Buscar:liv e

Macro proudly welcomes rRoxymore to its stellar roster of artists. Roxymore has turned heads with her outstanding DJ sets and no-prisoners-taken live act. Her recent collaboration with Oni Ayhun, Paula Temple and Planningtorock as Recon Decon 1 on Noise Manifesto promised a great future, and that promise is kept in Tautologies.' From the techno drive of Darksun to the housed-out oddities of Q19 and DFF: this is as fresh as it gets.

Single sleeve glossy LP jacket with double sided euro sleeve art insert and Dropcard w/ free digital download.
When Lindsay Pitts and Clifford John Usher first met, their connection was instantaneous. That bond still fuels their art. As GEMS, they self-released the Medusa EP in 2013, a debut with a remarkably mature sound. On Medusa, Lindsay's haunting and deeply emotive vocals provide the backbone for Clifford's dark and dreamy production, balancing gauzy atmospherics with emotional heft. That mix finds new tension and release on GEMS' first full-length album, Kill the One You Love.

The record more deeply indulges in the group's evocative shadow pop, influenced by R&B production and shoegaze. At the core of GEMS' music is existential longing. Lindsay and Clifford try to capture the intangible and they arrive closest with Kill the One You Love. Music is a never-ending process of learning and growing and reaching,' Clifford says. Of stepping outside of what is familiar and moving into a place where there aren't answers.'

The anonymous entity 'CHPTR' derived from undefined controlled sequences progressing into endless alienated narratives, all live recorded and captured on the eponymous label, CHPTR.

Essen's own Glenn Astro has called his first album Throwback, and the name is at once a perfect fit and not nearly the extent of the story. On the one hand, Astro has filled the double-LP with a wealth of old-school gestures and textures—the warm whoosh of analog synths, the rattle of Rhodes tines and the sizzle of jazzy drums,all held together by the comforting glue of tape hiss and vinyl crackle. If you're used to the clean sonic lines and stylistic streamlining of so much contemporary house music, then Throwback is sure to feel less like a record you just pulled out of plastic wrap than a well-seasoned one salvaged from a flea market or unfinished basement. And yet like so many Tartelet releases—particularly the label's last two full-lengths,
Max Graef's Rivers of the Red Planet and Uffe's Radio Days—it feels fresh and keenly contemporary no matter how vintage the fabric. Rather than throw back to any one moment, he's given us a collage of styles that's quite literally timeless. Astro makes brilliant work of his influences, drawing on hip-hop, house, funk and soul in such equal measure that it's hard to argue that one impulse dominates the other. The sound certainly flirts with the dance floor, with Astro applying highpressure
deep house pads on the title cut, gliding on shimmering keys for "One For Viktor," and taking us on a vibraphone-fueled workout with "Kilometer Disco," one of a pair of cuts featuring Max Graef. But Astro obviously relishes the time he spends on the sidelines absorbing the atmosphere, or at home head-nodding to the dustiest corners of his record collection. For every house beat you hear, you'll also dip into juicy, 90's-style beat science, toasty ambience and buttery chord progressions.
Expertly paced but never hustling you along, Throwback begs to be heard as a whole but explored at your own easy pace—a record for hazy mornings-after, vibey
nights in and endless summer afternoons.

Drew McDowall's back story reads like a primer of psychedelic fiction woven into statements of the unbelievable, superhuman and outright insane. Somewhere in the chaotic madness, comes an artist such as McDowall with total control and absolute calm within his songs and artistic method.

Growing up in the gangs of 1970's Scotland, Drew McDowall started to shy away from the daily violence once punk took hold of the counterculture youth. Drew McDowall quickly scrambled to form his own punk band in 1978 with his then wife, Rose McDowall, called The Poems. Shortly lived, the Poems released a single and various tracks but more importantly, the band allowed McDowall to network with other local musicians in Glasgow, such as Orange Juice, and allowed him to travel down to London thus forming friendships with Genesis P-Orridge, David Tibet and countless others, bringing Drew into the fold of the experimental revolution happening in the UK brought upon by Throbbing Gristle and executed by bands such as Psychic TV and Current 93.

