Suche:sound b

After five years from "Cash On The Line" Admiral returns with some hot served distillate of his sweet psychedelic bliss. Admiral takes us on an acid soaked journey through the many realms of consciousness offering a unique and alluring soundscape that defies traditional boundaries."Do You Want To Sit On The Green" sounds like library music coming from a parallel universe where the familiar and the surreal seamlessly blend to create a musical tapestry that is both nostalgic and avant-garde.

Batu returns to A Long Strange Dream for a deep dive into otherworldly ambient soundscapes, after infusing his interest in beatless forms in recent releases.

Drawing inspiration from the ambiance of chill-out rooms and their ability to channel the intense emotions of rave, he presents an entrancing voyage into post-euphoria, where self-exploration lives at the border of lucid dreaming and reality.

By recontextualizing his signature studies of the frontiers between organic and synthetic sounds outside of dancefloors, the multi-faceted producer displays a blissfully radiant and emotive side throughout an ecstatic journey.

After five years from "Cash On The Line" Admiral returns with some hot served distillate of his sweet psychedelic bliss. Admiral takes us on an acid soaked journey through the many realms ofconsciousness offering a unique and alluring soundscape that defies traditional boundaries.

"Do You Want To Sit On The Green" sounds like library music coming from a parallel universe where the familiar and the surreal seamlessly blend to create a musical tapestry that is both nostalgic and avant-garde.

OOO002 - second, vinyl-only release debuts dark, galactic grooves featuring heavy bass lines and experimental elements from artists Chad Andrew and Len Lewis.

A1: “Battle 303”
Inspired by the soundscape of the 90’s techno scene, Battle 303’s punchy bass drums hold you captive as its sine wave bounce lures you into hypnosis with a progressive rhythmic beat. The track’s rolling 303, pyramid’s a myriad of elements before awakening you to the crisp subliminal vocal, just shy of the midway point. Battle 303’s multidimensional fury of movement refuses to slow its pace, inducing pure cardio for both the mind and body, inspiring peak dance performance.

A2: “Area 15”
Area 15 intros the swirling ambiance of dark, atmospheric, easy listening as it gradually accelerates into a journey of the unknown. Utilizing distortion effects, eerie drones and chimes, coupled with the rhythmic pattern of arpeggiated synths brings about a sense of intrigue that lends the listener the flexibility to determine their personal musical trajectory and experience.

B1: Battle 303 (Len Lewis S!th Remix)
Battle 303 (Len Lewis S!th Remix) is an introspective, sonic journey that slings you through a brooding origin story of tribal, galactic funk that echoes iconic samplings spanning over 5 decades seamlessly merged into one futuristic bop. Maintaining it’s old school, breakbeat roots with a driven, heavy bassline, claps and snares, Lewis remains true to his S!th style, by altering path and speed with his signature, unexpected musical transitions, highlighted by timely breaks and experimental elements. Be prepared to move and groove as this track reaches hyperspeed early on, stimulating intense movement and journey from start to finish.

B2: Battle 303 (Len Lewis G.H.M. Remix)
Battle 303 (Len Lewis G.H.M. Remix) leads with traditional, minimal components and a suspenseful bassline, laced with piercing elements and garbled synth vocals, creating a sense of awareness and urgency that gradually builds in intensity before throwing you into punchy, sinister darkness.
This groove, set against the backdrop of deep space and all its musical element oddities, mimics the drive of the original 303’s rolling bass line while seamlessly exploring Lewis’ S!thstylings of metallic synth scales and spooky drone effects, keeping you captivated as you strut the dance floor

Between improv, pop and r&b abstractions, and contemplative balearics, Sam Gendel and Ugné Uma “Tam tikri objektai erdvėje” subtly meanders through a fragile and forward cosmos both inward and out.

Sam Gendel and Ugnė Uma’s Tam Tikri Objektai Erdvėje album sketches a layered, melismatic and intertextual view on what both performers define as a lightness of being. Ugnė Uma’s musical stance is influenced by experimental poetry and Lithuania’s 20th century underground music scene - jazz and folk, resulting from the liberation of the country’s independence movements. Sam Gendel, from Los Angeles, is a saxophonist and producer, proficient on more instruments than the saxophone alone, whose recorded work both solo and collaborative has brought him acclaim as a vital new voice in modern jazz and beyond.

Tam Tikri Objektai Erdvėje is Lithuanian and translates as Some Particular Objects in Space. The six tracks on the album stand for every letter of the word Saturn. They sketch out a sound palette both fragile and full of forward momentum. With hints of improv, sampling their own recorded work and sounds of a childhood’s Yamaha Portasound PSS-290 synth into abstractions of pop and r&b, some of these tracks reach an almost balearic feel, the more contemplative end of it. With lyrics delving into cosmic phenomena, