Suche:cally

3rd vinyl release on Diferit records cvomes from Cosman and it includes fantastic remixes from Cally and Alsi. Worth to check!

Tapper Zuki's debut album 'Man Ah Warrior' was originally released in 1973.It's classic Dee Jay style has been copied by many but bettered by few. An album that more than most shows that raw talent with little resources can still be a great, great thing.
Tapper Zukie (b.1956,David Sinclair , Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica between the districts of Trench Town and Greenwich Farm.
Living pretty much on the streets from an early age the youth including the young Tapper had no choice but to fall into the hands of the political parties that controlled the various ghetto areas of the town.
Fear of landing in even more trouble, a plan was devised by Tapper's Mother ,Brother ,Reggae producer 'Blackbeard' and family friend Bunny 'Striker' Lee .The plan was to send the wayward Tapper to England to cool his ways.
A UK tour with the number 1 Reggae Dee Jay U-Roy was already arranged on his arrival, Bunny Lee got the young Tapper to toast over a Slim Smith rhythm, the London crowd loved it
He also caught the eye of producer Larry Lawrence who took Tapper on and cut his first single 'Jump and Twist'
Nine further tracks were recorded for producer Clement Bushey that would result in this album 'man ah Warrior.
We hope this introduction to Tapper Zukie's music inspires you to look further into his catalogue of great music.
An artist ahead of his time, whose music has influenced many........
as Patti Smith stated 'Music of the Most High'............

Kiria Records proudly presents "Vintage A EP", a collection by Direkt that embodies the essence of modern groove with timeless and elegant influences. This EP explores different sonic shades, perfect for enriching any moment of a DJ set.

On side A, we have "Vintage A", a track that stands out for its sophisticated groove and immersive structure. The blend of delicate synths and sharp percussion creates an atmosphere perfect for lighting up the dancefloor and taking listeners on a hypnotic journey. Following that, Cally’s remix delivers an innovative and minimal reinterpretation of the original track. With tight rhythms and subtle nuances, this version captivates the audience and adds depth to transitional moments.

On side B, "Best Kick Forward" opens with a powerful rhythmic drive, characterized by strong basslines and an engaging progression, making it perfect for the most dynamic moments of a set. Closing the EP is "Fragments", a track that plays with atmospheric elements and refined grooves. Intricate percussion and ethereal melodies intertwine to create a finale that leaves a lasting impression.

With "Vintage A EP", Direkt and Kiria Records deliver a must-have musical chapter, crafted for DJs and collectors seeking unique and uncompromising sounds.

After his highly publicized breakup with Taylor Swift at LA’s Viper Room ,Iain Howie returned to Vancouver.

Taylor released “Bad Blonde Boy”, a breakup song about Iain and Iain quickly rebutted with “ Patterns” about Taylor.

He began working on his solo album and got a remix of Patterns by his shady neighbour “Jay Tripwire”. Partly because of the fact Taylor could never stand Tripwire.

Over the course of a year Tripwire churned out 10 different remixes for an alternative vinyl only release. Jay would have his friend Anton play various remixes from his hot dog cart in Bucharest.

One early morning it caught the ear from Cally. Cally had only intended to buy a foot long Frankenfurter after Guesthouse, but he was so captivated, that he asked Anton for a cassette tape of the song. Most Romanian DJs often look to Anton’s hot dog cart to find obscure unreleased gems.

Cally began his closed door ritual of compiling songs for closing Sunwaves that year. When getting his tea leaves read, his spirit guide advised him on using “Patterns” as the closing song to the festival.
Whether it was the come down from drugs or low serotonin, SW attendees could be seen crying on the dance floor during the song.
The tears were then collected and drank by Raresh

For as much as Sammy Rae & The Friends may be a band, this collective of dreamers and artists considers themselves a family first. That all-for-one and one-for-all camaraderie ignites their unforgettable and can’t-miss live shows, which serve as a catharsis for both the musicians and their fervent audience. Fronted by singer/songwriter Sammy Rae and honed through years of touring, the group is capable of flourishing in any spotlight thanks to its signature blend of palpable chemistry, deft virtuosity, and vocal fireworks.

