Three unique house cuts.
The Engine EP by Black Asteroid is the brand-new project from an unconventional techno innovator and a big inspiration for many years. Black Asteroid is the brainchild of Bryan Black, who started his career as a sound designer for Prince. His band Motor shared stages with Daft Punk and Kraftwerk at major festivals, and later supported Depeche Mode on their world tour in 2009. Reaching top rank on Dave Clarke’s monthly top ten, “Engine” is pure POWER.
Remixes of Jay Haze’s phenomenal hit “I Wait For You” (featuring vocals by Laila Tov) from King Britt, Bozoo Bajou. On the flip, Reboot’s “Bootygrabber” remix of “My Baby Knows” (featuring vocals by Lil Dirrty Ghetto Bastard.
Skudge present some different tracks for Echocord. On quick listen, their atmosphere, which they have been refining over time, is present, but it’s delivered and hopefully received as a more calm but tense one. Over all, their First Observation EP is a first step into a second dimension. It also includes a deep and dubby, powerful remix by Conforce.
2009 release. Kap Bambino’s third album, Blacklist makes some bold and brave moves. Perhaps the biggest curveball they could have thrown would be to go pop, which is just what they’ve done — well, kind of. Blacklist is 12 tracks of deranged, maddening melodies and propulsive head-nod rhythms, taking the group’s trademark concoctions and placing them amidst a setting that wouldn’t look out of place in a stadium or headlining a festival. Caroline’s vocals are brought center-stage and never have they sounded so clear, crisp and defiant, while Orion’s production alchemy sounds like the work of a regal orchestra of androids, soundtracking an Armageddon-inducing war. Unlike most assaults of lawless rock’n’roll ideals, Kap Bambino’s sound is not powered by guitars, or rather any live instruments whatsoever. The empowering eruption of frenzied discordance, space invader sucker-punch beats and caterwauling incantations conjured by the Bordeaux duo, Caroline Martial and Orion Bouvier, is the result of harnessing the unruly spirit of bands like Suicide and Nirvana, then feeding it through a tangled web of samplers, synthesizers and software modules. The result is a more immediate, more kinetic and more inspiring show than you witnessed from any of the baggy-shorted buffoons 2009 tried to throw up as punk-rockers. Housed in a gatefold sleeve.
2009 single from the full-length Blacklist.
Dead Lazers is the second single to be taken from Kap Bambino’s third album Blacklist. It’s another slice of deranged noise-pop from the Bordeaux duo Caroline Martial and Orion Bouvier — all maddening melodies and propulsive head-nod rhythms. This latest offering from the analog punk pairing finds frontwoman Caroline’s vocals at their most jagged, insolently attacking the sensory system, backed up by a blitzkrieg of synths and drumbeats.
2009 release. “Batcaves” is taken from Blacklist, the third album from Kap Bambino, now presented here in an impressive remix package. Jackson sends the original on a suspense-laden joyride, while Bobmo turns it into a club number guaranteed to get hands in the air. To round things off, you’ll find a scuzzy cover from Hello Sunshine and a twisted house spin on the original by Orion himself under his remix alias, Maton.
“With his new album Who’s Breathing?, Ryan showcases some of his new songs which, not unlike the drink that’s named after him, are both eclectic and sweetly intoxicating. The first half is a top-heavy, bleary-eyed amble through the metaphysical country moves made familiar through his work in The Silt. Central to these songs is Ryan’s heady, almost surrealist lyrics, which traipse commonplace folk themes on the slant and uneven ground of a funhouse. Here his way with a turn of phrase demonstrates its dexterity amid slinking caterpillar accompaniments (including a rest stop-style pedal steel and even an English horn pilfered from the AM waves). The second half assumes the mentalist lounge approach, that particular sound not unfamiliar to those who attend the monthly Ryan Driver Quartet appearances at the Tranzac bar in Toronto.”
LP version. “There’s only thing you can bank on when you’re confronted with Las Kellies: to expect the unexpected. ‘Prince In Blue’ kicks things of with its post-punk riffs and tongue-in-cheek barbs. Potential suitors, beware: no nice boys are ever going to capture these girls’ hearts. ‘You’ve been treating me just too well/ Too much pressure, I’m going to hell,’ they taunt, brushing unwanted attention away. ‘Keep The Horse’, meanwhile, flippantly recounts the tale of a divvying up of marital assets (‘Charlie will be his/ Debbie will be hers’) and gos-siping acquaintances (‘Your rent is in arrears/ And your neighbours are all ears) over a nagging helter-skelter riff that’s reminiscent of fellow South American’s CSS.”
