quête:jo di

Artwork by Jennifer Nastanovich

Iron Curtis has felt like a Polytone artist for quite a while now. He recently delivered a breathtaking remix for Matthias Vogt, and shared a split EP with the man himself, Terrence Dixon. He's also played several label nights, but indeed 'Unwind' is his first very own EP on Polytone. The opening track 'Riders' is our floor filler here. A subsonic bass experience of the more intensive kind. It´s a pure groover, with a surprisingly long lasting breakdown that never lacks on intensity. 'Cream' on the A2 is a stellar ambient joint, with rhythmic elements and cosmic pads. On the flip we have the title track, 'Unwind', with an unconventional basic groove, bleepy touches and trademark 707 drum machine sounds. Pure and stunning deepness. The Final track is a remix from Force/Emerge and leads 'Unwind' into techno territory. Polytone stands for diversity, and again demonstrates the labels vision of versatility here.

NOBLE SQUARE celebrates it's 10 year anniversary with Chicago's RICARDO MIRANDA & K JOY's 12" "DO YOU WANT ME" & "THE DJ KNOWS WHAT I LIKE". The original master reels were lost so the YONURICAN SOUL BROTHA RICARDO made new Disco & Proto House music for both tracks. Bonus track included! Out on NOBLE SQUARE RECORDINGS. HOUSE DISCO

music is the silence between the notes.' the french composer claude debussy once said.
the german trio wareika, consisting of florian schirmacher, henrik raabe and jakob seidensticker, love the silence between their notes, even if their music is often fully loaded with many detailed sounds, rhythms, melodies and intercultural sound links.
since 2007 they spread their passion for repetitive club grooves in the minimal house spheres that love to swing in the epic way. with four albums on labels like perlon or visionquest as well as eps for labels like eskimo, tartelet, circus company or bar 25 under their wings, the trio proofed their craftsmanship for multi-layered dance music already arrestingly deep on numerous releases and during tours around the globe that brought them also to japan.
now they deliver a new one hour long sonic journey on the tokyo based mule musiq, the label on which wareika member florian schirmacher already released as part of the glowing glisses project in 2008. also wareika itself are not new to the japanese imprint, as they previously dropped a remix for mule for the mysterious project jemmy in late 2015.
and now water, sky, sun, wood' - an ambitious one-track (on vinyl separated into four parts) love letter that kicks you deep into meditation - assumed you surrender yourself to their complex sounding and grooving story-arc. it all started with an unplanned four-hour jam session between henrik and flo-rian, gaming and messing around on the piano, guitar and drum computer.
later florian edited the happening into a one-hour sensation, henrik added some congas and synthlines and jakob mixed it down. the result is a meticulously edited, deeply absorbing dance between the pi-ano, guitar, conga, mfb tanzbär, mfb dominion 1, ob-6, jupiter 6 and manikin mellotron synthsizer. you can use it to get lost. lost from the daily grind. lost from precast perception.
lost in music. you can use it for your imagination to move to a place beyond words that guarantees some genuine experience. or you just can shut yourself down to it, dive deep into your unforeseeable dream world and dance your sub-consciousness around and around.
whatever each listener chooses to do, wareika's latest adventurous blend of jazz, techno, house and world music will move each soul individual. primarily because water, sky, sun, wood' is a reverbera-tion of the inner notes that are floating and dancing in florian, henrik and jakob. and as the greatest music in the world is nothing but an echo of the inner music, wareika managed to reach a new fresh peak of their multidimensional artistic body of work, that grows and grows to stand out in terms of deepness, permanency, eternalness and silence between all sounding sensations.

Wrong Assessment has turned some heads in recent times. Shortly after the launch of his AWRY imprint he debuts on Planet Rhythm with a full EP. Close To Red EP is a four track spanning journey through sophisticated techno. WA's range is very wide. He goes from beautifully orchestrated tracks such as Weight of Truth to the neurotic sounds displayed on Close To Red and Bologna. A very diverse debut from a producer whom we expect to hear more often on Planet Rhythm.

Al Brown was inspired to write the single 'Proverb' after spending hours hunched over his bible in Spanish Town as a youth. He had become known for his more commercial covers of singer Al Green material, but 'Proverb' was one of the few tunes that he recorded that were roots inspired and has become highly sought after. Recorded at Channel One with Ernest Hookim engineering, who did an excellent job of squeezing out a thumping horns led tune. The inspired version on the flip has Lloyd Parks on bass and the singer Derek Lara on drums. The Seventh Extension Band was the house band of the Zodiac label. Not a tight knit band as such, but built built around singers Bunny Lara and Derek Lara. 'Words spoke in haste will all go to waste so be cool'. True thing Al. Comes in hand stamped bag.

Finale Sessions launch a new series entitled Unreleased, and their kicking things off with label boss Michael Zucker sparring with Jonno & Tommo (more commonly found lurking around labels like Ornate). As you would expect from Finale, it's a deep house masterclass, with Jonno & Tommo leading the proceedings with the deft piano licks and hard grooving sub bass of "Dirty Nylons" before Zucker steps in with the pattering rhythms and swooning pads of "Just Believe". On the flip Zucker embraces a gentle strain of electro for "Narrow Is The Gate" before Jonno & Tommo round the record off with the immersive tones of "Shark City".