Their sound, which has attracted new fans by the thousands in the past few years, is a unique mélange of Sammy’s influences: classic rock, folk and funk and sprinkled with soul and jazz. Rae has been building toward this moment since moving to NYC from Connecticut in her early 20s. Finding herself without a built-in peer group, she simply built it herself: the literal and proverbial Friends. When she started playing shows, she made sure the audience was part of the family too. Everything that’s happened since, from the EPs The Good Life (2018) and Let’s Throw a Party (2021) to sold-out shows in major markets and secondary markets alike across North America and the UK & Europe, to high-profile festival sets around the world, including Bonnaroo’s main stage, Sound on Sound and more, has been based on friends telling friends. As they prepare for the release of their long-awaited debut full-length album in 2024, Something for Everybody, Sammy Rae & The Friends have come to represent more than just a band: they are a full-on movement being adopted with a refreshingly diverse clientele.

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

Lewis II was the follow up to Lewis Taylor's epochal, self-titled debut album. It was initially released in 2000 and this double LP release, its first ever vinyl edition, has been heavily anticipated for nearly a quarter of a century. It's often years before most listeners catch up with an album's breathtaking vision and devastating execution, and so it has proved with Lewis II; it stands up exceptionally well today.

After Island rejected Lewis Taylor's second release (later released as The Lost Album), he returned to the studio to record Lewis II. Less esoteric than Lewis Taylor, Lewis II is a more polished, sophisticated funk and mature uptempo soul than the dark psych-soul of his debut. The production, whilst slicker, is a bit tougher, with more crisp, R&B-flavoured grooves and head-nod beats and more bass pumping up his voice. The vocal intensity present on album number one doesn't abate. Indeed, as Lewis himself noted, "my voice is better on Lewis II and the vocals are high in the mix."

The moody funk of "Party" sounds like a mad blend of Riot-era Sly Stone and Brian Wilson. It rides a stuttering drum machine groove with acapella harmony vocals arriving halfway through to stay for the duration. "My Aching Heart", with its clean, slick, late 90s R&B drums, could surely have been a single. Perhaps Lewis's idiosyncratic melodies would've been too challenging for the charts. Lewis *had hoped* "You Make Me Wanna" would be a single but the dank, organ-drenched groove, coupled with the growling eroticism of Lewis's vocals would've, again, made this beyond the pale for most mainstream music fans. Somewhat incongruous acidic synths and bleeps give way to a laconic summertime groove on breezy highlight "The Way You Done Me", all funky acoustic guitars and stunning, good-time vocals. Sumptuous ballad "Satisfied", a real fan favourite, marries unusual instrumentation with classic soul-ballad structure and closes with a monster guitar solo which almost out-Princes Prince in its gritty melodicism, set against sweeping strings of real majesty. Prog-Funk-Rock!

The dubbed-out, spaced-out "Never Gonna Be My Woman" is the closest the album comes to classic D’Angeloesque neo-soul, with echoes of the esoteric funk featured across Maxwell's contemporaneous Embrya. But what follows is on some next level business. As Lewis's biggest fan, Geoffrey Scull, noted, "the "I'm On The Floor" / "Lewis II" / "Into You" song cycle stacks up against any other consecutive 15 minutes of recorded music, ever!" And who are we to argue with that? These could've been hits for Justin Timberlake during his fascinating Timbaland-collaborating days, such is the sonic and textural pop experimentation at play here. The extraordinary title track sounds like an outtake from Marvin Gaye’s Trouble Man and spends its last third as a searingly dark piano-led psychedelic-guitar-crunching soul instrumental. Just astounding. And then. AND THEN! The way it segues into, er, "Into You" is just straight up genius. Goosebumps galore on this one, no words can describe its celestial brilliance. Just kick back and be beguiled by the "Let me come on over again" refrain that ornately adorns its sensational coda. Phew.

The swoonsome, lovelorn ballad "Blue Eyes", apparently written in the spirit of Marvin’s "Vulnerable", is a lush, slow swinger with some gorgeous noir touches. To close, Lewis completely retools Jeff Buckley’s beloved, beautiful "Everybody Here Wants You" and, while talking some liberties, even manages to surpass the original. Yes, really! With soaring, fiery vocals set against icy piano and psychedelic guitars, Lewis recasts Buckley's effort as dramatic, ethereal soul.

When it came to translating the original CD booklet into a 12 inch LP sleeve, thanks to some suggestions from Cally Callomon (head of Island’s art department, who designed all the sleeves for Lewis’s two Island albums and their singles) and his trusting us with his “Lewis Taylor” folder full of various negatives, test prints and whatever else he was able to salvage from the old Island art department, we’ve gotten pretty close to what the original LP sleeve would’ve looked like if it existed. Simon Francis’s vinyl mastering, presents the eleven tracks over a double LP so, as ever, the record sounds outstandingly good. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry.

