Cerca:n ko

On this third release from Stockholm-originated Maraton—records, forces are united by friends and heroes Martinez, Federico Molinari, Olga Korol and Magnus Glädt.
Including no less than four original tracks, this is a VA.

Die Gruppe Automat - Jochen Arbeit (u.a. Einstürzende Neubauten, Die Haut), Achim Färber (Phillip Boa & The Voodooclub, Skip McDonald) und Georg Zeitblom (wittmann/zeitblom) - funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Gemeinsam mit dem Modular-Magier Max Loderbauer sowie Paul St. Hilaire alias Tikiman, Lydia Lunch und Mika Bajinski am Mikrofon präsentieren sie nun mit »Modul« auf Compost Records ihr abwechslungsreichstes und konzeptionell stimmigstes Album.

Die Gruppe Automat funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Auf seinem vierten Album allerdings schaltet das Trio einen Gang herunter, differenziert seinen musikalischen Ansatz weiter aus und geht fruchtbare Kollaborationen mit anderen Figuren aus der Musikwelt ein. Neben Max Loderbauer, dem Bandnachbarn aus den Candy-Bomber-Studios in Berlin-Tempelhof, mit dem Jochen Arbeit, Achim Färber und Georg Zeitblom bereits im Jahr 2015 für eine gemeinsame EP zusammenarbeiteten, sind das am Mikrofon die Dub-Legende Paul St. Hilaire alias Tikiman, die Königin der Gossenpoesie Lydia Lunch und die Newcomerin Mika Bajinski. Sie alle tragen ihren Teil nach dem Leitprinzip bei, welches »Modul« seinen Namen verleiht: Die acht Stücke entstanden gemeinschaftlich nach einem Baukastensystem, das den Kompositionsprozess dynamisch in Bewegung setzte und gleichmäßig auf alle Beteiligten verteilte. Das Resultat ist ein musikalisches Perpetuum Mobile - ein Album mit dem gemäßigten Ruhepuls einer Dub-Produktion, das unablässig in Bewegung bleiben.
»Modul« bildet als Album einen ständigen Veränderungsprozess ab, der erstmals im Jahr 2018 im Rahmen eines Auftragswerks für das Berliner Festival Pop-Kultur live erfahrbar gemacht wurde. Auf Einladung des kuratorischen Teams erarbeiteten Zeitblom, Färber und Arbeit gemeinsam mit ihren musikalischen Gästen St. Hilaire, Lunch und Gemma Ray ein Live-Set, das konsequent aus dem Studio auf Grundlage einzelner Passagen entstand, die nach dem Prinzip eines Resonanzmoduls miteinander (re-)kombiniert wurden: es geht zwischen den einzelnen Mitgliedern hin und her, die Strukturen morphen und der Sound nimmt immer andere Formen an. Eben dieser Ansatz bedingt auch die ständige Weiterentwicklung der Stücke, die gemeinsam mit dem Produzenten Ingo Krauss zu einem Album geschliffen wurden, das seinen nahbaren improvisatorischen Charakter keinesfalls verloren hat. Im Vergleich zu den drei thematisch ausgerichteten Vorgängeralben »Automat«, »Plusminus« und »Ostwest«, die sich jeweils explizit mit Berliner Flughäfen, dem Genre Dub und der europäischen Flüchtlingskrise befassten, setzt »Modul« auf eine inhaltliche Durchlässigkeit, welche die musikalische Offenheit der Platte widerspiegelt.
Nachdem »Modul 15« das Album mit satten Dub-Sounds und einer rollenden Bassline eröffnet, hebt »Easy Riding« passend zu St. Hilaires vor Fernweh triefenden Lyrics das Tempo mit dezenten Riddims an. Schon im nächsten Song, »Ghost«, debütiert Bajinski mit distanziertem Stimmeinsatz über einem melancholischen Stück, dessen Klangbild von den modularen Beigaben Loderbauers geprägt ist. So geht es weiter über die verzahnten Rhythmen von »Ankaten«, die von den verhallten Stimmen Lydia Lunchs und St. Hilaires begleitet werden, hin zum balladesken »Nothing Strange« mit St. Hilaire über das fiebrige Vocoder-Stück »Who For Eyes« schließlich zu den beiden abschließenden Stücken, »Pavo« und »Modul 11«, welche eine tiefenentspannte Coda zu den vorigen Tracks bilden. »Modul« durchläuft so eine Reihe von Stimmungen, ständig wechselnden Klangfarben und musikalischen Ideen, die sich in immer neuen Konstellationen zusammenfinden. Der erweiterte künstlerische Ansatz ebenso wie das vergrößerte Personal machen das Album nicht allein deshalb zur abwechslungsreichsten, sondern auch konzeptionell stimmigsten Platte Automats, die sich darauf in bester Form präsentieren: Als gut geölte Maschine, die surrt, schnurrt und unbeirrt auf dem Weg ist -
immer in Richtung neuer, unerhörter Sounds.