Soul Has No Tempo are proud to present 'The Self' - the new album from London-based drummer/producer Richard Spaven.

Richard Spaven is one of the most sought-after drummers in progressive and contemporary music. Drumming for the likes of José James, Gregory Porter, Guru's Jazzmatazz, Flying Lotus, The Cinematic Orchestra, TY and more, he has gained international recognition, both on stage and in the studio. Richard is an influential, genre-defying musician - the result of working closely with a diverse range of artists, combined with his own rich musical taste. Gilles Peterson said it best - "there's much more than just rhythm with this man".

His debut album 'Whole Other*' (2014) touched on many musical palettes and bridged the gap between jazz and electronica. With 'The Self', Richard introduces us to his personal journey. The moment in time where a jazz drummer affirms his love for club culture, delivering an album that travels from drum & bass to broken beat, dubstep and more, all seen through the lens of a drummer. The club culture influence is apparent in the way Richard wrote and produced this album - sampling his own drums on the Photek cover 'Hidden Camera' and collaborating with Metalheadz MC, Cleveland Watkiss to recreate the London sound system vibe so integral to his background.

Featuring guest artists from diverse backgrounds - Jordan Rakei, Jameszoo, Kris Bowers, MC Cleveland Watkiss and Richard's established partner in crime, guitarist and composer Stuart McCallum, 'The Self' is masterfully combined with Richard's unique production and showcases his trademark drumming style of precision, creativity and finesse.

Hot on the heels of the critically acclaimed 2017 LP Windswept - which soundtracked David Lynch's Twin Peaks, Digital Rain is Johnny Jewel's latest album. Jewel is known for his extensive collaborations with film makers David Lynch, Nicolas Winding Refn, and Ryan Gosling, as well as for his work with groundbreaking musical groups such as Chromatics, Glass Candy, and Desire.

The 19 movements of Digital Rain are three dimensional beds of analogue warmth encompassed in raw electronic moisture. The result is an expansive pallet of soft color amid canyons of jagged oscillations. According to Jewel, "Digital Rain is a mirror image of itself designed to play as a singular liquid movement."

"After living a few years in a desert climate, I realized I was nostalgic for the constant presence of precipitation from every city I once called home. The sound of hail ricocheting off my roof in Houston...The floods crashing in from the Gulf of Mexico that would destroy my mother's house three times...The constant kiss of drizzle on the streets of Portland, and the morning rain against the windshield of Trimet city bus number 15 that I would ride home after recording all night...The snow buried row houses of Montreal where my daughter was born, and the rhythmic feel of ice cracking under my boots for six months straight."

"The desert is constant, and I love this repetitious ritual of Los Angeles so much. As moisture and humid weather seem more and more like a dream I once had or a fading memory of the places I fell in love with...I wanted to make a record without drums, without lyrics, vague in form. Each track morphing and eclipsing the next like the ever-changing movement of clouds obscuring the moon."

Cut By The Legendary Bernie Grundman In Hollywood. Recorded in Joshua Tree / Mixed in Los Angeles.

**INITIAL 400 LPs CONTAIN A BONUS 7" BY MEL-O-MADNEZZ**

IT'S TIME TO PAAAARTY! Why The Universe knows that Tramp is celebrating their 40th trip around the sun in 2018. And what about planet Earth Well... it is as blind as it is in so many other situations. Therefore, it is time to shine the light on Tramp for all of its unremitting efforts. As musical diversity is vanishing, especially in the field of African American music from the 1960s/70s, it is our duty to stop the extinction of threatened species of music in the same way an animal welfare activist would do anything to save a gorilla's life. Tramp Records keeps this beautiful heritage alive, every single day, again and again and again. So we are here wondering why Earth people and especially to those from our beloved home country, why why are you just sitting there, going about your life unaware of this historic event What a pity!

The announcement is especially striking when it comes to the prestigious "Movements" series. Like all its predecessors, this ninth volume contains Rare Groove nuggets recorded between the early 1960s and the late 1970s. The fact that only one of the songs appear anywhere else is a jaw-dropping phenomenon! The chronological track listing starts with two amazing cover versions: "Fever" by Gee Gee Shinn & the Boogie Kings and "I'm A Woman" by Connie Kaye Trio. Bus Brown, Earl Demus and Chuck Finney remain in the same direction although their contributions are slightly jazzier. Chick Willis' gut-wrenching "Sometime Soon" easily rivals James Brown's "It's A Man's World" and the recordings by Australia, J.R. and Joe Akens are beautiful examples of privately produced soul from the 1970s. The latin-soul of "Cho Cho San" by Hummingbird 4 heads the sound in another direction for the next three tunes, highlighted by one more stunning cover version, Oscar Brown Jr.'s "Brother, Where Are You". The album closes with some pre-disco tracks from the mid-to-late 1970s. Funk 7" collectors will freak out to finally get a chance to listen to Mel-O-Madnezz' superheavy "What You Getting High On" but will certainly also enjoy The Counts, Reunion and Hot Cakes' dance floor bomb cover of "Harlem Shuffle".

