Hip-Hop News

Yuzo Kayama (born April 11, 1937) is a Japanese popular musician and film star. His father, Ken Uehara, was a film star during the 1930s. Yuzo Kayama became a star in the 1960s in the Wakadaisho (Young Guy) film series.
He showed his ability for drama when Akira Kurosawa cast him for his 1965 film, Red Beard , starring Toshiro Mifune. Kayama reported that he found the two years spent making this film the most difficult, but proudest work of his life.
As a guitarist, he took inspiration from the American instrumental group The Ventures, and performed a form of psychedelic surf music in the 1960s with his Mosrite guitar. One of his best-known instrumentals is "Black Sand Beach". "Kimi to Itsumademo" ("Love Forever"), another of his compositions, sold over two million copies, and was awarded a gold disc in 1965. At that point it was the biggest selling disc in the Japanese recording industry's history.

Original 'Oyomeni Oide' released 1966. This brand new remix is the one of 'Yuzo Kayama Remix Project'. The remixer PUNPEE and ALTZ are active at the forefront Japanese HIP HOP and HOUSE music scene. Very limited press with color jacket.

Citizen Funk are Scherbe und his longtime friend Peter Clamat (who is also running Big Bait Records). Each year, they meet in the French region Alsace to jam along on their machines, moving back and forth between House, Hip Hop, Funk and Jazz. Every track here breathes good vibes and a laid back attitude just in time for summer.

The pioneering electronic musician Matthew Herbert releases The Shakes', his first new dance record for nine years, on 1st June via Caroline International on CD, Vinyl, Download and to stream. Herbert & Caroline International are providing a unique route to the new music for his fans by making one track and short accompanying film available on streaming and video platforms each week leading up to album release. Directed by Matthew himself, working with fine artist and cinematographer Margaret Salmon, each shot is a made up of a single shot, filmed in one take and set up as a moving equivalent of a still life. Middle' will be the first track made available on Monday 16th March. By the 1st June, all album tracks will be available to stream and or watch with a bespoke selection of these also available as Instant Grat tracks on iTunes. The physical CD and Vinyl formats will include bonus remixes and a download card.

Emma Greengrass, UK Head of Caroline International comments Between now and the release date of The Shakes' we will be curating an ever growing playlist that combined with the timely reveal of visual elements creates a calling card for this career defining album. Of course running in tandem will be a more traditional radio, TV & PR strategy but Matthew's musical career is defined by experiment so we wanted to complement that with a more engaging launch strategy.'

The Shakes' is Matthew Herbert's first album under the name HERBERT since 2006's dark orchestral disco fantasy 'Scale' (K7!). The album deals with intensely personal issues such as raising young children against a backdrop of an increasingly unstable world and, amongst other things, utilizes the sound of used bullets and shells from eBay as part of its soundscape. Herbert himself suggests that the record can be seen as a treatise on how music helps to motivate, provide respite and divert us from the challenges of the everyday' and that it is electronic music for the soul.'

In many ways, The Shakes is a sequel to Herbert's much-lauded Bodily Functions album - a record that regularly features in Best Of The '90s' album lists - and is the latest in a series of albums that stretches back nearly twenty years to his minimalist house classic 100lbs. It follows a vinyl-heavy trio of underground releases last year (part 6,7,8) and is Herbert's attempt to seduce the listener back to the dance-floor'. Herbert comments: When I started writing music, I did it because I could, because there was a chance to, because I liked it. As I get older these reasons become less compelling. At a time when inequality is rising to unprecedented extremes and when the system we have created is designed to destroy rather than nurture, music's propensity to noodle inconclusively can seem unhelpful at best. Who needs diversion when action is required However, music can't only and always be a call to arms, it can also tenderize and engulf when comfort is needed. This album then is an attempt to find a middle ground between those two positions.'

