quête:dance 6

**Hardcore, FWD dance music from two leading sound artists. Edition of 500, Mastered and cut by Matt Colton** Mark Fell and Gábor Lázár ratchet the game with their razor-sharp debut collaboration, 'The Neurobiology of Moral Decision Making'. As promised in the wake of Gábor's acclaimed vinyl debut, 'EP16', the duo have colluded on a full set of ten tracks, ranging from short synapse bursts thru to an uncannily emotive 12 minute masterpiece on the closing side. As the 10th release on The Death of Rave, it demonstrates the distance travelled since the early '90s paradigm shift of original rave culture, effecting a radical recalibration of meter and tone conventions in electronic/dance music, and by turns, acutely probing our perception of time and space. Essentially it's incredibly "funky", if "funk" is taken to mean syncopation or a play on tension-and-resolution. By utilising the grid-morphing potential of Max/MSP software, they unlock mutant ballistic patterns cleanly weaving between and recoding the tendons and ligament of techno, garage, footwork and hardcore with muscle memory-reprogramming impact. Kicks, claps and visceral chromatic stabs land at irregular, blind-spot junctures, acutely rewiring our sense of rhythmic anticipation and offering a thrilling new freedom of expression and dancefloor discipline in the process. It's a masterful step forward from Yorkshireman, Mark Fell's Sensate Focus output and SND classics, and, likewise, a logical leap from Budapest-based Max whizz, Gábor Lázár. If you're into Mumdance, Errorsmith, Lorenzo Senni, Autechre, Actress or SND; we'd say it's as essential as they come.

The mastermind behind long-running Inner Sunset Recordings out of San Francisco and the elusive Imperial Pressings has once again resurfaced, and resurfaced with ferocity! Inaugurating the all-new imprint PDG Discs, Homero G.’s “March of the Mighty Club Heroes” is a superbly crafted 4-track E.P. that hearkens back to the days of old, when music had unforgettable stories to tell and partying went hand in hand with making memories that lasted a lifetime.

Blast off into outer space with A1, “Red Planet”. The bassline rumbles and the breaks roll with an intensity that propels you forward in a swirl of intergalactic pads. Track A2, “Rusty Robofriend”, is awesomely twinkly, grindy, happy-go-lucky breakbeat jam that your grandfather’s childhood toy robots secretly dance to when nobody is looking. B1’s “Triple Tab Fantasy” is a perky, skippy, stabby, organ-filled breakbeat delight that joyfully progresses with bursts of refreshing positivity around each and every corner. And B2, “March of the Mighty Club Heroes”, is a deep and rainy piano-adorned, break-laced anthem that gives a beautifully sentimental and heartfelt nod to all the true heads out there who will let absolutely nothing stand in their way of going to the club. Not even bad weather.

A fantastic record that’s 100% built for true connoisseurs of dance music, old-schoolers and all-around music lovers alike, “March of the Mighty Club Heroes” possesses a level of detail and emotion-filled storytelling that is rarely witnessed in electronic music these days.
Once again Homero G. delivers, and delivery massively. He’s notorious for not repressing prior releases, regardless of how sought after they may be later on, so grab your copy now. Because when it’s gone, it’s very likely gone for good.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

Phillip Smart was one of the great engineers to learn his trade as understudy to the legendary dub master himself Osbourne'King Tubby'Ruddock.
Alongside other luminaires such as Prince Jammy and Scientist,Phillip Smart would step in at the controls when demand for King Tubby studio dubs grew to such an extent that each single release was expected to carry a version/dub flipside.
Phillip Smart moved to the United States in the late 70's and in 1981 opened his successful studio HC&F,Long Island,New York.It produced some sizeable Jamaican Dancehall hits for his two record labels TanYah and Eclipse.
Tracks like Dirtsman's 'Hot This Year' and 'Rikers Island' and most notably artist Shaggy used the studio to work up his massive hits 'Oh Carolina','Big Up' and 'Angel'.
But it's in the heady days of the early 1970's and up to 1976 that we concentrate on for this release.When Version was King and Prince Phillip Smart was at the controls mixing up some fine dubs with Jamaica's finest musicians The Aggrovators.
Working some of producer Bunny'Striker'Lee's rhythms in fine style....hope ypu enjoy the set......

REPRESS

Niney the Observer’s first dub album ‘Dubbing With The Observer’ was cut at King Tubby’s Studio with Tubby
himself reworking Niney’s rhythms and adding his magic as only he could do.

Niney The Observer (b. Winston Holness, 1951 Montego Bay, Jamaica) by the early 70’s had forged a successful working partnership with singer Dennis Brown cutting some of his best songs adding a more rootsy element to the singers sound. Songs like ‘Westbound Train’, ‘No More Will I Roam’, ‘I Am the Conqueror’ to name but a few. Also
cutting a hit for Ken Boothe ‘Silver Words’ and two other singers that Niney had grown up with, Max Romeo ‘That Was Love’ and Delroy Wilson ‘Halfway Up The Stairs’. It was these tracks and a few other Dennis Brown worked rhythms, that Niney took to King Tubby’s studio at 18 Drumilly Avenue, Kingston 11, with the intention to let Tubby remix and enhance the rhythms Tubby Style.