Over a hundred great unknown songs have been re-released on the first eight volumes in the "Movements" series, the majority of which can not be found elsewhere, and Vol. 9 is no exception. The work of Germany's tiniest but grooviest record label is still incomprehensibly underestimated. We know you diggers, collectors, mavens, aficionados, fanatics, completists, enthusiasts, and just plain record geeks know what's up and we heartily salute you! Without your support there would be no Tramp Records. But now it's time for a broader cultural shift for good music and a sweeping move to uphold the legacy of the unsung heroes of funk and soul. Therefore, we humbly petition you: in 2018, Don't keep all this glory to yourself! Turn your friends and neighbors on! Thank you!

- initial 400 LPs contain a bonus 7" by Mel-O-Madnezz ("What You Getting High On")

- the double vinyl LP comes with a full album download code

- deluxe double-gatefold LP with detailed liner notes, label scans & unseen photographs

- all but one song appear on vinyl-LP for the very first-time

The Single > Side A 'PARALLEL UNIVERSE' is T.D.O.S. debut single featuring Thai rapper MC Sinnamon (Dujada-Dubway), is an cosmic trip between the heat of Chennai's bazars and Bangkok chaotic streets. Based on a rare indian library sample, Side B is 'WAT THAT TONG' featured samples of Thailand molam queen Yenjit Porntavi with modern dub beat and indian percussions. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few. Aside from the rock scene, he was also part of the multimedia team Ultra Pepita , developer of the today's world famous VJ software Modul8.

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

The Single > Side A 'PHRAKHANONG DISORDER' is T.D.O.S. second single featuring Japanese turntablalist DJ TO-RU (Dujada-Goja) is a bass battle on a downtempo hard drum beat, hypnotic and chaotic like Bangkok's streets. Phra Khanong is a neighbourhood of this megapolis where hip hop culture meets local traditions. Side B is 'NAMBA VIBRATIONS' with DJ TO-RU fine cuts on a dirty digital mish-mash of bass and dub beats,. Just in tune to get lost in electric downtown Osaka before heading to the dance floor facing a massive sound system. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few.

The Single > Side A 'BAILAN BREAK' is T.D.O.S. third single featuring Japanese turntablalist DJ TO-RU (Dujada-Goja) is Side B is 'UCHU DAIKAIJU NO BALLAD' (The Ballad Of The Space Monster) featured samples of Gozilla dialogues with a scary soundtrack mood.on a progressive and experimental beat. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few. Aside from the rock scene, he was also part of the multimedia team Ultra Pepita , developer of the today's world famous VJ software Modul8.

If you're familiar with Public Release's sibling, FACE, a series of parties, you'll already know that Jee Day, né Dennis McNany, has been in the Bay Area label's orbit for some time; as half of the DFA act Museum of Love, he joined the inner circle years ago. Here, with Amot Herga Laxy, he makes his bold debut on Public Release itself.
The single begins with 'Crocodile Tears,' an abstract, impressionistic tapestry of African rhythms, meditative synth washes, Vangelis-esque horns and pads. It recedes and Jee Day plunges deeper into the jungle with 'Communication Masterbation,' a propulsive number built around a psychedelic, droney bass that's wrapped with gritty, distorted effects and layers of topline keyboard licks stacked high. A raw club track cut from transcendentalist cloth that'll lift you off the dance floor.
The B-side is a dub of 'Communication Masterbation,' with an emphasis being placed on pulling out, unraveling, extending the rhythmic elements and emphasizing the electronic veil the piece is shrouded in. A trancey, menacing sprawl that could be an extended Sonic Youth live jam if they swapped their stringed instruments for Roland and Korg gear—and dusted the whole thing in an unknown psychoactive slime.

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

The fourth release on Trevor Jacksons Pre- Label is by SKULL. A visceral journey into experimental noise and no wave avant grade beatscapes
The last SKULL release 'SNAPZ' appeared on Jacksons own Output Recordings label in 1999. A seminal collection of tracks that had previously featured on the first two legendary Mo wax 'Headz' compilations (also featuring Autechre, Beastie Boys, Air, and DJ Shadow) as well as tracks that had also appeared on Kevin 'The Bug' Martins notorious Macro Dub Infection albums during the mid 90's.
Reactionary sonic statements aimed at the coffee table world of Trip Hop, fuelled by his dissatisfaction and dissillustionment with Hip Hop of the time, Trevor pushed himself into uncomfortable and far more extreme areas than he had before, areas he felt unable to explore with his Underdog productions, which were mainly being utilised for major label remixes at the time.
Influenced as much by the industrial pioneers, post punk and new wave of the past as the burgeoning post rock scene in the mid 90's, This new set of previously unreleased recordings originally produced between 1996-2000 are equally as intense and visceral as the early releases. Dusty samples, raw beats, tape loops, and primitive effects combine to sound as relevant now as when they were initially created.

Inspired by a longstanding respect for the pioneering sounds of Cluster, Neu!, Harmonia & John Foxx, the legendary K. Leimer fuses tape loops, Moog tones and a variety of real and imagined instruments into an immersive journey brimming with electronic emotion throughout this homage, 'Mitteltöner.'

