Buscar:it bites

Der lang vergriffene Longplayer als Vinyl-Wiederveröffentlichung im Original Cover von 1981! Ein Klassiker im DeeJay Genre - Toyan liefert hier sein bestes Album ab mit exzellentem Toasting über Riddims wie "Gunman", "Ice Cream Love", "Jacqueline", "Another One Bites The Dust". Die LP wurde im Channel One Studio mit den Roots Radics aufgenommen und bei King Tubby's von Scientist abgemischt!

Vinyl re-issue in the original LP artwork! - Classic DeeJay set from 1981 with the ranking Toyan riding a crucial selection of 'Junjo' rhythms including "Gunman", "Ice Cream Love", "Jacqueline", "Another One Bites The Dust". Housed in it's original cinematic Tony McDermott illustrated cover this crucial album showcases the Roots Radics at Channel One in full effect and was expertly mixed at King Tubby's by Scientist. Here are the ultimate DeeJay cuts to tunes by Clint Eastwood & General Saint, Michael Prophet, Johnny Osbourne, Hugh Mundell, a.o. and this recordings are the perfect addition to the much missed Scientist Dub albums series from 1980 to 1982.

Classic DeeJay set from 1981 with the ranking Toyan riding a crucial selection of 'Junjo' rhythms including "Gunman", "Ice Cream Love", "Jacqueline", "Another One Bites The Dust". Housed in it's original cinematic Tony McDermott illustrated cover this crucial album showcases the Roots Radics at Channel One in full effect and was expertly mixed at King Tubby's by Scientist.

Repress incoming...

Number 94 in the Brazil45 series is one for the Brazilian boogie lovers out there.

The vocal and instrumental group Os Carbonos from São Paulo had a long career that straddled the 60s, 70s and 80s. 'Pássaro Selvagem' is taken from the latter years of their career. Its a bass driven, boogie-funk groove (with a bassline not too dissimilar to Queen 'Another One Bites The Dust') that is Brazilian boogie at its finest. Taken from the B-side to a 7" campacto released in 1981 on Copacabana records, its proven to be a favourite of Luke Una and we foresee it becoming a staple in your DJ box for years to come too.

The B-side comes from one of our all-time favourite artists, the mighty Sandra Sa. Sandra is a wonderful vocalist, her intense and recognisable style is one of THE voices of the Brazilian boogie golden era. Check out her classic album 'Vale Tudo' (MRBLP230) on Mr Bongo for further proof of her credentials here. 'Palco Azul' is also taken off a 7" single from 1981 and is a feel-good dancefloor groover with punchy brass stabs, warm keys and uplifting chord changes. It contains all the right elements that we have come to associate with that knockout late 70s / early 80s Brazilian sound.

Drum Chums Vol. 5 marks the arrival of Captain Attractive, an international man of mystery, head-nod hero and edit expert whose many masterpieces inspired us to pick up the scalpel in the first place.
Last seen leaving Berlin on a world tour, this legend parked the Red Motorbike outside Talking Drums HQ and treated us to a lesson in San Fran sleaze, hippie disco and MPC bump.

The A side opens with the sticky funk of 'It's More Fun 2 Make Love', a pitched-down disco cruiser extended for the tantric dance floor and mastered on an old porno VHS. Sultry, slinky and rated X.
We're always hungry after the act and graciously Captain Attractive is on hand with a donut called 'Memories' to close out the A-side, looping some sweet soul into the kind of hypnotic hip hop as house romper which defined beatdown way back when.

The Captain takes the yacht to the Med on the B1 with the super Balearic groove of 'Dreamer', an astounding combination of dexterous bass, choral vocals and rolling piano, all set to the shimmy of hippie percussion. It could be a Laurel Canyon memory, an Xtian obscurity or something much deeper, but it's definitely twelve minutes of sunset bliss - just wait until my guy flips the script after seven minutes!
The dude drops the curtain with another bitesize portion of MPC mastery, cutting up some thick wax guitar and cool keys over a swung groove for 'Ghana Do It'.

Captain Attractive taking you where you want to go.