The result was to be Niney’s first Dub album the mighty ‘Dubbing with the Observer’. On completion it was sent to London and it was then released on Trojan records and named Dub album of the Year. We are proud to put that album back out there for all to hear, what has now become a dub classic.

Hope you enjoy the experience………….

Wokrs from 1993-2004. Compilation of Taras Bulba, a German studio group that could be labelled Tribal? Trance? Pop? Folk? Ambient? ... or something else.

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

RED is a project by Francis Latreille aka Priori. It showcases a darker, more chaotic, and rugged sound. Whereas a lot of Piori's work investigates the delicate and elegant aspects of nature and technology, this album delves into the eeriness of it all, the loneliness of rural living, and the appeal of mysticism. Strange sounds and textures are arranged in unpredictable but sometimes surprisingly dancey moments.

Circles ist LÉONs drittes Studioalbum nach Apart (2020) und erscheint jetzt endlich auch als Vinyl-Version. Von PopMatters wurde es als "deutlich persönlicher als ihr bisheriges Werk" beschrieben, während American Songwriter die Platte als "fruchtbaren Schritt vorwärts in
ihrer Beziehung zu den Fans, selbst aus den entferntesten Ecken der Welt" bezeichnete.

Die von der Kritik gefeierte schwedische Künstlerin, die 2019 ihr selbstbetiteltes Debütalbum veröffentlicht, hat sich seit der Veröffentlichung ihrer Debütsingle im Jahr 2015 eine treue Fangemeinde erarbeitet. Mit jeder Veröffentlichung stellt LÉON ihr Talent für gefühlvolle, zarte und unvergessliche Popsongs unter Beweis. Neben ihrem Debüt im Spätfernsehen in der Late Late Show mit James Corden hat sie weltweit ausverkaufte Headline-Shows und Auftritte auf US-Festivals wie Coachella, Bonnaroo und Lollapalooza bestritten.

A central theme in the life and work of the British DJ pioneer Greg Wilson, UK electro is a page turner. With the seminal Street Sounds compilation from 1984 (please see Greg’s blog for the whole story) being the beacon, there are still a few overlooked corners.
XXXO by Equip is one of them. Originally intended to be part of said release and produced by Greg Wilson, Martin Jackson and Andy Connell (like most of the comp), it was turned down at the time. Sounding like a like a proto -house template with a dash of Klein & MBO, it wasn’t considered strong enough at the time, but found it’s way to the public as a one-sided 12“ in 2006, it felt like a brand-new track as it perfectly correlated with the electro influenced underground dance music mainstream at the time (Chicken Lips et al.). Here it is again: remastered, rekindled and unreduced cut to 45rpm. For full disclosure please see the liner notes on the back cover.
Pressed and released for the first time on this planet though are the ICA Beats Pt 1 & Pt 2. Intended to be backing tracks for a UK Electro live appearance in August ´84, they haven’t seen the light of day until now. Both Restored and re-edited with some help of label owner Gerd Janson, they are fierce examples of the sound at the time. Sitting between rhythm tracks and experimental drum machine compositions (and a short greeting from their creators’ other project Syncbeat), it makes you wonder how one could have lived for so long without them. The history of the past enables you to dream of the future.

Cognitive Prophecy - a new project from the mind of Skatman, lands with ‘Pelennor Fields’ - a sonically diverse, deep and dreamy 3-track EP from UK-Based producer Jozef K.

A new platform focussed on true artistic expression and empowerment - Cognitive Prophecy aims to push boundaries, ignore trends, and thinking outside of the box; drawing inspiration from the past, but always looking to the future - encouraging artists to draw inspiration not only from the niche in which they sit, to create timeless electronic music going forward.

The title track ‘Pelennor Fields’, eases the listener in to the release, with intriguing, broad soundscapes, lush, ethereal pads, and gritty, lo-fi drums that collectively take the listener through a 8-minute sonic day-dream. A beautiful, melancholic and catchy lead melody keeps the track driving along throughout - playing wonderfully off the soaring background synths and ambiences, and leaving the listener craving more.

‘Aria’ continues the dream-like aesthetic, teasing the listener in with shimmering chord stabs, and a signature deep, organic drum groove - which is glued perfectly together with the constant motion of the bassline. The introduction of a strong breakbeat adds a unique twist, providing an intriguing contrast to the lush synth work - making this a truly memorable piece of dance-floor euphoria.