A key figure in America's musical avant garde, Leimer's experiments with tape manipulation, fractal loops and textured ambience have been well documented in recent times, with RVNG and VOD both offering excellent and exhaustive retrospectives of the artist's seventies and eighties output. Tracing Leimer's discography from 1979's 'Translucent: / Memory' to 1983's 'Installation View', via the dislocated rhythms of the Savant project, these archival releases detail a move from the pastoral synthesis of kosmische into more angular, experimental territories. Simultaneously looking to the past and the future, this Origin Peoples release is both a return to Leimer's earliest stylistic explorations, and his first vinyl release of original work in twenty five years.

Oddly for such a sonic outlier, 'Mitteltöner' (midrange to non teutophones) takes its conceptual cues from the idea that the midrange contains all the core information. Over ten tracks, Leimer employs subtlety and skill to navigate the emotional depth of the kosmische genre while maintaining the focus and detail which has remained constant in his work.

Opener 'Dunne Luft' owes as much to post rock as krautrock, evolving from chiming harmonics and understated rhythms into an optimistic roar of motorik percussion and towering guitars. From there, 'Webermelodie' dives into crystalline calm, tracing delicate arps around a processed groove before 'Anode' sends us skywards, drifting through glistening piano refrains and hypnotic sequences. Te dramatic 'As Long Ago As This' glides through a deserted city of metal and glass leaving the measured ambience of 'Entferntemusik ' to close out the side in a swell of static.

Leimer shifts tone as we move onto the flip, segueing the stomping, cybernetic Sturm Und Drang of 'German Defaults' into the propulsive electronics of 'London Interiors', a dynamic sample-topped suite in the tradition of Bill Nelson. The addition of graceful piano motifs and swathes of hazy synthesis lends a tranquillity to the pulsating bass of 'Auf Einem Fahrrad', while 'SHM' marries soothing melody and crunching rhythm into a thoroughly medicated experience. Finally, 'Café Florian' pays homage to Schneider or Fricke with a euphoric fusion of metallic percussion and esoteric energies.

Far from a simple homage to the electronic idols of his youth, 'Mitteltöner' finds K. Leimer reimagining their nuanced sonic framework through a lifetime of musical experience and experimentation.

'The Layered Effect' by US rapper/producer Andy Cooper offers a punchy reminder of the creative fun to be had in digging for breaks, stringing up loops and layering up stratas of sound. Brimming full of delightful inflexions from the world of jazz, easy listening, film soundtracks and Hollywood voices, it's a perfectly stitched sound patchwork that pays loving hommage to the classic, funky days of early rap. A touching testimony to the joys of Hip-Hop then and now.

More than just the skinny white dude who's into old school beats, Andy Cooper has won his stripes after a twenty year stint with Hip-Hop trio Ugly Duckling, then a couple more hanging out with The Allergies, not to mention the recent release of eight 7" singles, an EP and now his second solo LP.What is utterly charming is how enamoured and respectful he is of how it was at the beginning AND of how it still should be.Far from being the "old timer/delusional revivalist" he describes in 'Last of the Dying Breed', Cooper cares not about colour or age, but that rap stays fresh, exciting, competitive, similar to a precious martial art.

For Andy, rap is a noble form. He's a wordsmith extraordinaire, snappy and audacious, tipping his hat "to all the microphoners who still bring that dedication and expertise to their craft" and choosing to work with equally rapid sparring partners like Blabbermouf and MC Abdominal. Ownership of the genre is a constant theme throughout the LP. Like a contact sport, you punch and fight your way to the mic and once there "no one can take it from me". Reverance is constantly being paid to the dons that went before, overtly Rick Rubin & the Def Jam crew, but covertly the reggae sound systems and jazzers of old.

Not a sloppy note or shabby rhyme here.It's an album that pops and fizzes with quirky beats and funky rhythms from start to finish. With production lines neater and sharper than a pair of sta press trousers, it's impossible not to be seduced by the sheer bouyancy of the lyrics, beats and intention. A refreshingly entire body of work with no low points, only head-nodding highs. It's good to stumble across a hip hop album that has you giggling, thinking, singing and wearing out the soles of your shoes all at once.

Record Kicks proudly presents "SuperStudio" the new single by legendary Italian cinematic funk combo Calibro 35 sampled by Dr.Dre and Jay-Z, taken from their forthcoming new studio album DECADE

"SuperStudio" - available on a super limited edition 45 vinyl and digital download together with bonus track "Gomma" - is Calibro 35's first single and anticipates their new album DECADE that hits the streets next 9 February. Quoting the band "SuperStudio is the main theme for a movie that doesn't exist, starring Clint Eastwood and Pam Grier saving earth from the invasion of deadly robots from another planet" and it's pure Dynamite. On the flip you'll find "Gomma", the bonus track out of the album which is an irresistible funk groovy shaker.