Unter Evolution versteht man gemeinhin die allmähliche Veränderung der vererbbaren
Merkmale einer Population von organischen Strukturen von Generation zu Generation.
Überträgt man diesen Gedanken aus der biologischen Welt in die musikalische von Northern
Lite, so trägt jedes neue Album die signifikanten Merkmale seiner Vorgänger in sich, aber erfindet
dennoch den typischen Northern Lite Sound auf spielerische Art neu.
Evolution, das 13. Studioalbum von Northern Lite, gibt ihrem unstillbaren Drang nach Härte und
Geschwindigkeit Raum, ohne jedoch die existenzielle Notwendigkeit von Liebe zu verleugnen.
Sich ihrer eigenen Vergänglichkeit bewusst geworden, gehen Kubat, Bohn und Rödel, nun jenseits
der vierzig, schonungslos mit sich ins Gericht. Weder textlich noch musikalisch werden
Gefangene gemacht. Von zärtlich quecksilbrigen Pop Balladen, bis hin zu neuen Hymnen, die die
Kraft haben, ganze Generationen im Herzen zu verbinden, nimmt jeder Song des neuen Albums
seine Hörer mit auf eine Reise zu sich selbst.
Im Ergebnis bilden hier Inhalt und Form eine rauschhafte Koexistenz, die nur durch die
meisterhafte Präzision der musikalischen Ausführung noch Steigerung erfährt.

UNDERHER liefert sinnliche Herzschmerz-Geschichten. Komplexe Rhythmen, wie das Gefühl in der Brust, wenn du merkst, dass dein Partner dich betrogen hat. Die kühlen Stimmen von Neev, Liz Cass und October's Child fügen den dramatischen Kompositionen des in Montreal geborenen Wahlberliners Khaled Bess (aka UNDERHER) eine gewisse Aufrichtigkeit hinzu. Zusammen kreieren sie die drei Tracks, die die "False Promises" EP zu hörenswert machen.

Testiculo Y Uno sind Hulk Hodn und Twit One, zwei einflussreiche Instrumental-Hip-Hop Produzenten aus Köln. Im Jahr 2009 produzierten sie die erste Ausgabe der bahnbrechenden "Hi-Hat Club"-Serie, die die Karriere von Beatmakern wie Suff Daddy, Dexter und Brenk Sinatra startete. Die LP kommt in einem speziellen Stanz-Cover mit bedruckter Innenhülle.

Helsinki´s own underground powerhouse duo Trevor Deep jr. collaborates with young Berlin based and Korean born producer Wewerka. Flavourfull four-track ep is titled “KINDRED”.
Opening track “4 The Ladies” is paying homage to warehouse parties. Raving stabs and vocal samples screaming to start a riot. Followed by the second track Namu, pure deep house music inspired by breakbeats. B-side opener ”Nuna” displays the soulfull side of the producers, where African singer Nanghiti provides beautiful vocal foundation for Magic Manfred´s funk on the live bass. I guess you can call it Detroit soul.
Last track ”Spirits” is driven by soul sampled breakbeats and heavenly synths, transcending you to new hights.
A kindred spirit: ”Someone who you share a mutual meaningful connection with. Kindred spirits will encourage each other to develop as people and offer positive energy to each other.” That´s exactly what this record is all about.
limited 300 copies

Hotly-tipped Glasgow duo Manakinz are next up on Jasper James’ budding imprint Mitchell Street Records with a vigorous three-track dispatch.

Behind the duo is Jasper’s father and house music legend, James ‘Harri’ Harrigan, and venerable selector Affi Koman. Both are steeped in Glasgow’s rich musical history, with Harri being one of the legendary faces behind Scottish institution Sub Club with its world-renowned flagship residency Subculture, and Affi Koman is known for his lauded Sunday Circus residency.

Established in late 2018, the duo’s productions have bagged support from a long list of respected artists, including Andrew Weatherall, The Black Madonna, Levon Vincent, Ashley Beadle and Bill Brewster.

