Pop & Rock Новости

Phét is a Tibetan syllable that means to cut through. Through concepts & obscurations. Through anything in the mind that stands as an obstacle to our direct engagement of the present. Such tempting distractions! Phét says: RIGHT NOW. As Phét does: RIGHT NOW.

That Jarrett Gilgore named his project after this mantra—Phét Phét Phét—underscores his interest in music as a form of awakening. Music as presence, manifestation, & channeling, more than as ornamentation or description of experience. This is no vessel for preconceived notions, but a record of musicians opening themselves to discovery & encounter through play. Through each other’s company. Phét Phét Phét says: Say farewell to what you’ve known. Say hello to everything you feel now, & to all the things that feel through you.

House Party is the 2023 debut album by German musician Kev Koko. After rising to international fame as part of a techno trio during the 2010s and producing multi platinum hits for German artists during the pandemic, ‘House Party’ marks the return of Kev Koko as an artist. To reflect both the multitude of influences as well as the collaborative spirit that define Kev Koko’s work, every song features another artist from Berlin’s music scene: From techno artists (southstar & ALCATRAZ) and German rap stars (Pashanim & Yung Hurn), to newcomers like Ceren & Sita Messer. - “I wanted to capture what a house party in Berlin in 2023 sounds like. Journeying from techno to rap, from electronic music to hyper pop. You are all invited.”

43°C, the debut LP by French electronic producer Basile3, is the result of a decade of cultivating a musical identity that focuses on hybridization, sonic recycling, and playfulness. The enigmatic title "43°C" signifies a haze of bliss (4+3=7, the producer's lucky number) backdropped by the ecological state of a world that’s grown slightly but surely warmer.

In this anticipation fiction, Basile3 offers a soundtrack that is an exploration of club music, electronica infused with r&b and ambient synths. The French producer warmly invites listeners to his state of mind, blooming with genre-bending floating soundscapes.

Featuring Telma Cappelo, Daisy Ray, Loydfears, Lucy Sissi Miller and Minor Science.

"Front by Front" von den belgischen EBM-Giganten Front 242 erschien ursprünglich 1988. "Front by Front" gilt als eines der wichtigsten und einflussreichsten Alben des Industrial Genres und inspirierte damit Bands wie Nine Inch Nails. Nun ist das Album endlich wieder auf Vinyl verfügbar!

DUNKELFELDER is another entry in DRNTTCKS‘ (pronounced droʊn əˈtæks) ongoing series of directly recorded live jams – after tapes on Hungary’s Beach Buddies, Austrian Feathered Coyote, german noise institution Grisaille and British Industrial Coast, they return to their home turf Otomatik Muziek for the label’s last release.

As all other entries in this series, DUNKELFELDER was improvised on the spot and recorded in one take. It's a very much loop-based duo improvisation around cassette voices, flittering tape-echoing guitar and very minimal synth structures. An interplay with very few ingedrients, always reassembling themselves into new amorphous forms - part ambiguity, part uncertainty, DRNTTCKS hit the sweet dark spot that gets lost in translation otherwise - circling around the blank spaces of things hard to communicate.

When assembling the session, news were that german nazi party AfD won yet another regional election, and tbh, things are getting more & more sinister around here. Maybe there is a cause & effect at work with more and more underground joints closing down and that far-right wind blowing through the empty streets. Places of disobedience, they disappear. So DUNKELFELDER is an attempt to manifest such a place. It will never be a soundtrack to activism, but always a noise in opposition, clearly antifascist, queered up working class drone. DRNTTCKS will never do a call to arms, but if they did, this might be as close as it can get. DUNKELFELDER is a direct look into the Deutsche Seele, into dark times (Dunkelzeit) and dark digits (Dunkelziffer). Fuck you, Dunkeldeutschland.

Enter the 3rd chamber: HEALING MUSIC 13 - 18 is the final installment in Joachim Nordwall's Healing Music Triptychon. Where the first volume delved deep into the depths of dub and the second body of tracks was dedicated to the organization of noise through rhythm and silence, the third part takes a logical step forward, being a radical exercise in asceticism.

It's the most stripped down set of the three, demanding attention to details as much as it furthers concentration - a distillation so pure it almost sounds austere. Are there more words needed? Let the bass speak.

Neon Lies started as a synth wave bedroom solo adventure in late 2015 by Goran Lautar while he was still singing and playing guitar in prominent bands from Zagreb’s D.I.Y. punk and post punk scene.

His fourth full length album “Demons” is the logical progression from the minimalistic lo-fi darkwave sound crafted on the highly praised previous album “Loveless Adventures”, but on this one you can expect even more of this desperate and introspective display, dwelling into the darker dystopian side of up-to-date electronic sounds from European underground clubs and sweaty stroboscopic flash dance floors. Both restless and intimate, “Demons” brings eleven personal hymns full of icy synth lines, rubbery bass punches along with minimal wave drum beats that are all accompanied by desperate and warm cry out of his vocal manoeuvres.