Future Classic presents four-piece Scenic from Perth, Australia. Scenic create enchanting dance music rooted in pop. Theirs is an abstract journey of drifting, floating, dreaming, falling in love. They were quickly spotted by “The Godfather of French Electro” Joakim, who released their first single This Can’t Be on his Tigersushi label out of Paris. Scenic’s first EP for Future Classic features two blissed-out songs, “Another Sky” and “Endless Days,” and a floor-friendly remix by The Magician.
“Our third installment from the Empire State. Featuring over 22 never before released recordings of fuzzed out psych and garage gems.” Artists include: The Upward Movement, Sound Solution, The O’Aces, Pebble Episode, The Aggregation, The Whether Bureau, The Tigermen, Cucumber, Luv Wons, The Tweeds.
2007 release. Get Physical co-founder DJ T aka Thomas Koch follows M.A.N.D.Y’s first Body Language mix from last year with his first-ever mix compilation. Koch looks to Detroit for the warm, weeping bass and mournful vocal of the mix opener, The Other People Place’s “Let Me Be Me” by the deceased former Drexciya member James Stinson and the euphoric Carl Craig remix of “Falling Up” by Theo Parrish midway through. In contrast, the finale is the smart acid rework by Isoleé of Villalobos’ melancholic “What You Say…” and a warm, snaking remix by DJ Koze of Heiko Voss’ pop techno standard, “I Think About You” combine for an exquisite, emotional climax. In between this are gems and future classics: 1998’s haunting vocal house of DJ Naughty’s remix of Stella’s “Extralife,” as well as the dirty, bleepy Chicago groove of ASP’s “Reality Check.” Also find the moody bass and Italo chords of Tensnake’s “Around The House,” and the subtle trance builds of Gui Boratto’s “Arquipelago” on Kompakt. The German DJ’s production skills are also in the spotlight with the inclusion of the evocative “Marsha” by Einzelkind, and so on. Of course, this ability to pick and mix the right tunes would mean nothing without presentation and context: sure, Body Language Vol. 2 is indicative of pretty much everything that is great about European electronic music — check the fusion of stripped back minimalism and futuristic soulful vocal on the Barlz E Syntho remix of Spektrum’s “Horny Pony” and the chiming, squelchy “Sweet Cow” by Chicken Lips — but it never delves into deep self-indulgence. It’s possible to enjoy this mix on a hot beach as much as you could in a sweaty basement club and that says it all about Body Language 2: it’s music for the head, heart and feet for house music lovers all over the world.
2006 release. Fuckpony is the latest project by US producer in Berlin Jay Haze and his Swiss collaborator, Samim. Children of Love takes a trip through the roots of dance music, so hold on tight! Haze and Samim are best known for their stripped back, quirky techno on Haze’s Contexterrior and Tuning Spork labels, but for Fuckpony, they wanted to try something different. Children Of Love is an album inspired by dance music’s evocative, emotional past. Detroit techno snuggles up to deep house textures, Chicago claps and drums get cozy with raw acid lines, mournful synths accompany soulful, tripped out vocals. “We’re in an era of robots and machines, so we’re trying to step back in time and go back to dance music’s roots,” Jay explains. The album is richly musical, strangely familiar and undoubtedly infectious — “Ride The Pony” and “Cellphone Hit” are tuneful tracks, boasting the futuristic techno brushstrokes that one would expect from Haze and Samim. “We have our ears on the future, but the real inspiration is old house music,” Jay says, while Samim sees the release as a break from the norm. “It’s like a retreat, a holiday from making minimal music. Parts of it are minimal, but Fuckpony allows us to show something different of ourselves.” Children Of Love isn’t solely about house music: listen to the nagging bass on the deep-fried acid of “Freaky Story Of Earth” and it’s clear that Funkedelic’s psychedelic groove left a big impression on the pair. Featuring vocals from Big Bully, Shaniqua and Lil Dirrty Ghetto Bastard, Jay and Samim believe that they have created something that is not just “tracky and for the dancefloor,” but a lasting body of work that their friends and family can appreciate. Now is the time to share the love with Fuckpony.