“A week after I got these tracks, I dropped the A-side ‘Snakehips’ at a Boiler Room gig and the reaction was amazing. Approval doesn’t get much better than spinning it through a road test and I’m looking forward to kicking 2020 off with this killer EP. ” – Jasper James

The EP leads with ‘Snakehips’ a frisky peak-time brew loaded with propellant, tribalised drums and a soulful vocal cut set to stir. On the B side, ‘Yamaha Rumba’ runs with the headiness, amplifying the atmosphere with a maelstrom of synths and skittering keys, and it hits the spot with the release of a lustful, lascivious female vocal. ‘Partizan’ completes the package, giving listeners a robust, heavyweight club track.

'Moira', the new album by Monolithe Noir opens it's doors to the voices of a few fellow artists who can easily be described as "peers" - 'ROZI PLAIN' on the spellbinding 'Blinded Folded'.
'PETER BRODERICK' on the intimate 'By Twos' and Belgian Elsie dx on the haunting 'Valslava' - who are fuelled by the same drive not to settle for a single colour or tone.

Unpredictable by nature, surprising by choice, Monolithe Noir's music escapes all the over-used adjectives that divide our record collections but cheerfully digs into clearly distinct repertoires: from prog to ambient segueing into electronica and folk with a dip into the hidden gems of the Italian music library.

... It never hides behind a screen of fake complexity, clearly it speaks straight to us! Hope, you enjoy.

Fifth instalment in DJ F’s Prayers For The Long Life imprint under his “Ideograma” alias.

This new release showcases the unorthodox approach of the producer, moving between the electro and electronica styles from he’s very own particular approach.

Real Electro from a unique producer.

Ideograma is DJ F’s most electronic, uncanny and edgy alter ego, as showed before in releases for labels like A Harmless Deed, Frigio, Semántica or he’s own Prayers For The Long Life.

Hand stamped vinyl only release limited to 300 copies.

Japanese artist Kosei Fukuda is back with his new series from his own platform. compilation of tracks with different approach towards experimental field in texture of sounds and beats. 3/5

Wah Wah 45's are proud to present "Cages", the third album from southern soul boys The Milk. Having released "Favourite Worry", their critically acclaimed sophomore album and first for independent label Wah Wah 45's, in 2015, the band are able to trace the seeds of the latest LP back to their recording sessions with producer Paul Butler (Andrew Bird, Michael Kiwanuka, Nick Waterhouse) almost five years ago, blending elements of soul, funk and rock together to create their own unique sound, inspired by some of their favourite artists such as Bill Withers, Traffic and the Isley Brothers.

"I can't wait to hear you write songs that look outward" - these words from Paul subconsciously had a lasting impression on the band. To atone for more inward-looking sentiments on "Favourite Worry", there had to be a shift in perspective. During the formative stages of the new album The Milk started pursuing a Nichiren Buddhist practice. The values and principles they discovered during this have informed every aspect of the record.

"We wanted to write an album that looked outside of the walls, to people, society and the environment - embracing real freedom in musical expression by utilising more complex rhythmic structures, extended harmony and dissonance to paint an original and authentic-sounding record" explains If their debut, "Tales from the Thames Delta", was inspired by hedonism and "Favourite Worry" by introspection, "Cages" is an impassioned conversation with the world. Racism and division are all on the rise. British society is being pulled apart by forces that seek to divide us and rip the compassion and empathy from our minds and hearts. We have become distracted from the more urgent challenges of boundless consumerism, climate change, and the mental health emergency reeking havoc on our streets.

We are the birds in the cage, tied by cheap thrills and fake news to a limited world vision that is no longer fit for purpose. The good news? We can all choose to challenge this view. "Cages" is equal parts the dark black shadow of how far we've fallen and the blazing sunlight whose rays of hope can still change the world. Four life-long friends, Ricky Nunn (vocals), Mitch Ayling (drums) Luke Ayling (bass) and Dan Le Gresley (guitar) formed their first band when they were still at school in Essex, playing countless working men's clubs, and finally became The Milk.

The band have built up a following of dedicated fans around the UK, which has resulted in them selling out venues such as Scala, Koko and Shepherds Bush Empire. Keen to get back on the road where they feel most at home and where the guys really shine, the band offer up a compelling set of diverse styles, matched with an ability to effortlessly intertwine songs together, gives their music a continuous feel to it. Since signing to Wah Wah 45's, the band released their second album "Favourite Worry", which became one of BBC 6 Music's albums of the year, sold out London's Union Chapel, toured with the Fun Lovin' Criminals and completed a sell-out UK tour climaxing at London's KOKO in Camden town. ... More live dates coming very soon!

Andy Ash has been quietly sneaking out seriously good analogue-driven electronic music on some of the best underground labels for over a decade.