2023 Repress

A fully remastered reissue from the original tapes of The Fresh Band's highly sought-after 1984 classic 'Come Back Lover'. Produced by The Strikers' Darryl Gibbs and mixed to maximum effect by the one and only Tony Humphries, this super cool disco boogie floor-burner made it big in the Underground dance clubs of Chicago & New York, receiving heavy rotation from legendary DJs like David Mancuso, Larry Levan and Ron Hardy. This special edition from Best Italy contains for the first time all the four versions mixed by the legendary Tony Humphries: including the astounding Humphries Vocal, Dub, Remix and the rarest Dub Remix which moves towards a deeper, headier groove, with atmospheric echoing vocals and mind-blowing piano breaks.

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

Church Andrews and Matt Davies weave intricate patterns from Fibonacci sequences on new mini-album, Yucca.

Producer and composer Church Andrews (aka Kirk Barley) and drummer Matt Davies return to explore the outer limits of rhythm on a six-track suite that is at once angular and fluid, natural and systematic. Drawn to the restrictions of working solely with one synth and live drums, the pair found creativity in limitation, developing a compositional dialogue between the sonic timbres of Kirk’s productions and Matt’s percussive practice.

Evoking the primitive yet complex form of the plant from which it takes its name, Yucca features tracks that are built around rhythmic ratios of the Fibonacci sequence. Mirroring spiral patterns exhibited in nature, each track evolves like a cellular structure of its own, from the livewire syntax of ‘Chirp’ and the deconstructed ebb and flow of ‘Ferns’, to the mini-album’s title track, where crisp grooves flit between modulated electronics like fireflies.

“I’ve always been inspired by music that is complex without sounding complex,” Matt explains. He maintains a sense of bounce amid the intricate phrasing and cites drummers Roy Haynes and his grandson Marcus Gilmore as inspirations, alongside sabar drummers from Senegal and Mridangam drumming of South India.

With a shared background in hip-hop and the swung beats of J Dilla and Flying Lotus, Kirk Barley and Matt Davies were also inspired by the minimalism of Terry Riley and the sparse palette of dub techno.

Written and recorded in Lewisham in the spring and summer of 2023, Yucca follows the release of Axis in 2022, with the duo having also performed at festivals such as Rewire and Waking Life, and recorded live sessions for FACT magazine and Worldwide FM.

The third release on Yorkshire-based Odda Recordings, following Kirk Barley’s Marionette and Flaer’s Preludes, Yucca confirms the label’s reputation for championing music on the unstable ground between the organic and the synthetic.

FRN Dancehall might have emerged in Jamaica, but over the last few decades the popular genre's tendrils have stretched out across the globe. In Kampala, Ratigan Era is adding a distinct Ugandan twist to dancehall, fusing it with East African humor and hyper-melodic afrobeats elements imported from Ghana and Nigeria. The versatile MC grew up listening to Jamaican music like Vybz Kartel, Busy Signal and Mavado - in his hometown of Kawempe there was almost no way to avoid it - and it blurred into the background, blending with local church music, US hip-hop and radio pop. He developed this diverse range of influences into a completely unique Afro-dancehall flow that simmers between Luganda, patois, Spanish and English, reflecting the melting pot of cultures and dialects that characterizes contemporary Africa. Ratigan broke out with a memorable feature on Pallaso's Ugandan hit 'Nsaba', a track that echoed throughout the country booming from nightclubs, motorcycle loudspeakers or from convenience stores. Now he's assembled his first album "Era", a furiously inventive interweaving of rubbery vocals and memorable chants backed by futuristic beats from Hakuna Kulala's most boundary-pushing producers. Congolese producer Chrisman takes the reins on 'Gorilla Attack', providing a downtempo groove that echoes recent Jamaican chop deployments from breakthrough artists like Skillibeng and Skeng. For his part, Ratigan ducks and dives between Chrisman's gqom-inspired low end womps and corrosive synths, commanding attention with his smart, dextrous flow and tongue-twisting lyrics.The Modern Institute and Golden Teacher's Richard McMaster handles 'Top Strike Force' leaving space in his wiry, minimal beats for Ratigan to flit between anthemic repetitions and ice-cold AutoTuned wails. On stand-out track 'Badman Style', Ratigan's guttural patois is measured against a dizzy trap-dancehall hybrid beat from HHY & The Kampala Unit's Jonathan Uliel Saldanha, aka Lithium Beats, while on the surreal 'Drop it Down', Japanese mad scientist Scotch Rolex brings out Ratigan's cheeky sense of humor with toytown bleeps and laser zaps. MC Yallah collaborator Debmaster appears on 'Gan Dem', meeting Ratigan's double-time raps with soundsystem destroying rolling subs, and veteran US noisemaker Kush Aurora sprinkles magic dust on 'Cool and Deadly', galvanizing the link between global bass mutations, Jamaica and East Africa.And despite the grab-bag of producers and inspirations, "Ratigan" is a strikingly coherent listening experience that accurately snapshots Kampala's colorful froth of sounds and phrases. Ratigan's outsized personality is welcoming and captivating, providing the sights, sounds and smells of the city with a frenetic rhythm that's as intimate and local as it is far-reaching. It might just be the future we so desperately need.

