Cerca:rail

Slow things down into a full balearic groove with this latest EP on Dekmantel by the Dutch production duo. Barely breaking a sweat over 100bpm, these smooth sunset synth rhythms, full of muted 80s Italo funk, and breezy drum machines, syncopated with the warm, exotic blend of retro keys and ambience, set the EPs five tracks coastal, vibrant dynamic.

11 never-heard tracks from Synthzerland pioneer Bruno Spoerri, released for the first time on vinyl, with liner notes by the artist. WRWTFWW Records is very delighted to announce the release of Rare & Unreleased 1971-1998, a collection of never-heard and hard-to-find works by Swiss music pioneer and synth super wizard Bruno Spoerri. The album is sourced from original masters and available on a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon), housed in a 350g sleeve with a superb artwork by Nicolas Eigenheer, and packed with track-by-track liner notes by Mr. Spoerri. Rare & Unreleased 1971-1998 gives a fascinating glimpse into Bruno Spoerri's incredibly inventive repertoire, collecting tracks from projects as diverse as commissioned music for trade fairs, the Swiss railroads, or the union of Swiss cheese makers(!), soundtracks for TV shows about ecology, live synth improvisations at Montreux Jazz Festival, and sound installations for art exhibitions. Always the adventurer, Spoerri records a pneumatic drill for the irresistible electronic bossa of 'Konzert für SIG-Pressluftwerkzeuge", mixes train sounds and the EMS Synthi-100 for the joyful lo-fi funk of 'Rollin'", lets overheating synthesizers take a life of their own to create the sci-fi ambient of 'Waves of Montreux", and works with bees, pigs and various birds for the environmental music bliss of 'Rhythm'n bees' and 'Birds of Cochin". Synthzerland rejoice, it's time for another captivating journey of sound exploration on Planet Spoerri! Bruno Spoerri celebrated his 83th birthday in August this year. He is still experimenting, recording, customizing audio gear, improvising on stage and in the studio, collaborating (Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod...), inventing new sounds and finding new creative outlets.

Following the release of lo-fi electronic masterpiece I Don't Remember Now / I Don't Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982.


While all of Bender's work draws from intimate home recordings - featuring the artist alone with various keyboards, analogue sequencers and tape delays - Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the "pop" concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics.


Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia's classic '70s style.


"I pressed a single run of 500 copies," Bender recounts. "The only review I remember railed at the poor production quality. The DIY era had clearly come to an end."


This first-time standalone reissue is recommended for fans of Suicide, TG's 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

I was gone for a while. But now I am back. Times have changed but the focus is the same. Primal, stripped down cuts'
Jeremy P Caulfield

* The follow up to Shawn's Timespan album for Pittsburgh Tracks is "...The Next Planet Over"--an EP featuring four new tracks from Pittsburgh's synth maestro. The EP opens with "Works on Paper", which is like a cross section of Shawn's acclaimed improvised live techno sets. The collection continues with "Last Light On" and "Switching Rails"--two deep, driving synth numbers that are the product of Shawn's interaction with the beautiful surroundings of Pittsburgh and its Midwestern grit. Finishing the EP is "One More Sometime" a rare downtempo excursion propelled by synth bass and lush atmospherics.
* The follow up to Shawn's Timespan album for Pittsburgh Tracks is "...The Next Planet Over"--an EP featuring four new tracks from Pittsburgh's synth maestro. The EP opens with "Works on Paper", which is like a cross section of Shawn's acclaimed improvised live techno sets. The collection continues with "Last Light On" and "Switching Rails"--two deep, driving synth numbers that are the product of Shawn's interaction with the beautiful surroundings of Pittsburgh and its Midwestern grit. Finishing the EP is "One More Sometime" a rare downtempo excursion propelled by synth bass and lush atmospherics.