Recorded at the legendary Officine Meccaniche studios in Milan by CALIBRO's usual suspect and Grammy Award winner Tommaso Colliva, "DECADE" marks 10 years of Calibro 35's releases and it's the very first album recorded by Calibro with an orchestral-inspired enlarged line-up. Active since 2008 CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album and Jay-Z, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

repress

Following on from the critically acclaimed Penya Investigations cassettes and the 12' Acelere EP, Afro-Latin-electronic collective Penya conclude an intensely creative period with a Long Player collection of tracks Super Liminal. 'Liminal' - an in-between state -references the transitional process the four - piece band entered during a series of self-produced recording sessions held at Penya's multi-instrumentalist Magnus P.I's home studio between March 2016 and May 2017. Penya's percussive and futuristic Afro-Latin sound also owes its genesis to the concept of 'liminality': the threshold of disorientation occurring during ritual practices. Penya's hypnotic groovescapes, led by Jim LeM's bata drumming,ancient chants, sung by Lilli Elina, dubbed-out improvisations on trombone by Viva Msimangand lo-fi electronic production by Magnus P.I create a sound that has garnered significant support on BBC 6 Music via Tom Ravenscroft, Worldwide FM via Gilles Peterson, on BBC Radio 3's Late Junction, as well as being praised by a host of producers including DJ Khalab, Will LV, DJ Jose Marquez and Dengue Dengue Dengue. Penya's energised and engaging live show has also toured across UK festivals this summer, including Brainchild, Wilderness, Farmfest and Big Love.

Sorceror's 'Dream Season' defines the Dreamtime sound even further with it's journeys through psyched out space surf sounds with disco grooves.5 tracks dreamed from a moody moment in time and space, to the tape head in the Berkley Arena in San Francisco.

Finder is the newest alias of Jeroen Liebregts, best known as Radial (Audio Assault / Mord) and as part of the duo Museum (Indigo Aera / MDR). For this EP on Lowercase Life he has provided us with four deep and raw techno cuts with an analog feel. As always available in limited edition vinyl with hand made silkscreen printed covers.

Early support by: Etapp Kyle, Marcel Dettmann, Speedy J, Shlomo, Ame, Abstract Division, Dave Clarke, Dustin Zahn, Artefakt, Fabrice Lig, Jeroen Search, 2000 and One, Par Grindvik, Luca Agnelli, Jonas Kopp, Dax J, Wrong Assessment, Iron Curtis, Bleak, Rebekah, DVS1

KMD1 is not an ambient opener. It's the sound translation of your nightmare's anxiety. Don't be scared, it was just a dream.
Intentional Drowning is a bridge to the underworld. Let the syncopated groove fl ow through yourself and brace yourself for another dimension.
Aquaris Monopole takes you in a sub heavy journey towards the dancefloor. The urge to dance will be stronger than first expected.

All tracks mastered by Pole at Scape Mastering in Berlin.

Fathered by Lium, dj active in the Belgian new beat scene back in the late 80's, Cabasa is the continuity of his father's passion. Drawing influences from electronica to jungle and techno, his sound is an hybrid bass music genre. The will to make people dance has definitely been passed down though!
Resident dj for the Under My Garage party concept in Belgium and 199Radio in London, Cabasa is the kind of new blood that kicks you in the head: his sound is a threat, a menace, a danger to your existence.
He's also able to pick up the records you would never play out and make the crowd dance on a level you've never dreamed of. And should you give him that old synth you've never been able to get something of: he will use it and produce the most futuristic sound.
In a nutshell: don't forget his name, in a few you will follow him around the globe.

4 remixes of the TUBE originaly produced by Jaquarius & Neko Majin Most of them here are acid to acidcore, with a few of hard techno feeling... Notice the Joe I.N.D. Version, a very industrial downtemppo hard techno kicker !

Alan Abrahams aka Portable aka Bodycode is an artist very much defined by his past and his journey from South Africa to Paris via Berlin and Lisbon has seen him develop into a critically acclaimed producer, singer and video artist working with some of the biggest players in house and techno.Part of his constant drive to evolve and challenge himself, this autumn Abrahams launches new project RANGEr, teaming up with London label Waella's Choice for the debut release. The five tracks on Portable Presents RANGEr are a delicate mélange of jazz , soul and electronic and one of Abraham's most explicit nods to his South African roots.
On the A-side, the EP makes a steady start with 'Bazokonwaba' accompanied by a lullaby from South African a capella group Korus, hailing from the small township of Mbekweni in the Western Cape. They also feature heavily on the EP's most exuberant moment in 'Nomaliso' - already a favourite in Esa's recent Boiler Room - and the more languid B-side opener 'Indaba' with a choir of cowbells all harmonizing in unison. 'Reset' and 'Vessel' provide a self-reflective conclusion to the EP, holding their own as instrumentals with Cameroonian bass player Stan on bass and Parisian saxophonist Chisneg lending a hand on the latter. Early support from Tama Sumo, Lakuti, Gilles Peterson, Rinse FM, Esa, Stamp The Wax, Dimensions Recordings

IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled 'IMA' on an 8' flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. We've added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed 'Do Not Enter' sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.

