ALONZO is an electro guy. raised in miami and now living in brooklyn, he has been brewing tracks for years. these electro/futuristic miami bass tracks are finally getting the release they deserve. recommended for fans of dopplereffekt, pretty tony, and the west coast sound of holland.
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Reptant electronics, tough basslines and moving shadows.
‘Life Inside The Music Box’ delivers 30 minutes of Cold city electro and IDM.
Felt Sense Records presents the debut of ‘Entrapt’, the latest project from one of Melbourne's most prolific producers. Four tracks of signature breakbeat and hip hop infused electronix. Reptant machine mastery with a human touch.
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"Don't Stop" is the third album retrospectively released by Ghia. As the subtitle "Early Works & Artefacts 1984-1987" implies, it features some of their earliest compositions as well as tracks that were recorded during the same period as their "Curaçao Blue" LP.
The album is a fusion of diverse music styles. Listeners will delight in a range of genres, including electro, funk, soul, jazz-funk, synth pop, and even rap/hip-hop, all woven together as a cohesive work that remains mostly instrumental. As a whole, "Don't Stop" represents Ghia's funkiest and most experimental release to date. Notably, the LP features a rap version of Hermann Hesse's controversial German poem "Armer Teufel am Morgen nach dem Maskenball" ("Poor Devil the Morning After the Costume Ball") from 1926, accompanied by a drum machine rhythm and funky guitar. This poem depicts a person who drank too much the night before, telling the story and describing his hangover. The title track "Don't Stop" and the thrilling minimal electro-funk tune "3 A.M. at Moëf Gaga" both evoke old-school electro influences. The latter references the Spanish discotheque Moëf Gaga, located on the Balearic coast, which the dynamic duo of Lutz Boberg and Frank Simon frequented during their 1980s holidays. While the exact music played at 3 A.M. is unknown, listening to Ghia's track will undoubtedly capture the mood of the place.
One of the key tracks of the album is "Message From The Other Side", which could easily be noted as one of the nicest European synth-funk instrumental pieces ever. The track is based on a sick synth bass line, sparkled with DX7 chord hits, funky guitar, and a delightful "marimba" solo in the last third. The solo was actually played on Boberg's keyboard, using a special sound cartridge. This particular track had to be edited and technically revised by Marian Tone and DJ Scientist as the existing demo version of the song could not be used as is. With its stunning groove, this track will surely be a DJ's favorite.
Listening to the complete album, there is more of Boberg's keyboard wizardry: could you believe that the trumpet solo on "Jump In The Water" as well as the short but stunning slap bass solo on "Talk Too Much" were both played by on the DX7? However, this new release, unlike the jazzy "Curaçao Blue", is not about solos or virtuous playing - it clearly shows the duo's direction towards more electronic composition and clear song structures. The versions of "September Garden", "When The Rain is Falling" as well as "Talk Too Much" are actually instrumental mixdowns of vocal songs. And again, we get a blissful take of "Close To You", here a version from 1986. This soulful jazz-funk ballad could already be heard on "Curaçao Blue" while the final vocal version with singer Lisa Ohm can be found on the recently released "This Is" LP. This shows that the Ghia composers, Boberg and Simon, were perfectionists - tracks were reworked again and again, making them better and better.
The album was mastered and restored with great care, and we are pleased to provide you with a perfect example of mid 1980s home-recording pleasures, tinged with a youthful spirit and providing a sound that cannot be recaptured anymore nowadays. Alongside "This Is" and "Curacao Blue" it should be another perfect addition to any 80s groove collection as well as a great pick for DJs that love and play disco, leftfield electro and funk. The LP is limited to 500 copies.
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We have rolled around to one of my favourite forms of Holding Hands releases. The various artists goodness that is Slam Jams, this being number 3.
I have drafted in bangers of the highest calibre from the likes of Ste Roberts, Bolam, Inner Zone and Yosh. They go high, they go low, they go fast and they go...slightly less fast. If you like slammers, and I’m guessing that you do, then this will be a veritable day out at the fair for your ears.
OK enough of my blather. Go and listen to the damn things yourself and decide if you like them, rather than trying to work it out from reading a bloody press release you weirdos.
All four tracks are produced and sculpted for the club. They want big sound systems and dark rooms. Close your eyes, hold hands and experience transcendental space flight...
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Lerosa (Uzuri, Idle Hands, Lunar Disko) adds to his esteemed discography with an EP composed entirely during the summer of 2020. Several of his musical influences – I.M.S., Lee 'Scratch' Perry, James Stinson – can be heard across these four diverse tracks, as he jumps nimbly from italo to dub to house to electro. As always with Lerosa, though, the sound that emerges is distinctively his own, the result of daily cat-assisted studio time at his home in Dublin.
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Let the synths take you away if everything gets too much.
We’re going on a little journey to a remote island surrounded by colorful §ourishing coral reefs. Before you get there you’ll just have to dive deep into the wavy dark ocean before you reach the coastline. At first this might seem dangerous but the beams of light get more and more visible as you finally dive up. You feel the warmth of the water and you start hearing waves rolling along the coastline. Finally, you reach the warm beaches of an island where everything is that you need.
The rich and healthy vegetation and rare species are welcoming you like you lived there your whole life. And after taking your time you feel the strength in yourself rising again, being able to move forward with hope, love and compassion
expected to be published on 08.09.2023
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repressed !
Capturing the spirit that underlies dance music in its various forms; the atmosphere of the early raves; the carefree attitude; the lack of prejudices both on the stage and on the dancefloor; the ecstatic moments shared with strangers from all walks of life, united together by the primordial force called the rhythm. Faciendo have been sharing this ethos with the world for many years, moved by the one and only endless energy which is the love for music. It comes then as the next natural step forward, the creation of a label through which to continue this mission.
For the first release, Scott Featherstone provides two original productions that pervade exactly by the same values and feelings that move Faciendo, carrying the zeitgeist of the early days of dance culture, untouched, into this millennium. This debut EP, “Vinaloop”, does exactly that, the title track is an energetic and upliftinging dance floor hammer, ode to the original summer of love with its positive and spiritual attitude. On the flip side finds the sublime and emotive “Lifeflows” another long lost gem found on DAT by Scott recently, it sounds like an early slice of electronic detroit soul, but true to Scotts energetic style, always with the right elements to move a dance floor. Completing the EP is a lush grooving remix from man of the moment Taylor Freels, aka Urulu and Liquid Earth.
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At the beginning of the ‘90s a new music wave was emerging in Italy. Inspired by an innate sense of freedom and experimentation and fuelled by the turmoil of the club scene and record shops, a generation of Italian DJs and producers envision the sound of the future.
Going further into connecting Two Generations, distant yet neighbouring: the one that blazed the trail in the early nineties and the one that continues to follow it today. A new volume animated by the same spirit and attitude as the first one: not a nostalgic or commemorative operation, but a propulsive thrust for a possible evolution.
In continuity with the first part of the project, ‘Ciao Italia. Underground Generations - Volume 2’ surfs between the past, present and future, delving further into the origins of an era whose sounds and atmospheres remain an endless source of inspiration today. Artists who were often forced to use multiple aliases, a story that still sounds incredibly current and that has had the merit of breaking that stereotype of xenophilia of which our country is an undying victim. Much more than just a "scene" it can be described as a mental state, a lifestyle, marked by unifying electronic pulsations, exotic and dreamy, ecstatic and liberating.
The collection, of which a second double volume is expected before the end of the year, cherry picks another selection of seminal producers of that all-Italian golden age. Alongside this, it includes productions from some of the new ‘Underground Generation’, ideally inspired by the iconic sound of that time, but at the same time kaleidoscopic and ultra-contemporary. Evidence of an avant-garde that is bright and alive not only in memories, but even now more than ever, in the tracks produced by the likes of Baia Club (Whodamanny, Walter Del Vecchio and Dario Bassolino), Cosmo, Donato Dozzy & Rumi, Lorenzo Morresi and many more.
Once again, while the record slides under the needle, the hope is to be able to capture that magnetic atmosphere and regain possession of it for a few moments, clinging to the indomitable charm of the ‘underground’ grooves. Yesterday, today and tomorrow.