100% Drum Fun Guaranteed.

Released for the first time on vinyl, Queen’s compilation ‘The Platinum Collection’, featuring all three of their Greatest Hits albums, shows their unrivalled track record of chart-topping, award-winning, record-breaking rock and pop classics. June 17th will see the limited edition 6LP colour vinyl set released in a slipcase with brand new artwork. Each piece of vinyl will be a different colour and come in its own individually designed sleeve. The set also comes with an exclusive 24-page 12″ photo booklet. LIMITED EDITION

Having already proven that he is capable of maintaining sonic quality and distinction over the course of a full original program, Chevel (a.k.a. Dario Tronchin) now makes his LP debut for Stroboscopic Artefacts. His other S.A. contributions (including the inaugural entry in the label's singular Monad series, the "One Month Off" EP, his participation to the label's five-year retrospective series) have already hinted that a more complete exposition of his unique inner world would surface, and here it is at last.

Over the course of his young career, Chevel has gained a mastery over several compositional elements: Polaroid-like slow melodic fades, sharp ricocheting beats, and simply making one's headphones feel like a viable means of physical transportation. All of these elements come into play shortly after the needle hits the grooves of (Track A1), a euphoric introductory track marked by a spectral panning sequence and by beats chopped with a culinary expert's sense of elegance. The drum kit sounds that feature throughout are used sparely but - either because of this or in spite of this - provide maximum impact upon the listener's nervous system. The almost 'far Eastern' use of 'block' percussion on (Tracks A2 and B1) perfectly complements the synthetic sheen produced by fuzz distortion, radio static and bandpass-filtered sound bites, taking us to a terrain where a palette of decay effects provides just as much aesthetic inspiration as the presence of technological advancement.

There is more than enough humor and playfulness at work here, too, helping to once again banish the persistent stereotype of the modern techno producer as a sterile technician: the queasy melody line, sliced-and-diced whistling and gelatinous bounce of (Track D2) evoke a child's wonderment at playtime more than they do the rarefied rigour of the laboratory. The less pulsating numbers like (Track C3) and the closing (Track D3) will engage the listener as well, being like short audio films of abiogenesis (i.e. spontaneous generation of life from 'non-living' material) taking place. These tracks are not so much 'interludes' or contemplative retreats from the action as they are enhancers of it, utilizing fluttering cycles of melody to engage in a kind of conversation with the more driving tracks. As to the 'driving' tracks themselves: the places that they drive the listener to are satisfyingly beyond customary experience.

In other words, despite Chevel's keeping the sonic toolkit and overall atmosphere consistent from track to track, there is a rich variety in the emotional affectivity on display here. The net effect is like a dream state that leaves strong impressions even though one can't pinpoint exactly why they are doing so (and which leaves one wanting to dive back into the dream pool and experience something similar again.) This is a talent that unifies the diverse constellation of Stroboscopic Artefacts producers, and one that makes Chevel in particular one to continue watching, listening to, and experiencing.
Wire (USA/Germany/UK) - ''Very intriguing, can/'t wait to dive in.''
Pitchfork (USA) - "Nice use of space, though do find the atmosphere a little one-note. Percussion really pops."
RBMA - "Thanks for reaching out. Having a listen now and the album sounds really good. Happy to give it a shout on RBMA Twitter whenever is best for you."
Paramount Artists (UK) - "20/10 top effort!"
NTS Radio (UK) - ''Nice IDM music with fine textures and bass frequencies..''
Groove (Germany) - ''Very interesting delicate structures. Suggested for review in Groove.''
Exclaim! (Canada) - "I like this. I'll float it to my team and I'll let you know if anyone's interested in covering it."
Big Up Magazine (USA) - "Absolutely epic album."
Vicious Magazine (Spain) - "Great sounds, for our september issue, thx a lot!"
Little White Earbuds (USA) - ''Fantastic album from Chevel. I have unfortunately been at work today without my usual headphones but even listening on very poor quality ones, the rich sonic mastery comes through. Can't wait to get home and listen to this properly.''
Cone Magazine (UK) - "Thanks for sending this through. Looks great, and always interested about a new Stroboscopic release. I'll let you know when something goes up."