The trained pianist Max Loderbauer, together with Ricardo Villalobos, has just breezily launched the jazz sanctuary of the Munich-based ECM records into the ether as "Re: ECM". On the new adventure he now logically again finds himself working with sanctuaries. For the tool he uses for creating worlds is the finest modular synthesizer in the world, the Buchla 200e.
In the glow of this altar-like cockpit, he welcomes the two inspired Swiss musicians, clarinettist Claudio Puntin (also mini-mallets and electronics) and percussionist Samuel Rohrer (also Kaoss pad and other electronics), both of whom have published their own as well as co-operative productions on ECM. With ambiq, they are now exploring remote musical universes on Rohrer's innovative arjunamusic label, with the aim of opening doors of perception to the electronic scene by means of enhanced possibilities of instrumental interaction.

Diverse EP from Scott Boulin w/stylish synths & dreamy soundscapes thruout. Title track blends acid & dub. (A2) sweet & funky w/whimsical melody. (B1) Sleight Of Hands duo of Phil Collis & DJ M3 remix. (B2) euphoric acid w/nods to 80s electro.

Whilst the murky four-track cassette sound and dirty analogue textures are still very much in place, keen ears might spot a subtle change in emphasis. There are less of the radiophonic sci-fi sounds, ancient drum machines and none of the post-punk bass or guitar. Instead, Nick Edwards mainly focuses on invoking a blurry, saturated false-memory of the leftfield electronica that was the soundtrack to his life in the early to mid-1990s.As the album title suggests, "Reflekzionz" is a record that unapologetically dwells on past experiences, like flicking through an old album of bleached-out photos from days gone by, and on tracks like "Downtone", with its extended, unchanging groove and wash of muted, untethered synth melody, the aim is to invite the listener to join in a state of reverie. "Midnight Cliffs" and "Saturation (Full Rinse)" are unabashed homages to the artists who inspired Edwards, but always with enough production twists and turns to ensure the results are never simply a facsimile of the originals. Opening track "A Caustic Romance" could almost be a lost AFX beat but adds a touch of hand-played naive melody that brings to mind mid-seventies Cluster, blending different eras in a lo-fi melting pot.Elsewhere there are other influences on display. "Quakers Road Skank" sounds like Raymond Scott jamming with Lee Perry at the Black Ark "Repeater (How Did It Feel)" tips its hat to the work of indie-psych gods Spacemen 3, whilst "Seduktion" adds a touch of Kraftwerk-like metallic sheen. But as with practically all Ekoplekz records, the unifying factor is the primitive dubwise production, heavy on the filtering, echo and equalisation, never more apparent than on "Dubnium 268" where heavy layers of drone and melody crash and burn along an unstable rhythmic path. The album closes with the gentle, woozy atmosphere of "Day In May", where fragile, muted melodies drift in and out of sync on a bed of corroded drum machine, fading into the distance like a half-remembered dream - the perfect finish to an hour spent in the company of Nick Edwards at his most 'reflective'.

Hip Hop Instrumentals library ! To rap, to scratsch and to listen ! 70's influence !

'Memoosh' is the collaborative project between William Yates (memotone) and Soroosh Khavari (Soosh).

Without any pre-planning, the project started to grow and develop a life of its own as soon as the first session started. Over the course of more than eight weekends spread over a year, the two visited each other for recording sessions, not relying on modern modes of communication. Making all the music in person to keep to the collaborative nature of the project, leaving more room for improvisation and opportunity to jam out all their ideas.

The album is a mixture of live instrumentation (guitars, piano, cello, zither, drums, clarinet, synths and numerous others) coupled with effect boxes, samplers, vocals and field recordings, influenced by everything from random static and buzz, to a beautiful early morning rain or the bass thud of a closing door. The whole album being more an exploration of their approach rather than anything conceptually thematic, representing both characters and personalities in the music.

"To be honest, had we not been asked by Project Mooncircle to make the album we probably would never have met to make music. Thankfully they did ask! And it has been a very fruitful conquest. Not only has the album created music we are proud of, but in it's construction it created a new and lasting friendship."

'Memoosh' comes out worldwide on limited grey-marbled double vinyl, limited handmade and handpainted cassette edition (both including download code).