During the 1980's, McDowall found himself in the ranks of P-Orridge's Psychic TV and collaborating with the mysterious duo comprised of former Throbbing Gristle creator Peter 'Sleazy' Christopherson and the enigmatic John Balance who had been creating esoteric and progressive electronic music under the title of Coil. It was during his formative collaborations with Coil that McDowall saw himself shift from occasional contributor to austere full-time member of the arcane outfit. McDowall's impact on the band's sound was apparent as the releases transformed from their previous avant pop signature to a more complex and methodic electronic imprint accompanied by even more abstruse subject matter than previous years. McDowall would continue honing his compositional skills with Coil until the release of the band's two most broad-minded albums, Astral Disaster and Musick to Play in the Dark.

The past decade, Drew McDowall found himself living in New York City and re-appropriating himself within the local music scenes he found himself contributing to. In 2011, alongside his friend and collaborator, Tres Warren (Psychic Ills), McDowall found himself exploring his passion of meditative drone and abstract sound patterns in their project Compound Eye. In recent times, McDowall's production work has provided the music world with some of the most outstanding remixes for bands such as Nine Inch Nails, Azar Swan and Long Distance Poison as well as his well-received scores he composed alongside artist Tamaryn for the works of Bret Easton Ellis. Outside of his collaborative duties, McDowall formed an audience as a solo artist, playing countless performances and showcases around New York's electronic music haunts.

Dais Records approached Drew to solidify his standing as a leading electronic musician with the recording of new material neatly wrapped up in his debut album entitled 'Collapse'. Recorded in 2015 in Brooklyn, NY, McDowall's synonymous modular synthesizer compositions are augmented by obtuse sampling cut-ups and contributions from Nicky Mao (Hiro Kone / Effi Briest) rounding out the lumbering sequential knot work that has become synonymous with McDowall and craft.

JD Records hits release number 10 in fine style. Retrospective EP features 3 Detroit tracks from Santonio Echols, this is the real deal, long live the underground!

a highly regarded producer and musician who used to be in the midst of the NY metro breeding reactor that spectatuclarely revived and modernized disco and italo disco since the turn of the century and added some hotliped live brass to their platters and whose sought after releases under his own appear appear much to rarely dons his house cloak and dagger for 3 sneaky new chapters on story. not wasting any time on unnecessary nicety the a-side track will send up a whole colony of ants right up your pants riding on a steamrolling percussive disco groove garnished with cut up vocals and fx trickery. B2 is another chicago style wedding of disco and house with a jubilant, string backed female vocal snippet tweaked over a heavy groove while the first track on the flip is a subterrenean, groaning dub house affair that reminds of a slowed down John Ciaffone banger. no matter which chapter you jump to here it puts you right into the action.

Moresounds has left the training camp and is now at the controls of his own craft. A dub fanatic, he stays true to the techniques of King Tubby, and from behind his desk sends dancefloors crazy with pinches of hip-hop and jungle in his authentic and energetic live show. This approach caught the attention of Om Unit's Cosmic Bridge label in 2012 before his debut EP on Astrophonica in 2013. Since then his music has appeared on Doc Scott's 31 Recordings and has added trademark cosmic dub seasoning to Machinedrum's Vapor City project. An impressive start to his career, echoed in Fact Magazine's inclusion of the producer as one to watch in 2015.

* Peverelist and Hodge remix two tracks from the reverse Livity Sound label catalogue for a sampler 12' to be released ahead of a new dnuoS ytiviL label compilation 'Reverse Vol 1' in October this year.

* A pioneer of his own vision of the UK sound, Peverelist transforms Hodge's Amor Fati in to a signature writhing mesmeric groove whilst on the flip side Hodge irons out Bruce's 'Tilikum' into a booming, epic late night tool.

* The Livity Sound label has been at the forefront of UK electronic music for the last few years, pushing its distinct take on techno with sound system frequencies. The reverse Livity Sound label (or dnuoS ytiviL) has run concurrently alongside, releasing music complementing and reflecting the core artists output. The compilation will mark the first time the catalogue has been available digitally, previously having been vinyl only.

For the second installment in their 12' series Music From Memory present two deeply forward thinking electronic tracks from British musician Michal Turtle made between 1983-4.
The first track 'Are you Psychic' is taken from Turtle's obscure 'Music From The Living Room' album which Michal recorded literally in the living room of his family's South London house at the young age of 22.