Grace Cummings is an actor and musician from Melbourne, Australia. Grace
learned piano as a child and took up the guitar as a young adult, but only
began to write and perform music in 2018. She went from a debut gig at
Melbourne’s Old Bar to a breakthrough performance at Boogie Festival in the
space of six months, picking up support slots with J Mascis and Evan Dando
along the way.
 With buzz building around her powerhouse live show, Grace grabbed the
attention of Flightless Records (King Gizzard and The Lizard Wizard), who
released her debut album, ‘Refuge Cove’, in late 2019. Refuge Cove won
praise from publications around the world, including Pitchfork and All Music,
and Grace was tapped for support slots with Weyes Blood, Cash Savage,
Teskey Brothers and Allah-Lahs.
 In 2020, Grace recorded the single ‘Sweet Matilda’ for Mexican Summer’s
‘Through the Looking Glass’ series before landing a worldwide deal with
indie powerhouse ATO Records (Alabama Shakes, My Morning Jacket, King
Gizzard and the Lizard Wizard). Her sophomore album, ‘Storm Queen’, is
now set for release.
 Available on CD and opaque white vinyl. (Once the coloured vinyl format has
sold out, a standard vinyl format - ATO0589LP - will be made available.)
 A graduate of the drama program at the Victorian College of the Arts, Grace
appeared in Elbow Room’s award-winning production ‘Prehistoric’, which
played to packed houses and widespread critical acclaim at the 2018
Edinburgh Fringe. In 2021, she made her debut with the Melbourne Theatre
Company in 2021, in Joanna Murray-Smith’s ‘Berlin’.
 “Cummings isn’t content to merely sing along to her melodies. She tears her
low, surging voice to shreds, braying like she’s beckoning you from the
opposite end of a crowded room. It adds an eerie, intense quality to her
music - a desperation behind the calm of her arrangements.” - Pitchfork
 “One of Melbourne’s hottest new talents... filled with raw power.” - Beat
Magazine
 “Cummings has a voice that demands to be heard, while her lyrics cut
through to the heart, leaving listeners gasping for air.” - Folk Radio UK
 “Like a combination of Sandy Denny, Odetta, Tom Waits, Leonard Cohen
and Marianne Faithfull... as the last piano chord ends, you are left wanting
more.” - Your Music Radar
 “There’s a striking androgyny in her tone, it brings the power needed for
these songs to make you stop and listen...Her wit is very sharp and it bites
back with cunning rhetoric.” - Stomp and Stammer
 “Take notice of Cummings as a fresh new Australian talent.” - X-Press Mag

The third release on U-TRAX in 1993 was also a third debut, this time by Natasja Hagemeier and Jeroen Brandjes. Early in their career, they used several artist names, but became most commonly known as The Connection Machine. With their debut mini-album The Dream Tec Album they more or less described their style: dreamy techno. It became an instant Dutch techno classic and U-TRAX is proud and delighted to offer a fully remastered re-release, including three never before released bonus tracks (one of which is digital-only).

Natasja and Jeroen resided in Utrecht back in the 90s. In 1991 they assembled all their ideas and recorded the track "24 Hours" with DJ Paradize. Soon after this experience, they started to buy their own gear, all strictly MIDI (which wasn't too obvious in those days). In their early recording years, they had three producer-names (Syndrome, The Connection Machine and Bitch&Bites), that were all collected under the The Utroid Machine Missions umbrella, which was used for their debut on U-TRAX.

All tracks on The Dream Tec Album are The Connection Machine's earliest works, from the 1991/1992 years.

"An Overflow of the Mind" is a beautiful, dreamy track with almost divine sounds and strange voice-samples that serves perfectly as an introduction to their entire repertoire.

Their first production was "24 Hours", and what a brilliant one it is! A well-known jazz-musician talks about a "24 hour party going on", on top of a sinister and trancey rug, woven of sampled sounds from pioneers in electronic music and nailed down to the floor with a deep pounding bassdrum. At the time they made this track, 141 bpm was unbelievably fast...