Leftism is the debut studio album by English electronic music duo (now solo project) Leftfield, originally released in 1995 on Columbia Records. It contained a mixture of new tracks along with reworked versions of previous Leftfield singles. The album contains guest spots from musicians not associated with dance music at the time such as John Lydon from Public Image Ltd. (and formerly of Sex Pistols) and Toni Halliday from Curve.

The album was described as progressive house, although some journalists found that label too limiting, suggesting the album incorporated many genres.

On its release, the album was well received from the British press with positive reviews from the NME and Q. The album was nominated for the Mercury Prize in 1995. Critics have praised the album as one of the major album-length works of dance music, with Q referring to it as "the first truly complete album experience to be created by house musicians and the first quintessentially British one".

Feels as if we're stepping outside the known universe of Nigga Fox but simultaneously being invited in. It's not about being hermetic, shutting out followers of his trademark dance beats or making an experimental statement per se. All this music comes effortlessly during sessions such as any other, so don't throw away valuable time searching for a concept.

"Chá Preto" sounds revolutionary but not so much in his discography, accustomed as we are to game-changing compositional solutions in the afro musical continuum but - never forget - also in Dance Music taken as a broad genre. But is it Dance? Certainly a fair amount of suffering and introspection comes clear throughout the album, namely in the sequence made up of "Má Rotina" and "Mutadoree Leonor". "Mutadoree" is a free, alternative spelling of "much pain" and each listener can process the info as s(h)e pleases. The music is also strikingly beautiful, so there's really no final word on this.

Beats come sparse, a very personal phraseology, the dancefloor a memory. Or just something to keep in mind for a future night out. Presently there's no lack of adventure or excitement in these grooves, a uniquely themed one-person show of musical skills and bare emotion. It ends in a snap, not a trace of embellishment. Pragmatic and out of the loop. Rewind and feel it all over again. Any comparison in mind? Flip through History books and you won't find this chapter.

Rib Disques is proud to present Leise im Kran’s self-titled EP as the label’s first offering. Leise im Kran’s third solo outing is a tour de force of twisted acid melodies and driving breakbeat inspired rhythms. The EP's hard-hitting basslines are beautifully tempered by expansive sonic cyber-scapes. Culminating in the ambient beauty of final track 'Tagwerk', this label debut is the perfect representation of Rib Disques's ambition.

Our physical release is the result of an almost obsessive approach to manufacture the best sounding and looking tape that we could possibly imagine - A hand-dubbed, printed chrome cassette alongside a neat double-sided, foldout risography artwork.

"Pull The Rope", das neue Album von IBIBIO SOUND MACHINE, rückt die von Eno Williams und Max Grunhard geleitete Band in ein neues Licht. Die Hoffnung, die Freude und der Sexappeal ihrer Musik sind geblieben, aber die Verbindung, die sie mit ihrem hochgelobten Album "Electricity" (2022) herstellen wollen, hat den Schauplatz gewechselt, von der sonnigen Beschwingtheit eines sonnenbeschienenen Festivals zu einem schweißgetränkten, nächtelangen Tanzclub. Die Atmosphäre hat sich geändert, aber man hat immer noch die beste Zeit seines Lebens. Williams und Grunhard führen diese Veränderung auf die Zusammenarbeit mit dem in Sheffield ansässigen Produzenten Ross Orton (ARCTIC MONKEYS, M.I.A.) zurück, mit dem sie "Pull The Rope" innerhalb von zwei Wochen aufnahmen. Die Art und Weise, wie die beiden Songs schrieben, änderte sich erheblich - anstatt dass Eno die Texte zu der Musik schrieb, die Max und Co. beim Jammen kreierten, begann Orton damit, dass Eno und Max gemeinsam schrieben, bevor sie die Band hinzufügten. Mit weniger Zeit im Studio und einer neuen Art, über die Entstehung von Songs nachzudenken, gelang es dem Duo, Entscheidungen über den Sound von "Pull The Rope" schneller und instinktiv zu treffen als zuvor. Bei der Verschmelzung ihres Songwriting-Prozesses haben Grunhard und Williams das Kunststück vollbracht, IBIBIO SOUND MACHINE zu einer strafferen Band als je zuvor zu machen, die sich von ihrem Kern aus in einer Weise entwickelt, die die elektrisierende Gruppe von Musikern, mit denen sie spielen, hervorhebt. Anstatt mit der gesamten Band im Raum aufzunehmen, wurde "Pull The Rope" von Grunhard, Williams und Orton geformt, Elemente hinzugefügt und während des Prozesses endgültig gestaltet. Die Botschaft ihres fantastischen neuen Albums "Pull The Rope" ist Hoffnung in der Dunkelheit, Glückseligkeit trotz Tristesse. Wieder einmal sind IBIBIO SOUND MACHINE hier, um den Soundtrack für die beste Nacht deines Lebens und die bessere Welt zu liefern.