There were several groups within the Detroit music scene that shared the name of 'The Holidays'. From the 1950's through to the late 1960's our version of The Holidays who took their name from a group members car, a 1954 Oldsmobile 'Holiday', would record for the Star-x, Markie, Master and Holiday record Labels. Founding member James Holiday would also briefly pursue a solo career with releases on the Markie, Syco and Blue Rock labels respectively.
In 1969 James joined by his brother Jack, a baritone saxophonist and the former leader of the band within influential Detroit DJ 'Frantic' Ernie Durham's legendary Gold Room at the 20 Grand Theatre. The brothers together, with Maurice White and former Contours member Joe Billingslea formed 'The New Holidays' who recorded the 'Popcorn' Wylie produced song Maybe So, Maybe No' (Soul Hawk 1008). This current in demand 45 featured If I Only Knew' on the flipside, an excellent cover version of a previous Jimmy (Soul) Clark recording If I Only Knew Then (What I Know Now)' This was recorded at a later session to Maybe So, Maybe No' and featured a slightly different line up with Joe Billingslea making way for a youthful Elliot Smith.
By 1972 The Holidays found themselves without a label, so they formed their own, Marathon Records. Their initial release was the excellent double sider I'm So Glad (That I Met You)/Too Many Times' (Marathon 257). Both songs were written by James Holland and Sylvester Potts another former member of the Motown group 'The Contours' and were recorded under the artist name of 'The Fabulous Holidays.
Into 1973 and their next release was the soulful ballad Getting Kind Of Serious' (Marathon 18475) a Fritz Hale and Fredrick Charles Hawkins composition backed with an instrumental version. Followed by Ego Tripping' (Marathon 18475) an upbeat funky little mover backed with the ballad Lazy Day' written by James Holland, Anthony Hawkins and Fritz Hale.'
During 1975 The Holidays resumed their acquaintance with former record store owner Ronald Holmes a collaboration which led to the release of another excellent double sider This Is Love b/w The Love We Share' on the Rob-Ron (RR-75) label. The Love We Share' was recorded twice. Firstly as the issued 45 version under the shortened title of The Love We Share' and as an unissued longer version under the title of (Been Together Too Long) The Love We Share' with slightly different lyrics. During 1976 a further Holland/Holmes collaboration saw the release of the message song Procrastinate (Why Do We)' (Ron-Hol 76). After this release Ronald Holmes and the Holidays parted company.
During late 1976 into 1977 the Holland brothers wrote and produced two further songs which they recorded with Charles Hawkins (a founding member of the Psychedelic Rock and Funk Band, 'Black Merda') The up tempo dance track You Make Me Weak' and the less frenetic Lost Love' although never issued at the time both songs can be found on the recently released Soul Junction cd album Getting Kind Of Soulful' (SJCD5012). A later discovery of a alternative take of You Make Me Weak' (Take 2) is now available on vinyl for the first time backed with their uptempo dancer I'm So Glad (That I Met You)' The Motorcity continues to yield its long lost legacy.

Carl Gari is a group of three from Munich: Jonas Yamer, Till Funke and Jonas Friedlich. They released their well received and idiosyncratic debut (NPR mentioned it as one of the 50 best albums in 2016) on The Trilogy Tapes, for which they collaborated with Egyptian singer and spoken word artist Abdullah Miniawy. For the second release on Permanent Vacation they perfected their unique blend of psychedelic ingredients, dubbed out drums, drony sounds and a general hazyness. The mystic chants of Abdullah, who is also featured on two tracks, weave themselves into the band's lively sound texture. Apart from that Carl Gari showcase the diversity of their analogue driven and melodic approach to electronic music through four beautifully detailed tracks.

'What was old is new again'... The old adage is so tired that nobody takes its proper measure: all people hear is the word 'old', when the important one is 'new'. Making new things out of old things is an act of alchemy. The proof is in this fifth album - no rest for the wicked of Perpignan - which is blown right open here and there by a few very contemporary guests. After the opener, 'Ouverture', with its almost surf-like guitars, comes 'Le Premier Jour', where Lionel Limiñana talks about his rock baptism with the punks, the mods, the skinheads and the Lambrettas of his youth in the South of France. What comes just after is the seismic shock of 'Istanbul is Sleepy': the Imprimatur of Anton Newcombe of The Brian Jonestown Massacre is simply enormous. Then comes Emmanuelles Seigner's super sexy tornado on the title track; and 'Dimanche' follows, with Bertrand Belin. Lionel sees him as a 'French Nick Cave who writes songs that resemble films.'. 'The Gift' features Peter Hook who scrapes his bass guitar again here; obviously a song reminiscent of an early period New Order. Finally, the Limiñanas on their own send out an instrumental cavalcade with a furious beat, like a Kraut Morricone, 'Motorizzati Marie' followed by 'Pink Flamingos', introduced with psych rock pads played backwards forming a vaporous song bathed in acoustic arpeggios. A respite in the album... before the fuzz and the abyssal bass of 'Trois Bancs' violently shakes the ghost of Gainsbou

With their second album Kin Sonic, Jupiter and Okwess transcend the Congo's unexplored musical heritage and dive into a pool of modernity. We're invited to savour his latest recipe, the Okwess ('food' in the Kibunda language) which is the fruit of all the encounters and influences he has absorbed during his many journeys around the world. It's a recipe based on perfect alchemy.