"Evilish Cosmos" is all about a very sad and personal emotion, so everything we say about it will be absolutely wrong. Just listen to the meandering piano line, distorted voice samples - and feel it.

The first bonus track on this release is "Recognized Pain", which was intended to be part of the original The Dream Tec Album. It had appeared on the Phuture Classical Section C cassette in 1993, on the famous Drome Tapes label that formed the roots of U-TRAX. It truly is an amazing track: pure sonic terror with haunting rhythms, psychedelic synth lines and shards of voice samples that make the listener feel slightly uncomfortable.

"X_Manray" is many electronic music lover's favorite track. It is sooo deep that it is hard not to get hypnotized by it. Warm strings are coupled with deep beats that show up and disappear every now and then. Could serve perfectly to start off any DJ's set, as long as she or he has the guts.

Though "Braindrain" is probably the most danceable track on this album, it is carefully designed to tease the listener. Everything in this track drops in too late and every tone, melody or loop last exactly a few bars too long. Designed as a DJ-teaser and so it is.

The second bonus track, "Cafe d'Anvers", is another previously unreleased work, of which unfortunately no master recording was saved. All that is left, as far as we know, was an old VHS Hifi tape from the U-TRAX Archives. And that is where this bonus track was taken from. Mastering engineer Thee J Johanz managed to restore the quality of the recording somewhat, while at the same time maintaining its dark, clubby sound, a tribute to the famous club of the track's name in Antwerp, Belgium.

"Dream Affected Dream" is one of the most recent productions on this album. It was recorded with CNN playing live on top of it. At this exact moment, CNN was having an interview with David Koresh, the leader of the infamous Branch Davidians sect from Waco, Texas, while they were under siege by an armed police force. Natasja and Jeroen were just ready to record Dream Affected Dream, and spontaneously decided to mix in the audio from CNN. Not very long after that, the cult members set fire to themselves. A very strange and oddly funky track, that also serves as a time-document.

The final track is another bonus track. Like Cafe d'Anvers, "Voight-Kampff" is taken from on old U-TRAX VHS Hifi tape and masterfully mastered into a lovely relaxed dreamtech piece. Very suitable to start the Sunday after a long night of clubbing. This track is available for free to buyers of the complete digital album only.

Original release date: July 1993.

The third release on U-TRAX in 1993 was also a third debut, this time by Natasja Hagemeier and Jeroen Brandjes. Early in their career, they used several artist names, but became most commonly known as The Connection Machine. With their debut mini-album The Dream Tec Album they more or less described their style: dreamy techno. It became an instant Dutch techno classic and U-TRAX is proud and delighted to offer a fully remastered re-release, including three never before released bonus tracks (one of which is digital-only).

Natasja and Jeroen resided in Utrecht back in the 90s. In 1991 they assembled all their ideas and recorded the track "24 Hours" with DJ Paradize. Soon after this experience, they started to buy their own gear, all strictly MIDI (which wasn't too obvious in those days). In their early recording years, they had three producer-names (Syndrome, The Connection Machine and Bitch&Bites), that were all collected under the The Utroid Machine Missions umbrella, which was used for their debut on U-TRAX.

All tracks on The Dream Tec Album are The Connection Machine's earliest works, from the 1991/1992 years.

"An Overflow of the Mind" is a beautiful, dreamy track with almost divine sounds and strange voice-samples that serves perfectly as an introduction to their entire repertoire.

Their first production was "24 Hours", and what a brilliant one it is! A well-known jazz-musician talks about a "24 hour party going on", on top of a sinister and trancey rug, woven of sampled sounds from pioneers in electronic music and nailed down to the floor with a deep pounding bassdrum. At the time they made this track, 141 bpm was unbelievably fast...

"Evilish Cosmos" is all about a very sad and personal emotion, so everything we say about it will be absolutely wrong. Just listen to the meandering piano line, distorted voice samples - and feel it.