Ahead of the release of their critically acclaimed self-titled debut album, the 5-headed instrumental cyclops STUFF. kick things off with a hand-stamped 7-inch white label, featuring the opening track 'Even Horizon'. Believers are amongst others PLAID, Kutmah, Lefto and Jamie Woon
"STUFF. is what you would get when Hudmo and FlyLo would give Alt J their MDMA before going on stage, telling them to sound like instrumental Beastie Boy's Check Your Head, with Nicolas Jaar at the mixing console." (Fan Quote)

repress soon
Aybee shows his other side with the 7 short tracks on this EP, While the aural palette is similar to his 4 to the floor work, the beats here leani more to the hip hop side. Funky & deep, the way you'd expect, but with a twist.

In 2000, Theo Parrish released his second full album, Parallel Dimensions, on his own Sound Signature label. 4 Years later S.A.'s Ubiquity issued the tracks from the CD version, and repackaged the album on a quality 2LP pressing (plus again on CD). It was around this time (2004) that Theo was being picked up a much wider audience and reaching notable acclaim outside the House circles in which he'd already firmly established himself. This could be seen as the album that brought Theo Parrish into many people's consciousness. This pivotal album has, up to now, been out of print and highly sort after - We are very pleased to announce this full re-issue from Ubiquity Records. TIP!

***2x12" + CD - GROOVE MAG TOP 5!***

Frank Music proudly presents Johannes Albert's Debut LP "Hotel Novalis". Emerging from the deep-down Spessart woods in southern Germany, he is doing his thang since the mid 90s as a charming House DJ. Remember the golden days of NYC.

- 180 GRAM AUDIOPHILE VINYL
- INSERT
- CONTAINS 'FALLING' (THEME SONG OF TWIN PEAKS)
- MUSIC WRITTEN & PRODUCED BY
ANGELO BADALAMENTI & DAVID LYNCH

Floating Into The Night is the debut album by the American
dream pop musician Julee Cruise, released in 1989.
The album was produced, and all songs were written by,
composer Angelo Badalamenti and film director David
Lynch. Badalamenti composed the music to which Lynch
wrote the lyrics. Two singles were released from the album: 'Falling' and 'Rockin' Back Inside My Heart', both of which are featured in Lynch's television series, Twin Peaks. An instrumental version of 'Falling' is used as the theme song to the series.

In addition to the two singles, a number of other tracks fromFloating Into The Night appeared in Twin Peaks, including 'Into the Night', 'The Nightingale' and 'The World Spins'. 'Mysteries of Love' is featured in Lynch's 1986 film Blue Velvet; 'Rockin' Back Inside My Heart', 'Into the Night', 'I Float Alone' and 'The World Spins' are performed in the 1990 Lynch production Industrial Symphony No. 1 and 'The World Spins' is featured on the soundtrack to the 2003 film The Company.

Pleasure District is a new subsidiary label of Exit Records, conceived to release music featured in the Heart Drive
podcasts, an ongoing series of mixes compiled by dBridge and Kid Drama (aka Heart Drive), and beyond.

4th album by LA based beatmaker emerged from profound introspection & solitude. Building on his signature breaks & emotional resonance, & takes many forms & influences from free jazz, electro funk, world music & the sounds of life.

The Sweet-Sixteen Issue featuring exclusive tracks by young electro prodigy Fakear and Kitsuné homies Logo, as well as soon-to-be classics by the likes of Jaws, new Puerto Rican sensation Buscalbulla, dance-punk duo Sego, Danish beauty Kwamie Liv and more!
Parisian music label Kitsuné is back with its annual emblematic compilation. KITSUNE MAISON 16 is to be released on November 3rd !

Breaking today some of the exciting artists who will matter most tomorrow, Kitsuné's flagship compilation is back for another round. Showcasing, as always, a complete assortment of the movers and shakers currently shaping up music's future, Kitsuné Maison 16 hits the streets on November 3rd with a fresh new artwork composed of drawings by 23 of the most exciting new illustrators scouted by the label.