DJ Feedback:
Tensnake - Insane quality. I love every track on there
Vladimir Ivkovic - Well.. this sounds great!
Ross Allen - This is great! Made it our Album Of The Week
Nightmare On Wax – I love this! Especially Fluteride
Jimpster - Another absolutely brilliant comp, just like the first volume!
Bill Brewster - Another lovely mix of tunes I didn't know and old favourites. Great work!
Nabiah Iqbal - Love it. I'm covering for Gilles Peterson on BBC 6Music this Saturday and I will play a track from this release’
Charlotte De Witte - Nimbus Tulbat Mix is fantastic
Mano Le tough – Awesome!
Annegret Fiedler – amazing
Massimiliano Pagliara – 5/5 great compilation!
Chris Brennan – Stunning compilation showcasing truly unique sounds. Fantastic release for a vinyl pressing.
Roi Perez – yes :)
Patrick Bodmer – Amazing package. Love most of the tracks. Surprising and interesting.
Souldynamic – Another cool selection from Rebirth!
Sam Paganini - Nice pack and idea!
Damian Harris – Takes me back to a great happy time... nice to have some of these on good quality files
Thris Tian – really nice
Nick Warren - A lovely compilation full of the best of the times
Tom Findlay (Groove Armada) - This is lovely!! Riviera Traxx Parfume 1 is wow!!
Felix (Basement Jaxx) - Love it. Will play Claudio tune and Vienna.
Kenneth Bager (Music For Dreams) - Fantastic, full support !
Kamma - Nice one, some very dope tracks on this comp!
Barnt - Great idea and wonderful contributions.
Marco Faraone - Nice Stuff !
Bruno From Ibiza - This compilation is so goooood !!! There are so many tracks that remind me the real balearic spirit when I arrived in Ibzia long time ago
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The past couple of years have provided an ideal breeding ground for periods of reflection. Of rediscovery. And for the reignition of dwindling flames. Perhaps this is why the meeting of Tom Churchill and 2Sox is the perfect match at the perfect time. A collision of minds stoking a fire that has sizzled away into a 12” slab of choice cuts. Introspective and deep, yet not forgetting what a dancefloor wants.
Tom started making music in the mid-90s, inspired by the house and techno records he was buying as a teenager growing up in Cardiff. Co-founder of cult 90’s label, Headspace Recordings and sister label Emoticon; Tom and partner Raeph Powell were responsible for some faultless releases in the 00’s. More recently, Tom has been one half of The Nuclear Family; a production, label and events project launched with Laurence Hughes in 2013. Much of what Tom has put his hand to over the years has been hot in demand. Incredibly, this is his first physical, solo release under his real name since 2002. Despite the 20 year gap, Tom’s enthuse for all things deep and electronic has arguably never been stronger.
“These tracks have been heavily inspired by two things - reconnecting with my surroundings and rediscovering my record collection - both of which have been made possible by the events over the past couple of years.” Tom says.
“As well as spending more time outdoors around my home on the west coast of Scotland, I recorded a lot of DJ mixes and radio shows during the first lockdown, which meant I spent a lot of time digging through older records. This reignited some creative energy that had been lying dormant for a while.
Before 2020 I’d been sporadically using a rented studio space to make music, but in that Spring I put together a basic, compact setup so I could work at home. My influences are pretty clear with these tracks - I’ve drawn on the palette of classic deep house, 90s techno and electro throughout - but while there are some retro elements and familiar sounds, I’ve tried to put my own twist on things. Being surrounded by nature and working exclusively on headphones has made for a more intimate sound, and these tracks are the most personal I’ve ever done.”
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Partyfine is now 6 years old, Yuksek’s label keep exploring things in and around disco and post-disco, featuring an unreleased by Dimitri from Paris and tracks from Get a Room, Rubin Steiner and several well known french producers.
This 5th chapter of exclusive compilations contains unreleased tracks from new members of the family, Dimitri for Paris offer a new song in collaboration with Aeroplane, and we know that an original track from Dimitri is a rare and precious gem, Jean Tonique is back on the roaster, together with Getaroom who joined force with Chloe from C.A.R., PoloCorp (half of Polo&Pan), Villa, Moonlight matters, Anoraak, Azur, Birdee & French toast are on the bill too.