‘Every Face Becomes A Skull’ is certainly the tougher of the three tracks, and perfectly juxtaposes the ethereal qualities of the previous two tracks. A punchy, classic 909-drum groove - coupled with a hypnotic and groovy bassline and trippy melodics take the listener into a journey through the darker side of Jozef K’s sound, to round out Cognitive Prophecy’s first EP with a bang.

The second LP on Hot Concept from Yr Lovely Dead Moon, aka, Rachel Margetts. ‘‘Don’t Look Now!’ mixes post-punk, electronica and jazz influences alongside Margetts’ hypnotic vocal poetry, reminiscent of Jenny Hval or Anne Clark, to deliver an incendiary and captivating critique of the oppressive forces of modernity, easily walking a tightrope between tenderness and tension.

“Follow Your Heart is all about resilience, connection and joy. How we reunite with our souls, our power, our love’s and our heart as we go through the greatest challenges our world has seen. I wanted to make a record that was uplifting and vulnerable. These songs have all been written during the pandemic, a time in which I lost my father to Covid, lost my job (as a touring musician), and leaned on my wife, family and friends and found a closeness with them that I never knew before. I laughed louder, played harder, cried deeper and danced with more freedom than I’ve ever felt during this crazy time - this music reflects it all. While I will never be grateful to the pandemic that has taken many friends and relatives from my life, I am deeply indebted for the time it has given me to reflect, re-connect with my calling and re-envision the musical soundscape of my life’s journey and find the light in a way that’s brighter than ever!!!” -- Michael Franti

Silver Vinyl
2 x 12" Vinyl Album + 2 x CD album

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

Black Vinyl 2 x 12" Vinyl Album + 2 x CD album

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

For Judah & the Lion, the last two years should’ve been the best of their lives as the Nashville band toured behind a powerful single and a genre-upending album, sharing stages with heroes and playing to oceans of fans. But as everything was coming together for them, singer-guitarist Judah Akers’ family was falling apart in a hail of alcoholism and affairs, death and divorce. From that tension comes Pep Talks, the trio’s third LP, and a hard left turn into deeply personal terrain. Knowing they had something new on their hands, Judah, Brian Macdonald (mandolin), and Nate Zuercher (banjo) took their time crafting a set of songs that not only shores up their one-of-a-kind sound—a heart-pounding whirl of folk, bluegrass, rock, hip-hop, and electronic production— but takes the listener on a bracingly candid, surprisingly anthemic journey from the kind of pain that tears your whole world apart to the sort of hard-won hope that can bridge the deepest of rifts.

21st Century pop is curiously irrelevant: autotune, twelve 'writers' on a single song, sensationalist yet skin-deep social commentary . . . with none of the joy, excitement and surprises of pop's lengthy heyday, from the Brill Building through the New Wave era. Where did it go? That would be an apt introduction to an album of calculated throwbacks to a three-minute pop ideal . . . but No Place Like Home isn't that record. We doubt even Gemma could tell you where this collection of beguiling jewels came from exactly, each fully-formed, complete and satisfying, no two quite alike, and each devoid of Wet Leg or Dry Cleaning's crafty calculation, but with every bit of those acts' charm. The first single, Stop, is based on an idea so simple that it's nearly unfathomable why no one had come conjured it earlier. Like toilet paper or a pair of scissors, the song feels entirely obvious until one ponders its late arrival. Stop's motorik beat propels verses to a chorus of pure delight, bested by a bridge occurring so late in the tune that it comes across like a surprise second dessert. My Idea Of Fun, a tale of frequent drunken regret, comes with a video of minimalist humour and visual brilliance. On other songs, Gemma channels acts Delta 5, Au Pairs and The Raincoats, along with the humour of Ian Dury and a similar verité of London life found in the best of Madness. The more serious fare is equally compelling. Rabbit Hole projects a daring newness of young freedom, Dance Of A Thousand Faces veers into Sprechstimme and expands into a swooping chorus, the feel of which subtly conveys present-day tensions reminiscent of the Weimar era. Tailspin captures the dark feeling which comes burdened with real-time consciousness of a loss of control, while the album closer, Frida, a tale of the loss of a dear friend manages to end in a guardedly upbeat tone. Gemma's debut album is sure to stir up deep interest and will be supported by a number of videos and live performances, plus free digital singles featuring otherwise unavailable non- album tracks.

Mit der Veröffentlichung von "Godslastering: Hymns of a Forlorn Peasantry" machte Hulder deutlich, dass trotz traditioneller Ausrichtung früherer Veröffentlichungen Black Metal dennoch detailreich, kreativ und frisch klingen kann. Ein triumphales Debüt, das bereits viel mehr erahnen ließ.