Sweet Sixteen doesn't nod at Ken Loach's movie of the same name, although the determination of its main character only reflects too well the Franco-Japanese fox's irrepressible urge to develop as an essential brand. Nearer the mark, a 'sweet sixteen' is the coming of age party celebrating a girl's sixteenth birthday in North America. And indeed for Kitsuné's co-founder Gildas Loaec, this new volume is resolutely about adolescence.

Featuring exclusive tracks by young electro prodigy Fakear and Kitsuné homies Logo, as well as soon-to-be classics by the likes of Jaws, new puerto rican sensation Buscalbulla, dance-punk duo Sego, Danish beauty Kwamie Liv and more !

Different Fountains & bepotel split 7inch Released for the 2nd annual BEPDFBBQ party. Hand stamped limited edition. 200 copies pressed. Mayonaised by Chris Ferreira. Misstressed by Jose Rico.

Cuthead got known to the wider public via his releases on Uncanny Valley but his roots reach way back before the label's start. There was a time when Cuthead and his brothers from another mother threw wild parties at abandoned industrial locations or in the woods around Dresden. The crew, which was known as Kunst:stoff Breakz, also established a label where Cuthead released two albums and one EP as free downloads between 2006 and 20














14. Cuthead - No Logic
15. Cuthead - All Night Long
16. Cuthead - Iron Lung
17. Cuthead - Skit
18. 3 Chinesen mitm Kontrabass

Gravel is an attempt to capture the contradictory thoughts that trip up your head at 3 a.m. Gravel is the soundtrack to sleepless nights spent ruminating on both right and wrong decisions. Gravel is the new Anticon EP from Djavan Santos, better known as D33J. Upon first listen, its aquatic textures, faded neon haze, and blend of 808 drums and lo-fi desk claps, might recall D33J's fellow Weditit Collective family, Ryan Hemsworth and Shlohmo. But closer listening reveals that D33J's experiments yield a unique alchemy. 'It was about self-reflection—trying to replicate the feeling of sitting alone after you get home late, still drunk and on drugs,' D33J says. 'You're high and thinking about life and whether these stoned thoughts are even worth anything in the end'The record was created during D33J's stint living with 30 people in a warehouse in downtown San Francisco. The building was essentially an art frat called 'The Matrix 1061,' with almost all the inhabitants engaging in some form of creative project. Adding to the artistic ferment was the fact that only two rooms got natural sunlight. You can hear this darkness and fluorescent light in the tones of Gravel.'My room lacked sunlight, so if I wanted to escape the social mosh-pit I'd turn the lights off and pretend I was gone—sometimes for hours,' D33J says. 'I'm self-conscious of my singing, so I'd sing into the computer mic so people wouldn't hear my vocals bleeding through the paper thin walls.'This experiment from necessity led to the record's particularly intimate vibe. It's only light is the one emanating from lit spliffs and the LED glow of the computer screen. It boasts a weird digital rawness destined to feel vintage in some far-off future. But don't pigeonhole D33J as just another bedroom producer with low Serotonin levels. Gravel's gestation merely occurred during a period of great flux. Raised in Los Angeles, the 22-year old graduated from Hamilton High's Music program (Baths, Syd the Kid, Groundislava) and San Francisco Art Institute before making Gravel. He studied experimental audio and visual design and applied the theories and emotion to his record—most of it recorded over just one month. The finished result is not just only aesthetically cohesive record, but also one that bristles with the uneasy feeling of living in a compressed space. Largely a one-man project, D33J also pulled in a friend and neighbor, 'Kreyola' to contribute vocals whenever he'd be walking down the hallway. He'd record stream-of-consciousness vocals, which D33J would chop up later. The producer applied some of that technique to his own vocals as well. This is Gravel broken to bits—an attempt to find organic light in unnatural darkness. A familiar feeling that feels somehow foreign. This is the album that you want to hear as you attempt to drift off to sleep.