The first bonus track on this release is "Recognized Pain", which was intended to be part of the original The Dream Tec Album. It had appeared on the Phuture Classical Section C cassette in 1993, on the famous Drome Tapes label that formed the roots of U-TRAX. It truly is an amazing track: pure sonic terror with haunting rhythms, psychedelic synth lines and shards of voice samples that make the listener feel slightly uncomfortable.

"X_Manray" is many electronic music lover's favorite track. It is sooo deep that it is hard not to get hypnotized by it. Warm strings are coupled with deep beats that show up and disappear every now and then. Could serve perfectly to start off any DJ's set, as long as she or he has the guts.

Though "Braindrain" is probably the most danceable track on this album, it is carefully designed to tease the listener. Everything in this track drops in too late and every tone, melody or loop last exactly a few bars too long. Designed as a DJ-teaser and so it is.

The second bonus track, "Cafe d'Anvers", is another previously unreleased work, of which unfortunately no master recording was saved. All that is left, as far as we know, was an old VHS Hifi tape from the U-TRAX Archives. And that is where this bonus track was taken from. Mastering engineer Thee J Johanz managed to restore the quality of the recording somewhat, while at the same time maintaining its dark, clubby sound, a tribute to the famous club of the track's name in Antwerp, Belgium.

"Dream Affected Dream" is one of the most recent productions on this album. It was recorded with CNN playing live on top of it. At this exact moment, CNN was having an interview with David Koresh, the leader of the infamous Branch Davidians sect from Waco, Texas, while they were under siege by an armed police force. Natasja and Jeroen were just ready to record Dream Affected Dream, and spontaneously decided to mix in the audio from CNN. Not very long after that, the cult members set fire to themselves. A very strange and oddly funky track, that also serves as a time-document.

The final track is another bonus track. Like Cafe d'Anvers, "Voight-Kampff" is taken from on old U-TRAX VHS Hifi tape and masterfully mastered into a lovely relaxed dreamtech piece. Very suitable to start the Sunday after a long night of clubbing. This track is available for free to buyers of the complete digital album only.

Original release date: July 1993.

Nottingham don Lukas Wigflex and "The Wizard" Tom Smith come correct with their Me & Meds project. Following on from their debut together on Wigflex, the follow up is just as inventive & playful.

2 years in the making- the studio skills of the pair shine through across the 3 tracks. The opener "Curtains Nine Tails" moves and warps over the first few minutes only to penetrate the listener with a crescendo of god-like basslines and tripped out vocals.

Faffhammer which gained big popularity when Lukas played it on that boat party at Love International is an atmospheric, wonked out euphoric number of the highest order.

The records finished off with the offside ramblings of another notorious Notts head - Des Hagenasty. This is his first outing on wax and it does not disappoint, backed by the analog wobbles and techno grit of Me & Meds, this one bites. The videos an eye opener too, just you wait!

0115 is alive.

Ibadan announces the release of volume 4 in the Leads & Bites series, presenting an exciting selection of soon-to-be timeless dance floor favorites. Up first is house DJ and producer Massiande, one of the most captivating talents from South America and notable Housewax alumnus. “Mainline” comes on strong, delivering punchy synth lines and fat beats with an undeniable Chicago spirit. Sharing the A-side is “Lens House” by The Prince of Dance aka Elbee Bad, an edgy sleeper track with eclectic rhythms and a perfect balance of all the classic elements. Kicking off the B-side are heroes of the hour S.A.T. - Sydenham, AYBEE, and Trent - with “Yaphet,” a low-key offering that gradually unfolds into the trio’s signature blissed-out, energetic vibe. MLiR and Arnau Obiols wrap it up with “Calanda,” a genre-defying foray into organic vocals and experimental sounds - nervy, mysterious, and with hints of downtempo electronica.