Dombrance (part of DBFC with David Shaw) presents an Italo/electro track which is part of his surreal political new project.
More or less disco, disco or not disco, it’s always been difficult to see the boundaries of this mouvement and all the influences it infused on the electronic scene, Partyfine & Yuksek tried to answer the question and open the genre the wider they can.
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AsOne² introduces the addition of Catherine Siofra Prendergast to the As One line-up after a series of successful live shows together with Kirk Degiorgio. The live duo entered the studio to focus on adding a melodic sensibility to the harmonic structure of the existing AsOne sound. The resulting album once again finds it perfect home with the Belgian record label De:tuned.
Following on the heels of the teaser EP featuring the duo's acclaimed 'Descent Module' - AsOne² is a blend of vintage, warm analog gooeyness and pristine post-modern production techniques. Prendergast's melodic additions veers the AsOne sound towards a more accessible arena without compromising on the core AsOne sonic signature. Yearning chords, sparkling lead lines, bubbling funk basslines and ethereal ambient washes merge to form a coherent whole in this new advance in the development of AsOne - now in its 30th year.
Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!
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Welcome to the modern Brazilian disco world of Processman and Cady. We know you're going to love it here.
DJ and producer Processman is from Salvador, Bahia. A passionate and talented musician, he has played in a number of bands in his city, which is famous for artists such as his heroes Gilberto Gil, Joao Gilberto and Jorge Amado.
Processman was introduced to Cady, a fellow Baiana and a very fine solo artist in her own right, by a mutual friend.
The connection was instant and they started making music that very day.
Fast forward to when Dicky Trisco was passing through Salvador after playing the magnificent Mareh festival in Bahia. Processman drove Dicky and a group of friends to local hot spot Pelourinho, and the first track he played in the car that night was 'Adupe'. Dicky was blown away by the track. The brilliant Brazilian percussion, the beautiful layered vocals, the spiritual, synth boogie-laden vibes and those delightful melodies. He was absolutely hooked. The second track Processman played was 'Sou Baiana' and a record deal was already a sure thing. They hadn't even made it to the bar yet.
A year later and the release is ready to let loose its magical, spiritual, boogie-laden vibes.
NYC Brazilian aficionado JKriv, the perfect choice for a remixer for this sound, has delivered an essential, cosmic disco dub of 'Adupe'.
While Dicky Trisco takes on 'Sou Baiana', stripping it down and pumping it up into a truly rocking dance floor bomb.
File it under Modern Brazilian Disco. A truly International sound.
LET'S VAMOS!
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New Depth Over Distance EP with raw talent from The Hague with an EP full of weird, pulsing grooves. We're happy to finally have Young Adults join our little club. Detroit-style remix on the flip side from doddub-star Dävid.
As per usual for all Depth Over Distance releases: each record is a seperate combination of colours and therefore 100% unique.
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Morgan Geist is a producer who Is guaranteed to make you sit up and listen – across his solo work under his name, as half of Metro Area & his seminal Storm Queen alias. The latter has always stood out with only four releases to the name. This is the first Storm Queen release in 8 years, since ‘Looks Right Through’ which went to #1 via an MK remix. The original still to this day is an exceptionally special, timeless record and ‘For A Fool’ follows in that exceptional lineage. Also featured is vinyl exclusive remix by Nick Sylvester aka Nick Godmode the producer behind Channel Tres and Yaeji via his label Godmode. Available here for the first time on 12” vinyl from FFRR.
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In 2021 during the coronavirus pandemic, Gene On Earth created his production masterclass “Nuggets: The Blueprint”. This is the fifth release of a collection of works submitted by students shortly after finishing the course. The class of 2022 overcame expectations and birthed a digital compilation and 5 vinyl releases to come out during 2023. Nug-Net will continue to be a home for music written by course students
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La Maison Venturi & Bazaar Records proudly present the first 12inch EP of the French duo Cee-O-Funk.
Expect deviant house with boogie/funk touch and bizarre/weird sexy things.