Auf der neuen Mini-LP "The Eternal Fanfare" erweitert Hulder die Bandbreite des Debüts. Die druckvolle Produktion eröffnet neue Dimensionen an Tiefgang und kraftvoller Resonanz, während das Songwriting eindrucksvoll den Zusammenfluss ihrer disparaten Einflüsse, wie z.B. bei den cineastisch ausladenden 'Burden of Flesh and Bone' und 'Sylvan Awakening' sowie die kalte, sturmgepeitschte Wildheit des Titeltracks präsentiert. Der Opener 'Curse From Beyond' ist ein außerweltliches, atmosphärisches Stück, das an Dead Can Dance in ihren mysteriösesten Momenten erinnert; während das nachdenkliche Lamento des Schlussstücks "A Perilous Journey" die klangliche Reise mit einer Aura melancholischer Endgültigkeit abschließt.

"The Eternal Fanfare" stellt ein starkes Zwischenspiel zwischen dem "Godslastering..."-Album und dem bevorstehenden zweiten Album dar. Aber auch für sich genommen ist es ein kraftvoller, nicht zu ignorierender Anspruch auf einen rechtmäßig zustehenden Platz in der Oberliga des Genres - erhebend, jedoch gleichermaßen gnadenlos in den Abgrund reißend.

ODESZA veröffentlichen ihr viertes Album auf Ninja Tune inklusive Features von The Knocks, Bettye LaVette, Låpsley, Izzy Bizu, MARO, Ólafur Arnalds, Julianna Barwick & Charlie Houston.

ODESZA veröffentlichen ihr viertes Album ’The Last Goodbye’ auf Foreign Family Collective/ Ninja Tune. Es ist das bisher ambitionierteste & emotional mitreißendste Album des Grammy nominierten Duos. Ein Projekt voller Glanz und Emotionen, nostalgisch und doch in der Gegenwart verwurzelt, ist es ein mitreißendes Klangerlebnis, das Themen wie Verbindung, Erinnerungen und den Einfluss, den wir aufeinander ausüben, anspricht. Es ist eine lebhafte Feier der Menschen und Momente, die unsere Fingerabdrücke hinterlassen haben und die in der gesamten Platte widerhallen. Es ist das bisher persönlichste Album des Duos und eine brillante Sammlung, die Vergangenheit und Gegenwart auf euphorische Weise miteinander verwebt. Neben The Knocks, Bettye LaVette und MARO werden auf „The Last Goodbye“ auch Julianna Barwick, Låpsley, Ólafur Arnalds, Izzy Bizu und Charlie Houston zu hören sein. Das Produzentenduo ODESZA besteht aus Harrison Mills und Clayton Knight, die zusammen Musik zu machen begannen, nachdem sie sich an der Universität in Washington, USA, kennengelernt hatten. 2012 veröffentlichten sie ihr von der Kritik gefeiertes Debütalbum „Summer's Gone“, gefolgt von der 2014 mit Gold ausgezeichneten Platte, „In Return“, die an der Spitze der Billboard Dance-/ Electronic-Charts debütierte und die Platin-Single „Say My Name“ enthielt - ein Remix des Tracks von RAC wurde später für einen GRAMMY 2016 nominiert. Ihr drittes Album, „A Moment Apart“, wurde 2017 veröffentlicht, ebenfalls mit Gold zertifiziert und brachte ihnen zwei GRAMMY-Nominierungen für das beste Dance-/ Electronic-Album und die beste Dance-Aufnahme für die Gold-Single „Line Of Sight“ ein. Das Album erreichte Platz 2 in den UK-Dance-Album-Top 40 Charts und Platz 2 in den iTunes-Electronic-Charts im Vereinigten Königreich und debütierte auf Platz 3 der Billboard Top 200 in den USA.

Ghetto Supastar is a song by American rapper Pras, but is also the name of this new 12" from 207737 on the Detroit Techno Records label. It embodies a new sound coming from the celebrated Motor City that draws on everything which went before and adds new perspective, emotion and sound designs. 'Stella' is a lithe and soulful cut with minimal drums and a cosmic atmosphere, while 'Tribal Dance' brings brighter chords and more playful patterns over raw-ass drums. There is plenty of Omar-S's rough hewn drum work in 'Apply Pressure' and elsewhere '8 Mile Boogie' brings a Mediterranean Balearic vibe to the D in superb fashion. An intriguing EP for sure.

It's been almost 3 years since the first volume of Dancefloor Detonators enhanced our nocturnal revelries, so it's a welcome treat to see a second volume has now made an appearance.
As with the first release, Volume 2 follows a similar principle, namely to put on vinyl some of the most popular tracks from the label's digital catalogue alongside some exclusive new cuts, appearing here for the first time to keep things 100% fresh. The resultant 5-tracker is nothing short of sublime.
Label regulars Secret Circuit, Sordid Sound System and Bal5000 appear alongside Optimo Music regular Feon and newcomer Wanda Krak.

Montréal singer/songwriter Laroie with an EP of low key radio hits produced by Gene Tellem with Gabriel Rei and Robert Robert.