Sonic Behavior by Driftmachine & Ammer is an album exploring the origins of sound, noise, and various music genres. Alongside lyrical declarations of love for noise ("Song To Noise"), the album delves into sonic reflections on how beauty and emotion emerge from mundane vibrations in the air ("The Siren Is A Simple Device"). For the first time, the analog sound researchers of Driftmachine (Andreas Gerth, Florian Zimmer) incorporate spoken language and noise into their sound research. They have collaborated with word and sound artist Andreas Ammer, renowned for his radio plays with Acid Pauli, aka Console ("Spaceman 85"), or FM Einheit ("Radio Inferno," "Symphony of Sirens").

In "The Siren Is A Simple Device," the words are spoken by 81-year-old musician and poet legend Ted Milton (Blurt, Loopspool). Despite its simplicity and obvious ability to produce high volumes, the siren has led a marginal existence as a musical instrument. Yet, it is capable of evoking the most intense emotional states in the listener in the shortest possible time, like almost no other sound-producing mechanism. "Sonic Behavior" capitalizes on this fact. The familiar hypnotic sounds of Driftmachine are accompanied by a siren organ inspired by the revolutionary Russian futurist Arsenij Avranov and built by Andreas Ammer, while the lyrics talk about the simple physical reasons behind the sound chaos that has just been unleashed: A siren ... chops the air into sound.

The core of the album is "Song To Noise," an electro-acoustic mini-symphony about the beauties of noise and all its producers, which is based on a poem by the British poet Deryn Rees-Jones and spoken by the poet herself and Alexander Hacke (Einstürzende Neubauten, Hackedepicciotto). Driftmachine & Ammer develop a soundtrack that is as powerful as it is loud and danceable (which is why the LP also includes a textless version of the composition).

"Sonic Sculpture" is the zenith of the work: a text/music track spoken by Ted Milton, which creates the possibility of a sound sculpture that encompasses the universe: What if one could imagine the infernal sound that encompasses all conceivable harmonies at the same time? A piano does when you throw it down an earthly staircase (the epitome of music is a piano falling down the stairs) through silent space to the next theoretically life-filled, Earth-like planet, Proxima Centauri B. The radio makes it possible. Driftmachine & Ammer tried it. The result will be heard there in 4.24 light-years. On planet Earth, the time has come on May 2, 2024. On this day, Sonic Behavior will be released, a conceptual album by Driftmachine & Ammer exploring sound, its creation, and its power.

Red Vinyl

180 g, Side D etched, matte UV Poster, Trifold Jacket, red foil debossed "D"&"M", Poster

"Memento Mori" stellt Depeche Modes insgesamt 15. Studioalbum dar, während Gahan und Gore nach dem tragischen Tod von Bandmitgründer Andrew "Fletch" Fletcher im Jahr 2022 den ersten Longplayer in zweiköpfiger Besetzung vorlegen. Produziert von James Ford mit Unterstützung von Marta Salogni reifte "Memento Mori" während der Frühphase der weltweiten Covid-Pandemie heran; eine Periode, die auch einen thematischen Einfluss auf die Songs hatte. Die 12 Albumtracks schlagen die Brücke zwischen einer Vielzahl von Stimmungen und musikalischen Texturen - angefangen beim bedrohlichen Opener bis zur Auflösung am Schluss spannt sich das Gefühlsspektrum von Paranoia und Besessenheit bis hin zu psychischer Befreiung und Freude sowie zahllosen emotionalen Zwischentönen. Mit der Single "Ghosts Again" geht der Albumveröffentlichung von "Memento Mori" ein eindrucksvoller Vorbote voraus. Der Song stellt schon jetzt nicht weniger als einen lupenreinen Depeche Mode-Klassiker dar: Dave Gahans bilderstarke Lyrics wie "wasted feelings, broken meanings... a place to hide the tears we cry" verbinden sich über einem erhebenden, optimistischen Groove mit einer hypnotischen Gitarrenfigur von Martin Gore. "Für mich fängt `Ghosts Again` das perfekte Gleichgewicht zwischen Melancholie und Freude ein", so Gahan. "Es kommt nicht allzu oft vor, dass wir einen Song aufnehmen, den ich mir nicht nur immer und immer wieder anhören kann - ich freue mich auch riesig, ihn mit der Welt teilen zu dürfen", ergänzt Gore.