"T'as le cul qui dit oui" ("You got the ass that says yes"), is a sexy groove carried by a heady and sharp bassline to pay homage to the moving bodies on the dancefloor and the little music of their buttocks when the whole stuff moves to the sound of the beat.
"Sex with the beat" is a joyful ode to love in all its forms, whether it is libertine or tidy or whatever. We all love without limit with or without music, but with music it's still better.
"Naked on the dancefloor" looks like a huge electronic blues, a postpartum blues, with the memory of someone on their lips, inseparable from this feeling that one can have in a trance on the dancefloor.
"Rock with U" is a repetitive, unifying, loving hymn ... let's do things together, forever.
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This is the one you’ve been waiting for. First broken by Claude VonStroke & Justin Martin in their B2B set at Miami this year, “Ya Kidding” by FISHER was the biggest track of the conference. The vocal says it all - “Movin' On The Dancefloor”.
A former pro surfer from Sydney, Australia, FISHER’s debut release is already generating big waves with early support from Pete Tong, Green Velvet, Eats Everything, Skream, Latmun, and more.
We also enlisted two mighty remixes from artists who have sculpted their own unique sounds-the red hot UK duo Solardo and the mysterious up and coming, Sébastien V.
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On a creative roll of late, Linkwoods productions have branched out in many directions, a collaboration LP with jazz Genius Greg Foat, Another with Local Edinburgh Legend Other lands and a load more yet to surface. Linkwood now comes back to solo work with a hyper focused piece of electro goodness. Lo-fi but all the better for it, Mono comprises 14 deeply distilled tracks. After producing some more complex records it was time for a pure palate cleanser so we locked Nick in the Athens of the north studio for a week with his friends Moog and Oberheim to see what might happen. Somewhere between Electro, Early 80s Synth pop and techno the album is an extremely listenable piece as a whole, unpretentious and timeless. Sprinklings ofDave Stewart pop noodles, Newbuild, Early Era Nu Groove but very much Linkwood at the same time, I cant recommend this enough.
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Electronic-jazz pioneer Mark de Clive-Lowe returns with the second installment of his Midnight Snacks EP series. Vol.2 kicks off with two dedications: “Crush Velvet”, a break-heavy, broken beat jam full of twists and turns, dedicated to Phlash – Mark’s mentor and dear friend, the late great Phil Asher. “Sorceress” is dedicated to the legend Chick Corea, a reworking of his Return to Forever classic by the same name. Featuring Mark’s lithe rhodes and piano lines, it’s perfect for the jazz-minded dancefloor. Side B kicks off with the downtempo head-nod of “Float into ETHer” before taking things back up-tempo again with “Joyful Resistance Part II” – a latin jazz-flavored 3/4-time broken beat samba keeping our spirits high in these unpredictable times. An EP packed full of future classics from one of the masters of the game.
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Following a stellar run of releases and contributions from the likes of N-GYNN, LVCA, Thoma Bulwer, Voigtmann, Dawl & Desert Sound Colony, the transcontinental Superlux imprint announce their 8th edition by way of Paul Blackford’s ‘Weekend Warrior’ EP.
There was a degree of serendipity in the genesis story of the ‘Weekend Warrior’ EP. When label head Mike Gill’s wife Ines posted a video of him playing a Blackford track from deep in the crates, it quickly found its way to Paul via happenstance and the way of the web. Upon Paul sharing his entire back catalog as a token of appreciation for the support, the conversation started moving towards a contribution to the label.
Following a trawl through Paul’s extensive library of electro WIPs both new & old, four were selected for a mixdown in Thoma Bulwer’s studio. The result is the ‘Weekend Warrior’ EP.
The release speaks to the talent and versatility of Paul Blackford as a producer. The EP employs elements of classic Detroit electro & Drexciyan soundscapes with facets of modern house fit for an afternoon at Houghton. A truly diverse release suited to many moods and record bags.
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Shamanic call from the ethereal field where all shapes fluidly come to one. Inspired by the multilevel constant dynamics of slowed down and pushing forward energies of one frequency.
“Diamond Director” with clear edges and smooth surfaces turns slowly glittering like the transparent stone under the sun or the spots in the club.
“Ruby Director” is steady colored going deep into a simpler way of movement without losing its pressure of serious laziness.