Over-running his parents' front room with various synthesizers, amps and instruments, and setting up a portable four track studio the 'Music From The Living Room' tracks were built around live jams that took place alone or sometimes with musicians he would invite to play alongside him. Whilst seemingly sample based the instruments were played live and any voices or sound effects were actually recorded directly to tape, or put onto tiny 2.5 second cassette loops.

'Astral Decoy' was made in the year following the release of his only solo LP and forms part of a series of unreleased tracks that reflect a growing interest in combining electronics with more analogue elements such as Xylophone and live percussion. At the same timce this track draws inspiration from the sound of electro and boogie which Michal had become greatly interested in at the time, and in particular the work of musicians such as Grandmaster Flash.

With access to the archives of the many recordings made at his family home, this 12' serves as an introduction to a wider compilation of Michal Turtles works which is to follow on Music From Memory.

Something is looming on the horizon, a flickering presence, a sparkle in the twilight, hardly visible at first, then slowly taking shape and finally coming into view: "I will depart/I see, I will, I won't go far," Stefanie Boehm (Couch) sings on "Sirens", one of 10 tracks Ms. John Soda have recorded for "Loom", their first album in eight years – and it's true: It's a return that often feels like yet another departure, like it's time to say farewell once again, one last hug and off it goes into the valley, where life is already waiting.

A lot has changed since Ms. John Soda released the first 7" back in 1998, since Micha Acher (The Notwist, Tied & Tickled Trio, Alien Ensemble) joined Stefanie Boehm and completed the creative nucleus of this band around the turn of the millennium; day-to-day life indeed feels different some 16 years later (and half as many since the release of their sophomore album, "Notes and the Like"), but the basic chemistry, the intricate balance of electronic and analog molecules that orbit this nucleus – and thus, the resulting mood and vibe -, they're still recognizable, still undeniably Ms. John Soda: Whether it's the dense, intensely rushing soundscapes of "Hero Whales", numerous layers pushing and taking off into the same direction, the propelled clatter of "Sirens", a track like "Millions" that blows off more and more steam, a glistening, wheezing sort of madness even (though there is a tender side to it as well), the perpetual, magic lantern-like motions of "Name It" (think Trish Keenan and Broadcast) or the gradually descending melodies of opening track "In My Arms" – they're all lined with a certain tension, underpinned by a certain atmosphere, a unique brand of melancholy that never quite gives in, keeps searching for new outlets and answers.

The album title Ms. John Soda have chosen for their third full-length, "Loom", obviously hints at this feeling of re-emergence, gathering and looming, but according to the singer, it also refers to a weaving loom: It's about "weaving and combining a vast number of influences, ideas, instruments, melodies, rhythms, and layers to create a whole," says Boehm, whose vocals span these new tracks like thick, reliable ropes that glow with marine luminescence. "It's about weaving individuals into a group ('Millions'), weaving and merging former ideals and hopes with reality ('The Light'), combining 'hi' and 'bye', beginning and end ('Hi Fool'), interweaving opposite or contradicting concepts, such as pushing forward vs. being pushed ('In My Arms')." And while the weaving, just like life itself, can easily get out of hands, "because you lose track, and yet life goes on ('Name It')," a lot of these songs – e.g. "Hero Whales", the billowing "Sodawaltz", "Fall Away" – revolve around a shimmering sense of something we can't quite grasp or put a finger on just yet: "Intuitions, hopes, dreams, wishes, affinities, distances, temptations…"

Whereas Cico Beck aka Joasihno (drums, electronics), also part of Aloa Input and the latest addition to Ms. John Soda's live band, and drummer Thomas Geltinger helped out on various tracks they recorded with Oliver Zülch in Weilheim, Boehm and Acher were also joined by Karl-Ivar Refseth (percussions) and Matthias Götz (trombone). Together, they keep feeding the loom with countless spools of yarn, until epic piano closer "Fall Away" seems to offer a temporary respite: "find your way/take the dry suit off/for a night". Time to rest, to take a deep breath. Or is it already the first rays of dawn looming on the horizon?