OMEN Recordings is off running to the industrial techno races againand this third release has already been gaining traction around the globe with high anticipation and support from many respected producers and DJs alike. The Puppetskin EP written and produced by German and French artists RENDERED with remixes by American producers BLACK ASTEROID and AXKAN is off to a great start. RENDERED starts off strong with the title track Puppetskin" (A1), with strong breakbeat kicks, thrashing snares and rich synth lines that are melodic and spacey. The dancefloor will surely love the Charles Manson samples. Nightmoves' (A2) also heads the pack with shuffling kicks while rich, minor-tuned pads take you on a persistent journey. About half way through, you will be moved by a 4/4 pattern that sneaks in and will be a favorite for the dancers. BLACK ASTEROID's remix of Puppetskin' (B2) does not disappoint as signature Black Asteroid textures and rhythms come alive in this rendition. Although it has rounded, full soundscapes that sound perfect for a large venue, its pumping, hypnotizing bass lines and screeching sirens keep you pulled into the darkness. AXKAN stays in the pack with his earthshattering remix of Puppetskin' (B1) by starting slow with a profound intro to then push the audio boundaries with his powerful kick and bassline, to gain more and more strength with vocal samples, distorted drums and FX. AXKAN uses every stem of the original in such a creative way to help win the race. This EP, soon to be available on vinyl and digital formats, exceeds the expectations of sound design and techno together. No matter what time of night it is, these tracks can be played in a versatile way. While still employing darker textures, a breath of light creeps its way in. Listening to this EP start to finish is definitely worthwhile.

Stiff Little Spinners Vol. 9+10 Release info This is the end, my friend. 10 LPs, 24 different artists, 61 tracks, almost 7 hours of music. With Stiff Little Spinners Vol. 9+10 we will release the last two volumes of the housey techno compilation series as a double 12 vinyl on 24/11/2017 via Hold Your Ground, Audiolith's new sublabel. The intention of Stiff Little Spinners was always to keep the party going and most of all to keep it interesting. With every new release, we introduce new artists and almost always new genres - shoo-bi-doo house, rumble tec, abrasive electronica, stress ambient, you name it! Stiff Little Spinners Vol. 9+10 showcases new and known talent from Hamburg to Berlin via Warsaw and Texas. Side A The first side of the four starts with Ben Böhmer and Antoni Sierakowski who get straight on it and pick you up with around 124 bpm and loopy hypnotic perfect deep house. We then slow down a little with Piotr Bejnar who gives us a dreamy slow-jam masterpiece that can only be described as the intonation of a summer longing daydream. The first side is definitely for the MDMA kids amongst you. Side B Side two starts off with Thomas Atzmann, who seems to only produce progressive house operas these days. This nine minute epos will take you on a trip through time and space, it tells a story of tension and precariousness.

Album includes the singles Drew Barrymore' and Love Galore' featuring Travis Scott.

The recent release of the Love Galore' single and video were met with rave reviews from fans and critics alike, including Pitchfork, Stereogum, Billboard, Vibe and more. The Fader calls the track a smooth collaboration... SZA and Travis Scott display a magnetic chemistry (in the video)...,' while Paper summarizes the song as a perfect breezy springtime jam for your Carrie-Bradshaw-at-her-MacBook moods, and if you haven't caught major feelings for SZA by the time the song is over then we really have nothing further to discuss.'

SZA, one of the redefining voices of today's contemporary music era, entered the music scene in 2012 with her first critically acclaimed EP, See.SZA.Run. Following that, she released S in 2013 and Z in 2014, both to rave reviews. In 2013, SZA signed to Top Dawg Entertainment, being the first female artist to join the label. SZA wrote and performed on Rihanna's Anti Single Consideration' in 2016 and helped write Nicki Minaj and Beyonce's Feelin Myself' in 2014.

Born in Maplewood, New Jersey as Solána Rowe, SZA grew up listening to classic and avant-garde jazz, alternative, and rap. She renamed herself finding inspiration within the Supreme Alphabet: the 'S' stands for savior or sovereign, the 'Z' for zig-zag, and the 'A' for Allah.

Granny13 opens with Nicola Ratti's 'Odd Doubt'. With the use of a modular system and tape loops, a broken rhythm is obtained by parallelism between single sound signals as LFO one or processed tapes.On the second side, Giovanni Lami's 'Johnny Leech' is made with a small bunch of equipment, just a chaotic hand-made synth (cacophonator) and a memoryman, working mainly on static electricity and leakage current in the synth used without any kind of power supply.

Reviews

The Wire
''Two Italian mucisians share a split single of glitchy fun and everyone goes some happy. Lami s piece uses a defective unplugged synthesizer to make huzzing chitters that have a kind of rhythm in spots. Ratti s contribution is a bit more structured it sounds like a record of accordion miniatures broken into pieces, then glued back together with little pieces of felt stuck onto it. Which would definitely be a pretty hep thing to hear.''