‘Seductive sadness. Powerful vulnerability. Precise yet irresistible vocals. A few words to describe Laroie as she steps forward in full possession of her means, following up on her debut and namesake EP released in August 2020, and on the recent singles "Can't Let Go" and "One More". Here she is with Speed of Life, an extended play destined to be absorbed and listened to in one sitting. Funny how it sounds both familiar — you feel like you’ve known these songs your whole life — and brand new, all at once. In this nostalgic and emotional territory, standing at the borders of her influences, Laroie's talent shines through.

Skilfully navigating the electro-pop sonic palette, the artist crafts a comfortable, soothing canvas where dance, soul, and R&B from the late 90s and early 2000 also hop into the mix. From the bewitching slow garage "Elevate" to the cathartic and luminous "Can't Let Go", and through the trip-hop infused "One More", the very danceable "A Place on Earth", "Moonlight", reminiscent of the best of TLC, Brandy and Monica, and the title track’s addictive vocal melody, Speed of Life, just like a silky everyday soundtrack, is enjoyable on repeat.’

ft. Leia Contois

Crosstown Rebels has remained at the forefront of contemporary dance music for nearly two decades. Championing both breakthrough artists as well as those well-established, the 15th of April will see this perfectly encapsulated as label-head Damian Lazarus, global-house duo Gorgon City and rising vocalist Leia Contois team up on Start Over, Crosstown’s biggest release of the year so far.

Tribal-like drum patterns get things underway on Start Over, as we’re soon graced with the enchanting vocals of Leia Contois. Mesmeric and moving, her delicate lyrical offerings complement the electronic sounds of Damian and Gorgon City, with the introduction of a driving lead bassline in the track’s second half helping to create a hard, club-ready edge. It feels emotive and geared for the dancefloor simultaneously, showcasing an innate chemistry between each artist.

Damian Lazarus: DJ, producer, Crosstown Rebels label-head and internationally recognised talent. His contributions to electronic music speak for themselves, from championing the likes of Jamie Jones and Seth Troxler in their early days, to running and operating multiple festivals in the form of Day Zero and Get Lost. From global headline tours to achieving several UK Top Ten singles, Gorgon City have become one the UK’s most successful electronic producers in recent years. Crossing over into mainstream popularity whilst remaining true to their underground roots, the boys have sold out venues the world over, with London club highlights including Printworks, Tobacco Dock and O2 Academy Brixton to name a few. US-native Leia Contois is an actress, model and vocalist. Her contributions on Start Over marks her maiden appearance on Crosstown Rebels, setting the tone for a highlight year ahead.

When he's not dishing out breaks-y garage and slick retro-future electro, Burnski still finds time to exercise his decades deep prowess in the art of tech house. On this new drop for Constant Sound he's clearly having a lot of fun sculpting a hefty, big room sound with Ibiza in its sights. 'Trigger' hinges around an epic breakdown-build up which goes off like a rocket when it drops, swinging with glee and leaning in on playful synth licks. 'Go' is an absolute monster too, which nods to Burnski's recent UKG explorations with some rough bass and a killer 4x4 groove. If you want to do some damage in the dance in the classiest of ways, look no further.

Alien Men is a 9 track compilation of abstract Dub & Synth experiments by a range of new artists coming out of Glasgow's Southside.

The idea for the compilation came about during a time of lengthy periods of isolation, where loneliness, insecurity and a willlingness to connect with other like-minded souls was challenging or near impossible. The artwork was subsequently created and the music followed, allowing each producer to tell their own story throughout this period.

The music featured, although hard to pin down to one notion, is Bass/Grime-esq, mutant Dancehall in parts with awkward, Ambient synth moments across this essential Club/Not Club record.

Five track new killer EP featuring Lost Balearic classics-not-classics, deep down rare boogie, gospel & soul and places beyond! Very tastefully edited & re-mastered to seduce you into merriment and dance 'Everything you’re about to hear is true'. Limited copies don't sleep on this one!

After the intriguing collaborative efforts on their debut EP “Tender Trance” and the follow-up EP “Sueño”, DJ Gigola and Kev Koko are back with a 3-track record. Continuing their hybrid production style, this time, they are joined by rapper Perra Inmunda. Perra’s fast paced flow and staccato rhymes blend seamlessly with Kev Koko’s signature groove. Together with DJ Gigola's airy, ethereal chorus vocals, the result is a playful exploration of modern music that picks up right where the previous EPs left off: blurring lines between techno, pop, and now also, rap. Lyrically, the EP examines three different aspects of love. Sweaty dances on the floor, kisses lost on the way home and the solitude of being left unanswered; it seems only fitting they chose the title “No Es Amor”. The EP will be released on "Live From Earth Klub" on 8 April 2022 in both digital and physical formats.