- Astonishing solo debut by acclaimed cellist and composer Lucy - A daring, non-conformist and deviant approach to composition and instrumentation - One side of filigree, multi-layered autobiographical collage-work, the other of raw and phased cello glissandi - RIYL: Mark Leckey, Alvin Lucier, Beatrice Dillon, Nate Young, Valerio Tricoli, Popol Vuh

Lucy Railton is a prolific performer who has appeared on countless recordings and collaborations with many important figures in contemporary music over the last few years. Paradise 94 is, remarkably, her solo debut - featuring archival, location and studio recordings which serve as a time capsule of all the myriad disciplines and influences that have brought her to this point in time. It both plays up to and shatters expectations of her music, which harnesses a duality of energies - acoustic/electronic, real/imagined, iconic/iconoclastic, pissed-off/romantic; out of place and androgynous - resulting in a visceral emotional insight and rare narrative grasp. Variegated, asymmetric, and located somewhere between her usual fields of exploration, Paradise 94 gives free reign to aspects of her creativity that have previously been subsumed into collaborative processes and interpretations of other composers' work. Here, she's free to probe, sculpt and layer her sounds through a much broader range of techniques and strategies, placing particular focus on non-linear structural arrangements and exploring the way her cello becomes perceptibly synthetic through collaging, rather than FX. At every turn Paradise 94 is bewilderingly unique. The A-side unfolds an oneiric, inception-like sequence traversing temporalities, timbres and tones from what sounds like a spectral ensemble playing on a traffic island in Pinnevik, to bursts of rabbit-in-headlights trance arps emerging from meticulously dissected musique concre`te in The Critical Rush, and a collision of masked vocals, string eruptions and a deeply moving, light-headed Bach rendition in For J.R. On the other hand, Fortified Up on side B tests out a far rawer approach, sampling herself playing the same glissandi over and again, which she layers into a sort of perpetual, sickly motion, the Shepard Tone riffing on the listener's psychoacoustic perceptions before calving off into a cathartic dissonant folk coda in its final throes. In the most classic sense, you can only properly begin to f*ck with something from the inside once you truly know it. Railton's dedicated years of service have more than equipped her with the nous and skill to do just that, gifting us with what will no doubt be looked back on as a raw, exposed and important solo debut in years to come.

The Remixs:
Pointsman - we dont know who he is but he provide a deep big room monster.
Tripmastaz - Probably the only funky Russian you will ever meet. The only Russian artist with releases on Cocoon, Minus, Desolat, Cadenza. The only Russian artist with 4 vinyl labels. Hes funky housey remix is the most faithful of the four.
bpmf - Schmer label head provides a grimey and noisey big bottom Soviet style jam.
Steve Stoll - NYC Acid legend made a hard banging acid tracer.

In 1996 Serotonin label heads Selway and Szostek went to Moscow to perform at the invitation of Magazine. Synapse performed at the Waterclub' and met the legendary DJ Compass Vrubell. They went to his studio' where he had perfected the art of making entire tracks out patterns on the Yamaha DX-5. Szostek brought a DAT of these jams back to NYC and Schmer-003 DJ RX-5 A Taste for Crap' was released as a small run white label in 97. The run sold out and disappeared to be forgotten forever...

Until 2016 Szostek casually mentions its existence to Techno Uber-Nerd Nina Kraviz who just had to have it for her Fabric 91' CD. So DJ RX-5 was back from the ash heap of history and Schmer got a NEW release from him on Schmer07.

Then Schmer got the word out far and wide that they'd like a remix EP for two of the originals: Compass provided stems because like a miracle he still had the patterns after 20 years. Heeding the call were Pointsman, Tripmastaz, Steve Stoll and Schmer's own BPMF. So this is what you get: A Taste for Remix'. It will leave your lips wanting more, for sure!

