Suche:sam u l

Stepping out of the dojo with sublime focus - DJ Youngsta's subsequent addition to the Sentry discography unveils its sound system technique in abundant grandeur. Supported by the likes of UKF and Disciple Recordings, the achievements and long-standing dedication to the bass music scene of the London-based artist speak for itself. Now taking charge of the controls, The Others materializes two irreproachable cuts of undiluted Dubstep for the imprint's tenth single outing, bringing forth an exceptional display of the artist's creative ingenuity as well as technical ability, that perfectly falls in line with the label's vision and acclaimed discography.

Anticipation permeates the air. Haunting flute melodies intermingle with tribal drums in 'Shaolin' - introducing itself, saturated in tension. Surges of electric power progressively increase the strain as the sound of the final chimes strikes its apocalyptic verdict. Heading into full-frontal warfare and the midst of a sword fight, a murderous array of distorted overtones leads the way through the trenches, dug by its huge drums and minimal instrumentation. Densely loaded with ingenious sampling and off-kilter groove, the resulting soundscape will wreak havoc on any proper sound system and skanking audience.

Turning the echo up to eleven, the B-Side 'Feedback' boasts an equally effective inferno, culminating in otherworldly levels of pressure and energy. Contemplative synth melodies merge into the melancholic soundscape, feigning brief silence before promptly being reconstructed into a super-charged form. The ensuing shutdown swings to the merciless groove onslaught of its highly fissionable basslines, roaming the dance floor with rhythmic intricacy and a universe of switch-ups and creative breaks - The Other's signature style taken to its fullest extent.

Coming to the table with a fresh mutant sound, Darker Than Wax is proud to welcome Leeds-based artist Captain Over to our sonic universe with his Deep Blue EP. A solo project from one of the minds behind the band Paper Tiger, Captain Over represents a firm focus on dancefloor experimentation, blending the sounds of grime, broken beat, house, and LA beat music to create an entirely new beast. Much like the chess-playing supercomputer of the same name, ‘Deep Blue’ occupies a space between electronic weight and the human touch, fusing together icy digital synths borrowed from grime with off- kilter grooves and jazzy motifs.

Following a string of releases led by vocal tracks with grime MCs, ‘Deep Blue’ is the first fully instrumental offering from Captain Over, lending the artist a platform to make a strong statement about his creative vision and technical prowess. From the expansive arrangement of ‘4D’ to the duelling sci-fi synths on ‘Mind’s Eye’, the Deep Blue EP is a deeply creative yet functional record, signalling a bright future for the Captain Over project.

Transversales Disques is very glad to announce the release of Nuits Blanches au
Studio 116, unreleased rarities from Ariel Kalma’s personal archives recorded in the
legendary GRM’s Studio 116 during the 70’s.
Born and raised in Paris, Ariel Kalma started playing the recorder and saxophone as a
youth. After successive studies of Computer Science, Music and Art in Paris he performed
in various concerts from middle-age music to free jazz duo. Ariel performed and recorded
with several bands (J. Higelin, R. Pinhas, NYL, G. Scornic, Baden Powell…).
After learning circular breathing on soprano sax, Ariel could include those endless notes
into his own long-delay-effect system, dual Revox set-up and two tape machines “chained”
together to form a long delay system.
In France during the mid-1970s, Kalma was staffed as a recording assistant at legendary
Groupe de Recherches Musicales (INA GRM) studios, where Ariel recorded some of his
compositions in the Studio 116; the same music “concrete” laboratory that spawned
masterpieces by members Luc Ferrari, Bernard Parmegiani…

FSL008 “Excerpts From Layers Of Identity” brings you a piece of the pie that shows you the deeper and eclectic look into the producer and dj Lee Kelly’s musical styling Chosen from Kelly’s album last year of the same name on the excellent Where The Time Goes, we have picked some more eclectic rhythms and ambient numbers that is a slight change from his well received 12″ on Chicago’s Tasteful Nudes in 2017 but fits right at home with us as it will you. Also includes a beautiful DJ OK remix all the way from Berlin to your ears aswell as bonus beats.

The Soulpop Continuum – by Arno Raffeiner
Six songs, one sound signature, one vision. Supreme Beats Series by Drei Farben House is an album
that firmly stands in the tradition of the big records of the disco era: a vinyl disc full of kicks and licks,
just as much as two sides in amazing sound quality can hold.
The album is the latest work of Michael Siegle, the Berlin-based producer and owner of Tenderpark
Records. 13 years after Drei Farben House's first full-length on the acclaimed Force Tracks label, it
features contributions by singer and songwriter Mavin and none other than Robert Owens who's voice
shaped house music forever. The trademark sonic elegance of Drei Farben House blends perfectly
with the timbre of the man behind Fingers Inc.'s Mysteries Of Love. Siegle's work as a producer is not
so much about turning this rich heritage upside down, but about refining it and creating a space within
that realm that's very much his own.
The title of the opening song with Owens states it: I’m Remaining Here. And Supreme Beats Series
invites you to come over and stay there, too, in a refuge of class and funkiness. The record offers
dense layers of rhythm, vintage keyboard sounds, chucking guitar, and vocal samples that indulge in a
many-voiced conversation. Not to forget the prominent, singing rather than walking bass lines
performed by the hands of Michael Siegle himself with his bass guitar.