Ending a break of twelve years, The Villains Inc. returns from the past to deliver four lost tracks from the label mastermind himself! Author of a short yet remarkable discography on Dominance Electricity, Electro Empire, and Drivecom just to name, Italian don Gab.Gato takes this opportunity to revisit some of his classics by a quatuor of undisputed electro heavyweights.

UK veteran Phil Klein opens hostilities on A side with his outstanding remix of "Electro Empire". Originally released on German Electrocord back in 2003, Gab.Gato's version sees a luminous electro-funk treatment in pure Bass Junkie style. Needless to say this electro banger will hit you hard with its untouchable sub bass, oldschoolish tones, hammering drums and retrofuturistic atmosphere!

Italian techno / electro legend Max Durante, coming next, propels "The Villains Inc" cut to another dimension. Taken from the "No Light Or Shadow EP" (ATVS002 in 2008), the track mutes into a milestone of an experimental slaughter tinted with industrial sororities. Following a catchy Speak n' Spell overture, the song introduces some hot and sexy female orgasms, while a heading acid line enhanced by a straight to the point rhythm will drive you on the dancefloor.

US DJ / Producer Sinistarr on the flip goes deeper into the realm with his "Couterterrorism" rework of "A Scanner Darkly". Published on Boris Divider's Drivecom in 2007, the tune evolves into a completely fresh and transformed version. A frantic bassline carries you away on a fast inducing grimey dancefloor boogie combined with hi tones and no nonsense electro beat!

Last but not the least, Drexciyan Dj Stingray closes the EP with its groovy "313 Psycotropic mix" of "S.N.A", a tune written by Gab.Gato and Matteo Merlo in 2007 on "The Systematik Network Attack EP" (ATVS001). Stingray's mix sounds like a sonic, ethereal and thought after assault based upon cutting-edge sororities over playful vocals.

Craftily written and designed (artwork project by Gab.Gato, and illustrated by Simonloop aka Urbanmagic, in 2009 was prophetic on his own: clones programmed to reappear from the past), nasty "Reprogrammed EP" features the almighty ATVS signature we all know, a dark, magnetic and rough sound ranging from breakbeat acid-tinged to Detroit-influenced electro and techno style. Should we mention that this limited 12" (no digital) is expected to sell fast and earn the status of collectible masterpiece, just like the previous releases on the label!

Tape
Los Angeles native Sha Sha Kimbo undeniably lives for the rave. As exemplified through her every intentional move as a producer, DJ, promoter, radio host and label owner, Sha Sha radiates an unwavering love for amplifying, nurturing and supporting the culture of underground electronic music and the community that surrounds it, with her forthcoming release absolutely no exception to this.

Set for release as a digital download and limited edition cassette tape on August 13, the LA rave staple is happy to announce her debut EP on Evar Records, Total Chaos. A brilliant testament to the cathartic importance of staying up late and getting lost in a buzzing crowd of kindred spirits, Total Chaos harnesses the universal experience of having pent-up energy into massive, angst-ridden breakbeat anthems. Over six tracks, Sha Sha channels the hair-raising spirit of '90s rave along with her formative experiences with DMZ-via-Low End Theory dubstep and punk rock. Finding her place within LA's bass music, house, techno and rave scenes while defying easy categorization, Sha Sha personifies the no-rules electronic music ethos behind John Frusciante and Aura T-09's Evar Records. To supplement Total Chaos' three originals, LYZZA, Machine Girl and LCY provide three raw remixes highlighting various aspects of Sha Sha Kimbo's renegade rave spirit.

Drawing from the Los Angeles punk rock and '90s rave music that soundtracked her youth, Total Chaos personifies how she grew up on the dance floor, showcasing Sha Sha's tried and true ability to express rich, nuanced emotions through tracks that, first and foremost, can level a warehouse party. Kicking off the vibe on July 30, the EP's lead single "Save The World" is a perfect representation of this, with the jump-up rave cut employing a megaton breakbeat and sickly-sweet vocal samples over simmering base of dark, UK-influenced atmospherics. From the late night energy of the title track to the euphoric, dawn-breaking feel of "Limited Perfect," Total Chaos offers the refuge of a robust dance floor with the warm reassurance to be one with the universe.

Rounding out Total Chaos EP are three remixes that amicably and serendipitously support Sha Sha Kimbo's visionary aim to both explore the unknown and bring people together along the way. Brazilian-born, Amsterdam-based powerhouse LYZZA adds a full verse and a nest of serrated rhythms to her version of "Total Chaos," while New York's Machine Girl applies their trademark punk electronics approach to "Save The World." Meanwhile, Bristol's own LCY hollows out "Limited Perfect" into a haunting amalgam of post-punk minimalism and low-frequency pressure. A study of the opposing light and dark energies of underground dance music, Total Chaos presents a breakbeat-heavy vortex, sure to awaken everyone's inner raver.