Very 80's sound in the nowaday mood.

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band in a dusty wooden studio, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

‘Dybbuk Tse!’ album will be released by Astigmatic Records on LP in regular and limited (B1 poster included) editions, as well as on all streaming platforms.

Limitierte Wiederveröffentlichung des Albums "The Burning Spider" aus dem Jahr 2017. Durch ein kreatives Feuer entfacht, enthüllt Parov Stelar auf "The Burning Spider" neue, unerwartete Seiten seiner Musik und öffnet dabei ein neues Kapitel seiner samplebasierten Klangforschung quer durch die Musikgeschichte.

Dabei bleibt vieles erhalten, das weltweit Fans an Parov Stelars einzigartigem Sound schätzen und lieben gelernt haben, nur die Einflüsse und Bezüge werden wieder einmal neu ausgewürfelt. Waren es auf den letzten Alben vor allem Swing-Referenzen, die Stelar im globalen Rahmen zum Superstar eines Genres gemacht haben, schlägt er nun mit Blues- und Jazz-Elementen und Anleihen quer durch die Jahrzehnte neue Töne an. Dabei besinnt er sich auch immer wieder auf seine eigene musikalische Geschichte, und langjährige Fans werden in den letzten Jahren in den Hintergrund getretene Stilmittel wiederentdecken.

Nur während Parov Stelar früher gesampelte Vocals wild zerhackte und verfremdete setzt er die Namen der Klangspender nun selbstbewusst neben seinen eigenen: Muddy Waters und Lightnin' Hopkins finden sich ebenso auf dem Album wie der Sänger Anduze von den amerikanischen Virgin Islands, mit dem Stelar bereits zuvor zusammengearbeitet hat, und der auf »The Burning Spider« eine Schlüsselposition innehat. Und, quasi als Bonus, gibt es dann doch noch drei »klassische« Parov Stelar-Tracks mit einer ordentlichen Portion Swing.

Musical pioneer Moby announces his new album Reprise, out May 28 on Deutsche Grammophon. Reprise sees Moby revisiting and reimagining musical highlights from his 30-year career. Together with the Budapest Art Orchestra, he has re-envisioned some of his most recognizable rave classics and anthems with new arrangements for orchestra and acoustic instruments. He’s also joined by a stellar line-up of guest artists from across the musical spectrum, including Alice Skye, Amythyst Kiah, Apollo Jane, Darlingside, Gregory Porter, Jim James, Kris Kristofferson, Luna Li, Mark Lanegan, Mindy Jones, Nataly Dawn, Skylar Grey and Vikingur Ólafsson.

On their third full-length album, 'The Signal', the Compact Disk Dummies keep a few interesting balls in the air. They play with the opinions and expectations of the outside world, while also confronting their own desires and doubts. This is aptly depicted on the cover with a table, a bell, two brothers and an impatient crowd: who is waiting for whom? The album is as diverse as its cover is surprising. In a mix of styles and influences ranging from retro house to funk, Lennert and Janus Coorevits demonstrate their versatility. Following their scintillating performances at Rock Werchter and Pukkelpop, and the success of the radio hits 'There's No Sex Without You' and 'fomo', 'The Signal' marks the start of a new era for the Dummies.

Lennert notes, "Pfff, I would think about everything indefinitely. And I'm not the only one, I notice. Stuck in a kind of limbo, a state of uncertainty, surrounded by signals, but still feeling a certain fear of following the signal."

On 'The Signal', 'fomo' dissects human desire, reaching for the unattainable. 'Where We Go (Calypso)' is like the shipwreck no one wants. And in the title track, the female lead character finds herself in a toxic relationship, the signs of which are obvious, at least to the outside world. While the content of 'The Signal' revolves around doubt, contemplation and acting or not acting, the musical interpretation is in direct opposition to that. The Compact Disk Dummies do not doubt; they hold their heads up and their chests out. With certainty, they mix everything that excites them musically into the blender, without grinding the identity of the Dummies themselves; actually enriching it instead. The retro house of 'Solàr' (a song about Louis the Fourteenth? Why not) flows into the rampant funk of 'Ballet Dancer' before expanding into 'Underwater'. In every track, you sense the long road the Coorevits brothers have travelled since their breakthrough - and their then angular electro-punk. This third album is Lennert and Janus' most sophisticated work in the expanding universe of the Compact Disk Dummies.

In addition to being a mix of styles, 'The Signal' is also a mix of collaborations. There is the French touch of mixer Michael Declerck and mastering engineer Alex Gopher. There is the Dutch input of Wieger Hoogendorp (Goldband) and Jens Van Der Meij (Froukje). Beautiful string sections are provided by Wietse Meys and Reinhard Vanbergen, bass licks by Boris Van Overschee and backing vocals by Isolde Lasoen and Judith Okon, among others. Producer Jasper Maekelberg always kept an eye on things. And again, for the third album in a row, after 'Mess With Us' (2013) and 'Neon Fever Dream' (2020), artist Athos Burez also provided the artwork for 'The Signal'.