New Release Information
You could think of Supreme Beats Series as a cross-section in time and space. It allows you to take a
closer look at the here and now of a much bigger picture, both aesthetically and socially. Siegle uses
the vocabulary of house music in a way that transcends its conception as merely a genre and speaks
of the historic evolution and the profound roots of this music as a movement. His record takes
inspiration from 60s Motown hits as well as the blue eyed soul of the 80s, you can discover influences
ranging from Philly's pre-disco craze to new jack swing and on to the heyday when house-pop divas
stormed the charts. By drawing these lines, Siegle deliberately opens up the space of a visionary
Soulpop Continuum.
In the 1950s, the American issue of Vogue magazine had their say about Coco Chanel's work and its
ever-lasting impression on fashion and design. They claimed it was all about “infinite variety within
narrow limits,“ and meant that as a compliment, of course. Michael Siegle likes to think about Drei
Farben House in a similar way. And you should, too.
Info about the artwork:
As far as the cover artwork of 'Supreme Beats Series‘ is concerned, the release of Drei Farben
House’s new album shows the second part of an image series which has been started with TDPR
release # 021 and which revolves around architectural photos taken by Achim Valbracht. Tenderpark
art director Till Sperrle and photographer Achim Valbracht like these pictures of various commercial
buildings erected in Berlin in the 1990s to be seen as a critique of investor-driven architecture which
has been dominating Berlin for several decades now.
The fascination of these pictures lies in their ambivalence of staging a normalised and globally
standardised kind of beauty, but at the same time revealing a strong sense of isolation - noticeable not
only but also in the absence of human beings. This new series of images is to some extent a
continuation of art director Till Sperrle's and label manager Michael Siegle’s interest in architectural
photography. However, at the same time the photo series also embodies a new angle on the subject
since all previous picture series on Tenderpark had been an affirmation of socially progressive
architecture which expressed a longing for socio-cultural utopia.

WRWTFWW Records is blissful to announce the expanded reissue of one of the most fascinating Japanese ambient/environmental albums ever made, NOVA + 4 by Yutaka Hirose. The double LP includes the album known as Soundscape 2: Nova, sourced from its original masters, as well as 50 minutes of never-released-before recordings. It comes in a beautiful gatefold sleeve, packed with liner notes from the artist in English and Japanese. NOVA + 4 is also available on double digipack CD.

Initially released in 1986 as part of the Soundscape series* commissioned by Misawa Home Corporation for use in their prefabricated houses, Yutaka Hirose's NOVA has grown to become a mythical piece of the Japanese minimalist/ambient/environmental scene of the eighties. Initiated around the enchanting landscapes of the two first tracks recorded for the project, "Nova" and "Epilogue", Yutaka Hirose's magnum opus serenely blends vintage synth with nature sounds, exploring soothing palettes and organic backdrops. For "Slow Sky", Hirose explains he "went for a pointillism-like sound, and tried to express a scenery of awakening, where the portal of a heart is opening up", while on "Humming The Sea", he "tried to compose a kind of music that expresses the daily, lazy life of child-like innocence in a summer vacation in some small town."

The bonus LP gathers four long unreleased pieces created around the same period of time for installations, described by Yutaka Hirose as "not music per se but rather sound sculptures", and including the haunting "Shadow Of A Water Droplet" which was recorded for an Ikebana exhibition.

All in all, NOVA + 4 is a transcendent experience of nature in the urban context, an oeuvre which, much like Midori Takada's Through The Looking Glass or Satoshi Ashikawa's Still Way, holds the power to appease the soul in turbulent times. As one inspired YouTube commenter once said when describing Yutaka Hirose's masterstroke: "I can't tell if the birds are singing inside or outside! Thank you!"

*The Soundscape series also includes Hiroshi Yoshimura's Surround album.

After their 2015 debut Skymax are back with another cosmic disco trip on 12“.
An extended space adventure featuring the fabulous Vilja Larjosto on vocals.
Music that is truly High On Time, heavily influenced by modern theories of the free spirit and
extraterrestrial life.
Skymax are Stiletti-Ana (of finnish groups Jesse & Tähtiportti),
Feater (Running Back) and Sam Irl (Jazz & Milk / Freerange).

Returning for his third appearance on Frigio, Maurizio Martinucci (aka TeZ, Most Significant Beat and permanent member of Clock DVA since 2010) introduces one of his darkest works to date. Forged in his studio/lab in Amsterdam, the Italian artist casts three works of industrial paranoia with none other than Clock DVA delivering a very special remix.

The same intensity, the same fevered energy that permeated Dusk, is plain to hear in this production. Pulsating drums are pierced by metallic groans and choking voices for the alienating assault that is “Amna.” Clock DVA take on this factory floor demon, soothing and reworking the original. Keys cascade against throbbing basslines and stuttering rhythms, vocals by Adi Newton taking the form of a poem that circles and swoops in a track of brimming with a primal force. Stalking chords introduce “Dene.” A lancing beat lashes a lone string, static and resonance building as layers of machine noise make their inhuman presence known. The end comes from the hull of an abandoned ship, or so it sounds. Aquatic echo swirls around a spread of sunken snares, shrieks and slicing through the crash and squeal of wrought iron. Primordial music from the mind of Pragma.

repressed !

SNTS presents the last part of his double trilogy, this time called SCENE III. SNTS wanted to obtain a different view of one of the tracks of this release, and, in order to achieve that, he introduced a big star of the techno scene to this story, that artist is SHIFTED. Anonymity remains the centerpiece of SNTS. To convey feelings and sensations without a face reference or a name is the key point of this mysterious artist. This time the titles of the tracks refer to dates. You may never discover what events those dates belong to, but perhaps we can decipher something through sounds and their path. 20.01.1944 It reminds us of a battle in an eerie and desolate terrain in which each sound makes you move, observing what is happening around you. 20.01.1944 The version from SHIFTED is the story told from the outside of the bipolar world where is SNTS. 07.09.1981 It is a step in the course of a life that accompanies an atmosphere that breathes, but is not noticeable by other senses. 15.04.1946 Destruction, desolation and despair is reflected in this track. It definitely meets all the conditions to describe SNTS' sound.