Nothing compares to Lewis Taylor and nobody crafts a "B-Side" quite like him. Indeed, his long deleted B-Sides are the stuff of legend. So, gathered together for the first time on one slice of wax, we present The Damn Rest: an album's worth of B-Sides from the era of the 1996 Lewis Taylor ("Damn") album. More off-the-wall and abstract than the album proper, these rare, underheard tracks burst with Lewis's uncompromising genius. A lot more experimental, the music is still drop dead beautiful. The Damn Rest is the essential bridge between Lewis Taylor and Lewis II.

Lewis Taylor's self-titled masterpiece from 1996 was to be originally called Damn. You can see the word right there on the from cover. However, concerns over distribution in the US scuppered this desired title. When thinking about what to call this collection of essential B-Sides from the era of that first album, we thought The Damn Rest would be appropriate. But these tracks aren't simply throwaways or outtakes, as Lewis himself states: "each little group were recorded specifically for the release of each 'single'." These B-Sides were simply the next thing to happen after self-titled, and before Lewis II. In other words, you need this!

The collection opens with "Asleep When You Come", the A2 on the original "Lucky" 12". It's a slow-mo string-drenched soul offering, cast in cinematic soft-focus with a vocal performance from the heavens set against wonky, shuffling drums and delicate instrumental flourishes. Beautiful. Also from the "Lucky" single, "You Got Me Thinking" may actually be Lewis' funkiest moment and is definitely one of our favourites, a great, gently psychedelic funky club track, that's for sure. Next, the gorgeous, meandering "I Dream The Better Dream" is just sheer, metronomic bliss, with shades of Stevie Wonder. Just ask D’Angelo, who included the track on his Feverish Phantasmagoria show for Sonos. Not only a celebrity-fan-favourite, it's Lewis's, too: "My favourite has always been this track. In my fantasy it’s what early Soft Machine would’ve sounded like if Marvin Gaye was their lead singer."

As we move to the B-sides from the "Whoever" single, the first to feature is "Pie In The Electric Sky / If I Lay Down". It's a brilliantly sprawling classic. A head-nod funk workout in two parts; part psychedelic heavy soul jam, part breezy Marvin-esque near-instrumental of the deeply lush variety. It needs to be heard to be believed. Astonishing! Flip over for "Waves", a shimmering, dramatic, sweeping string-led fan favourite. The climax of the song is just too stunning for words. It's followed by the deep wyrd-soul of "Trip So Heavy" the final, dizzying track from the "Whoever" single and another celestial funk delight featuring strings, organ, twisted bass and heavy drums. From the "Bittersweet" 12", "A Little Bit Tasty" is a building, schizophrenic soul-jazz epic that starts out with Lewis performing a call and (distant) response with himself over a gentle mid-90s drum loop before snatches of heavy, crunching metal guitars blast apart the otherwise neat song structure. Ultimately, it's unarguable that The Damn Rest is worth it for the inclusion of the jaw-dropping "Lewis III" alone. A dazzlingly lush and stunningly sophisticated prog/soul hybrid that owes as much to "Pet Sounds" as "What's Going On" with arrangements that grow and unfold in layers. Just sparkling.

A compilation like this feels like one of those promo-only rarities they used to give out to a select few back in the good old days, so when it came to the artwork it only made sense to follow what Cally Callomon (head of Island’s art department) had done for the singles and promos back in the 90s. He even did us some fresh scribbles of “The Damn Rest” to match his handwriting that’s all over the first album and its singles. We hope you like it as much as the music contained within. Simon Francis’s vinyl mastering ensures these classic recordings sound as great as they deserve to. The record has been cut by Cicely Balston at Air Studios and pressed at Record Industry. We've lost Prince. We still have Lewis.

’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

Land of the Free? with revered classic songs like the incendiary “F*ck
Authority,” was a wake -up call from Pennywise, aimed at the slumbering
masses of America, an attempt to shake people out of their lethargy and
prod them into thinking about the world.
Originally released in June 2001, the band’s six studio album tackled the political and social issues of the day, from police corruption and mass shootings to
elections, topics that 20 years later are just as relevant.
Pennywise have made a name for themselves over the past 33 years as a politically minded, melodic hardcore /punk band that has sold millions of albums
and become one of the most successful independent acts of all time.
Formed in 1988, the band played backyard parties in their hometown of Hermosa Beach, California, without having any aspirations other than playing as
many songs as they could before the police showed up. Hermosa Beach and
the surrounding neighborhoods are a prominent place in popular culture, with
groups like Black Flag, The Circle Jerks and Descendents merging a fast rebellious sound with the surrounding aggressive surf and skate culture.
Inspired by their predecessors, Pennywise were at the forefront of a second
wave of American punk rock that would catapult the movement from a tightknit subculture into a worldwide movement.