“Shayde's remix” means the state of trance after the glitter of the turning diamond occupying the personal view with little sparkles.
“Dan Bay's remix” is the consequence of the deep slowed down original bringing the slow pressure back to faster laziness again.
“Le Rubrique's remix” as a fusion of the two originals shows how different similarity can be and rolls up everything in a new way.
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Lovanda is a husband and wife team from Russia who now step up for the eighth release on the Dobro label. They link up with some of their creative friends for an eight-track outing that brings plenty of uplifting vocal sounds to the fore. 'Samolet' feat Lipelis & Liza Gromova kicks off with acid-laced happy house drums and piano-packed grooves. 'Venera' has a compelling broken beat and glassy melodies while 'Kiwi' is a deeper and warmer cut for the later hours. The flipside features four more rich and feel good house sounds that cannot fail to get things pumping.
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Alle 7 Jahre veröffentlicht Johnny Jewel den Italians Do It Better Label-Sampler "After Dark". Die dritte Folge bringt 18 exklusive Tracks von IDIB-Künstlern wie Desire, Chromatics und Farah, aber auch frisches neues Blut aus allen Ecken des Planeten. Ein Blick hinter die Kulissen des IDIB-Sounds im neuen Jahr in bester spaced-out Cinema-Disco-Tradition. Die Tapete deiner Träume und der Sternenstaub der Zukunft. Triple-LP auf comic-violett-farbenem 180g Vinyl.
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REPRESS
Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS alongside Gregory Davidow and recorded two singles. Diving into the Paris post punk scene he met Claude Arto and designed the artwork for Claude's single on Celluloid Kwai Systeme / Betty Boop.' Robin Scott (M Pop Music') had produced the SpionS first single and wanted to collaborate further. With Claude, Jean-Marie wrote Me Me Me', intended for a choir, for M. Then SpionS split and Robin was off to Switzerland to record an album to follow-up his hit single. That left Jean-Marie alone in London, where he began working as Codek, a play on the brand name Kodak The Me Me Me' single was released by MCA Records in 1980. Back in Paris, now with some studio experience, Celluloid Records hired Jean-Marie to produce records for Artefact and Les Orphelins. Over the next 2 years he began working on ideas for the next Codek single Closer / Tam Tam'
Closer' started its life as an electric baseline played by Jean-Marie. Claude Arto sequenced the floating synthesizers. Laurent Grangier and Frédéric Lapierre of reggae band Immigration Act played the horns. The lyrics Hard to say. Easy to do. We don't need to say what we do' were a statement on creation as narration expressed Jean-Marie's ennui, I'm tired with it.' Tam Tam' was inspired by Burundi drummers playing on the plaza in front of Beaubourg where the song was recorded. Jean-Marie enlisted one of the drummers from the circle, Georges Atta Dikalo, to lay down percussion for the song. The female singers were from the French Caribbean and added falsetto tribal chants. JM was part of the the African night scene in Paris, remixing Xalam's Kanu' and Touré Kunda's Salaly Muhamed.' Claude achieved complex rhythmic patterns using a modular synthesizer and heavy processing. Jean-Marie recorded himself beating his chest for the thump noises. The recording of Tam Tam' and Closer' spanned over two years. They started on 16-track in Studio d'Auteuil, where JM blew the woofers, before resuming in Studio Centre Georges Pompidou with an added 8-track recorder. Jean-Marie was producing other bands, and a lot of this was recorded on "borrowed" studio time. The single was released in 1981 on West African Music, a tiny label from the Ivory Coast, and was re-released a year later by Island Records in the UK (where the B-side was re-named Tim Toum'). Both tracks were staples in the DJ sets of Beppe Loda and Daniele Baldelli, finding a spiritual home in the Cosmic scene of Italy.
Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1981 edition with artwork by Angela Boy, inspired by primitive electronics and African paintings. Each copy includes an doubles-sided insert with photos and liner notes by Jean-Marie Salaun.