Played & Supported by:
Planetary Assault Systems, Paula Temple, Svreca, Takaaki Itoh, James Ruskin, Tommy Four Seven, Ryuj Takeuchi, Giorgio Gligli, Speedy J, Ancient Methods, Terence Fixmer, Cio D'or , Eomac, Milton Bradley, Samuli Kemppi, Dj Emerson, Chris Liebing, Par Grindvik, Ø Phase, Kr!z Token, Zadig, Marcel Dettmann, Answer Code Request, Slam, Norman Nodge, Dave Miller, Deepbass, Nihad Tule, Truncate, Dj Hyperactive, Angel Molina, Ben Gibson, Juho Kusti, Claudio PRC, Bas Mooy, J. Tijn, Manni Dee, Donor, Rebekah, Go Hiyama, Francois X, Adriana Lopez, Electric Indigo, Bleak, Inigo Kennedy, Pfirter, Alex.Do, Eric Cloutier.

Its a Munich club music meet up on this split 10' by Rave And Romance Records and Jahmoni Musik.

Starting the whole thing of, it's Jahmoni Musik label boss Belp with an epic jazz intro to LION before he flips the tune into a breakbeat driven 120 bpm belter with layers of funky-as-hell percussions, moody textures and that wonderfully dubbed out 'lion' vocal sample.

On the other side you'll find Schlachthofbronx getting a 130 bpm dub riddim going that builds up his tension with one of their far-travelled synth melodies and then plunges into a monster of a rolling bass line that satisfies all your soundsystem & low end pressure needs.

Moustache Records 039 is made by a Moustache brother from the first hour "El Cubano" Danny Daze. This obscure techno acid electro EP contains 4 dark Club bangers for the floor. A1 Trumpet track ft. Johnny Superglu is the EP action starter. Crazy Loud Kick drums, a distorted trumpet played by the notorious Johnny Superglu on Acid. Retard synths, a dark vocoder shout and topped off with razor sharp snares. A2 track is called "Late night snack" a song about a boy on its way to the nightstore to get a coca cola. There he lost his way on LSD around the corner of his own house, a pure club banger with weird kiddo lunatic samples. B1 "Wandering aimlessly in NY for 4 hours" 4x4 monotonous building up acid tune. Do you remember that waiting before that new space journey? B2 is the EP tittle track "El Cubano" pure raw oldskool bunker strobo acid with robot vocoder voices and rolling drum section. Mentalism is not a crime!

"In these times of dawless jamming JBS from Karlskrona brings you a release where the A-side is entirely made with samples on a ensoniq eps, while the B-side is entirely made on a computer. Which also means this record is the perfect gift the analogue hardware purist that despises all use of digital equipment. All tracks are somehow on the classic new york house vein with a distant homage to the nearly disturbing sample use heard in stuff from labels such as nu groove, but with the B?rft twist! Worth noting is that the first track on the B-side is a re-edit of a track made a long time ago by Pean Romael where his little sisters friend was the unlikely guest vocalist. Blasphemy Release! Get it now before its banned!" -DJ Joakim Cosmo

“The year is 1982. Rita Mitsouko has not yet recorded its eponymous debut album. The pile of ashes that once was Disco is still smoking on the field of Comiskey Park. New Wave is a phrase, Post-Punk Rock a thing. In France, young musicians dream of New York City – some with more devotion than others. Lapassenkoff are to early 1980’s downtown New-York what seminal New Wave act Marie Et Les Garçons (who met John Cale on their way to CBGB) are to the city’s musical scene in the late 1970’s: an unexpected cousin from Lyon.

Indeed, going through Shing ‘n’ Tsé! sometimes feel like an impromptu meeting between John Lurie and Tom Tom Club in the basement of some French record store. If we press pause for a minute, a question comes to mind: how on earth such a unique blend of funk, post-punk, jazz fusion & hip hop (!) – more easily associated with, say, The Mudd Club, than with Les pentes de la Croix-Rousse – made its way to the brains of three French musicians?

The answer probably lies in a Swiss chalet, some 40 kilometers away from Zurich. Sent there by the wise people from Mosquito (the label which also gave Ramuntcho Matta and Carte de Séjour the opportunity to record their first album), the band experiences Alpine ennui and mysterious neighbours (a certain Carlos Peron, for instance). That is probably during this stay in Swiss meadows that they opened a Pandora’s box called experimental music, leading them into recording the mind-blowing sample-based – and accidentally proto-everything – M Le Maudit,, that would later grace Belgian airwaves via the famous Liaisons Dangereuses radio show.

But if we’re looking for a bigger picture, M Le Maudit is just an example of how inventive their approach to music was. This compilation is a testimony of a decade-long feverish flirt between the Lyon trio and dance music. From the infectious electric boogie cuts Shing A Ling and Roadie to the somehow euro-house-fuelled Ma Poubelle Angelina, via many unclassifiable yet iconic songs like Bossi Le Bosseman or Fièvres, Frissons, the compilation demonstrates one thing: Lapassenkoff took the road less traveled by and contributed to a different history of French Pop music.”

Pierre-Arthur Michau.

Isolated percussion and gravely atmospherics blended in this new deep hypnotic sampler of Koslif. Where its minimal elegance, rich textures and dystopian soundscapes are taking you to the next level.

The trumpet/flugelhorn legend’s 1960 album. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 19th June 1960. Featuring Tina Brooks (tenor sax), McCoy Tyner (piano), Sam Jones (bass) and Clifford Jarvis (drums). Features classic self-penned pieces such as the title track and ‘Hub’s Nub’, plus unique takes on the standards ‘But Beautiful’, ‘All Or Nothing At All’ and ‘One Mint Julep’. Produced by Blue Note co-founder Alfred Lion.
The famous album cover designed and photographed by other co-founder Francis Wolff.
Liner notes by the much-respected, recently-deceased jazz writer Ira Gitler.