* D33J's first EP for Anticon* Limited EP includes download code
Tracklisting:

Necessary Mayhem Black present Killa Mosquito and Macka B's 'Computer'

****EXTREMELY LIMITED COPIES****

*Young Echo formed and broadcasted their first radio show in 2010. Its members met growing up in and around Bristol, and became close through a shared enthusiasm for electronic music. Young Echo counts Kahn, Vessel, Jabu, El Kid, Zhou, Ishan Sound, Killing Sound, Gorgon Sound, REI & Baba Yaga members of the collective.
*Launchpad for the careers of Zomby, SBTRKT, and many others; RAMP is very proud to announce Young Echo's debut album Nexus
*Unmistakably from Bristol, the group would be hard pushed to avoid comparisons with Portishead & Massive Attack. While sharing sonics with the former, and the gang mentality of the latter, Young Echo update the Bristol Sound will the collective knowledge of Dubstep, Grime, Techno & Garage.

Texas DJ/Producer DJ SUN's new album blends hip hop flavored downtempo with soul and jazz samples. Soulful and funky, but also chill and laidback. The vinyl features 12 of the tracks from the CD, includes all the collaborations. Comes in a gorgeous gatefold sleeve with track info. Don't sleep on this!

THWIS is a warm bass journey through the untraveled back streets of Brooklyn's underground future dub landscape. Though you can hear the rootsy lovers feel THWIS is not a derivative dub record but a truly original reflection from one of Brooklyn's loved underground producers. THWIS follows in the footsteps of Olive's classic Bodega release and his work with New York's legendary electronic trio We™. There is little distortion on the bass and the kick is soft and warm making for a velvety sunrise vibe through out. The snare is surprisingly absent but then suddenly shows up like an old friend. Smokers Delight mixed with Boards of Canada mixed with Rhythm and Sound, THWIS puts its arm around your shoulder and walks you through the party with a calm inviting smile, making your body wander around the unicorn bass while the vintage analog synth tickles your head.

"With calexico worthy pedal steel and mariachi trumpet. `jim dodge at the penguin cafe' exemplifies the albums reservoir of piquant texture, while `velbon' is a heartbreaking extrapolation of beethoven and eno."*4/5 mojo
"touchpool offers further proof that his expressive gifts survive the loss of pen and paper. A triumphant vindication of his decision to sally forth." 4/5 sunday times
"seedy orchestral chill-out. Ideal for those nights when you're left drowning in booze, vomit and sexual guilt."*4/5 dj
Whether it's the addition of live musicians or l pierre's sheer determination to better his debut album `hypnogogia' i dont know, but this is a right beauty!."*4/5 mixmag
"darkly cinematic soundscapes." observer music monthly
Across his many projects past and present, it's under the moniker of L. Pierre that Aidan Moffat has perhaps best opened up the bare bones of his thirst for sonic exploration. The Island Come True is Moffat's fourth album as L. Pierre and is a work assembled from the vast cavern of his assembled field recordings and samples, a collage that works as a sonic patchwork of the 39 year-old's own mind. A popular lyrical raconteur whether as one half of Arab Strap, writing under his own name or when collaborating with Bill Wells - as on last year's Scottish Album Of The Year award winner Everything's Getting Older - it's as this carnation where the true extent of his musical eclecticism is revealed.

As such, the album is as a dreamscape, with fragments of classical works, drum samples, instructional speeches and, in a link back to his last album, recordings of nature. Electronics elements previously employed on past albums have been discarded, the album in its entirety consisting only of these found sounds.

The record is overridden by the hissing of tape tracks and drones, and there's good reason for that: 'there's something beautiful in hearing the grit and hiss of old recordings' professes the artist, who admits that he's even gone as far as adding and embellishing click tracks and surface noise. 'Everything sounds so clean and clinical and perfect today, but I love hearing something that sounds worn and suggests the music has a history. It's gorgeous and sad at once, as though it's lived a life and survived to tell the tale.' Sadness is a word that could readily be used to describe big sections of Island Come True, a fine line trodden between soothing warmth and bleaker depths throughout.