LTD. LOSER EDITION

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

PGS 011 comes to us from Gustav Brovold, an essential player in Detroit's latest wave of underground electronic music. His début EP, "Hyperbolic Space" is the first release solely dedicated to the local legend, with influences ranging from 90s UK rave, apocalyptic techno, and bright, post-Drexciyan electro. Since the late-aughts, Brovold has been a fixture of Detroit's dance community; first as a member of Randy Chabot's Deastro project, and then a pillar of the after-hours scene through raves with the ADULT Contemporary collective, all the while sprinkling in rare, must-see all-hardware-based live shows around the city. Moments of brilliance have boiled over the surface globally, with appearances on Don't Be Afraid as Radio Brovold in 2015, the Detroit Electronic Quarterly's "DEQ Vol. 7" in 2016, and on the punishing opener of PGS 009's with "Temple of the Circuit" earlier this year.

Following a live show at Detroit's Donovan's Pub in late 2018, Zach (Shigeto) came to the obvious realization–this music is the reason why we started PGS, and needed to release the music to a wider audience. Brovold handed PGS a flash drive with hours of completed music, a gold mine in bits and bites. "Hyperbolic Space" represents a cohesive sampling of the mountain of tracks from Brovold's vaults, propelling PGS into the next decade. Play it in your car, or at unauthorized raves, and dance to the airwaves of Radio Brovold.

"Oakland Ave"
The vibes of forgotten 90s raves: UK techno made with digital synths, resampled as a low-bitrate soundtrack for the night time level of a PlayStation racing game. Building, dancing hi-hats, slow building chord stabs, dubby techno feels. A triumphant finish, 1st place in fifth gear. (*If you play this at 45rpm, you can Jit).

Philippe Cam is the Thomas Pynchon of the electronic music world. Little is known about him and only a couple of pictures have been put online since he emerged on this planet to write his first and only album18 years ago. We know he worked as a sailor and that’s it. If you dig deeper you might find out that he worked as a DJ in the beginning of the 90ies in Brussels and began to study electronic music there and also began to write music for theaters and ballets.

The American distributor Forced Exposure once wrote that about him: „Philipe Cam is a star in his own field. He is among the few people who have succeeded to write hypnotic dance music without a conventional beat still conveying a thrilling, dramatic feel. Cam has developed an accurate, intense and complex formula of modulation-techno. Starting with music similar to Pan Sonic in 1996, his music turned towards a more elegant form of minimal music. Abstract soundtracks lead to an organic form of music, which was equally influenced by modern techno as Wolfgang Voigt's Studio 1/Gas or Basic Channel/Maurizio. Cam's music corresponds heavily to the Cologne scene, where his music is appreciated and played throughout the clubs by the likes of Michael Mayer, Tobias Thomas and various other DJs as well as experimental djs from the A-musik corner.“

So what’s new with his music? Basically the art of filtering is still his passion. Maybe he can be less associated with techno and the themes of his new tracks emerge in a more distinctive pattern? Well that’s hard to say, we would comment the energy of his early techno days in Brussels have returned here in a fierce way with some oft he tracks. The rhythmic movements are classy and stick with you. Whereas other tracks look for a distinctive relaxation of some kind.

We are releasing the album as a double clear vinyl with cover art by Yvette Klein who also designed the cover for his Philippe Cam’s album 18 years ago. Graphics for "Rotterdam" come from Cologne designer Daniela Thiel. We also would like to thank the cultural department of Cologne for supporting us to finance the album and to see the artistic value in this piece of minimalism.

The album kicks off with the mellow and soothing "Cocoa Beach". A Gentle beat that moves like bodies swaying in the hot summer sun. The clock moves a step forward and then a step backward as evolution takes a rest.

"Manga" feels like an acceleration to the moon, the contemplative moments come in spurts and hide in the intervals of the chords which are on the loose. Philippe Cam is the most energetic person in the world when it comes to core activity, this is head banging stuff for the ambient lounge.

"Short Summer" is a heavy and violent recognition. As intensive as it is it knows when to stop and disappear. In the ear and brain of the listeners it leaves an indisputable echo which lingers on for minutes. We suggest not to make a pause but jump directly into "Vermillions Sands".

What can be said about into "Vermillions Sands"? Be prepared some Terry Riley might lure around the corner to offer you some oranges on a silver plate, but don’t eat them. This is luring and beautiful at the same time. Maybe the best ambient track ever written and yet who can ever venture to say that without making a fool of himself. "Vermillions Sands" comes in waves and they could be longer we think.