The Liverpool-based producer, DJ and visual artist (the artwork for this re- lease is Andy’s own oil on canvas) has graced the likes of Chicago’s Stilove4music, NYC’s On The Prowl, Sydney’s People Must Jam and has remixed Fantastic Man for Detroit label Kolour LTD amongst many others.

The bottom line is that he’s definitely one of the UK’s unsung heroes when it comes to deep, raw, Chicago and Detroit-influenced house music and we’re proud to welcome him to Delusions Of Grandeur with an amazing three tracker entitled the Bottleneck EP.

The title track opens with snappy hats, flappy congas and sloppy baseline all sitting perfectly in the mix and with a looseness that is much harder to achieve that it may seem. A simple synth melody doubles up the bassline while an extra square wave lead adds that little extra hook without distracting us from the bouncing groove. With Bottleneck, less is definitely more.

Flipping over we have Hump, an altogether darker affair with a twisting acid line joining distorted 808 drums and tripped-out snippets of spoken word coming in and out of focus. The low-slung bumpy groove and spacey synth parts make this a compelling warehouse track which will draw everyone into it’s seductive confines.

Closing the release we have Actual Price, a shuffling, deep groover with rumbling low end and machine-like analogue synth part skipping around the crunchy beats. A cerebral yet punchy and dynamic closer to an excellent release!

10"

HOUSEWAX presents Kolja Gerstenberg - Jizzle Jam. This release is a fantastic debut for Kolja on the 10 inch series! His passion for electronic music is part of a Gerstenberg family tradition. Breast-fed Rhythm & Grooves galore. Kolja's dad was touring with legendary Trance live act „Afrotrance“ during the early 1990s, releasing on R&S, Harthouse, etc. Guess what: he was the percussionist, drumming up legendary clubs like „Dorian Gray“ or OMEN in Frankfurt.

Favorite Recordings proudly presents Recalling You, a dazzling Disco/Jazz-Funk new single EP by our longtime friend and label mate Andre Solomko. Born in Ukraine and based in Finland for a while, Andre Solomko is a rich and engaging personality, but above all, a talented saxophonist, composer and engineer, with contagious passion. Since they met 7 years ago, Andre and Pascal Rioux’s (founder of Favorite Recordings) collaboration resulted in 3 albums and a couple of singles acclaimed internationally. Primarily known for a sound mixing Jazz-Funk, with European Soundtracks, Pop and Soul influences, Andre Solomko’s skills for composition and production are much wider. Almost 2 years ago, he’s therefore demonstrated his versatility when delivering the hot Disco anthem “Le Premier Disco Sans Toi”. This first attempt definitely seduced many DJs and collectors, and it seems Andre enjoyed the trip too and decided to embark for it again with “Recalling You”. For this new single, Andre’s idea was to revive two of his past compositions, tailoring brand new glamorous Disco suit and arrangements for it. Backed again by a close team of musicians and the beautiful and charming vocals of Charlotta Kerbs, the new session was recorded live and analog as usual, and then brilliantly mixed in France by Jordan Kouby at Question de Son studios. It ended with what might be Andre Solomko’s best level of productions and sound so far. To make it short, “I Recall” and “Teasing You” felt in love and had a baby at the nightclub… here comes Recalling You, packed in a 45rpm 12inch vinyl edition and coming with a hot Dub edit by Charles Maurice on B-side.

Chicago-based contemporary electronic musician Steve Hauschildt has composed panoramas of synthesized sound for over a decade. First within his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music, and later across a steady and critically-acclaimed stream of solo releases spanning ambient techno, arpeggiated electronica and post-kosmische styles utilizing synthesizers, computers, and digital processing. In 2018, he extended a collection of rich, visceral tracks titled Dissolvi, his first release on Ghostly International and his most collaborative work to date. Just a year later, Hauschildt returns with Nonlin, an album that's freer, leaner, and looser, both structurally and conceptually; less linear compared to its predecessor, but still captivating. Developed and recorded in several studios during and around the edges of tour - Chicago, Los Angeles, New York, Tbilisi, and Brussels - this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales. Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener "Cloudloss" permeates the mix with an unsettling smog, which reappears and all but engulfs "A Planet Left Behind." On cuts like "Attractor B" and "Subtractive Skies," pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations. The album's title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. "Reverse Culture Music" casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. Hauschildt continues to expand his already horizon-wide repertoire, here exploring the effects of corrupting coordinates; a flight subject to the collapsable abilities of time in remote spaces, a smearing of the axis to elegiac ends.

Tracy Lynn Curry, better known by his stage name The D.O.C., is an American rapper, songwriter, and record producer, who released his second studio album Helter Skelter in 1996.
After a 1989 car crash accident which damaged his vocal cords, this was his comeback album. His voice had changed a lot, but with a fantastic live band the gangsta rap comes alive. His lyrics are still great and worthwhile to listen to.