Previous albums under the Pierre guise had a specific mood or ambience that they attempted to portray; 2002's Hypnogogia, Moffat explains, was his own home-made comedown album, its 2005 follow-up Touchpool a warped take on lounge music, whilst third LP Dip represented something more physical, consisting largely of countryside recordings. With The Island Come True, though, the onus is on the listener's own imagination and not his; 'it's about taking the listener on a wee journey, but where that journey goes is entirely up to them' says Moffat. 'I wanted this one to be more suggestive and mysterious than the previous records.'

It's apt that such an otherworldly LP has been named after the title of the chapter in Peter Pan where they discover Neverland. Pan celebrates the power of the human imagination and its Island Come True's aim to do that too, the open-ended nature of the eleven sprawling constructions allowing listeners to take away their own interpretation of what exactly it is that the Scotsman is trying to evoke and achieve. Song titles, too, delve into the extraordinary, the surreal and, more often than not, the sinister; 'KAB 1340' is the name of the radio station being listened to in John Carpenter's The Fog, 'The Grief That Does Not Speak' is taken from a speech in Macbeth, 'Tulpa' is a Buddhist term for a physical object brought about purely by the power of the mind. Moffat admits that he thought he was done with L.Pierre after 2007's Dip, confessing that his sense of happiness with that record made him feel like he didn't need to revisit the project any further. It's a relief that he gained an urge to reprise it late last year. For all the wonderful work that he's put out in his various guises over the past 17 years, it is arguably as L.Pierre where he's at his most beguiling and unexplained, collecting and sculpting these pieces of aural history together for reasons that he never quite tells us. Such is the beauty of the project and of The Island Come True - it is for us to draw our conclusions upon.

Your Dreams Come True:
Double LP
LP comes with digital download card
Videos in The works
UK Online and print press and radio by In House Press


Tracklisting:

Recorded in late 2010 and mixed in a remote studio during the Finnish snowstorms of early 2011, Donky Pitch present 'The Trick EP', by Helsinki resident and skweee pioneer V.C. Six original tracks of synth soaked computer funk, electro inspired slow jams and colourful hip hop heaters.

3 track vinyl sampler from RON's "DANCEFLOOR BOOGIE DELITES" CD.

One of the clichés about Scandinavian countries is that they are neat and tidy, well
ordered, clean. The same could not be said of Copenhagen four-piece When Saints Go
Machine's second full-length album, 'Infinity Pool'. The opposite, in fact. It's a record
born out of an atmosphere of chaos.
It's harder, darker and more synthetic than its predecessors. It opens with 'Love And
Respect', which features a guest vocal from Grammy award winning rap artist Killer
Mike, who freewheels over chugging, synth-drenched beat. Elsewhere, 'Dead Boy' sees
Vonsild's tremulous falsetto digitized and then floated over a semi-ambient sounds-
cape, while 'Infinity Killer' pitches skittering sound effects against a low-end drone.
On the previous album, 'Konkylie', we tried to make machines simulate nature,' says
Vonsild. 'With 'Infinity Pool' we were trying to capture a feeling of the absurdity of
mankind trying to construct nature. Maybe it's something to do with being in the city.
You are always influenced by what's going on around you.'
It's also to do with the music that inspired them. 'There are a lot of references to the
early '90s on the album,' says Vonsild. 'It's not a rave album, but there are a lot of
elements of rave on there. 'Degeneration' sums up what we were trying to do. There are
some tracks on the album that could almost have been rave songs under other circum-
stances. I think that it's one of the songs that I don't think anyone else would have
made.'
Rather than go at these rave influences full tilt, they did the opposite of what might be
expected: they stripped them down and twisted them into new shapes.
The dark undercurrent that coloured the band's previous releases is intact, then. It's
something that makes the fact that When Saints Go Machine won a string of awards in
their native Denmark last year all the more surprising. Vonsild is sanguine about that
kind of music industry approval.
While it's nice to be liked, Vonsild says it's far more important to challenge people as
well as yourself. He says they felt nervous about the direction they took on 'Infinity
Pool', unease that they were operating outside their comfort zone. 'But,' he adds,
'that's a good thing. Whenever you feel a bit scared about putting something out, that's
how you should feel as an artist.'