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Codek is the brainchild of Jean-Marie Salaun who grew up in Paris influenced by the folklore of the inner city. In 1978 he joined art rock group SpionS alongside Gregory Davidow and recorded two singles. Diving into the Paris post punk scene he met Claude Arto and designed the artwork for Claude's single on Celluloid Kwai Systeme / Betty Boop.' Robin Scott (M Pop Music') had produced the SpionS first single and wanted to collaborate further. With Claude, Jean-Marie wrote Me Me Me', intended for a choir, for M. Then SpionS split and Robin was off to Switzerland to record an album to follow-up his hit single. That left Jean-Marie alone in London, where he began working as Codek, a play on the brand name Kodak The Me Me Me' single was released by MCA Records in 1980. Back in Paris, now with some studio experience, Celluloid Records hired Jean-Marie to produce records for Artefact and Les Orphelins. Over the next 2 years he began working on ideas for the next Codek single Closer / Tam Tam'
Closer' started its life as an electric baseline played by Jean-Marie. Claude Arto sequenced the floating synthesizers. Laurent Grangier and Frédéric Lapierre of reggae band Immigration Act played the horns. The lyrics Hard to say. Easy to do. We don't need to say what we do' were a statement on creation as narration expressed Jean-Marie's ennui, I'm tired with it.' Tam Tam' was inspired by Burundi drummers playing on the plaza in front of Beaubourg where the song was recorded. Jean-Marie enlisted one of the drummers from the circle, Georges Atta Dikalo, to lay down percussion for the song. The female singers were from the French Caribbean and added falsetto tribal chants. JM was part of the the African night scene in Paris, remixing Xalam's Kanu' and Touré Kunda's Salaly Muhamed.' Claude achieved complex rhythmic patterns using a modular synthesizer and heavy processing. Jean-Marie recorded himself beating his chest for the thump noises. The recording of Tam Tam' and Closer' spanned over two years. They started on 16-track in Studio d'Auteuil, where JM blew the woofers, before resuming in Studio Centre Georges Pompidou with an added 8-track recorder. Jean-Marie was producing other bands, and a lot of this was recorded on "borrowed" studio time. The single was released in 1981 on West African Music, a tiny label from the Ivory Coast, and was re-released a year later by Island Records in the UK (where the B-side was re-named Tim Toum'). Both tracks were staples in the DJ sets of Beppe Loda and Daniele Baldelli, finding a spiritual home in the Cosmic scene of Italy.
Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the 1981 edition with artwork by Angela Boy, inspired by primitive electronics and African paintings. Each copy includes an doubles-sided insert with photos and liner notes by Jean-Marie Salaun.
expected to be published on 04.08.2023
HIPNOSIS wurde zu Beginn der 1980er Jahre von Stefano Cundari (Koto) gegründet. Er hatte auch die Idee den Vangelis – Hit “Pulstar“ zu covern . Der Titel schaffte es fast sensationell in die TOP 10 der Charts in Deutschland. Auch in Österreich und der Schweiz konnte sich „Pulstar“ in den TOP 20 platzieren.
Endlich ist das original Album aus dem Jahr 1984 wieder erhältlich. Die Vinylausgabe beeinhaltet 9 Titel inkl. der Hits “Pulstar“ und “Oxygene“ , die CD Ausgabe hat zudem noch 4 Bonustracks.
HIPNOSIS was founded in the early 1980s by Stefano Cundari (Koto). He also had the idea to cover Vangelis‘ hit „Pulstar“.
The cover reached the TOP 10 of the charts in Germany in an almost sensational way. In Austria and Switzerland, „Pulstar“ also reached the TOP 20.
The original album from 1984 is finally available again. The vinyl edition contains 9 tracks, including the hits „Pulstar“ and Oxygene“, the CD edition also contains 4 bonus tracks
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After his first two critically acclaimed EP ‘Hyul’ and ‘Sagas’ on Paradoxe Club, filter scientist Sunareht is back on the label for his first full length project ‘Amorama’.
Created over a two years span the album is themed around how we express emotions and how they are sent back in the internet era. From a device that analyses the attendants of a party to create music that fit their tastes in ‘Party Soundtrack Generator’ to virtual freefall for couples in ‘Parachute Tandem VR’, Amorama is a fictional place where you get your serotonin or dopamine fix doing diverse activities described in the track titles.