Introducing Bristol-based label Dummy Hand; the latest transmission fromNoods Radio. Standing as a separate entity but driven by the same subversive, independent ethos of the station, Dummy Hand is an outlet for music from theouter fringes of the dance oor.

Dummy Hand's inaugural release, 'Transient Communications' comes fromVancouver-baseddj_2button, and will be available on vinyl and as a digital download.

Once a resident of Bristol and Noods Radio, 'Transient Communications' is Vancouver-based dj_2button's vinyl debut. The record features spaced outgrooves designed to move your astral body as well as for moments deep in the dance. dj_2button uses a hardware setup to create a lean percussive backdrop,held together by rumbling sub bass and synthetic bird squalls that it across the stereo eld.

Emerging Netherlands-based pairing Parallells will land on Damian Lazarus’ Crosstown Rebels imprint for the first time next month. Gifting us an emotive offering in Ashes of Snow (The Rebirth Of The Phoenix), it acts as a tribute to their favourite Portuguese beach club, Yamba, which was tragically destroyed by a fire last year.

The title track hits a wonderful sweet spot between electronic elements and organic instrumentals. It feels raw and authentic, blending saxophone segments, electric guitar tones and a jazzy-like backbone to form a cut that feels ripe for both sunrise or sunset. On The Banks of The River comes next, manifesting as a more toughened dance music number thanks to deep bass components whilst still retaining the boys’ natural sound. Rounding off proceedings is Clive Henry, who’s remix of Ashes of Snow flies the flag for contemporary minimal. Weighty kicks reside next to delicate hats before ethereal synths are brought in, creating a romanian-inspired piece that you can’t help but dance to.

Parallells are two Amsterdam-based brothers hailing from the south of France. Multi-instrumentalists, composers, producers and label owners (Klassified), their music cuts across electronica, electro-jazz and underground dance music. Their live, hybrid and DJ sets have graced some of the world’s most esteemed stages, including DGTL, Robot Heart, Mayan Warrior, The Gardens of Babylon, Wonderfruit and many more besides. Their music is also heavily influenced by world culture, a feat that led them to launch their video series concept A Day In. Through this, they immerse in diverse cultures around the world, capturing sounds from their day-to-day life and unfold the story through the medium of music. Clive Henry is a linchpin of house music as we know it today. Cutting his teeth as one half of the tribal house duo Peace Division, he has held a long-term residency at Circoloco, Ibiza and has racked up bookings at standout venues and festivals including Printworks and Houghton to name a few.

Wah Wah 45s are proud to present the return of a unique collaboration between the U.K. 's very own Afrobeat Ambassador, Dele Sosimi, and a producer who's been at the forefront of the South London electronic music scene for over a decade now, Medlar.

The pair first joined forces seven years ago, when Medlar was asked by Dele's label to remix the title track from his last album, You No Fit Touch Am. The result was possibly one of the most popular and cherished remixes to appear on the imprint. The producer's respect for the history of Afrobeat shined through in the mix of course, but it was his ability to finely balance that with his house music instincts whilst adding an infectious groove and classic 80s analogue synths that really stood out.

The track was an instant classic, and it soon became clear that the Afrobeat Ambassador and Peckham producer needed to make some music together. Having never actually met during the remix process, the dating began, and luckily the two were a perfect match.

Two years on from their first recorded output, the Full Moon EP - a record that received radio support from Gilles Peterson on BBC 6Music, as well as tastemakers and DJs across the globe, and was even featured on the latest edition of Grand Theft Auto -the duo return with the State Of Play EP. The heavy hitting four tracker features special guests Tamar Osborn of Collocutor fame, and South African rising star Zito Mowa, as well as a pair of Dele and Medlar's most popular jams from their live sets, perfectly baked for the dance floor.

Early support has come from Huey Morgan, Tom Ravenscroft and Deb Grant on BBC 6Music; Sarah Ward on Jazz FM; DJs on Resonance FM, Worldwide FM and many more besides.

The EP will be available on vinyl this summer with incredible artwork from our in-house art director Animisiewasz and eye-catching packaging.

If one could summarize the life of DJ Rambo in 4 tracks it would be with this EP, from dubbed out Euro Dance to Merengue - another mistake release on Poppers.

Dance floor tool release by supposedly star-on-the-rise disc jockey – DJ Rambo. We have no idea who this person is, but one could guess this is one way to find out. Some rather heated opinions on the track list, but politics apart, A1 features a downtempo chugger yet unconventionally dubbed out version of what sounds like an early German Euro House production. A2 shifts gears with Italo tinted sexy house beats. On the flip side 90's Merengue sounds with ravey samples and dubbed out soap opera esque vocals. Lastly, a climatic commentator recording of what seems to be a football match between Brazil and Argentina.

Radio Slave & Dustin Zahn team up as Radio Zahn for ‘Berlin Sessions Vol. 1’.