The young maestro rides again the 2nd Mini Therapy Chops, a soulful flip of Al Jarreau's "Alonzo", all Rhodesy & wistful. The B diverts Sigur Ros' "Sæglopur" into a deeply rhythmic channel.

Debut vinyl release of new russian label based in Moscow ,hosted by AGCP ( A Guy Called Phone) also more known in Russia as Sasha PartyPhone. Focused on producing young russians (and ex USSR republics) underground artists , who was inspired by 70's, 80's and 90's . Also concentrate on producing not only basic dance music , but and music for the different moments of live with the funky,old school and different other influences as well

Rush Inside (witch is in same time sounds like Russian Side) - its a compilation of deep, funky, groovy , new disco sounds by unknowns underground producers from Moscow and St. Petersburg. The first step in attempt to present a part of
contemporary russian electronic scene .

From the label that introduced the world to Dark Sky, Blue Daisy, Romare and Alby Daniels we have the latest new rookie, feroX. The Gargoyles EP is a bad acid mix of an unhealthy 'Video Nasties' VHS tape obsession, an 808 drum machine and deft drum programming skills. feroX lays it on thick with this his warmly received Black Acre debut. Tape-hiss and analogue fuzz do their best to hold back booming 808 kicks and crunchy claps. On 'Gargoyle' a straight hypnotic 4x4 attack is the solid foundation to repetitive sinister samples. 'Critter' jumps in dubstep's grave with a lurching tribal swing and abyssal bass depth. Both intro 'goD' and outro 'Beyond' are nods to feroX psychedelic sample realm with a Hip Hop heart.* Official youtube video launch Jan 11th.* DJ Mag: 4/5 '..this is the soundtrack to a rave Leatherface just walked into; blood, guts and limbs splattered across the walls, screams in the air, as the DJ continues to play Gargoyles and Critters on repeat. Terrifyingly good."* Support : Addison Groove, Om Unit, Lefto, Commodo, Blue Daisy, Kid Kanevil.

Scientist/Producer/Artist Reavis Mitchell breaks the sound barrier again. Though he recently became prominent as an architect of the Beat Thang Mobile Music Production System, Rev has been manufacturing beats for years.. On Soul Beats Volume 1, the Soulbeat Scientist concocted a collection of signature soul-infused hip hop and funk for your sonic toolbox.

How could we talk about Kavinsky without evoking the movie that introduced his music to the general public Dazzling success of the independant film industry of the last couple of years, Drive is the kind of movies in which the soundctrack takes a front seat role. As in his previous realisations, Nicolas Winding Refn took great care, with the help of Cliff Martinez (former drummer of the Red Hot Chili Peppers), to select the tracks that would feature in his latest movie. It's in this way he picked Nightcall for the opening scene, and we soon cannot tell anymore if the music responds to the picture or the contrary.



There's no need to point out that the world of Kavinsky and the atmosphere of Drive have a lot more in common. Highly influenced by the silver screen (he started his career as an actor, including in Quentin Dupieux's Steak or Bouli Lanners' Novorama), the musician explained in one of his rare interviews that image and narration are an integral part of his creative process. Thus, when he released his first EP « Teddy Boy » in 2006, the scene was already set : in a neo-noir Los Angeles, the character of Kavinsky perishes in a tragic car accident in 1986. Reimbodied into a zombie, the boy wanders at night tearing up the track at the wheel of a Ferrari Testarossa. Pursuing his girlfriend, he scoffs at the cops, helps old ladies to cross the street and beats up the bad guys in a John Carpenter-ish modern tale of love and loss in which Giorgio Moroder meets Terminator.