Double LP version.
2007 release. 12 Great Remixes For 11 Great Artists collects, for the very first time on CD, the finest remixes that Get Physical’s M.A.N.D.Y. have fashioned in their career. Artists remixed are Tiefschwarz feat. Tracey Thorn, Røyksopp, Lindstrøm, Roxy Music, Rockers Hi-Fi, The Knife, Joakim, Wessling & Schrom, Sugababes, Rex The Dog, DJ Monique and Røyksopp.
2007 release. After 2006’s inaugural mix from London-based Heidi, Vol. 2 brings together the talents of Damian Lazarus and DJ T. for two discs of future-minded, minimal and electro-influenced house and techno — the soundtrack to Monza’s third season at Ibiza. Artists: Nathan Fake, Four Tet, Pier Bucci, Dennis Ferrer, Loco Dice, Efdemin, Outlines, Marc Romboy, Stefan Goldman, Jamie Jones, Phonique, Szenario, Raudive, Danton Eeprom, Konrad Black, Henrik Schwarz, Trentemøller & DJ Tom, Findlay Brown, Wizards Of The Sleeve, Max Berlin, Joakim, Boundzound, Martin Buttrich, DJ Koze, Sid LeRock, Martin Landsky, Raz Ohara, Einzelkind, Matthias Tanzmann, Johnny Wagner, Daniel Stefanik, Junior Boys, Carl Craig, Mike Shannon, Arto Mwambé, Schatrax, Claude VonStroke, Christian Martin and Pantha Du Prince.
DJ T.’s Pleasure Principle (GPM 040CD) album helped usher in a renaissance of groove-heavy house. DJ T. turns to the sultry vocal track “City Life” to launch into summer anthem mode. “City Life” recalls the 1980s warehouse era, mixing a rough-round-the edges vocal treatment with hands-in-the-air chord stabs. Maceo Plex offers a warm house rework that is built on a sampled guitar pulse and ghostly strings while Maya Jane Coles’ gentle dub treatment features an expertly pitched-down tempo. Also features a DJ T. rework.
Chicagoan Ricardo Miranda’s “Floorwax” urges you to slam-dance to this hypnotic acid workout, which is slightly reminiscent of earlier DJ Funk material. “Redline” further explores the boundaries of original acid house. It starts out with just drums and a pulsating acid line, but halfway through, a utopian string line eases in and shows you the way to the promised land.
“Boats makes music songs in Winnipeg, Manitoba, Canada. Sometimes their songs are about fictional performing duos that have holes in their bodies and/or have a belief that they will one day give birth to a flock of birds. Sometimes they are about winning the Superbowl and finding buried treasure. Often they are about failure and death. A noisy indiepop band with high-end hopes but low-end equipment, Mat Klachefsky’s bizarre vocal chords mixed with his infectiously catchy pop songs and boundless energy have been freaking out audiences ever since they released their critically acclaimed first album Intercontinental Champion to local audiences in October 2007. Since then they have embarked on several North American tours, played packed houses at SXSW, NXNE, Pop Montreal, Halifax Pop Explosion and Sled Island, and charted solidly all across Canada.”
“Over” is the undisputed highlight of GusGus’ album Arabian Horse (KOMP 089CD/KOM231LP). Kompakt proudly presents a remix package that takes no prisoners. Tale Of Us & Tennis return with another mighty roller. That bassline definitely puts the “deep” back into deep house. Sasse’s remix perfectly captures an oldschool house vibe. President Bongo delivers an absolutely massive, dark, acidic take, complete with heavenly strings. Choose your weapon and go party.
“‘Techno Powers,’ written by Sally Rogers and Steve Jones with ex-band member Paul Daley of Leftfield fame, is the third track to be lifted from A Man Called Adam’s staggering retrospective released earlier this year. This release features a very special remix from DJ Harvey. His mix is a deep breaky rub that fattens up the bass and journeys through hazy, shimmering electronic effects along with some of the original spicy instrumentation.”