Dick Verdult, a.k.a Dick el Demasiado is the Philip K. Dick of multi-disciplinary art, the Moby Dick of “cumbia lunática”, and the Charles Dickens of literature and experimental cinema. He first fell in love with cumbia when he heard his nursemaid singing the classic “La pollera colorá”. From this moment on, he adopted the genre and reinvented it, in a perpetual degeneration called Cumbia Lunática, twisting up the elements of traditional cumbia, the “cumbia of the mucamas”, to create an anarchotropical vertebral rhythm, one which supports every moving part.

Celulitis Illuminati is the powerful debut of the anarchotropical gentleman knight of the abstract, Dick el Demasiado, eight dangerous tracks recorded for the first time on vinyl, songs that, upon listening, will liposuck all that grotesque accumulation of adipose tissue out of buttocks and brain. They interweave an amalgam of South American folklore and the cables of electronic music, the plugged-in Ranqueles indians, as in “Asi Que Los Que Sí” (“So That Those Who Yes”) on Side A, surrealist and lugubrious beats, poetry made song and “the dead man’s drool is good for painting watercolors”, as he sings in “Búho Sin Un Ratón” (“Owl With No Mouse”).Euphony that will abduct you away to a viscous street party with “Son Cosas De Hoy” (“They’re Things For Today”) and to an eclectic and excessive dimension with “pero bien bweno” (“but very proper”).

Side B is pure dynamite: “Mecha flan” (“Pudding Fuse”), “Sábado cultural” (“Cultural Saturday”) and “En la jeta” (“In the face”) represent the perfect blend of Lucho Argain (La Sonora Dinamita) and Muslimgauze (Bryn Jones). On top of this, the album includes an as-yet unheard gem, “Llama Mi Abogado” (“Call My Lawyer”), produced by Dick himself and Manuel Schaller, the telepathic mage of the Theremin. When the Dutchman stepped off the boat and onto the block, as well as offering us the TV set, the sculpture of a deranged English woman who devours islands like they were sandwiches, the synthesizer, the sound effect, the African drum, the maraca, the indigenous whistle, he obtained for us the song and the stanza, he provided us with the language and the poetry, the truthful, the epic of the ugly. Cellulite for mortals, cumbia lunática for the enlightened ones! Alfredo Padilla (Trans. Komurki)

Jon Hopkins knüpft mit neuer Single, in Zusammenarbeit mit Kelly Lee Owens, an das 2018er Meisterwerk „Singularity“ an und kommt 2020 auf Tour nach Europa.

The New Yorker feiert Jon Hopkins nach seinem 2018er Meisterwerk „Singularity“ als “one of the most celebrated electronic musicians of his generation” und auch wir kriegen gar nicht genug Multitalent aus London.
Zum Glück gibt es tolle Neuigkeiten für alle Jon Hopkins Fans für 2020. Zuerst veröffentlicht er zusammen mit Kelly Lee Owens eine neue 12‘‘ namens „Luminous Spaces“, ein herrlicher Track der Hopkins‘ elektronische Klänge perfekt mit der spirituellen Stimme von Owens verbindet. Dann geht es auf große Europatour im Frühjahr mit zwei Konzerten in Deutschland

- Schwarzes Vinyl inkl. MP3 Downloadkarte

VA: various artists, various styles. Six artists tell six different stories. Music is not uniformity.

New anthology on Afrosynth Records brings together six songs by South African disco star Kamazu, spanning his career from 1986 to 1997: two of his biggest hits, ‘Korobela’ and ‘Indaba Kabani’, two more obscure songs from his catalogue, ‘Victim’ and ‘Why’, and two tracks from his kwaito comeback, ‘Mjukeit’ and ‘Atikatareni’.

Freestyle techno nonstandard DJ Sotofett produced this cosmic ambient excursion together with two Finnish producers Kalifornia Keke and Stiletti Ana.

Edmony Krater's work gets 3 remixes for this release! Also comes with the original version of  ''An Ba Jouk''... Check.

''M'acko'', ''Kokoloko Tani''and ''Abidjan Adja'' are deep mid-tempo Ivory Coast Boogie Synth steppers, heavy production!! Funny fact.., the 1986 LP is mixed by Sammy Massamba!

repress

2LP 140G VINYL + 12 PAGE BOOKLET.

"Space Echo - The mystery behind the "Cosmic Sound" of Cabo Verde finally revealed!" is the 20th release by the fabulous Analog Africa Label.