Before being revealed to the greatest audience through the success of Nightcall, Kavinsky released various EPs which aroused an enthousiastic suspense among the french electro music sphere. Remixed again and again by leading artists of the scene like Mr Oizo, Arpanet, A-Trak, Sebastian, Justice, Jackson or Breakbot, he was chosen by the Daft Punk to open their world tour Alive in 2007, alongside Sebastian, The Rapture and Klaxons. But their kinship doesn't end there, as Guy-Manuel de Homem-Christo, half of the robots duo, engineered the production of the melancholic and hypnotic Nightcall, to which Lovefoxxx from the band CSS lend her voice in 2010. Kavinsky's tracks featured many ads and video games, as Testarossa Autodrive in « GTA IV », Road Game for Mercedes-Benz and « Hitman Absolution » or Odd Look for BMW.



While the buzz surrounding Kavinsky is at its peak with 30 million views on Youtube for his biggest hit, his lifelong label Record Makers announced in november the imminent release of his first album « Outrun » to be launched in march 2013. A long-awaited records which promises to be packed with featurings.



The album features 13 tracks including 8 previously unreleased and some reworks. From the first notes, we can hear Paul Hahn (manager of Daft Punk) recounting an introduction to the adventures of Kavinsky. Warm and electric, Blizzard makes its entrance and sets the tone before allowing Protovision to take its place, which with its nervous and synthetic melody was the first excerpt of « Outrun » that whas released on an EP and whose videoclip came out in december as a teaser for the album. Then arrives Odd Look, the first vocal song of the record, which unveils a mysterious funky voice that can remind the groove of Marvin Gayer or Prince. It's then Rampage's turn to take us with its menacing orchestral atmosphere ; after what comes the persuasive beat of Suburbia on which notorious Havoc from Mobb Deep lent his voice. The upgraded version of Testarossa Autodrive confirms the efficacity of this unstoppable melody, and it's at this point we find Nightcall again, the famous ballad produced by Guy-Manuel from Daft Punk and featuring Lovefoxxx from CSS. Dead Cruiser arrives then, muscled yet melancholic, followed by Grand Canyon which takes us with its electrical ritournelle. The voice of Tyson, the new funk revelation from UK, transformed the instrumental First Blood into a génuine hit. The rythmic and melodious Road Game leads us to Endless, which gently closes this long-awaited revealing first opus, with as a conclusion a narrated epilogue by Paul Hahn again

Deep4life brought a breath of fresh air to house music in the late 90´s. A handful of really good synthetic and timeless house music releases made it a cult label. Now the owner, Chris Gray and one of the leading figures, DaRand Land, meet to do it again. They give us a delicious LP with large amounts of deep moods; Atmospheric and emotional house music (but not only) with synthesizer lines, synthetic basses, voices and breathing sequences. Chris and DaRand are a winning combination. No doubt.

This project is features extracts from the audio portion of a documentary film shot of a discussion led by James Baldwin and Dick Gregory at the West Indian Student Centre in London in 1968.
Baldwin was in the middle of the civil rights movement, he was in the march to Selma, an observer of the SNCC voter drives, and initiated two meetings between prominent black leaders and then Attorney General Robert Kennedy. In 1963 he was on the cover of Time magazine "There is not another writer who expresses with such poignancy and abrasiveness the dark realities of the racial ferment in North and South".
In 1968 Baldwin was 44; this was the year of the Tet offensive, the My Lai massacre, the assassinations of Martin Luther King, Jr, and Robert F. Kennedy, the Civil Rights Act of 1968, the police riot at the Democratic National Convention in Chicago, and the year that Tommie Smith and John Carlos raised their arms in a black power salute at the Olympics in Mexico City.
His novel "Tell Me How Long the Train's Been Gone" was also published in 1968, dealing with issues of homosexuality and bisexuality, incarceration as a means of preserving economic and racial inequality, Christianity, white privilege, and institutional racism.
The P&S rhythm tracks are based on live bass and drum sessions recorded at The Wayback Machine in the Summer of 2011. Remixes are by Area and Afrikan Sciences.

Eclectic & exotic pairing pours native vibes to club floors. Badume's Band is a French band charmed w/Ethiopian magical grooves. Oki is a Tomkori (string) player from N Japan. Misako Ooshiro is 76 vocal legend from Okinawa