But however international the music sounds, however great the contributions from other top artists, 'The Signal' remains largely the work of the Dummies, with Lennert as vocalist, lyricist and multi-instrumentalist, and Janus as engineer, producer and all-around tech wizard. The album was not made in New York, Tokyo or Berlin, but in Desselgem. Studio 87, the Coorevits family's garage converted into a studio, remains Ali Baba's cave for the Compact Disk Dummies. In their studio crammed with synths, percussion and guitars, Lennert and Janus could not ignore the signal: time to smash it!

Free The Robots unveils the second instalment of his tribute project to his Filipino roots.

The veteran member of L.A.'s Low End Theory collective (alongside Flying Lotus, Gaslamp Killer, Daedelus, Nosaj Thing) keeps his trademark punchy drum breaks and deep bass, but this time adds 100% samples from his archipelago (percussion, tribal voices, field recordings...).

Screen-printed sleeve

After a long period of silence from the Teenage Bad Girl project, Greg Kazubski and Guillaume Manbell had the strong desire to get together to create music together again.

If the first two albums, Cocotte (2007) and Backwash (2011), were entirely produced remotely by exchanging audio files, for this third opus, the French electro duo found themselves in the studio for several weeks. Greg and Guillaume wrote and composed together and side by side, the 13 titles of Separate. Each piece transcribes the spontaneity felt by the group during these sessions. There we find electronic sounds which give pride of place to disco funk, tinged with modernity and pop melodies flirting with the eighties.

Das neue Monkeytown-Signing, das NYC-via-Berlin-Duo Sha Ru, schöpft aus der in Protest und Befreiung verwurzelten Punk- und Dancemusik, gefiltert durch die Erweiterung und Fluidität der queeren Identität. Erste aufrührerische EPs und mitreißende Auftritte haben die Band zu einer ausgesprochenen Kraft der in elektronischen Musik gemacht, die dunkle Schattierungen und basslastige, zukunftsweisende Klänge erforscht, die ebenso an Post-Punk-/Industrial-Pioniere wie an alles im Club-Kanon erinnern. Die neue EP, ihre bisher gewagteste, ehrlichste und verletzlichste Arbeit, ruft eine Palette überwältigender Emotionen hervor, von platonischer und romantischer Liebe bis zu Herzschmerz und psychischem Leid, wiedergegeben in cleveren rhythmischen Architekturen und grollendem Bass, ausbalanciert mit sinnlichen Melodien und sanfteren Texturen.

Wir haben so großartiges Feedback zur Future Sounds Of Kraut Vol. 1 bekommen, also kommt hier Volume 2: 17 moderne Kraut-Elektronik-Tracks (9 davon exklusiv und vorher unveröffentlicht) inspiriert von Kraftwerk, Can, Neu!, Cluster, Harmonia, Klaus Schulze und vielen anderen. Kuratiert und zusammengestellt von Compost-Künstler Fred und Luna. Die Collage auf dem Cover wurde - wie schon auf Vol. 1 - exklusiv von der fantastischen Künstlerin Norika Nienstedt aus der Kraut-Metropole Düsseldorf gestaltet.

Gar nicht einfach oder im Grunde unmöglich, den Begriff "Kraut" stilistisch zu beschreiben. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er- und 1980er-Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken.
Nach dem großen Erfolg von Volume 1 wurde umgehend ein Nachfolger gestartet, der stilistisch an seinen Vorgänger anknüpft und darüber hinaus - da dies eine der Grundideen der Reihe ist - das musikalische Spektrum Schritt für Schritt um neue krautige Elemente erweitert. Auf Volume 2 finden sich deshalb nun auch ein paar cluborientierte und experimentelle Tracks.
Compost und Fred und Luna wünschen viel Pläsier beim Krautifizieren!

Format: - Schwarze 2LP mit Content-Sticker inkl. 9 exklusiven/unveröffentlichten Tracks

DJ Quotes:

- "A great compilation with a unique approach!" - Hans Nieswandt
- "Amazing contributions from all the artist involved ! Love this album ! Thank you Fred & Luna !" - Peter Kruder
- "Very interesting compilation ... Great music" - Laurent Garnier
- "Superb in every way" - Nick Warren

Andreas Dorau wird am 19. Januar 2024 zum ersten Mal sechzig. Anlässlich dessen legt er sein neues Album "Im Gebüsch" vor. Darin lauern 13 Stücke, auf denen Kaleidoskop-artig verschiedene Pop-Realitäten aufblitzen, erstmals auch auf Englisch: "Touristen-Englisch", wie es Dorau selbst bezeichnet, die Platte als eine Sightseeing-Tour des Pop. Dabei begibt sich Dorau auf einen Streifzug durch diverse Spielarten elektronischer Musik, wobei eine fröhliche Traurigkeit seine treue Begleitung ist. Außerdem wurden für dieses Album u. a. Gäste wie die Musikerinnen Güner Künier und JJ Weihl (Discovery Zone, Fenster) sowie Brezel Göring (Stereo Total) rekrutiert. "Im Gebüsch" ist modern, retro und postmodern gleichzeitig. Das kann nur einer, das kann nur Andreas Dorau!