LP version. The M=minimal label presents a completely new work from the pioneer of electronic music. Conrad Schnitzler is a sound explorer. For many years, he has been on expeditions, journeys through his collection of electronic synthesizers almost every day. Sounds he has liked have been conserved on tape and stored in his sound library. The result is a huge library of audio files — he calls them “solen.” M=minimal label-heads Borngräber & Strüver had the chance to examine that library and started to construct new pieces out of the hidden gems. These are not remixes, but new compositions and none of the sound combinations have been thought of or heard before. The 8 tracks form an album independent of any trend, and therefore it becomes a real acoustic environment for everyone. The album was produced at Studio.Wannsee. To give the album more authenticity, the complete audio processing was done using analog equipment. They not only used many classics among the finest synthesizers and outboard equipment, but also custom-built tube gear. The icing on the cake are the tubes used from the ’60s, which bought Christian Borngräber on a trip through the Atacama desert in search of a small radio repair business in the city of Calama. Thanks to the desert climate, even the packaging of the tubes looked brand-new. Vinyl cut by Pole at ~scape Mastering, Berlin.
Chicago Skyway is back on M>O>S Deep with another epic release, ranging from melodic deepness to wild-jackin’ dancefloor madness. The Lager EP kicks off with “Bad Driver,” a raw and solid Chicago banger with an irresistible driving bass-line, rattling beats and atmospheric strings, edited by Aroy. For “Lager Nord,” Chicago Skyway teams up with Dcook, delivering an emotional and dreamy classical Detroit techno-influenced track. “Lager” is reworked by Steven Tang, another rising star in Chicago’s contemporary electronic-music scene.
Collaborating since 1999, recently founding the label Magazine and the collective Cologne Tape, this is nevertheless the first time Barnt, Crato and Jens-Uwe Beyer appear together as one formation, simply called Magazine. Living in Cologne for the past decade, with the exception of some years spent in London and Manchester, the group is based on DJ culture and on the German electronic music tradition. This record is pockmarked with overflowing melodies, sometimes well-structured, sometimes wild and wooly. Artwork on high quality heavy stock.
This is Loco Dice’s first release on M-nus since 2006, exploring an abstract and cerebral techno template. The opening 90 seconds of the A-side is all sparse atmosphere, static crackles and weird effects with just a sole note played over and over. The pulsing of a deep sine wave hints at what is to come. “Loose Hooks” is a deeply-burrowing affair with an extra-heavy kick hitting every four bars to give things an air of extra insistency.
“In 1978 Jack Body recorded an amazing amount of street musicians in Java. His ear was geared not just towards traditional folk forms of music but also to all the new hybrids of pop street music. Here we find a mix of his recordings that really cannot be classified easily. Influences on the music include Bollywood soundtracks, American rock & pop, Javanese traditional songs & modern gamelan music. All these recordings were made in the street so you can hear babies crying, car horns & food frying throughout. Raw folk music by & for the people, this is the real deal. There was too much good music to fit on an LP, so we’ve included a free bonus 7″ 33 RPM EP of material. Comes in an old school ‘tip on’ sleeve. Includes a booklet with liner notes by Jack Brody. A truly unique record filled with beautiful & stirring sounds.”
Subtitled: A Collection of Recordings and Photography from Madagasikara Volume II. “The second volume of recordings in our series of Madagascar music. From the archives of Montreal recordist, Charlie Brooks. While containing some similar artists as volume one, Fanafody focuses more on his second trip through the island during 2002 featuring violin players and throat breathing singers. Includes extensive photography and liner notes booklet.”
This is first single cut from the first collaborative album from Minilogue and Koss. They recorded at Minilogue’s studio in Sweden at the end of 2010, then they brought back the recorded parts to add their own touch. One is Minilogue-styled hypnotic tech house with Koss’ added warm sounds — the result is a simple and timeless tune. On the B-side, New York deep houser DJ Qu’s remix is a little bit more danceable than original, similar to Lawrence and DJ Koze.
Berk Offset presents funky Dada techno for culture-drunks and solar plexus beatniks. The flowing lyricist Rainer Maria Silke is known as a techno-activist. For Musikkrause, Berk Offset mimes Doris with filthy, straight-lined techno avant-garde for a life in dancefloor heaven. He is the charming psychiatrist with the melting grin and the right medicine, who muses from time to time over the effectiveness of shock therapy.