In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held.

It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day.

One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside - however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area.

Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. "No need for Portuguese rocket scientists to explain this!" they laughed.

What the villagers didn't know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently.

The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools.

This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde".

The field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few.

French superstar, D.ko Label bossman and all-round bemasked mystery Mézigue brings the heat on this special release for skylax records. His style is uncommon & raw, mézigue is doing mézigue style, take it or leave it. If you're listening carfeully to his music you can imagine a dream mix between the absurd poetry of the pixies crossed with the craziness of Mr Oizo.This is one of the weirdest release we have ever signed and we are so proud of, unusual & unique. Mézigue is here to stay.

The Keep ist das Soloprojektdebüt des Göteburger Produzenten Oliver Knowles, der seine indonesischen Wurzeln mit seiner Liebe zu Drone-Musik verbindet. Geschrieben in Barcelona, kombinieren die Tracks Drones, Noise und Rhythmen, inspiriert durch Vitalität und Euphorie spanischer und katalanischer Straßenfestivals, zu einem eigenwilligen, frischen Sound.

The Planet X invasion continues ... The third release is the most-awaited EP this year featuring the Matrixxman himself. According to the Alien Council, it is his best EP so far. It contains four tracks of serious icebreaking soundscapes, running trough the listener's veins by freezing the complete solar system with a coolness.

Starting the process is A1 with the fall-out Syren track called ‘Hong Kong Day’ played exclusively in the Matrixxman Dekmantel Boiler Room set last year, now finally being released for the hungry trainspotters who have been waiting for quite some time.
Next up A2, the second installment of the Hong Kong- the Night version- the most spooky-sounding spirit-catching meltdown of a track. It is reminiscent of a lethal death scene in a brutal manga cartoon, where the Iron eagle flies over the lands looking for prey.

On the other side- B1 starts with the track ‘Power Drain’ featuring his label mate-Exos- definitely the festival track of the release which then takes the listener to the breakbeat part of town in the final track called ‘Tango Down’ on B2.

This is where the real Matrixxman signature strikes with raw, dirty rave bass turning it back and forth, finishing the EP with some analog screams. The Planet X continues tearing through the galaxy.

A chance meeting in a New York club led to the conception of Mowgan’s debut album, in collaboration with renowned African Benin-born Nigeria raised singer and multi-instrumentalist, Kaleta (Leon Ligan-Majek) an ex Fela Kuti, Sunny Ade, Lauryn Hill cohort who also fronted Akoya Afrobeat Ensemble and presently heads up a 70s style afro funk band called Super Yamba based in NYC.

The Frenchman was working at Lina Frey when he overheard a Beninese salsa singer called Laurent Hounsavi channeling Afro-centric vibes through his performance. He approached the singer and was put in touch with Kaleta, who lives in the Big Apple, too. What happened next was pure magic, as the two men got to work in the studio to bring their two worlds together.

It’s the kind of mystical alchemy that only happens once in a blue moon; Kaleta was given carte blanche over Mowgan’s extensive collection of Africa-inspired electronic instrumentals.

He selected his favourites and performed on each one, delivering an original vocal, and his own guitar licks, over the top. To stir up even more electrifying vibes, Kaleta also invited several of his talented friends to join the recordings sessions - they included vocalists Shade Myers Emmanuel, Justin Masters and Gbenga Wise, Freddie Deboe on sax, Mic Dada assisting Mowgan on synth pads and Takuya Kuroda, the infamous Japanese trumpet player from Kobe who specialises in neo-soul, hip hop and electronica.

The result is ‘Karoussel’, a vibrant, dynamic, soul-enriching hybrid between electronica and deep African musicality that sets the standard for contemporary collaborations between western and African artists, and the first in a series of album projects from Mowgan on his fledgling label Mow Records...

High John & Douniah sind ein Alternative R&B / Neo Soul-Duo aus Hamburg und Berlin. Johns warme, Lo-Fi-beeinflusste Beats und Douniahs charakterstarke, soulige Stimme harmonieren auf eine organische und zeitlose Art, verbinden die Vibes der 90er Urban Music mit den Klangfarben und Themen unserer Zeit. High John hat dieses Jahr zusammen mit Plusma (dem Produzenten von Ace Tees “Bist du
down?”) das Instrumental-Album “High+” veröffentlicht und ist Teil des Raw Suppliers-Kollektivs. Douniah machte in den letzten Monaten mit zwei feinen Kollabos von sich reden: “Don't You Worry” mit Fuchy (aka Farhot) und “Naked Trees” mit Cap Kendricks.

They Say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”.

We say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing.