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Borneo’s eighth release brings a sweet little five track compilation of eccentric and exotic electronica. All music is lovingly composed and constructed by the label’s family and close friends.

Ultrastation is the lovechild project of Cosmic Force and Nuno Dos Santos. Their Eau De Voodoo kicks this EP off with a fire starter made out of driving afro rhythms combined with mesmerizing vocal samples.

Phones On Fail Jah by Fader sees a quirky digital take on digidub. Centered around filtered chords, a deftly curated selection of melody and percussion is put through its paces.

The enigmatic Fizzy Veins poured his hart out on the song Handbrake. Guitar play over a subtle synth line, all sprinkled with fragile vocals that are almost drowning in the sea of echoes that lies underneath.

Rotterdam’s Nous’Klaer mainstay Mattheis has contributed V21. A stealthy weapon with synth driven melodies and electronic rhythms that are slowly morphing in and out of each other. This will hypnotize any dance floor.

Samo DJ closes the excursion with a remix. He handpicked OVFiets from the Borneo vaults, an unreleased techno work out by party crew Marck. Samo’s version brings the original in a more airy, wholesome and percussive state of mind.

Spearheaded by James Dean Brown (also known from Perlon's Narcotic Syntax) and Victor Sol, and featuring other rotating members, Hypnobeat is a true product of the open-ended spirit of DIY music that proliferated in the 1980s. The prescient project championed deft, machine-powered rhythm programming as its modus operandi long before the practice would become a dominant global cultural form. Since Hypnobeat was revived in 2012 with Helena Hauff joining JDB on stage for improvised live performances based on one 707 and three 808s, there have been a string of archival releases shining a light on the early and more recently recorded works of this forward-thinking venture.

This latest collection for Artificial Dance comprises three freshly unearthed iterations. Long-form A-side track 'Polychrome Desert' is a pure percussive exercise, programmed and recorded by JDB in 1986 with a chain of three 808s filling out a stereo panorama. The intention was to create a pure, meditative rhythm drawing on African influences and reinterpreted through what was then the music technology of the future. 'Spies In Malaysia' is a live recording from a concert Hypnobeat performed in 1985. Its lurid melodic passages and crunchy percussive blasts formed the closing track of the set, which was met with rapturous response. Recorded in the same year, 'Sumatra Railway' was the product of an impromptu session between JDB and Victor Sol. The song finds the pair exploring a more shadowy, surf-inspired sound, laden with echo and freewheeling through seven minutes of sun-kissed, subtly tropical subversion.

With each successive release, the plot surrounding Hypnobeat thickens in a tangle of 1/4' jack cables and ancient effect pedals. From its shifting line-up to the diverse sonic repertoire, it remains one of the wondrous plants of German electronic music in the pre-techno era.

Walls, Corridors, Baffles is the debut album of Swiss musician and producer Samuel Savenberg aka S S S S. Following various releases on Haunter Records, aufnahme+wiedergabe, and Hallow Ground, his LP on Präsens Editionen tries to find an approach to an artistic expression beyond tropes of darkness, harshness and excess. Thus, the aesthetic of Walls, Corridors, Baffles is radically and uncompromisingly sober. Instead of focusing on a conceptual or symbolic treatment of sound as an abstraction, Savenberg emphasizes its materiality. The album consists of eight pieces strung together into a manifesto which calls for a febrile embrace of an unheard-of, intense sobriety.
In Walls, Corridors, Baffles, unadulterated percussive force meets an astoundingly precise and frugal vocabulary of electroacoustic sounds, as for example on the opener “Deserter”. Passages extended over long melodies invite the listener to lose oneself in the contrastive emptiness. Central to the work are the affective qualities of the music which lapses only at moments into a more defined emotional quality – as on the final track “Nothing But the Circulation of Air”.
*Edition of 300 copies

Toma Kami returns to Livity Sound in style for the label's first outing of 2019. This new EP of stripped rhythm tracks and deeper grooves is precision tooled for the mix, showcasing both his sampling finesse and dj-ing sensibilities.

Last year, we got together with The Netherlands Institute for Sound and Vision’s RE:VIVE initiative for the second time, inviting four local artists to breathe new life into four archival films from the Sound and Vision and EYE Filmmuseum archives. Jordan GCZ, Suzanne Kraft, Parrish Smith and Upsammy were all assigned short animated films dating back to 1921. The films and their new scores debuted at EYE on August 2nd as part of Dekmantel Festival 2018. Unsurprisingly, each artist imparted their unique styles onto the films that they previously had no relation with. From Suzanne Kraft's sparse atmospherics that have become more apparent in his new SK U KNO project to Jordan GCZ’s free flowing hardware jams. Parrish Smith showed his contemplative side and sparse orchestrations that he demonstrated on his RE:VIVE release, Genesis Black, a sonic departure from his bombastic releases and DJ-sets while upsammy showed yet again her deft hand for melody and texture, a style that dominates all her releases to date.

These four scores can live apart from their films, fitting seamlessly into each artists' growing catalogs of work. But when combined, it’s as if the films and music were made simultaneously with the artist and filmmaker together in the same room. Dekmantel and RE:VIVE are proud to present these new works as the electronic music scene in The Netherlands continues to show its multifaceted talent that continues to expand far beyond the dance floor.

Any historians keen on the subject of "French youth in the 1980s" are holding a treasure in their hands. As a true archaeologist of this decade dedicated to disposable culture, digger-in-chief Vidal Benjamin with his newest compilation, 'Pop Sympathie', offers them a unique journey in the heart of the cyclone of emotions that struck all teenagers during the first seven years of François Mitterrand's mandate. Fifteen musical nuggets, exhumed from the dungeons of history, each and every one of them teaching us about what really obsessed the youngsters at that exact moment, i.e. what happens when the city lights come on at dusk, when irrepressible urges that stir them to get lost even more appear until the end of the night.