Joining forces for the first time, Radio Slave and Dustin Zahn launch their collaborative works as Radio Zahn with a set of colourful, groove-laden techno tracks inspired by the sound of mid-90s New York on Rekids this May. Across all three mixes of ‘Twilo’ and ‘Power Muzik’, the duo deploys chunky, hard-hitting drums alongside building arrangements and masterful use of synths and dubbed-out FX, with the former featuring vocals by Toy Tonics member Kosmo Klint. A dream for fans of intricate, dancefloor-friendly techno, the release showcases why Radio Slave and Dustin Zahn are two of the most consistently exciting artist in dance music.

Responsible for some of the most recognisable tracks in the genre, including ‘Grindhouse’, ‘Don’t Stop No Sleep’, ‘Another Club’, and other timeless cuts, Radio Slave aka Matt Edwards’ work with Joel Martin as Quiet Village and solo work as Rekid has received critical acclaim, and he remains one of the most in-demand and consistent remixers around.

Since the late ’90s, Zahn’s hypnotic and driving techno has consistently caught the ears of top DJs and labels worldwide, best exemplified at his legendary marathon sets at Berghain. His vital work with Intellephunk includes the nearly two decades long running Communion after-hours events, cementing his invaluable contributions to the Minneapolis techno scene and beyond.

Ethno Service, a moniker for two electronic musicians based in Prague, are here with their debut long-player 'NMA'. Released via LBD Sounds tape series, it comprises six masterfully crafted original compositions and a couple of remixes, including an uneasy jungle rework by Exhausted Modern's new alias Oblaka and a spaced-out ambient escapism remix by voodoo priestess Lucie aka Avsluta. It's not an easy listening affair, broken and sometimes unnerving rhythms blended with duo's uniquely moody atmosphere, ever morphing and taking you places you didn't even know existed. Expect percussion-heavy tracks on a lower side of bpm spectrum. You may dive into this album horizontally, or try to find out if it's still danceable. Is it? Sure it is!

The Idealist is one of the many projects of Joachim Nordwall who has a long history in Swedish experimental music running the quintessential iDEAL Recordings record label since 1998, as a member of the psych-drone duo Alvars Orkester, avant punk rock trio Kid Commando and ritual drone rock group The Skull Defekts and through his many solo recordings and collaborations with people such as John Duncan, Aaron Dilloway, Mika Vainio, Mats Gustafsson, Leif Elggren, Gabi Losoncy, Mark Wastell and Christine Abdelour.
As The Idealist, he has been delving into an amalgam of experimental techno, dub and industrial music since 2006. His new A Lion Is A Lion And Not A Lamb continues this perspective unabatedly, conjuring up six tracks that shimmer with an almost psychotropic intensity, sometimes including acidic touches, dwelling in a confrontational minimalist musical stance where repetition, bursts of gorgeous noise and dubbed out skeletal rhythms make for wayward yet driving grooves at home on the dance floor and a set of headphones alike. The Idealist looks for engagement within rhythm, in its almost purest
form.

Once again DJ Click will make you travel ! A Dancefloor post-world music killer, melting with House and Electro, keeping the spirit of the original styles alive ! Fat & Crazy stuff !!

Berlin talent Joplyn is next up on Crosstown Rebels making her debut release on the label titled We Will Forgive Ourselves featuring remixes from prolific producer MK and label-head Damian Lazarus. Serving up two remixes in the form of MK’s Dub and Damian Lazarus’ Re-Shape, it acts as another milestone release for the near twenty-year-old imprint.

We Forgive Ourselves is the perfect musical metaphor for Joplyn’s inspiration. The track opens proceedings with elegant drum pads which are paired beautifully with quaint hi-hats. A gentle, healing vocal, followed by a deep heavy bassline creates a profound juxtaposition. Galactic-like sounds fizz in and out, fusing everything together to create a real sense of utopia that truly embodies Joplyn’s vision.

Brimming with a signature MK sound right from the offset, we’re treated to six-and-a-half minutes of perfectly executed contemporary deep house. Warming, subtle and inherently groove-led, soft kicks open into Joplyn’s haunting vocal offerings before rhythmic hats coalesce alongside, forming a modern dance anthem that is sure to light up many a club setting this summer.

Damian Lazarus’ Re-Shape comes next. Shimmering with an ethereal quality, the nine-minute piece undulates between moments of spiritual bliss to pummelling, acid-laden danceability. Whirring synths help create a galactic quality, as we travel between feelings of introspection, euphoria and everything in between.

If you live anywhere outside of Richmond Virginia you may have never heard of Sharpp. The group formed in the early 80s consisting of high school friends led by keyboard player Josh Fertel. They played cover songs mainly, performing around the fan, and at high school dances. With some gig money they managed to record two original titles at the defunct Harbor Sounds Studios. That would be their sole output, released locally on a 7” single, handed out to band members, friends and fam.