Eric Maltz is a producer from New York City and now resides in Berlin, Germany.He is a former employee of Halcyon records from its' OG glory days in it's first location in Red Hook/Carrol Gardens areas of Brooklyn."Eric Provided a sofa to me often through-ought my 20's and vice-versa, we both cared about music above all else- we lived and breathed music- and we helped each other survive when we were penniless - if one was up, so was the other...Eric and I were roommates, friends, we looked out for each other in a rough city with tough rules. Every time one of us got a job at a restaurant or record shop, within weeks we would have the other working there too. We did that for a decade. We slang records for years at Halcyon- a shop on Smith Street which had a portrait of Stevie Wonder painted on the front facade- and we threw parties all around Brooklyn back then too.. Every shitty bar that would have us lol. We were a dope team. He's the only person who has ever touched the third rail on a subway and survived too! True story. So you know I couldn't wait to release his Debut LP. Proud of this guy" - Levon Vincent

Domenico Crisci's imprint Summa Cum Laude is ready to release its 2nd issue, featuring powerful, peak-time rave cuts signed under the name of Lowfreq77.
Mastering expert Matt Colton keeps collaborating with Summa Cum Laude to define its sound character.
Fine artist Mariangela Levita thought a new, tailored artwork, Extremely Iron View Extremely Black.

The third release on Ascorbite's own Corseque Records is not for the faint-hearted. Advance the flight and Inadequate Demeanor are clearly twins, delivered from the darkest corners of Ascorbite's mind. The bold, pounding quality of the EP brings Adam X or Grovskopa to mind but Ascorbite has a dystopian touch that's entirely his own. Advance the flight is like a battle track for an intergalactic armada being attacked by an infinite horde of swarming space ants. Inadequate Demeanor, on the other hand, is a grim steampunk fantasy of a black, shining locomotive plainly out of control, raging on red hot rails towards the end of the line. However, while both tracks are rough and unforgiving, Ascorbite manages to invigorate them by the use of subtle melancholic atmospheres - like rainy skies over a concrete desert. A balance between brutalism and vitality. A trademark of Ascorbite and Corseque Records.

After a first collaboration focusing on the City of Angels, LA legend John Tejada and acid innovator Tin Man (Johannes Auvinen), this time brooding on the latter's home city, and former's birthplace, Vienna. The Austrian capital is known as "the city of music" and the "city of dreams," two broadly aligning concepts that go far in describing this beguiling 12-inch. The four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation. Succeeding "Railjet," a tense drum workout, comes "Bim," referring to the colorful trams that run through Vienna. Here, Auvinen sculpts his 303 into near-pizzicato form. The acid box is accompanied by stately pads making for one of the duo's most memorable tracks yet. The next cut, "Danube Nights," references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. A pensive lead and some melancholy chords emerge, but the drums roll right along like the water- tough enough for a heaving floor with a hint of fragility for the headphones. The record concludes with the acidic "Prater Allee," named after idyllic, sprawling park on the banks of the Danube. The duo's love letter to Vienna is well-suited for travel, for the dance and for dreaming.

Written and produced by Nico Lahs mixed at "acusticsoundstudio" by Nico Lahs in Bari/2014

A mind focused in the future in every sense, characterized by a high sense of professionally. These are maybe the best words to describe Nico Lahs, young musician of worldwide's underground music scene. It's the tale of a child full of dreams, a tale about his love for drums grew up til today, becoming a true complete symbiosis with music at 360°. Nico's figure is complex like a puzzle, the result of a youth written by experiences and extremes hardly recognizable in common places. Behind his deep expression he hides at one side the charm of a party animal and on the other side the perfect accuracy of the pure musician; all features that leave, in a way or another, an unforgettable sign in every person who gets in contact with him. With a so particular personality and a always strong desire of freshness Nico is able to transform every performance, every set in every contest, unique in its own way.
Today his music is appreciated and supported by the biggest professionists and lovers of the international underground scene: a clear sign that the role of this musician in the future's global panorama will be as an absolute protagonist.