Restock!

Containing five synthesiser-led pieces, 'Loon' was recorded in autumn 2014 across five days at Nils's Durton Studio in Berlin, and continues on from the ambient sounds of 'Stare' but with the addition of more percussive elements and dub influences. For this new EP the duo wired an Oberheim 4 Voice and a Korg PS3100 to the mixing desk and performed live takes on both instruments. With all four hands on its pots, all mixes were recorded straight onto 2-track ½-inch tape.

Like on 'Stare', their first collaborative affair in 2012, they simply followed what was laying in front of them, and this time they were driven by some new synths, a kick drum and tape effects. Indulging in dub, the tracks where all performed rather than engineered, with Ólafur riding a few elements on faders and Nils bringing effects in and out. After running several mixes, they went for the five strongest moments from this session. The release was announced on a joint arnaldsfrahm together with the launch of an intimate 45-minute studio film titled 'Trance Frendz', featuring another seven improvisations.

'Nils got some new synths and we thought we'd try them out. We loved them so much that we didn't actually end up using anything else to make these songs.' - Ólafur Arnalds. 'When I was young I was smuggled to Goa parties by my brother. The music played there in the late nineties had a somewhat deep effect on me. 'Loon' is almost a blurry memory of these times. In other words, it is what I'd like to remember that music sounded like back then. In fact it sounded probably really cheesy.' - Nils Frahm.

'Loon' will be released on Erased Tapes as a 12' vinyl as well as digitally on October 2nd.

ABOUT THE ARTWORK:
Once again the trippy packaging design was crafted by long-time Erased Tapes collaborator Torsten Posselt at FELD in Berlin.
ABOUT ÓLAFUR ARNALDS:
Ólafur Arnalds is a BAFTA-winning multi-instrumentalist and producer from Iceland. Ólafur is known for his unique mix of strings, piano with loops and edgy beats crossing-over from ambient/electronic to pop. Ólafur was a drummer of hardcore metal bands Fighting Shit and Celestine, as well as others. In 2014 Ólafur announced his electronic debut album under the Kiasmos project with Bloodgroup front man Janus Rasmussen to much acclaim.
ABOUT NILS FRAHM:
Nils Frahm works as an accomplished composer and producer from his Berlin-based Durton Studio. His unconventional approach to an age-old instrument, played contemplatively and intimately, has won him many fans around the world. For a musician this early in his career, Frahm displays an incredibly developed sense of control and restraint in his work, catching the ear of many fans.

First vinyl release on Periphylla Records, sub-label on Diffuse
Reality Records.

Introducing the new sound of I Tpame I Tvrame titled Il.
Maximum sound quality.

Emotional Rescue's vital Konduko reissue series sadly comes to an end here with a look at the label's final years. In those days it moved away from reggae, disco and boogie towards an enduring electro sound that had a vast and lasting impact on the Miami scene.

The biggest tune from that time was when Noel Williams linked with local songwriter Lawrence Dermer aka Der Mer for the track reissued here. 'Fall Out' soon became a hit with its driving electro-funk rhythms. The original sits next to the later Fresh '86" mix as well as a NAD disco mix from Dan Tyler, best known as one of the Idjut Boys. It's an irresistible package of body-popping electro with hooks for days.

Legendary drummer Kenny Clarke compared Jean-Luc Ponty to Dizzy Gillespie Fellow violinist Stuff Smith marveled, "He plays violin like Coltrane plays saxophone." Born in 1942, the French violinist Jean- Luc Ponty transported jazz violin playing into the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in 1970. Over the next years he toured with Zappa, the Mahavishnu Orchestra, and Chick Corea's "Return to Forever".In the early 1970s Ponty bought himself a sequencer and synthesizer and carried them around while traveling so he could record new ideas. By 1982 Ponty had a well- deserved reputation as a forerunner in jazz-rock and jazz fusion.
In a retrospective interview for this re- release of the 1983 album Individual Choice, JLP said:
"What I was recording in that new sequencer gave me the idea to go for a totally different concept, to use these recordings as rhythmic backgrounds, sometimes without drums or percussion. I planned to record a new album in which I would play all the background parts with my synthesizers and add my violin later on in the studio."
Ponty also invited a couple guests to contribute to the recording.