The artists gathered here did not have the honour of breaking into the local charts, but they all individually reached for the sky. Each song of 'Pop Sympathie' tells more or less the same story: that of a girl who throws herself into the night like one immerses one's self into the void, who rushes into a one-night adventure to become a star. And too bad if in the early morning she finds herself back at square one. In all these miniature odysseys there is neon lights, lasers, smoke machines, broken glass on checkered tiles, strangers on leather benches, celebrities in the bathrooms, stolen kisses, alcohol, drugs and cigarettes, Polaroids, venetian blinds and radioactive tubes.

If the first opus of Vidal Benjamin, 'Disco Sympathie', focused on the funky mood of songs that could have been played at Le Palace, then 'Pop Sympathie' develops itself as the imaginary soundtrack of another nightclub, Les Bains-Douches, the capital’s epicenter of nocturnal drifts. So what do we listen to, blasé, at Bains-Douches? Mainly synthesizers. The child of punk and post punk, French New Wave celebrates the matrimony of machines and lolitas under the auspices of a retro trend that revisits the atomic age. Trying to surf on that wave and hit the charts, a bunch of producers (Stéphane Berlow, Laurent Stopnicki, Bernard "Black Devil" Fèvre, Johny Rech, Jean-Yves Joanny ...) will spot their talents amongst friends, in a travel agency or at the local bar. These virtual stars are called Cecilia, Laurent, Sonia, Janou, Fabienne, Anne, Arielle or Ronan, not even 20 years old, and often leaving just an overexposed photo and their first name on a single as the only memories of their swift passage in this particular musical story. It took all the love and sweet madness of Vidal Benjamin to bring them back in the light of day.

Clovis Goux

Ahead of his second artist album on his own Millionhands label in July, Tee Mango teases with a fantastic first EP taken from it. The album finds the UK artist stretch himself with a dazzling array of soul drenched, fully fledged songs featuring his own singing and that of Detroit legend (and Moodymann collaborator) Amp Fiddler.

The sound, very much influenced by early Prince and even a little Bon Iver, combines effortlessly with that loose sampled MPC-house feel that you would associate with a Tee Mango production. It also comes with a seal of approval from Radio 6 Music legend Gilles Peterson and after EPs on the likes of Aus, Clone and Local Talk in recent years.

Opening up the EP, Amp Fiddler features on ‘Feels Like Whatever’. Dancing Rhodes keys, ooze jazz charm and float atop a simple house beat, while the Detroit legend’s emotive raw soulful vocal directs proceedings.
The heart breaking ‘No More Tears’ is an introspective sad soul song that shows another side to Mango’s skills. Tender chords, downbeat drums and vocal hums and coos all melt your very being. Last of all comes the dazzling ‘Lay Down (Disco Mix)’ with its slapped funk bassline, finger clicks and squelch synth work all topped off by an effortless
falsetto. This is a fantastic introduction to the full length to come.

Ape-X Records is the new label created by the people behind the Newcastle club party of the same name.

After 11 years of bringing global DJ talent to the North East of England, Ape-X is now turning things on its head and bringing the musical talent of the North East to the rest to the world.

Its first release features the debut release by the mysterious new spoken-word musician “MARSKE”.
“Hospital Corners” is as high brow as it is lo fi, and is difficult to describe beyond saying it shares DNA with House Music, Techno, No Wave and Beat Poetry
Production duties for the original track come from North East artist (and Ape-X’s Label Manager), Man Power.
The record also features an Instrumental version, as well as 2 incendiary remixes, from Spencer Parker (Rekids) and Boxia (Drumcode) respectively..

Over its 11 Year tenure in Newcastle, Ape-X has always followed its own uncompromising musical path, immune to trends, and with a distinctly northern personality.
As a result, a specific sound for the party will always remain hard to pin-point, but Luke and Gabe from the party best describe the sound of the label as:

“attempting to capture the unhinged moment in every party where the energy remains high, but the vibe can turn weird. Where the excitement and emotion are both balanced enough to let the DJ move peoples minds as much as they move their feet”.

• Debut album by production whiz-kid Mantronix, one of the most important acts in the mid-80s hip-hop. Pioneers of drum machine, sample technology and art of the remix.
• Features NYC club anthems ‘Needle to the Groove’, Fresh Is The World’ and ‘Bassline’ (UK top 40 hit).
• This is raw hip-hop and electronic music of the highest calibre.
• Cult classic proudly reissued by Demon Records on 180gm heavyweight black vinyl with
printed inner sleeve.

Like a homage to smoke-filled vaults, aging billiard rooms and crumby packets of pork scratchings in the Working Men's Clubs of days gone by, Todmorden-by-way of-Europe trio Syd, Jake and Giulia are about to fling open the doors of their own millennial social hub with the fresh post-punk of infectious debut single, 'Bad Blood' / 'Suburban Heights.'

'We grew up in northern towns trying to get in to pubs in social clubs because that's all we had. The name is an ode to that,' explains Working Men's Club's 17-year-old singer and guitarist, Sydney Minsky-Sargeant. 'Our surroundings and their differences has influenced us a lot on these tracks.'

Joined by guitarist-vocalist Giulia Bonometti, 23 and drummer Jake Bogacki, 18, the trio have always had a clear sense of their whereabouts; quite simply, they wouldn't even exist without multi-nationalism. Meeting at college in Manchester, Syd and Jake are from Todmorden and Hebden Bridge, but their families hail from Poland whilst Giulia moved to the UK from Lake Garda, Italy. 'The songs are based on the culture of walking round Manchester every day then going back to the countryside each night and how the contrast of going back into the hills made us sane,' Syd tells.