Textura
''Some releases qualify as art objects as much as musical collections, a case in point this recent seven-inch vinyl outing featuring material by Nicola Ratti on one side and Giovanni Lami on the other. That shouldn't be interpreted to mean that the musical content isn't worthy of one's time, as it assuredly is, but more to emphasize how striking the sleeve artwork by Opora is and how effectively it complements the musical content.Mastered by Giuseppe Ielasi and issued in an edition of 150 copies, the release opens with Odd Doubt, a concise experimental setting by the Milan-born Ratti, who's issued material on labels such as Anticipate, Preservation, Die Schachtel, and Entr'acte and who's presently working with Ielasi in the project Bellows, with Attila Faravelli as Faravelliratti, and with Enrico Malatesta and Faravelli in ~Tilde. Though Ratti started out as a guitar player, his current focus is more on beat-analog experimentation and sound installation. In Odd Doubt, Ratti's modular system and tape loops generate broken rhythms that varyingly call to mind dub-techno, even if dub-techno of an extremely wonky variety. Off-beat chords, crackle, and snare strikes add to the dubwise flavour of the material, though ultimately it registers as more of an experimental exploration than straight-up dub exercise.The flip side features Johnny Leech by Lami, a one-time photographer now known as both a field recordist and a musician focusing on soundscaping and sound-ecology. In his contribution to the seven-inch, Lami's chaotic hand-made synth (cacophonator) and memoryman give birth to blustery smears of static electricity that ultimately mutate into an Oval-like array of ripples and scratches. Johnny Leech is so removed from anything conventionally musical, it makes Odd Doubt sound like a Top 40 pop song. Like Ratti's piece, Lami's is short, so short, in fact, it gives the impression of being an excerpt from a larger sound art work. Here's a release where the abstract nature of the musical content matches its visual presentation.December 2014''

Vital Weekly 951
''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''

Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.

Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.

Reviews

OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.

Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.

Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.

Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.

A/B sides of Taciturn Manner LP
Taciturn Manner is Reggy van Oers's first full length on his own Telemorph imprint.

Pertained in a period of strained self reflection, several field recordings have become the core upon which the album has been created. A persistant continuous movement throughout the elements of the tracks causes a certain constrasting tension and gradually transforms into lush cinematic textures.

An intricate and mesmerizing journey, full of rich and surprising details, resulting in a rather emotional expression of his constraint style and coherent distinct sound.

Jaxx Madicine is a jazz-funk inspired house-ish outfit from Milan consisting of Turbojazz (Local Talk, GAMM Records), Parker Madicine (Heist, Bastard Jazz Brooklyn, CT-HI Records) and the talented jazz keyboardist 'Veez_0'.

With an organic and melodic sound collage you can hear influences from classic 70's jazz funk labels and artists like CTI, Mizell Brothers, Kudu and Bob James but also the current sounds of Kaidi Tatham, Byron The Aquarius and Harvey Sutherland.

After their debut EP 'Montreux' they are now ready to drop their full album 'Distant Classic' where the Jaxx crew exit planet earth and treat us to a space music odyssey that is full of surprises.
During the journey they deliver house, jazz, fusion, boogie and jazzy beats from a highly melodic keyboard perspective.
All tracks are made with a genuine love for analogue synthesizers, fender Rhodes, clavinets and some soulful MPC programming.

'Distant Classic' is an album that can be enjoyed both in the club and at home, but we hope you will enjoy their melodic sounds on any platform. Just press go and enjoy the trip...

Officially now a duo, Merrill Garbus is joined by long-time collaborator Nate Brenner. Their new album, 'I can feel you creep into my private life', tackles race, politics, intersectional feminism and environmental prophecies head on. In the billows of intense subject matter the album is their most immediate and upbeat yet - this is Tune-Yards' music to dance to. The follow-up to 2014's acclaimed album, 'Nikki Nack', much of 'I can feel you creep into my private life' was recorded at John Vanderslice's new Tiny Telephone studio in their hometown of Oakland, CA.
To help finish this stunning record, they enlisted mixer Mikaelin 'Blue' Bluespruce (Solange, Skepta, Kendrick Lamar) and mastered it in Harlem, NY with Dave Kutch (Jay-Z, Chance The Rapper). LP format includes poster and digital download card.

Following the release of Synkro AKA Joe McBride collection of his formative early works earlier this year, Apollo Recordings is proud to present a brand new EP that draws on the rich heritage of library music. Despite having come up during the dubstep era McBride's music has always resisted easy classification - 'Hand In Hand' sees him shift his musical focus in a yet more cinematic direction. McBride explains : "The record was inspired and influenced by my love of electronic 80's UK library records like the Chappell AV series, Bruton, Soundstage & De Wolfe Music library. There's a lot of synth work that carries on from my album using my trusted Juno-6 / SH101 / JX8P combo with the addition of drum samples via an old akai S2800 I purchased recently. Most sounds I've made from scratch on hardware based on sounds used in the library records I mentioned above along with a few cheeky samples." Synkro's signature expansive atmospherics are still very much present, but now they have been burnished by soaring synth pads and pulsing drum tracks that call to mind the haunted melancholy of John Carpenter or contemporary such as Legowelt or Andy Stott. Rhythmically 'Hand In Hand' sees McBride moving somewhat away from his usual off kilter programming inspired by 2-step and garage, embracing the steady pulse of 4:4 which turns out to be an effortless fit.