“Listening to Bryn playing was very strange. Hearing him breathing in between the beats and putting his headphones down at the end and getting up and walking out of the room, that was eerie. But again, it was nice at the same time.””Though it was December in the Manchester recording studio and the room properly heated, nevertheless a shiver went down John Delf’s spine when the first tentative taps scurried across the surface of the hand drum, followed by a melodic drizzle of rhythms that flowed from the studio monitors. The source was analog reels of his recording sessions with Bryn Jones from 1993 to 1998. Not commonly known (and elaborated in detail in the forthcoming book, Muslimgauze: Chasing the Shadow of Bryn Jones) is that more than an audio engineer, Delf in a sense could be considered a part of Muslimgauze and that some musical stylings can be attributed to his involvement. When Jones hired Delf at the Cutting Rooms Studio in the Abraham Moss Centre in Manchester (credited as the Abraham Mosque on Muslimgauze releases), he was educated on how to use the recording studio as an instrument. They took turns at the mixing desk and produced such pristine recordings as Vote Hezbollah, Hamas Arc, and Veiled Sisters. Sessions were booked once a month, and lasted between four to eight hours each time wherein numerous versions of each song was composed. Jones distilled tracks from these sessions onto masters to submit to labels. Unused portions remained and Jones later revisited these bits to release later or rework. Late in 1998 Jones stopped booking the studio and it was not until mid-1999 that someone finally took the time to explain to Delf why. Delf kept the reels in storage for well over a decade until he was approached by The Muslimgauze Preservation Society in late 2010. Since Jones’ passing, Delf further honed his audio engineering craft to greater, refined levels as he worked for marquee bands while building a studio to rival the Cutting Rooms. Says Delf, ‘The reels were always something that I was looking forward to having a go at (once more). It was quite exciting to see whether the tapes would actually work or not usable at all. When I put the first tape on it was ‘oh no, it is a complete disaster. Not working! What are we going to do?’ But when we put the second tape on we thought, ‘oh wow! It’s all there!’ The sonic quality was still there and it was still really bright and full. It instantly returned me to the sessions that we did. Hearing the beats, then the excitement returned. Once I got the reels going, then I realized, ‘hang on, there’s more here.’ It was an eerie and joyful experience. We (Bryn and myself) worked together for a very long time and it went on for 6 years, once a month for a few hours and so it was a long-term relationship. It was nice to go back and hear it again and to know that there are still people, years after he is gone, interested and still want to hear it.’ In Search of the Abraham Mosque has a two-fold meaning; one is a search for the studio where legendary Muslimgauze albums were recorded. The second is a reference to the Abraham Mosque in occupied Jerusalem, the tomb of the patriarchs where prophet Abraham is believed to be buried. On this disc, a musical narrative of this journey unfurls over 67 minutes starting at the fringes of Egypt amidst hip hop rhythms, then wanders off into the desert towards the famed Abraham Mosque. Bryn Jones’ hand drumming is intimately showcased while cinematic atmospherics and cinematic ambience compliment his organic rhythms. Melodies, both subtle and overt, float in and out of the narrative much like the myriad of voices that converse and shout in Arabic dialects alongside urban and nature sounds, not unlike a radio play. Some moments are serene, whereas others wander through a dense sandstorm goaded by powerful waves of sub bass that instill a growing sense of fervency in the search. Material here will be familiar to Muslimgauze aficionados, but alternate versions and brought in a new light with surpassing audio quality. The narratives continues to wander through dusty Arab villages and refugee camps, the Islamic call to prayer discernible, implying the Abraham Mosque at last found and hints a second part of the narrative, Return to the Abraham Mosque. Listeners are encouraged to play this disc in a setting with minimal distractions to fully appreciate the artistry and technological craft that went into this release. Packaged with papyrus covers hand printed in liberated Egypt, with fold-open full-color insert, glossy sticker and color-surface CD. Turn out the lights, turn on your stereo or headphones, and prepare a visit from the restless spirit of Muslimgauze. This is TMPS 05, part one of a multi-part series.”