Working Men's Club are wise beyond their years as they seemingly offer words of wisdom, to be repeated like some kind of break-up mantra, until everything's ok; 'Be happy when the sun shines / Be happy when the sun rains / You know you should do the same.'

If 'Bad Blood' is the day, 'Suburban Heights' is the night. Recorded with Alex Greave at The Nave in Leeds, steady riffs from Syd's fingers tap-dance on the strings alongside Jake's skill in working a jagged snare. Meanwhile Giulia's heavenly disco 'ooohs' recall Donna Summer feeling the love whilst cutting right to the contentious subject of gentrification. 'Suburban Heights refers to how apparent it is that cities are expanding to hold more people and buildings are rising, they're morphing into these dystopian party towns,' tells Syd.

Already with shows supporting The Wedding Present and Brian Jonestown Massacre behind them, Syd says it's only the beginning; 'Those shows were great experiences and ones we'll have for life. We love making music and we're so grateful for what we've achieved so far; hopefully there'll be plenty more to come.'

Greetings and welcome from Axces. We're a small local Copenhagen community of friends and curious souls. This is our very first record. Alfredo92 and Kasper Marrot run the label, and they've produced two tracks with help from our good friends Carl Emil and Lauge.

The record was created in 2017 at the professional facilities we've come to know as Nordvest Auto. On both tracks, you'll hear a lot of drums, some bass, effects, samples, vocals and sounds from beyond, we don't know how to describe. They've been tested on various sound systems during the past year, and we can ensure you that a flat EQ and max volume will suit the tracks almost anywhere.

We really hope you enjoy our effort. If you should ever find yourself in Copenhagen Axces will provide counselling and guidance at own risk.

All of the music featured here on this new Soul Jazz Records collection was created by Brazilian
artists in the USA in the 1970s.
In the early 1970s North American jazz musicians were eager to work with upcoming Brazilian
musicians. Miles Davis invited Airto Moreira to join his new ‘electric’ band, Dom Um Romao (part of
Sérgio Mendes’ legen
dary Brazil ‘66 in the 1960s) joined the fusion group Weather Report, Flora
Purim and Airto both became a part of Chick Corea’s new project Light As A Feather, Wayne Shorter
collaborated with Milton Nascimento, George Duke recorded Brazilian Love Affair, and so on.
With all the attention placed on them from these important jazz artists, North America became the
new musical playground for a large number of these Brazilian artists – Airto Moreira, Flora Purim,
Sérgio Mendes, Luiz Bonfá, Eumir Deodato, João Donato and many others.
Most of these musicians had already experienced success through the earlier popularity of bossa
nova in the 1960s, either at home in Brazil or in the USA. But by the end of the 1960s many
Brazilian artists had left their own country, as the military dictatorship became progressively more
authoritarian and repressive. In the USA, through their critically acclaimed work for Miles Davis,
Weather Report, Lightj As A Feather etc., all of these artists were now given reign to explore new
musical terrains away from the restrictions of both a musical genre and a state censor back in Brazil.
This collection brings together some of these finest works and comes complete with extensive notes
that explains the path these musicians took from Brazil to the USA and shows the political and
musical links between Brazil and the USA that created the conditions for this unique fusion of these
two distinct cultures, North American Jazz and Brazilian music, that occurred in the 1970s.
The album comes as a deluxe gatefold double vinyl LP, complete with download code, full sleeve
notes, exclusive photography, double inner sleeves.

Aggelos Baltas is a veteran of the global electronic music scene, responsible for a handful of celebrated EBM 12”s as Dream Weapons, and a particularly heady and open-ended brand of krautrock as Fantastikoi Hxoi. His newest project, Anatolian Weapons, was conceived as a way to bring together these two seemingly mismatched concepts, with the polyrhythmic percussion and wailing tones of Greek folk music serving as their unlikely bonding agent. His output garners praise particularly around the Golden Pudel scene, such as Vladimir Ivkovic, and Phuong Dan. Lena Willikens, from the same circle, included Baltas’ track “Disillusioned” on her Dekmantel Selectors compilation in 2018.

But where much of what Baltas has released as Anatolian Weapons is instantly recognizable as dance music, To The Mother Of Gods—Baltas’ debut album for Beats In Space—is something else entirely. Created in tandem with Greek folk musician Seirios Savvaidis, it is a work of simultaneous collaboration and subtraction whose meticulous construction becomes more apparent with every listen. An album-length exploration of what happens when the principles of dance music are applied to pre-digital musical modalities. It is a record of psychedelic folk music that has more in common with Kikagaku Moyo, Minami Deutsch, and the Habibi Funk label than it does with anything else Baltas has produced under any alias. It’s difficult to imagine this music in any kind of club setting.

And yet, it’s very much the work of a DJ. Baltas initially heard Savvaidis’ music through a friend, and was absolutely amazed. “It was his very esoteric, pagan [music and] beautiful lyrics that grabbed me,” he writes. Seirios is a composer and performer of traditional Greek folk music with a growing discography of regional psych-rock gems. Baltas reached out to collaborate and the seeds of To The Mother Of Gods were sown.

Savvidis contributed stems of ten songs, which Baltas deconstructs and rearranges with appreciation of the ancestry of their lineage and of the deceptively ancient eerie, droning qualities inherent in the style. Occasionally augmenting Savvaidis’ recordings with his own, Baltas treats these elements as if raw materials for an architectural process.