On this project Sunareht went even further with his signature style by exploring a more pop approach of his euphoric french touch stabs and intricate rhythms adding new sounds and experiments to the mix.
Tracklist
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From the forests of Cascadia to the rippling tropics of the Gulf Coast, Hunter P. Thompson’s music as Akasha System both reflects and refracts the environment of its origin – equal parts mirror, mixing desk, and meditation chamber. His latest, Phytopia, skews even loftier, a private portal into a primordial world of mist and mystery, framed by crystalline rivers, rainbow canopies, and hanging gardens. He describes its wavelength as “a waking vision,” teeming with “life, chaos, and magic.”
Crafted across the past three years in his recently departed Portland, Oregon basement haven, Green House, the album’s nine tracks unfold with a shimmering, cellular symmetry – prehistoric and preordained, lush ecosystems in hidden harmony. A composite of synths, software, and spatial finesse, this is Akasha System at its most attuned and eternal, a forever expanding universe of percolating rhythm and fragrant air.
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Ali O’May and Frazer Brown met in early 2018 while performing with their respective bands at an Electronic Music Open Mic (EMOM) gig in Edinburgh. With obvious common interests, further discussions lead a few months later to Ali passing Frazer a USB drive filled with stems recorded directly from Ali’s vast modular system. Across August and September 2019, Frazer used about a dozen of those stems as the foundation for a set of tracks, building them into fully realised pieces across a range of styles from techno, lo-fi, breaks, acid house and ambient. And thus was born the Dohnavúr method - Ali coaxing the raw materials from his modular set up and Frazer working them up instinctively with his encyclopedic knowledge of electronic music into tracks for which the feel, genre and direction is inspired by Ali’s foundational building blocks. It’s a fascinating and unique way of working, but the results are staggeringly good.
Taking their name from the the Bridge of Weir family home in which Ali grew up, fifteen miles West of Glasgow, the newly christened Dohnavùr released this first batch of collaborative tracks on their debut album, “You Can and You Shall”. A joyously diverse set, filled with innovation and promise of the great things to come.
Just two weeks after “You Can and You Shall” was released in March 2019, the pandemic brought the world to a screeching halt, placing any opportunities to promote the album with live appearances on hold indefinitely. Ever resourceful, Ali and Fra started looking around for allies and likeminded musicians and labels on Twitter. Enter Castles in Space, who had sent out the call for submissions for “The Isolation Tapes” a release requesting submissions recorded in lockdown and released in support of the Cavell Nurses Trust. Dohnavùr submitted a long, paranoid, snarling mood piece called “Surmonter” (French for ‘Overcome’) which confused and delighted “The Isolation Tapes” compiler Colin Morrison in equal measure. The track was given pride of place as the opening track in the downloads section of the album (which went on to be awarded “Compilation Of The Year” in the Electronic Sounds 2020 awards).
The link with Castles in Space firmly established, Morrison snapped up the subsequent “Pristine Environments” EP, created with further stems from the by now legendary USB drive, for a vinyl release for the 500 subscribers of the Castles in Space Subscription Library service, where it has been greeted with huge enthusiasm by the loyal and engaged Library members.
This brings us up to date and we are now hugely excited to announce the release of the new Dohnavùr album “The Flow Across Borders” supported by a leading 12” single of album opener “New Objectivity” expanded and remixed by electronic music legends, The Orb.
“The Flow Across Borders” continues and expands the “Dohnavùr Method” now based upon a whole new set of creations from Ali and shaped into an extraordinarily diverse and thrilling collection by Frazer in his Armadale studio. The approach of following the direction suggested by Ali’s modular stems makes for a kinetic and high-voltage collection unshackled from genre boundaries, but with all tracks united by the duo’s shared sense of purpose. It’s a provocative and direct album which ranges from halcyon ambience to floor shaking techno. One can hear the clockwork precision of Plone in “The Kindness of Others” and the clean meticulousness of peak period Orbital in “Sunk”. A centrepiece of the record is the chilling spoken word social commentary mood piece, “Phlá Doiléir” (Scottish Gaelic for “The Vage Plague”). This is followed by the Eno-esque majesty of album closer “Pass remarkable”. It’s all here to be enjoyed.
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