Breath Of Danger was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan and Ray Cooper.

Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year.

Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy second riot of sound and colour from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper.

Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger - 45 years old - truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Breath Of Danger comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

'Oval' marks Konrad Kraft's third release on the German label 'aufaabwegen/Cologne', and is his second release in his current series. Clear textures, wobbling rhythm structures and unexpected melodic particles develop into unusual soundscapes. Blurred and foggy layers give way to clear musical accents.During the recording of the album, KK used mangled and destroyed field recordings, only two software synths and a modular synthesizer. Making use of his favorite modules, he merged the two worlds of sound design, digital and analogue. The result makes interesting listening.

This is the 2nd single release from L'Épée, from the seminal album “Diabolique”. This 3 track single contains an exclusive track to the release “Shiny Shiny” & the artwork is by Frank Kozik.
The band are Emmaunelle Seigner (Ultra Orange & Emmanuelle), Anton Newcombe (The Brian Jonestown Massacre) & Lionel & Marie Liminana (The Liminanas).

Pink fog rises amidst the hills; dew covers all in silver paint glittering in the background. Layers covering layers of low clouds, fog and haze. Shimmering city lights. Silhouettes of figures sitting in the hills, hanging in bridges, on top of houses, looking upon, observing city drive from up high as if it was a meditating bonfire.

A notion of something going to happen. But all that remains is a glimpse of pink fog hanging static in the air.

Risks Issues Opportunities, the third release from berlin based R.I.O. Label brings together a collection of electronic wave music from six different performers with one common ground: their mysterious & slightly melancholic aesthetics. - (R.i.O. - RIO03)

DOWNWELL is the solo project of Giorgi Kolbaia and comes out from one of the planet’s hottest scene nowadays speaking about dark techno and ebm (Tbilisi/Georgia). It could be perfectly described as a paving roller for the dance floor or as a hell thunder storm.

Resounding dark beats and distorted voices to burn everything around. All tracks have been specially remastered for LONG CUT Vinyl by Eric Van Wonterghem at Prodam Berlin.

‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of song ‘Wild Slide’ is the debut album from techno supergroup, Better Lost Than Stupid, aka 3 of the world’s finest producers and DJs - Martin Buttrich, Davide Squillace, and Matthias Tanzmann.

Released on 13 September by Skint/BMG, the 11 track album follows a slew of singles - ‘Back From The Desert’, ‘The Sky Is Too Low’, and ‘Inside’ – which have won praise from the likes of Mixmag, Dancing Astronaut, RA, Radio 1 (Pete Tong and Danny Howard), Marco Carola, Dubfire, Nicole Moudaber, Kolsch, Joris Voorn, Claptone, Eats Everything, Adam Beyer, and many more.

Electronic music underpins ‘Wild Slide’, but Better Lost’ look beyond it with a varied collection of songs that combine synth-pop (‘Inside’, ‘Wild Slide’), electronica (‘Boys & Girls’, ‘Harder Than Gold’), indie rock (‘Back From The Desert’), and downtempo (‘Without The Feeling’, ‘Bender’), with the kind of euphoric techno moments they’re individually known for (‘Inside’, ‘Right Now’).

‘Wild Slide’ shows that the comparisons made between Better Lost’ and stadium techno acts like The Chemical Brothers, and Underworld, stand up. The production quality is every bit as good as you’d expect from Buttrich and co, and the songs have been crafted and written by three people who’ve spent their lives making music and then playing it to hundreds of thousands of people.

DeForrest Brown Jr. is an outspoken theorist, journalist, curator, visual artist and musician. Raised in the deep South, DeForrest moved to New York a few years ago and has been shaking things up IRL and online ever since.

- He asks difficult questions that make us relook at how we think
about race, class, post-racial ideas, historical events and the social
structures in America.
- His work defies narrow bags and he’s truly a unique cultural polygot
comfortable booking an artist like Felicia Atkinson at Issue Project
Room or shaking up people on the street with his “Make Techno
Black Again” hat line.
- His project Speaker Music was inspired by Rhythmanalysis, a book
of essays by urbanist philosopher Henri Lefebvre as well as
considerations of momentum and the “chronopolitical” from British
cultural theorist Kodwo Eshun. Mobilizing freely improvised
electronic percussion and stereophonic audio recordings, Speaker
Music yearns to caress, engineer and sculpt sentiment into a multi-
textural rhythmic body, quivering moments into a collapsed
“nonpulsed time.”
- His debut for Planet Mu centers around weary sonic portraiture of
sonorous and cybernetic energy music – a music encoded with an
encrypted heat but made “with empathy and without excess.” His
“touching of frequencies” unveils a romantic abstraction of sonic
narratives that recalls previous innovations by musicians such as
Les McCann, Urban Tribe and James Stinson.