In Mali, it is customary that those who have the royal name of “Keita” are banned from singing or playing an instrument. Fortunately, there are some exceptions. Mamani Keita, who used to be a back-up singer for another Keita outcast (Salif), is set to become one of the main ambassadors of modern African music. Gagner l’Argent Français (trans. “To earn French money”), her third album, verging on rock, is her most electric to date. The one where she is the most daring. It highlights a strong, passionate and independent personality as well as a rebellious voice in which her Mandinke heritage is unleashed by the inventive and eclectic sonic environment created by Nicolas Repac, the guitarist and arranger famous for his work with long-time collaborator Arthur H. Mamani crafted the songs for Gagner l’Argent Français, to which the guitarist Djeli Moussa Kouyaté brought the finishing touches. The tracks were then subjected to the intricate sonic editing of Nicolas Repac’s poetic imagination. Some of them rely on a rock foundation with a tapestry of guitars and a binary rhythm. Others transport us into dub’s hypnotic round or the hard-hitting paraphrase of Afro-beat. The traditional Mandinke instruments — ngoni, kora, monocorde — are meshed with globalized samples, klezmer clarinet, Chinese lute and classical strings. In the end, it could sound like one of those exotic gardens where the magnolias cast a shadow over the ferns, where the cactus pisses off the rhododendron, where confusion is king. But there is nothing but harmony, respect and adventure with a horizon that keeps moving as the songs progress, suspension bridges that bring us from one world to the next without even a hint of turbulence, from the savannah to a marvelous used record store, from a village chant to an old 1930’s tune. It is within this surprising, audacious, unorthodox yet coherent environment that Mamani Keita proudly and fiercely asserts an independence that she has dearly earned.
Debut Not Not Fun full-length from the “Amazonian/Estonian goddess and self-professed hippy chick,” following her Noble Savage 12″ (SILK 004EP) on 100% Silk.
Berghain’s Marcel Fengler presents the fifth installment in the club’s expanding mix series. Peter Van Hoesen’s incredible “Axis Mundi” is a real modern opus. Hoesen’s rich synth warblings and deep bass elements could raise hairs you never knew existed. Reagenz aka Move D and Jonah Sharp’s exclusive track “The Labyrinth” leads you into a psychedelic dance of funk, dub and abstraction. Vril’s “UV” is a pounding, searing, filtered techno tool that explores many zones over its powerful 10-minute reign.
LP version. Previously released by Phoenix Records on CD, now available on digitally remastered 180 gram virgin vinyl, this is People’s sole album, the legendary Ceremony — Buddha Meet Rock, originally released in 1971 in Japan. Nobody’s sure if the musicians on this recording ever performed as a group or whether Ceremony was simply a studio super-project. Certainly, guitarist Kimio Mizutani had already enjoyed a certain amount of critical exposure following stints with Love Live Life + One and Masahiko Satoh’s Sound Brakers, and it is Satoh’s jazzy fuzz guitar licks that help to lift this album to a higher level. Unfortunately, this was the ensemble’s only output, but this conceptual album is an absolute classic of hypnotic, psychedelic prog rock.
Pingipung presents the fifth edition in their Summer Of Seven series, featuring fresh, unreleased, single-quality tracks. Each release is strictly limited to 200 copies. Goto80 from Sweden is one of the heroes of the chiptunes scene. He makes his music only with old soundchips; above all, the SID chip from the C64. Nerd tech info: “Sombanova” uses a 16 millisecond loop for all the instruments except the drums. The vocals on “Mamasita” have been improvised by Acid Terrorist.
Three-track sampler 12″ of Tom Trago’s album Iris (RH 114CD). The tracks featured here show the diverse nature of the album, which can be best described as a futuristic soul album merging the old with the new. “Being With You” is a match made in heaven between electronic music and R&B, “Space Balloon” lets disco and funk make love in a spaceship. “What You Do” is a future version of late ’80s Chicago hip-house, featuring Tyree Cooper.
Since 2009, Nebraska has released four EPs for Rush Hour. This is now being followed up by his first album for the label. Nine months after his Four For Four EP, Rush Hour gives you Displacement. This vinyl edition is made up of completely unreleased tracks. The CD/digital releases will also contain the best tracks from his EPs and will be available soon. On Displacement, Nebraska continues what he does best; combining fun-loving, party-starting disco jams with cinematic, luscious work outs.