Finale Sessions is really pleased to launch new series Finale Sessions Limited with Berlin up and coming act Arcarsenal. Duo comprised of Alan Mathias and Etienne Dauta, both founders of Bass Cadet Records and its dedicated vinyl store located in the heart of the german capital, they are also active members of the large Underground Quality family. Arcarsenal have already started to establish themselves as proponent of a crossover sound, mixing many influences from jazz, house, ambient to dub and techno. They are always giving a prominence to jam, improvisation and textures work in their studio routine. This EP called « Dark Skies & Wetlands », even if slightly grittier than usual, is no stranger to the rules of the duo. The opening track « Different Planet » is an epic dark deep house cut which develops itself over a course of 8:40. Starting with a stamping ground bassline and hazy atmosphere, the track opens up with synth attacks, dub echoes and slowly brings in a blissful melody that ends up linking all the elements. « Substance Of Arjuna », the following track on the A-side, is a-contrario a short but intense ambient work. Shot in one take, this subtle cut showcases the kind experimentations that Mathias and Dauta can end up doing late at night in front of their machines. The b-side of the EP leaves all the space to « Racoons », one of the weirdest and yet most powerful work of the duo to date. Tribal techno could be a short try to define what they achieved here, but the track goes far more than this. Built on a gritty mental acidic bass and a huge drum kick, the frenchmen bring over aggressive synth work that could sound like an orchestra on rehearsal, pachydermic screams or an overdriven guitar larsen. Underlined by a complex percussion pattern recorded live in their nest and chopped up to the best effect, the track ends up in a looping transe from which the listener might not leave in a normal state.

Atlanta's TWINS returns with an album of club-ready synthwave for CLEAR. Nothing Left lives on the axis between Wax Trax and WBMX, generating mutant industrial pop for sweaty basement ragers. The record begins with drum machine workout "Can't Go Back", cruises past the electrifying gloom of "Treat Me Like A Freak" and drives straight through to the finale, mechanized torch song "That's What I Never Saw." Matt Weiner, the single entity behind TWINS, is also at the controls of CGI records, a dependable outpost for extraterrestrial club jams. Both solo and as half of Featureless Ghost he's released on Crash Symbols, Night People, Geographic North, Clan Destine, and more. His work has been featured on XLR8R, Pitchfork, Resident Advisor, and Decoder. Forthcoming records from Chicago's CLEAR include two twelves of mind warping techno from locals Mike Broers and Dar Embarks. TWINS may be the first out-of-towner on the imprint but Nothing Left truly echoes the vibe of the city's underground past and present.

Since launching last summer, Rasta Vibez has carved a niche for itself among the drum and bass community for those seeking out some dub and reggae flecked jungle cuts for the dance. Now, after a successful series of 10" hand stamped records, Mystic Pulse kicks off a new 12" series pushing a more serious and distinguished sound with style. Both sides start off halftime but effectively evolve into breakbeat chaos, which has already proven to shake up the dancefloor big time. In short a must have for all ragga muffin junglists!

Crimes of the future are proud to present the first recorings from Bulb. Bulb are Willie Burns, Scott Fraser and Timothy J. Faiplay Two live jams Recorded in New York in the spring of 2014. Side A combines gehtto techno breaks with something from wayward Kosmiche studio experiments in deepest Germany. On side two dark ambient synthesis and stabbing drums combine to drop you somewhere in a world of psychedelia and cavernous cave dwellings.

BACK IN!! THEO PARRISH and an all-star cast featuring Warren harris, Marcellus Pittman, Bill Beaver, Jerrald james and Mellissa Botts take you on a deep excursion to the roots of afro-american music with this free-spirited live jam. after setting the mood with live percussion and a thick live bass, a bluesy guitar, cosmic keys with a Sun Ra vibe, wailing soul vocals, Theo's instantly recognizable beat and later a bitter-sweet violin solo all join in and create an unique atmosphere that is totally mesmerizing. the 'Reprise' on the flip continues in a more stripped down, piano led way. two shining example of sheer musical genius!

"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.