DeForrest Brown Jr. will be present at Unsound Festival in October at which he’ll be launching a new publication w/ Primary Information.
He will also present a special event at respected New York art gallery Artist Space on Friday December 13th at which he’ll be launching a book related to the album.

Additional dates will happen between October and next Spring - A Video will also be launched when the album is announced in early October (...).

Neka Neka' (on General Purpose) is the first solo release by multi-disciplinary artist, Ex Ponto (Ivan Mašic). Coming of age during the mid-90s Melbourne rave scene, Ivan was infected with music by the legendary Kate Bathgate on 3RRR community radio.
Hearing music by the likes of Oliver Lieb, Will E Tell, HMC & and other producers of the time, an infection quickly turned into a music obsession that lives on today.

In the following years Ivan would go on to manage one of Melbourne's longest running record stores (Dixons Records) and in 2005 built a recording studio, aptly named The Womb. From 2005-15, he produced and played on over 20 albums for improvisation collective, Council of Elders and experimental, no-wave band, Wunderlust.
'Neka Neka' is a nod to ex-Yugoslavian experimentalists of the 80s (Rex Ilusivii, Kozmetika, Miha Kralj etc) and the thriving, late-night hedonism of Belgrade's Club 20/44.

Hey peepz, we would like to present to you INEX009 - This time it's a remix EP of previous released tracks.

First we have a deeper version of head honcho Ben Mudi's Fantant by Kevin Over – a good friend and known artist of our repertoire.

The second one is a remix of Leo Woelfel by M.ono which comes in very dreamy and nearly fantasy kind of disguise.

Third there is DJ Normal 4's Oriental Dragon MixX – a remix which adopted the melody and adlibs from the original adding a spicy almost goaesque acidish synthline.

Last but not least we have have a remix by french house connaisseur Flabaire who runs th D.KO imprint out of Paris – soft and moody sound bubbles will flattering your ears.

Time to inhale - exhale!

Another banger from cultuurschok., 4 cuts straight out of The Lost Vessel After Midnight” in The Hague! This time he miraculously appears on the Dutch “Onrijn Records”, the third release on their label. Soundwise this EP is comparable with cultuurschok his previous EP “op Sterven na Dood”. Tracks on Planet Hoax are more diverse, still catchy, uplifting and wrapped in a good amount of energy.

This record was made to dance, wether you are into raw Disco, lo-fi Techno, Electro.. This EP rocks!

"3x12" - Vinly Only.

The second instalment of minimood's multidisciplinary fusion series features Die Wilde Jagd with an extensive rework of the neo-romantic ’Morgenrot’ as well as a vast array of diverse remixes by Ancient Methods, CV313, Luigi Tozzi, Roman Flügel, Rude 66, Steve Bug, The KVB, Vactrol Park, and Variant. This gatefold 3x12" vinyl only release is visually enhanced with intricate hand-drawn artwork including inlay by Dusseldorf based artist Susanne Giring. Written and recorded by Sebastian Lee Philipp with his Uhrwald Orange studio collaborator Ralf Beck, ’Morgenrot’ originally appeared on Die Wilde Jagd's debut album in 2015.

For this release, Philipp and Beck re-visited the song: the ensuing ‘Fangschuss Version' enjoys an augmented arrangement, additional instrumentation and a haunting guest vocal by New- Zealand based singer Nina Siegler. In Philipp’s words, the 'Fangschuss Version' constitutes “a venture to capture the spirit that has been guiding this fusion release - a desire to explore the concepts of friendship, time, distance and memory. An attempt to unveil fragments of the unseen and to reveal the surge of a distant remembrance in an embracive listening experience." 'Morgenrot' subsequently gets a highly varied remix treatment by a range of carefully selected artists.

While Vactrol Park navigate the original audio material into beautiful ambient territory, Ancient Methods showcase an epic masterpiece of enchanting medieval-vibed techno. The KVB turn the track into a dreamy cold-wave trip and Rude 66 dives into a dark, primetime, anthemic dimension. For Roman Flügel, it’s a slow, organic, starry-eyed approach and Luigi Tozzi transforms 'Morgenrot' into hypnotic & loopy, minimal, deep techno. The rework by Steve Bug plays with the original's melody and a danceable kosmische-infused house cut emerges.

The final two remixes are both crafted by legendary Echospace Detroit mastermind Stephen Hitchell: absorbing deep trips into mesmerizing dubtechno by CV313 and into foggy lo-fi ambient by Variant.