To The Mother Of Gods showcases Baltas’ arrangement skills. He treats Savvaidis’ songs as landscapes, filling them with slanted, droning light and setting the singer’s vocals in dead center. His years behind the decks have given him an intuitive understanding of dynamics—drums crest and recede like tides, snippets of bassline repeat and swirl. He knows how to entrance, and when to push the music from the head to the body. Opener “Taratchi Katarratchi” (“Stormy Cataract”) is sung as a spell to ward off the fear of death, but Baltas’ orchestration demonstrates that dancing is an equally effective way of dispelling the darkness. The beat he assembles from Savvaidis’ playing recalls the late-night ecstasies of Primal Scream circa Screamadelica.

To The Mother Of Gods is a reminder that folk music and dance music are both powered by their audience as much as the musicians themselves. Savvaidis’ lyrics echo pagan Greek themes, touching on what Baltas calls “the magic of nature.” At times, as on “Kalesma” (“Invitation”), this can feel incantatory. Savvaidis chisels his vocal melodies into hard, clipped syllables, their cadence recalling Gregorian chant, and yet Baltas cloaks these details in washes of distortion. “Ston Stavraito” (“In Stavraithos”) is delivered with a lamentive tenderness that Baltas swells into a prideful stomp, immersing Savvaidis in marching drums and distant vocals that form a resilient protest-song. To The Mother Of Gods is a testament to the ongoing and innate truth that music can take us beyond ourselves. That repetition and drone can shepherd us to a liminal space beyond thought and rationality, where the wall between perception and reality does not exist. Call it spirit, if you want, and watch as it courses its way through modern-day dance music, mid-century psych, and the ancient sounds of the anatol.

Anatolian Weapons’ To The Mother Of Gods will be available from Beats In Space on June 14, 2019 in limited vinyl and unlimited digital forms.

Artist Highlights
• Aggelos Baltas is an Athenian music producer creating and Djing under the monikers of Anatolian Weapons, Fantastikoi Hxoi, and Dream Weapons.
• The Anatolian Weapons moniker is an outlet for Baltas to explore global music—from African to Anatolian and Middle Eastern, while also incorporating sounds from his home country of Greece.

Soul Jazz Records are releasing this stunning new collection, The World of Keith Haring, featuring
music influential to the artist Keith Haring.
The art of Keith Haring is today one of the most recognisable of any visual artists of his generation,
defining 1980s New York during an intense period when downtown artists and musicians collaborated
like never before. Haring’s musical inspiration took in the punk/dance downtown sounds of clubs like
The Mudd Club, underground disco at Larry Levan’s Paradise Garage, as well the early days of hip-hop
and electro.
The album is released to coincide with the opening of the first major exhibition in the UK of Keith
Haring’s work at Tate Liverpool and which runs for the next six months.
Haring’s many friends included Jean-Michel Basquiat, Andy Warhol, Madonna, Fab Five Freddy,
William Burroughs, Jenny Holzer, Yoko Ono, Grace Jones, Larry Levan, Futura 2000.
If you were looking for a person to guide you through the wide variety of nightclub scenes of
downtown New York in the 1980s, then Keith Haring would have been your man.
This album comes in deluxe artwork and three formats – Double CD + 48-page book, a deluxe 3xLP +
bonus 7” + download code vinyl version, and a standard 3xLP + download standard vinyl version. All
formats of the album feature stunning photography, extensive sleevenotes and interviews.
The music here includes the work of a number of Haring’s close friends, including Jean-Michel
Basquiat, Yoko Ono, Larry Levan, John Sex and George Condo (The Girls), as well as healthy dose of
rare disco, early electro and New York punk/dance tracks.

Am 21.Juni 2019 veröffentlichen Hot Chip ihr siebtes Studioalbum „A Bath Full Of Ecstasy“

A Bath Full of Ecstasy vereint den Sound, für den die Band berühmt geworden ist - Euphorie und Melancholie verschmelzen mit bunten Melodien, eigenwilligen Gesangslinien und pumpenden elektronischen Pop-Rhythmen. Für die Produktion holten sie Philippe Zdar, den französische Maestro, der die Magie von Cassius und Phoenix geprägt hat, und Rodaidh McDonald, der mit The XX, David Byrne, Sampha, u.a. zusammen-gearbeitet hat, ins Boot. Es geht zurück auf das, was Taylor als Inbegriff von Hot Chip versteht: "Eine musikalische Formulierung dessen, was gesagt werden muss, oft aber nicht ausgesprochen werden kann".

Over the last decade, we’ve come accustomed to Jason Letkiewicz releasing material under a dizzying array of aliases, each utilized to explore a different side of his multi-faceted musical persona. Now, some 14 years after he made his recording debut alongside Ari Goldman as Manhunter, Letkiewicz has joined forces with Into The Light Records to release his first album under his real name.

The Reflecting Pool sees Letkiewicz exploring the uncomplicated and uncluttered in the pursuit of pure aural beauty. While his recent album as Opposing Currents was dense, dark, urban and industrial, The Reflecting Pool is stripped back, quiet and melodious. The contrast between the two projects is marked, with The Reflecting Pool drawing more on Letkiewicz’s love of crystalline ambient, slow burn synthesizer soundscapes, early ’80s library music and the kind of obscure electronic new age music that has been a hallmark of Into The Light’s releases to date.

The set’s 12 tracks gently ebb and flow, with Letkiewicz making great use of dusty old drum machines, effects units and a range of vintage analogue and digital synthesizers. It’s a set-up that results in a range of complimentary mood pieces and interludes, from the delay-laden military drums and lilting lead lines of “Out of Body Experiences”, to the drowsy, sunrise bliss of “Sunspot”, the bubbling Tangerine Dream style shuffle of “Mind Awake Body Asleep” and the outer-space atmosphere of “The Kill Fee”.