Over the past years Bézier has seen releases under the Dark Entries record imprint with the most recent 'Telomeres' EP this year. The title track or pronounced 'mina' translates from Japanese to 'Everyone'. Mina is a journey through space with the initial ascent marked by a moody window of time in which uncertainty dominates the mindset of the passengers. Once they break through the atmosphere and are proceeding as planned they land on the final destination, an interplanetary discotheque. Mina was recorded this year with Mark Pistel on the helms for mixing and features SF drummer Kevin Woodruff of Tussle fame providing live drumming for the last portion of the track. Along with the title track the b-side includes tracks previously released on compilations but appear here for maximum record playing enjoyment. 'Serengeti Drive' which appeared on Honey Soundsystem's earlier HNYTRX compilation of queer dancefloor artists is the slow burner of the group. 'Mysteries of the Deep' which appeared in the JACKTONE cassette compilation of Bay Area electronic stars is the soundtrack to an underwater expedition. Both tracks were recorded, produced and mixed by Robert in his home SF studio in 2009.

Since 2010, Jackie House aka Jacob Sperber has been driving the A&R side of the San Francisco dance-music troupe running the HNYTRX label and producing remixes with other members under the Honey name. Putting label duties on hold in 2013 Sperber cocooned into his music studio, entering as a brave brunette and exiting as an ambitious blonde. "Stydive" is Jackie's debut to wax and has as much house-party in it as it does warehouse 4am. With a vocal sample nod to punk's past, 'Stydive' pogo dances to dusty and stuttering live/analog drum rhythms and skips along a rude and infectious bass-line. Bound to find lovers of all persuasions for its dub-esque qualities, instantly recognizable hook, and open relationship with house music, this tune begged to have it's own side. That said, there is always room for some Matrixxman who takes Stydive to a strobe lit South of Market darkroom in his remix on the B. Spurting erotic lazers around a cavernous kick, this tune finishes off even the most experienced edger.

Originally released as a strictly limited 10-inch vinyl record exclusive on Record Store Day 2012, this long sold-out must-have for fans of these two artists will finally be re-issued - this time in 12-inch format!
Erased Tapes label mates Ólafur Arnalds and Nils Frahm recorded and mixed their first collaborative record between Reyjkjavík and Berlin as a surprise release for label founder Robert Raths.
The ambient/electronic work 'Stare' is a true family effort with long-time collaborator Anne Müller joining in on cello and all graphics created by close label-friend and designer Torsten Posselt of FELD Studios.

Words by Nils Frahm: 'I heard 'Eulogy For Evolution' for the first time six years ago and I was totally captivated. Impossible to know back then that I was supposed to meet Ólafur many years later as my label mate. Later when he took me along a tour of his we also noted that we kind of like hanging out together, doing important things like cover versions of long forgotten songs or eating veggie pizza. Also he would join my live set for a jam and I would return the favour by playing along with his set.

All in all, I fell for Óli and after one memorable jam session we had in Berlin at Roter Salon in 2011, he finally proposed the idea to visit me in my studio in Berlin to work on 'some music'. I was happy and delighted about that idea, so we got together in April 2011 and after having a big pizza, I plugged in some old analogue synths and we played for four days until late in the night. Also queen Anne Müller stopped by after a show with Agnes Obel to record some cello at 5 am in the morning for 'b1'. Making music together with people is lovely!

The time I spent with Óli in Berlin made me very happy and the music wasn't like anything I have heard before. It was all very reduced and minimal and I felt like I couldn't have done this alone. So we decided to do another 4-day jam at Óli´s E7 studio in Reykjavik. So I flew there in the end of October 2011 to repeat the trick and record some out of this world ambient music. It didn't take us too long to write 'a1' and 'a2'. I can't wait for the follow up!'

Berlin Atonal is proud to pick up on a tradition begun in 1984 with the publication of two volumes of live recordings from the 1983 edition of the festival. Those records bore witness to the most inventive, adventurous sounds of the festival, and therefore of their time, containing live bits
from Psychic TV, La Loora and Z'EV.

Berlin Atonal Vol. 3 carries this custom forward three decades with selections from four of the standout performances of Berlin Atonal 2014. Of course Cabaret Voltaire's lauded and historical rst show in over 20 years is featured, Richard H Kirk's no-nostalgia and machinery driven set rmly putting the Cabaret Voltaire project in a future-facing direction.

Miles Whittaker's surprising and muscular live performance also contributes a cut, as does festival favourite Fis with his characteristically lumpy, textural soundscapes.