"Rotterdam" the home of Philippe Cam for a long time but not anymore. He moved away. So that changes the perspective. But when was the track written? "Rotterdam" seems mechanical and rusty and spooky and divided. This arrangement is very different to all the other tracks so far and is almost dub in style but way more fractured. A steady stop and go emerges. But the longer it runs the better it gets. At minute 6 the brain resets itself and tries to grasp what has happened so far, reconstruction as a result of its own phantasmic imagination and hardly true at all, wonderful. Applause included!

Here comes "Bis", a short episode of a track and before we can comment on it, it is already over.

"The Game" is a mule of a track. It has a quiet stubborn sequence that bites and kicks you in the back without any change in near sight. We can hear a voice whispering, which sounds like a miniature vocoder featuring the voice of a child calling out - never stopping. This is treadmill to some extend but starts to breathe towards the middle of the track and slowly changes perspective. In fact there are some changes taking place here which go beyond a sound design that works heavily on the stereo image. Stick with it and the experience will be a great one.

"Ultimate Fly For Halloway" somehow orchestrates how you might feel after you climbed a 8000 meter high mountain and reached the top. A rejoicing off a special kind. Lava for the ears. No cheerleader murder plot sorry.

"Last Track" is a perfect example of a true minimalistic pice of music that manages to make contact with other genres and does this with elegance, determination and a lot of soul.

key selling points: The key selling point is the fact that Philippe Cam once was referred to as one of the main protagonists of the minimal music scene along with Wolfgang Voigt's Studio 1/Gas and Basic Channel/Maurizio. A true artist with a vision which is very rare.

Philippe Cam has picked up the sound he was famous for but has developed it further without selling out to any genre and expectation that rules our daily business.

Exactly this is the strength of the album to create a vivid world of impressions by using instruments in a whole different way than all software developers would suggest.

"Rotterdam" is a piece of art that can set off a firework when you listen to it and it owes nothing to anyone.

Burek is turning 18 with this one and we're honored to have the opportunity to welcome one of Chicago's most interesting producers to our family. His name is Mr Gene Hunt and if you've been into proper house music, it's impossible to miss one of his records.
For this EP, titled 'Reborn Rhythms', Gene delivers 4 full-blooded house bombs. All tracks are going beyond 8 minutes of length and are making good use of that time. Common denominator of all tracks is the irresistible and effective groove which is almost challenging you to try and not to move to it.

A side is reserved for two versions of already anthemic-sounding 'Deep House Thang' featuring Laffeyette Parker on the vocals. First up is the instrumental mix, and the second a full vocal.

Mr Hunt managed to come up with a skillfully balanced juxtaposition of a latin-sounding groove, catchy funk-sounding synth hook and gorgeous cascading pads. By the point the vocal drops, the whole room understand that the words are true.

Full vocal version is musically same as the instrumental but puts a much bigger spotlight to Laffeyette's soulful vocal. He's much more present and is developing the theme through several verses, in comparison to the instrumental one where only the chorus appears.

First cut on the B side, 'Get Down', is a ready-for-the-floor house track which during the first 20 seconds locks you into a heavy guitar-based bassline groove which bites like a bulldog. Throw Gene's drum programming into the mix, with several different vocal chunks exchanging roles and you've got something you'll be reaching for a lot. Serious house music vibes.

Second cut on the B side, 'The Message', could be described as the 'calmest' or the 'deepest' of the batch but that description doesn't do it justice. It's a beautiful peak-time house song which manages to build and move quite a lot without losing you in the richness of its piano chords, airy choir-reminiscent synths and beautiful strings. Simply timeless.

Party season is underway ! Here is your first go-to item in Take Away's new Bite Size series. Making a return after his previous sweet treat is none other than Admin, serving up two perfect bites. May We Take Your Order

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel.

Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard.

You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing.

Welcome To Our Disinformation.

Limited To 500 Copies - 180g

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel. Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard. You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing. Welcome To Our Disinformation.

Limited To 500 Copies - 180g