Throughout, Letkiewicz showcases his seemingly intrinsic grasp of mood, atmosphere and melody. It can be heard within the glacial guitar motifs, occasional beats and elongated chords of “The Reflecting Pool”, the rhythmic bustle of “Numb Drums”, the glassy-eyed melancholia of “Arhythmia” and the cinematic paranoia of “Burning Off The Morning Fog”. It’s also evident amongst the classically beat-less ambient of closing cut “Weightless”, whose alien electronics, effects-laden pulses and opaque chords recall established masters of the genre.

With The Reflecting Pool, Letkiewicz has provided us with a much-needed dose of stress-free musical escapism, at the same time offering hope that in these troubling times, love may still save the day.

This 3-part compilation is a celebration of On The 5th Day - a project born out of love - honouring the music, moments and individuals that have helped to make it so special.

What follows is a journey through the spectrum of sound On The 5th Day so proudly represents and has become renowned for, the full compilation mirroring the vision for our events: to create unforgettable flow from beginning to end - a record for each part of the night.

Our love and gratitude goes to all those who have joined us along the way.

The 6th release is a split EP between Elad Magdasi, a front left raver in his core, and Sinfol - the talented producer from the label Anagram for his debut on Front Left. They each showcase an original tune, with a remix of their own to each other's tunes.

Elad Magdasi - Silent Thrust: focusing on the groove, a pushing forward bassline, this tune will make you get up and dance! That's the goal.
Sinfol - Drum Spirit: a ritualistic journey with lots of detail on the percussion, an acidic lead and a hypnotic vocal sample, joined together to a massive bomb.
Elad Magdasi - Silent Thrust (Sinfol Remix): full of soul and funk, this Detroit influenced remix is an amazing interpretation of the original, with beautiful uplifting stabs and sneaky pads.
Sinfol - Drum Spirit (Elad Magdasi Remix): a driving & energetic beat, with an underwater vibe, together with fun stabs and a heavy kick.

Following on from their recent album on Italian imprint Just This, Hunter/Game present the Silence Remixes out June 7th, featuring contributions from Radio Slave, Inland and Jamaica Suk amongst others.

Silence is a spiralling voyage into the depths of blissful ambience and meditative techno from Milan-based duo Hunter/Game. Arriving after a series of acclaimed EPs on the same label, it is an aesthetic statement of intent, carving out serene spaces of melancholy and upliftment.

For the remixes EP, a carefully chosen selection of artists provide varying interpretations of stand-out tracks from the album. Radio Slave turns ‘Dead Soul’ into a marching ground of melodic techno, whilst Inland breathes robotic life into ‘Crashed Sounds’ and Wrong Assessment levitate ‘Fragments’ over murky waters. Closing off the vinyl is Jamaica Suk’s ominous restructuring of ‘Reaction’.

Owners of the digital release will receive three further remixes. Vessels turns ‘Evolution’ into a broken dreamscape of stepping percussion, whilst Just This affiliate Scissors forges a stripped back, tripped out version of ‘Memories’. Also featured digitally is a second version of Jamaica Suk’s ‘Reaction’ remix.

Kapitan is Dori Sadovnik, half of the groundbreaking dancefloor-scorching duo Red Axes.

In his debut solo LP Alaska, Kapitan takes us on a journey into the deepest realms of his inner psyche. Through his modular synth experimentations, his analogue approach for synthesis and organic instruments he created an lp that is both personal and outgoing, fresh and nostalgic at the same time.

Weaving samples from his non-stop traveling schedule as half of one of todays top dance acts, playing guitars, drum machines and synthesizers, the album feels contem- porary and timeless, like it could have been written at anytime in the past 30 years and still feel relevant than ever, echoing Mort Garcon’s modular experimentations as well as early Air music.

T.U.R.F. is up next on Tilly Jam with an EP that screams
summer. After releases on Exploited and Tensnake´s True
Romance imprint the Dutch duo delivered three sample heavy
tracks that make you wonder if they have been swindling us
and actually hail from Paris. Hella funky jams for those who
like their house muzak filtered and their grooves fresh. Enough
of the talking, let’s do it like Mr. V once said, ‘Jus Dance Baby’.

Pre-Order. Releases June 21.

Unsurprisingly for a creator as prolific as Muslimgauze’s Bryn Jones was, when he was asked for a contribution for any sort of group project, he would tend to provide more options than necessary. In the case of longtime label Staalplaat’s 1996 compilation Sonderangebot, where Jones would find himself in the company of everyone from Charlemagne Palestine to Reptilicus, the selected track was the characteristically headspinning “Kaliskinazure”, nine minutes of insistent digital percussion bouncing the listener back and forth between samples of wailing women’s voices and a trebly, blurry little whirr that traces the percussion. It’s distinctive enough even among the vast Muslimgauze corpus, but as the continued excavation of DATs Jones submitted to his labels continues, sure enough there’s more to that track’s story, too.

An extended “Kaliskinazure” makes up the second of four tracks on Babylon Is Iraq, although it’s been lost to the mists of time whether an outside editor excised the more drifting, less needling coda that makes up the extra six minutes found here, or whether Jones simply submitted both versions of the track at different times. This more complete version of “Kaliskinazure” is surrounded by shorter tracks, with the opening “Kaliskinazure — Momada” sounding not very much like either track it references (instead being a barely-there wisp of far-away sampled wind instruments and what sounds like treated cymbal sounds) and the title track constantly coming to a full, roiling digital boil. The lengthy “Momada” closes out the album with a different, more tersely internal arrangement surrounding the same percussion pattern that will be familiar to any Sonderangebot fans, although the way the quieter atmosphere transforms the feeling of that rhythm indicates once more than Jones’ way of reconfiguring his pieces over and over was perhaps more purposive and even more effective than he’s sometimes given credit for. The result is a fascinating expansion on one of Muslimgauze’s strongest stand-alone moments.