Secuund is the sophomore album from Belgian experimental electronix duo Suumhow.
This album is follow-up to last year's debut offering from Suumhow called Crash_Reports finds the pair doubling down on their blisteringly crunchy beat work and warm, humanistic melodies. While the beat-work on the album's opening track can lean toward the aggressive, making things feel as if all is about to teeter out of control, the thoughtful melodic touches in the synths keep the structure elasti- cally tethered together. Exceptions to that rule of thumb exist on Secuund with warm ambient track West Bend, the BOC-esque Bora Bora, and the durable onward animation of Cabin.
Such diversity in Suumhow's experimentation makes Secuund an excellent listen for fans of late 90s, early ought IDM, glitch & ambient.
Summhow's Secuund will be out Sept 20 and will be available on limited edition 180 gram sea blue vinyl, compact disc, and ultra-limited minidisc.

" I used to live in rue de Clignancourt, and remember as a kid going to the 14th of July West Indian ball organized by my father rue André Del Sartre in Montmartre every year. There I would meet, among others, saxophonist Robert Mavounzy. Sticking to the area, my older brother had a band and often played at the famous venue La Cigale, where even Henri Salvador joined him for a jam from time to time."Since childhood Serge Fabriano bathed in music, to-ing and fro-ing between his native Guadeloupe and Paris where he grew up. He attended the music conservatory, learnt how to play bass, met and played with many musicians and was ultimately angling for a career as a music teacher. But Serge had wanderlust; he lived to meet new people and was passionate about travel.Thus, it was in a squat located rue de Flandres in the 19th district of Paris that Serge Fabriano met by chance zarb player Djamchid Chemirami, one of Iran's greatest percussionists, who invited him to the Arts Festival of Shiraz-Persepolis. After a month-long motorcycle journey, he and his guitar teacher, Roger Bénichou, arrived in Tehran. Sadly their guitars didn't survive the journey. It was there that he met, among others, Woody Shaw, Max Roach and his wife Abbey Lincoln. Serge also formed a friendship with saxophonist Gary Bartz and stayed on a month playing with the cream of the musicians who'd attended to the Festival.During the mid-70's, he alternated between teaching classes and live gigs, and performed in Germany with a funk band comprised of ex-GIs from the US Army. He also met the members of Chick Corea's group, Return to Forever, and especially Stanley Clarke who became a great source of inspiration to him.From 1978 onwards, Serge Fabriano put aside teaching and devoted more time to music. He became a musician's musician, doing studio recordings with rock bands. He also played with members of the Caribbean diaspora, which included the great drummer Marcel Lollia (known as Velo), Patrick Jean-Marie, Guy Conquette, Winston Berkley, Mino CineluDuring the "Ayatollah Comédie" musical comedy tour organized by the Journal Liberation, Serge met actor Pierre Clémenti (Il Gattopardo, Belle De Jour, The Conformist). This was a game-changer : "I was trying to record my first record. Clémenti suggested the Studio Beaubourg in Paris. "The group Fabriano Fuzion - Fabriano Unit Zion - was born.The band brought together some of the Caribbean's most inspired musicians: Martinican-born Mario Canonge on the piano (his first appearance on an album), Alain-Jean Marie on the synthesizer, Edouard and Pierre Labor on saxophones, Claude Vamur (Kassav ') on the drums, singer/percussionists Marie-Reine Lamoureux and Marie-Céline Lafontaine, percussionists Roger Raspail, Sully Cally and Hector Ficadière (Tumblack, Vent Levé) on Ka percussions.It is precisely the Gwo Ka - this ancestral 'root' music deeply embedded in the heart of the Guadeloupe musician - which constitutes the rhythmic backbone of this first opus. The Gwo Ka, the jazz, the poetry and the spiritual vibe are gathered here to form a splendid album; one of the true masterpieces to emerge from the French West Indies.Rarely will a band have borne its name so well than Fabriano Fuzion - its music is a multiple and collective work in which each element brings its identity and its richness, conferring to this major work a truly fusional dimension.