“Soul Jazz Records are reissuing their long-out of print DVD/CD/LP Studio One Story (filmed in 2002) , now available for the first time as well as a stand alone DVD. The DVD is being issued as a prelude to the forthcoming deluxe-hardback book Original Cover Art of Studio One Records, celebrating 2012’s 50th anniversary of Jamaican independence. Studio One Story is a documentary, both a staggering slice of musical history and a definitive guide to Studio One, Jamaica’s greatest ever record company, and its legendary founder, Clement ‘Coxsone’ Dodd. Often described as the Motown of Jamaica, or ‘The University of Reggae’, Studio One is where the careers of literally hundreds of reggae artists began: Bob Marley and the Wailers, Alton Ellis, The Heptones, Ken Boothe, The Skatalites, Burning Spear and Sugar Minott, to name but a few! Studio One is the ‘foundation’ label of Jamaican Reggae. One and a half years in the making, Studio One Story is a truly unique documentary in which the late Clement Dodd gave unprecedented personal access to tell the previously untold story of how Studio One literally shaped the rise of reggae music from the 1950s onwards through to the late 1970s. This is the true story of reggae music and its Jamaican roots told from the inside: From the rise of Kington’s sound systems in the 1940s and 1950s, through to the evolution of a Jamaican music industry (and Studio One’s dominance) in the 1960s and the worldwide success of reggae in the 1970s. This amazing 4 hour documentary (including over an hour of extras) was filmed on location in Kingston, Jamaica and features interviews with Horace Andy, Alton Ellis, Ken Boothe, Sugar Minott, Denis Alcapone, The Ethiopians, Sylvan Morris, Johnny Moore, Lone Ranger, King Stitt and many others. The DVD also includes rare footage of The Skatalites, Jackie Mittoo, Count Ossie, Marcia Griffiths and others.” DVD is in NTSC format. Also includes a 100-page book featuring rare photos and notes.
Stand alone DVD version. Region free NTSC format DVD, plus booklet.
2011 repress, originally released in 2002. Double vinyl version, which includes the same DVD disc and book, as included with the CD version. NTSC version of the DVD for North America. LPs feature the same 16 tracks as the CD.
2011 repress, originally released in 2004. Subtitled: Electric Blues, Funk and Soul: Chess Records: The New Sound of Chicago in the 1960s. “Soul Jazz Records are releasing one of the most popular, long out of print titles Chicago Soul in a stunning, beautiful new deluxe hardback CD with casing and perfect bound booklet (has to be seen to be believed!). Chess Records has recently been the subject of both a BBC4 documentary and a 4 part BBC6 documentary celebrating the story of this amazing independent soul, funk, jazz, rock and blues label that took on the mighty giants of Atlantic, Stax and the majors in the 1960s. This CD features a stunning selection of the heaviest funk, psychedelic soul, rock and jazz tracks ever recorded for Chess and comes with Soul Jazz Records usual attention to detail — a 40 page booklet featuring extensive social, cultural and historical text and info and loads of exclusive photographs.”
Double LP version.
Subtitled: Garifuna: Ancestral Travellers of the Caribbean. “In 2010, Soul Jazz Records embarked on their latest unique recording project, travelling to the Caribbean as they continue to document musical hot spots around the world. Their latest venture is to record the unique Afro-percussive music of the Black Caribs of Belize. Belize (or British Honduras as it was formerly known) was the last British colony in Central America and is currently celebrating its 30th year of independence from Britain. Soul Jazz Records and label founder Stuart Baker travelled to Dangriga, epicentre of Garifuna culture, on the Caribbean coast of Belize, to produce this new album with Black Carib singers, drummers and musicians. The West African ancestry of the Black Caribs is a link to the other Afro-musics of the Caribbean and Latin America – the massive drum groups of the Samba Schools of Brazil, the Voodoo poly-rhythmical drums of Haiti, Afro-Cuban Salsa and the sacred Bata drums of Santeria, as well as the hypnotic rhythm of Nigeria’s Afro-Beat and other African musical forms. The album features the many different styles of Black Carib (or Garifuna) music. The most famous and popular form is the punta, a dance style that was updated in the 1970s when local artists electrified the sound to create punta rock. The most successful groups – Pen Cayetano with the Original Turtle Shell Band, and more recently Andy Palacio were the first artists to bring Garifuna music to a wider audience. UNESCO has also recently proclaimed the music of the Black Caribs/Garifuna as one of the masterpieces of the oral and intangible heritage of humanity. The super-deluxe hard-cased CD pack comes complete with extensive text about the culture and history of the Black Caribs of Belize, as well as exclusive photographs of the sessions alongside song annotation and translations.”