Finally, two selections from Abdulla Rashim's memorable session gesture toward a possible future for synthesised music.

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

There used to be a time when ring tones were important. You were easily recognizable as one of the few people actually owning one of these new gadgets called ›mobile phone‹ (or ›handy‹ as the Germans say). Later you could make an important distinction by choosing a ›cool‹ ring tone...

In May 2014 the Festival »Doofe Musik« (»Stupid Music - Songs for Dreaming, Sedation and Forgetting«) took place at Haus der Kulturen der Welt (HKW) in Berlin. As part of the »Anthropocene Project« the festival focussed on escapism and the special function of music when retreating from reality. Detlef Diederichsen, curator at HKW, and Holger Schulze, Head of Sound-Studies-Lab Berlin, decided to not only focus on music which music lovers usually hate, e.g. ›Schlager‹, German folk music, Light Jazz, but also on ring tones.

The audio logo of Deutsche Telekom has been part of Germany's mobile phone culture from the very beginning so it acted as a starting point to question the usual concepts for ring tones. Using Christian Kellersmann's idea of the »Pocket Symphony« ten artists were invited to come up with adaptations of Telekom's audio logo. The results were performed for the first time during »Stupid Music« and once again in October of the same year when most of the recordings you can find on the album were made.

As you will hear: The short motif, as simple and unforgettable as it is, is ideal musical material.Everyone knows it, everyone has some sort of connection to it and these ten different versions, these ten different positions, open up the most varied possibilities for associations.

It is time that we take the ring tone seriously again. As the most reduced musical form that is the most-widely available in the whole world it contains enormous and unrealised potential!

KiNK (Macro/ Running Back)
I love this! All the tracks are massive! My favorite is the Andreas Gehm remix as it`s the most
weird one, but I`m a sucker for funky acid and this is right up my alley!'

Robert Owens (Chicago/London/Berlin)
Great tracks'

Tensnake (Virgin)
thanks, nice original and Gehm remix'

Dave Clarke (White Noise 2fm)
Dark and groovy'

Luke Solomon (Classic Music)
love love love love hard TON xxxxxxxx'

Tim Sweeney (Beats In Space)
Make me Dance is the one for me'

DJ T. (Get Physical)
thank you for the music!'

ÂME / Kristian (Innervisions)
thanks'

Mark Broom (UK)
FAT mix from Andreas! Respect for the UK!!!!!!!!'

Massimiliano Pagliara (Live At Robert Johnson)
bravi!!'

Mørbeck (Vault Series/Code Is Law)
Make Me Dance!'
Acid Washed (Paris)
MEGA GOOD!!!'
Patrick Pulsinger (Vienna)
love it!'
Angel Molina (Barcelona)
the ultra dark acidic 'Make Me Dance (Andreas Gehm Remix)' is my track on here, although
'Forget About The Music' is a fantastic 80 ´s house track as well. Thanks.'

Paul Woolford (Planet E/Hotflush)
2 thumbs up for the Andreas Gehm Remix. Many thanks!'

Renato Cohen (Brazil)
That's proper music! Forget About The Music sounds amazing. Andreas Gehm Remix is also
huge!'

After "III" Dusty Kid is back with a new album that is a trip and homage through and for his native land, Sardegna. "The Arsonist" anticipates this trip from its most dramatic part, touching upon an issue that haunts the island every summer: arsons. Setting itself apart from the contemporary techno music trends 'The Arsonist Part II" delves into 90's trance, reminiscent of legendary Jam&Spoon and rave parties. An intense explosion of pathos reminding us of the glorious Loveparade to describe a dangerous situation, a desperate attempt to save the Sardinian land. The pathos peaks with "Doa" when the fire leaves behind utter desperation and desolation, ashes and smoke. "Doa" is another stage in this new journey for Dusty Kid. It is an emotional and melancholic stop, drenched in the magic of the spaghetti western genre, honoring Morricone that has always been the artist's idol. The track is dedicated to the date of July 18, 1983,  when in the north ofSardegna the worst arson happened; here 9 people lost their lives and 15 reported terrible burns in the attempt to extinguish the fire. This has later become the European date to raise awareness against forest fires. The EP ends on the balearic notes of "Serpentara', little abandoned island in the south east of Sardegna, that represents a small batch of land that is untouched by men, their doings and their fires. 'Serpentara' recalls the likes of "Sueno Latino', the summer of love '88 and Ibiza, when ravers wanted to take a break from the hysteric acid house and needed softer and dreamier sounds. Dusty Kid is back with a masterpiece that cannot be missed, a perfect soundtrack to the Summer of 2015.