Cassegrain announce collaborative EP. The Berlin based duo of Alex Tsiridis & Hüseyin Evirgen will release new work recorded alongside DJ Nobu, Tensal & Lady Starlight via their own Arcing Seas imprint in September. Leaning towards the more heady, high octane end of the genre - the three track EP showcases the duo's natural affinity for collaboration, maintaining Evirgen & Tsiridis' characteristic finish and atten-tion to detail, whilst providing ample space for the guests to properly colour the work. CT01, alongside Tensal, marries caustic drones with a potent lead sequence to produce a perfect peak time roller; whilst CN01, with DJ Nobu, riffs on a more melodic, stepping approach - maintaining that same rousing energy, but with a more psychedelic bent. CLS01, the duo's collaboration with La-dy Starlight comes in at almost 11 minutes, an ambient Techno journey that warps and shifts organi-cally across it's extended run time - complete with beat-less intro and multiple segues that work to bind the piece and it's different sections into one, cohesive narrative. Effective and impeccably produced - but with a keen ear for new & exciting sonics within the genre - this first collaborative outing proves an enviable addition to the duo's already impressive discogra-phy.

LYBES DIMEM is a project by visual artist and musician Lukas Rehm. With a focus on digital sound-de- sign, elaborate beat structures and the use of error, the music plays with cognitive phenomena and abstraction while maintaining an emotional refuge. LYBES DIMEM is presented in formats ranging from spatial sound experiences to sy- nesthetic shows complementing the auditive layers with visualiza- tions of real-time data, computer graphics and moving image. Lukas Rehms installative art, and compo- sitions have been internationally presented and awarded with multi- ple emerging arts prices.

SYNCLEFT CHRONEM is the first album released by LYBES DIMEM in both digital and vinyl format and accompanied by a moving image artwork. The title reflects the pro- jects interest in the potential of difference, cognitive frictions and exertion: sync = variability in the processing of auditive and visual signals, syncleft = the synaptic cleft, which is a crucial empty spa- ce in biological neural networks, chronem = the chroneme as a the- oretical unit to measure the time of

an articulated sound. Mathemati- cally clean sounds juxtapose pat- terns and transitions familiar from the realm of organic acoustics. Multi-layered noise textures ex- plore the simulated space. A tem- porary continuity is provided by percussive and melodic elements, right until the next escalation, eventually awaiting a concluding resolution.

The visual language explores dif- ferent phenomena and techniques of cognition inspired by the rhe- torics of big science (computer graphics, discontinuity of materi- al, pop cultural references). Both the moving image artwork and the graphic design of the release pay tribute to the multi-layered appro- ach of the music. The design of the vinyl cover by studio BNAG.cc uses subtractive colour synthesis to interchange between abstract for- mality and representationalism.

SYNCLEFT CHRONEM is the first release by LYBES DIMEM on SVS Records following a first encounter at the SVS residency at the 4D Spa- tial Sound Institute in Budapest.

Coming hot on the heels of Samuel Rohrer'sRange of Regularity album are two EPs of striking reinterpreta- tions. These new remixes provide an intriguing parallax view of the original tracks, using the percussive eclecticism of the parent LP as a starting point from which to journey into soni- cally vibrant, feature-rich territories. The production specia- lists on the first EP include Ricardo Villalobos and Vilod, the collaborative duo with Max Loderbauer. Villalobos, has alrea- dy formed a strong working relationship with Rohrer's AM- BIQ trio, lends his talents to both of these new EPs. The se- cond one will be completed by a remix of Burnt Friedman. Each individual remix has its own character, they are all united in their ability to provide a quick cure for fatigue with the common loop': they are strung together from fleeting phra- ses that evolve as if they are taking on a life independent of their creators.Villalobos' compelling take on Lenina' pulsates from start to finish with a kind of voluntary anxiety, a commitment to painting every corner of the sonic surface with clearly defined pointillist touches. While this kind of approach would cause less confident producers to collapse at their editing worksta- tion, Villalobos takes to the task with gusto - leaving see- mingly no corner un-animated by sound, he pieces together something surprisingly funky and hyper-real from a catalog of distinct percussive hits, time-reversed ephemera, and playful kitchen sink' ambience. Vilod's Uncertain Grace' remix, though marginally more laidback than the flipside, is no less engaging. A buzzing beehive of activity powered by an organ- like refrain, this is one of those pieces that will induce a fee- ling of perpetual movement into even the most still of physi- cal surroundings. This is especially true when, after four and a half minutes of flotation, a straight-ahead techno rhythm ta- kes over and all the disparate hovering elements fall into place.