'On the second vinyl of Shaded Music we have a split release by Calli and Pagalve. Deep and hypnotic techno with refined layers of soundscapes and powerful kickdrum together well crafted percussion opens the vinyl on A side as a 'Railroad' by Calli. A2 is a pounding detroitish remix of Pagalve's track 'Acidized' with Slovakian techno legend - Loktibrada on duty. Previously released tons of vinyl records on respected labels as 'Tresor', 'Planet Rhythm', 'Numb', 'Olga+Jozef' or 'Palicavonzvreca' - Loktibrada delivers his first appearance on vinyl since 2011. On other
side of the record - 2 tracks by Pagalve. 'Stories' is an addictive piece of music with spacey taste of TB-303 while 'Reverse 4' is a slamming atmospheric techno track for a prime time dancefloor shaking. From Oslo, Vilnius and Bratislava with love!'

A new era is when a significant event or a discovery or
invention changes the past life and the circumstances of many
or even all people sustainably. It basically involves a positive or
neutral evaluation of this age.
- Thus, the discovery of America by Christopher Columbus in
1492 heralded a new era, the conquest and colonization of
America by Europeans.
- Similarly, the first public steam railway built by George
Stephenson in 1825, marked the beginning of a new era
of mobility.
- Also the theses of Martin Luther at Wittenberg initiated the
era of the Reformation.
- Not to forget the fall of the Iron Curtain, the Berlin Wall in
1989 and the resulting german reunification, thus initiating a
new era of world history

- Turn Me On' by Jay W. McGee is the third release in a series of sought after boogie, disco and modern soul re-issues on Légère Recordings. The original 12inch vinyl single appeared on the tiny Canadian Indie label Love Productions in 1980 and is immensely hard to find these days.

- Turn Me On' is an unusual production for its time, grooving along unbelievably deep in a spartanic arrangement, and fuelled by vocals which are not too far away from Sylvester's iconic style of mixing soul, disco, funk and jazz.


Jay W. McGee has a strong opinion about disco music: - When disco came out, it had its own way of reaching people's hearts too. Being in a club, you know, it's escapism, like with soul music. Soul is addressing everyday life problems, disco is about how to forget and enjoy yourself. They each have their own unique place. I saw people railing on doing disco because they didn't understand the seriousness of it,' Jay W. McGee explains about - Turn Me On' when he officially commissioned this re-release: - The discrimination of disco was in reality a discrimination against black music.'

- Your Love', the flipside of this 12inch single, is an exciting ballad on the B-side and a surprise in itself. Both tracks feature a great combination of talents. Wayne Jackson, the trumpet player on - Turn Me On', played on Rick James' album 'Bustin' Out On L Seven', in the late Seventies. Glenn Johanson was the engineer on - Your Love'. He became Eddy Grant's house engineer at his studio in Barbados right after he mixed this tune. But there is also a little drama in the story. When Jay W. McGee returned to the studio where he recorded, "Turn Me On" he found out that the original version of - Turn Me On' was erased by another technician: - Everybody said it could have been a hit, and maybe the guy did it on purpose.' Nevertheless he recorded the song again with a now different arrangement and instrumentation. Maybe that is the reason why the production is so unique and also so different to - Your Love'.

Jay W. McGee could have been a solo artist on Philadelphia International Records, back in 1969, when he met Leon Huff of Gamble & Huff, in Philly for an audition, just before they recorded - Me And Mrs. Jones', - Bad Luck' and - Backstabbers' with Billy Paul, Harold Melvin and The O'Jays. They offered him a contract, but he refused, because he came with his whole group from Flint, Michigan and they wanted to be signed collectively.

Jay W. McGee kept just one of the original 12inches in his home: - Both songs were a profession of love to my wife. We are now married for 34 years.' Now if this ain't love, we don't know....'

With releases on Moon Harbour, Curl Curl, Railyard and his Poker Flat debut "The Whisper Had It" last year, Simon Flower is one of New Zealand's top exports. Now he's back with two more slabs of irrepressible dancefloor action, complete with a slow burning deep-techno remix by Berlin's own Efdemin. "Phosphenes" is a pacy, chemically induced affair into the darker eschews of Flower's production techniques.