They were no less than George Duke (keys), Allan Holdsworth (guitar), Rayford Griffin (drums) and Randy Jackson (bass).
Individual Choice has been re- mastered by 2023 Grammy Nominee Christoph Stickeland includes new liner notes.

Buvette, also known as Cédric Streuli, is a constantly evolving artist, whose music captures the nuances of the distance he’s covered so fat.

Originally from Leysin, Switzerland, Buvette has traveled across ten years and four studio albums, from India to Mexico.

His last album, Tales of the Countryside is a musical adventure that subtly hints at his previous songs. By going back to the basics of an autodidact who only packed what he’d need for the journey, Buvette offers a delicacy that blends modern country music with Latin overtones and rhythmic ballads shaped like waves, in a format that’s simple, straight, and versatile.

CAF? is pleased to present Gino Ritmo & Ricci Verace’s debut album: Night Shift (Part I). 808Hz’s Italo-sided project meets Ricci’s terrestrial and thirsty global wanderings to deliver a haze driven dance music, ranging from melo-synth-rides to harsher EBM-techno-strikes. Dark but warm at heart under the twilight. Langstrasse fueled. Both pyjama and club suited.

Pablo Bozzi inaugurates his new label, Second Sight, with the various artists 'Unknown Prospect'.

The title says it all: boundless and vast, Second Sight's intent is to promote the talents of innovative producers who defy genres in the pursuit of their own idyllic aesthetic.

Blending ambient, drone, krautrock, psychedelic, house music elements into a unique sonic universe... that's what Cloudland Canyon is known for! This American experimental music project led by Kip Uhlhorn comes with the release of their new self-titled LP on the always trustworthy Medical Records! The band continues to explore the boundaries of sound and space, taking the listener on a journey through lush soundscapes and immersive textures. Formed in 2002, Cloudland Canyon has released several critically acclaimed albums, including "Fin Eaves," "Lie In Light," and "An Arabesque."

Their recent releases have been produced by Sonic Boom from Spacemen 3/Spectrum. With each release, Uhlhorn has pushed the envelope of experimental pop music, collaborating with various musicians and producers to create intricate and otherworldly compositions. This time around Uhlhorn collaborated primarily with AI to generate and create a compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another. AI has helped Uhlhorn take one step further into the transfigurative looking glass.

The new LP, marks a new chapter in Cloudland Canyon's journey, expanding their sonic palette to include elements of techno and electronic music while still retaining their signature dreamy atmospheres. The album is a journey through a sonic landscape that is at once futuristic and nostalgic, evoking the feeling of driving down an endless highway into the sunset. Past musical collaborators have included some of the most exciting musicians working today, including Sonic Boom from Spacemen 3, Wayne Coyne & Kliph Scurlock of Flaming Lips, David Scott Stone of the Melvins, Unwound,& LCD Soundsystem, Dean & Britta from Galaxie 500 & Luna, and Jody Stephens from Big Star to name a few. "S/T" is a testament to Cloudland Canyon's ability to collaborate and create music that is both innovative and accessible. Whether you are a longtime fan or a newcomer to Cloudland Canyon's music, "S/T" is a must-listen for anyone interested in the possibilities of experimental music in the 21st century. With its combination of analog and digital textures, hypnotic rhythms, and expansive soundscapes, it is a journey you won't soon forget.

repressed ! incl. Booklet

Molto morbidi's debut album String Cheese Theory is filled with an organic warmth and has the feeling of quiet classics or cult records rediscovered years after their release. A certain sense of closeness, even intimacy, comes through the listening experience of String Cheese Theory, that lays claim to unbridled creativity, halfway between pop music and the avant-garde.

“I've made these tracks for dark days and dark nights” - L.F.T.

Blood in the Grass, an EP of electro tinged new wave from Hamburg-based producer Johannes Haas, aka L.F.T. (Love, Fist, Tears), the title of which takes inspiration from a 1966 tapestry work by the late Swedish-Norwegian textile artist Hannah Ryggen (1894-1970).

Prompted by Colombi and Haas meeting on the dancefloor of Golden Pudel, the eight tracks run the gamut of darkwave and punk sounds, with Haas utilising Korg MS20 and Roland SH101 synthesisers to meld mutant acid with slamming synth lines, ear-worm melodies and opaque lyrics that are left open to interpretation. The new wave aesthetic he draws inspiration from is most evident on tracks Die Geldsmachine, No Covenent and the glistening Chloe-Rose​,​ and with its howling guitar riffs and driving energy geared for late nights, Manon is a rough and ready punk anthem and a tribute to Haas’ “gang” of favourite people in Hamburg.

NITRIBIT: Harmonic Drive - SAMOA PARK: Tubular Affair - TELEX: Moskow Diskow - S-50: Input - BOYTRONIC: You - AXODRY: Feel It Right - SILICON DREAM: Marcello The Mastroianni - LASER COWBOYS: Ultra Warp