Gatefold 2LP version.
Remixes of tracks off of Piemont’s Sand Hills (SRX 001CD) album by Hugo, Jay Haze, UNER and Santé.
Pinch and Headhunter remix “From The Foundation” featuring Dub Judah. Dubkasm’s debut album Transform I was later remixed in its entirety for CD release in 2010 by 10 of Bristol’s top-ranked bass-centric producers, and this EP is the fourth limited press vinyl to be drawn from that set. Revising and re-interpreting Dubkasm’s orthodox roots music in a contemporary club setting, Pinch and Headhunter offer two deeply spiritual pieces, each a brilliant response to the original.
In celebration of their 50th 12″ vinyl release, Tectonic presents a rare new outing from the legendary Photek. Gracing Tectonic with the soulful 120bpm “Closer,” Photek has turned a corner with his style and sound since the d&b days, keeping things fresh and upfront. Label boss Pinch flips the vibe back to 140bpm dubstep territories with his remix. Full picture sleeve and the first 1,000 copies come with a free download code for digital versions of both tracks.
“Saarid wishes to promote peace through human understanding, not politics.” Those words are literally etched into the vinyl of Saarid’s debut single. Fusing ’80s drum machines with ’90s atmospherics, Saarid has crafted a sound that nonetheless feels like right now. “Fever Dream” and “Bad At Love” are clearly indebted to classic house and rave, but these are not your average retro re-treads. Cosmic Kids’ “Sueno Fiebre” mix is suffused with summertime vibes, featuring a solo saxophone performed by Julio from Midnight Magic.
The Sight Below is a project created by Rafael Anton Irisarri, an American composer, multi-instrumentalist, curator, producer and mixed media artist. In this guise he has produced two full-length CDs on Ghostly International, Glider (2008) and It All Falls Apart (2010), and most recently, under his own name, The North Bend for Room40. The connection between The Sight Below and Biosphere starts with the latter’s remix of “The Sunset Passage” from the Glider CD, released on a limited 12″ in 2009. N-Plants_Remixes is a superb extension of Biosphere’s new Touch CD as well as a fine release in its own right. Only 300 copies have been pressed.
Samuel Dan has previously released with Darlyn Vlys on Upon You sub-label Sweet & Sour. He has also shown his face on Syncopat, Dirty Bird and Off Recordings. With “I Hear Voices” Samuel leans out from the DJ booth and gives the VJs something “ravey” to trigger an emotional parade. While he hears voices, you see stars. “On The Dancefloor” and “Do It Baby” take you to the next level of this Olympic exercise.
The highly anticipated Squeaky Lobster EP has been worth every second of the wait. In terms of sample/synth selection, song structure and sound quality, no expense has been spared. Hi-fi synthetic drums intertwine with lo-fi sampled kicks & snares while heavy, stretched-out synth bass lines are topped with Bollywood-esque string samples, ’80s guitar bridges & plenty of other orchestral mayhem. The incredible feat here is that no 8 bars are quite the same as the next. Housed in an awesome spot-varnished cover — definitely one to hang up on the wall.
“Battles’ My Machines, featuring synth-pop pioneer Gary Numan. The track from the band’s critically acclaimed sophomore record Gloss Drop (available now on Warp Records) has been hailed by NME as ‘propelled on stern, piston drums, pointillistic guitar notes scattering like frightened crickets.’ Numan notes that ‘working with Battles was an easy choice for me. They have a unique approach to making music and a clear idea of what they want. They are inventive, adventurous, unpredictable and I’m proud to be involved.’ The single also includes non-album track ‘A.M. Gestalt’ as the B-side.” Colored vinyl with full-color inner sleeve.
Featuring guest vocals by The xx’s Romy Madley-Croft, “Days” is a ghostly blend of Romy’s ethereal voice and CREEP’s sinister beats, blending tones of goth, shoegaze and R&B to create darkly prophetic and orchestral soundscapes. Drop The Lime produces a bass-oriented track, filled with moments of great suspense. Soul Clap retains the track’s dark, mysterious nature while turning it into a deep disco track. John Roberts mixes the original’s epic orchestral elements with broken drums for an intriguing combination of sounds.