Following the huge success of the lead single "Settle Down" (played twice on one show by David Rodigan!), Blend Mishkin and the Roots Evolution band deliver their stunning debut album "Survival Of The Fittest" for NICE UP! records. Having spent most of his professional career behind either a computer screen or pair of turntables, Athens based producer Blend Mishkin (real name George Mantas) has been putting in work since the mid 90s with releases on labels such as Pork Recordings, Tru Thoughts, Shadow Records and many more. For this, actually his 8th studio album, he decided to do something a little different and step out from behind the computer. A chance meeting with some like minded musicians led to a conversation about them re-creating some of his past tracks for a potential live show, but after much thought it was decided that something brand new and fresh was needed. After numerous sessions and jams, a collection of tracks had begun to take shape. Recorded live and then taken back to the lab for mixing and dubbing, "Survival Of The Fittest" is the fruits of these sessions. The next step was to scout for vocal performers to bring the rhythms to life, with the focus on using both international and local talent to give a wide breadth of influences and themes. Lining up are Rebel Salute show-stopper and Juno award winning Exco Levi and seasoned veteran Skarra Mucci from Jamaica, UK reggae/dancehall don Gappy Ranks, Italian raggamuffin KG Man, Mandinka Warrior from Denmark and fellow Greek BNC amongst many others. Retaining an authentic vibe whilst keeping it current, "Survival Of The Fittest" is a truly modern roots reggae album.

Until December last year music was simply a hobby for Alex Crossan, aka Mura Masa. He may have had 7 million plays and 30,000 followers on Soundcloud but the 18 year old Channel Islander had never played his music live, DJ'd or even been to a gig himself. He had just started an English degree at Sussex University and was happy playing guitar and bass in function bands.
It was an email from Jakarta Records that changed everything. The Cologne-based label (previously home to Kaytranada, Iamnobodi and Sango) felt Mura Masa's mixtape 'Soundtrack To A Death' was too good to sit on Soundcloud and persuaded him to release it with them.
The following 3 months were a whirlwind, with 30 spins on Radio 1, a sold out debut show & a top 5 position on the itunes electronic chart in the UK and US. At one point Mura Masa had 4 tracks in the HypeMachine top 50 and remix requests from Ed Sheeran, Ellie Goulding, RL Grime and iLoveMakonnen in his inbox, whilst still juggling his degree.
So as Mura Masa prepares for his first official EP release the stakes are very different and he has upped his game accordingly. As well as the sampling for which he known, Mura Masa plays live piano, guitar, drums and even sings on Someday Somewhere. He is keen to show that he is a musician and songwriter as well as a beat-maker and has called on new friends Nao, Denai Moore and Jay Prince to feature on tracks.
Paul Epworth (Producer for Bloc Party, Adele, Santogold): 'That 18 year old is taking over the world right now and he's just delivering the most deeply textured music around, we have got such a talent on our hands in the form of Mura Masa and i think the UK has finally got our very own Kaytranada and it's not beyond him to overtake that, so good, ridiculous....

Amazones de Guinee - SambaPure vibes to start our series. Live and direct, high energy African funk with a powerful vocal, recorded live in Paris in 1983.Hailing from Guinea they were the countries first all female group, formed by members of Guinean army nonetheless. Their lead percussionist Kade Diallo was killed in a car crash just days after returning from a tour of France in the early 80's. The group did not record again until 2008, but they continue to tour now, with a new generation of fans.Taken from the sought after 1983 album 'Au Coeur De Paris', previously unreleased on 7'.Moussa Doumbia - SambaMalia born Moussa Doumbia and was a prolific saxophonist, composer and arranger, who lived in Abidjan, Ivory Coast.He fused African and Funk rhythms in his own unique style, comparable to the likes of Fela Kuti, Orchestre Poly Rythmo de Cotonou and Ebo Taylor. Moussa's voice is strongly reminiscent of the almighty James Brown. Similarly to Fela and The Shrine, Moussa played at 'Boule Noire', a club in the cosmopolitan area of his town, Treichville. Every night they would play their own styles for hours to rich businessmen and locals.'Samba' is taken from his 1980 LP 'Lassissi Presente Moussa Doumbia' released on Sacodis. Extremely hard to find.

OID is the solo project of Russian producer Andrei Antonets who is set to release his latest track 'Bright Side of Life' on PNN Records (13/07/2015) Born in Riga and having lived in Berlin, OID is now based in Moscow, where he is inspired by the city's rapidly changing scene. 'Bright Side of Life' translates a sense of potential, it is upbeat without being commercial. The track's singular sound has prompted The Field, Popnoname & J.P Janzen (Von Spar) and Mujuice all to produce remixes which will appear on the EP alongside the original. Each of these deliver a unique take on this uncommon yet catchy tune.

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

Macro has released albums by two of techno's greatest live acts, KiNK and Elektro Guzzi. It would have been a shame if the two didn't exchange their special skills on each other's killer material. And that's just what they did: KiNK remixed "Atlas" into a tranced-out, peaktime world-domination slammer of pure euphoria. Elektro Guzzi let the snares smack and the pads build up on "Vodolaz" into nirvana. Dream team double pack: nothing better to let the sun shine through the summer of 2015. Even at night.

After releases for Discos Capablanca and Moon Glyth, Food Pyramid join Especial for a remix EP of their album-only track Oh Mercy. Updated by the inhouse team Apophenia, before being given the full italo treatment by SF's Inhalt and a true Especial twisted FX double mix by the man, the myth, Jamie Paton.

Minneapolis collective, Food Pyramid are welcomed to the label with the twisted psychedelic electronics of Oh Mercy. Taken from their Mango Sunrise album of 2012, its warped breakbeat jam-fusion has long been a secret favourite of the label, so it seemed right to present it on a unique EP.

Starting with a 2015 rework at the hands of the label's in-house production team of Apophenia, the original is extended with respect, keeping much and taking out little (the horns) so that the originals groove can ride and ride.

This is followed by a superb remix from Inhalt. After themselves appearing in the form a remix EP (EES009) it seemed now was the right time to get on board with their own take and in the process creating a pumping Italoesque classic. In the same way Timmy Regisford turned NOIA's Rules To Survive in to a mid-80s Chicago all time top 10, this remix harks to all that was good of that time, notably replaying much of the
instrumentation, while keeping it aimed squarely at today's floor. Who said Razormaid

On the flip are killer remixes from the label's main man Jamie Paton. Locked in an increasingly modular headspace, he digs deep and expansive. Premiered on the recent Beats In Space showcase, the Remix kicks far and wide, pushing club systems to the max, this yearns to be played at 7am Panorama. Sliding straight (and you'll miss it) in to the Dub, stripping it wayyy back, let the drums do the talking. Oh baby, have mercy on me.

Just This is Hunter/Game new label based on their well known party in Milan.
Just This is the expression of a social, metropolitan and underground movement we are living and going through all together.
Our Mission is to give room and importance to Art and Music which are still evolving day by day.
Just This is aimed to frame these changes, which are going to be the picture of today and the future memory of the cultural movement of this age, throughout a series of messages, images and sensation drawn inside the audience.

Furthermore, thanks to the energy, the happiness and the magic charm of our parties and events, talented and unique artists, from all over the world, use their way to interpret music to communicate people the real core of this change:
the future is changing...

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.

Zaquoir alias Matthias Groß is a producer and musician currently living in Leipzig. After sending us more than 10 GIGABITES of great music, we sat down together and tied a selection of his really eclectic styles of production together into one LP, creating some sort of showreel created in the timespan of over 15 years.

Zaquoir himself sees the record as a reminiscent mood of a donkey in the Sardinian sun and describes the record as a trip in itself, allowing the listener to traverse the lines of various acoustic landscapes.

The tracks on the LP where produced in six different places, including a historic house in the centre of Vilnius, the artist residency "Blumen" in Leipzig, a French-German art association and a village in Northern Bavaria.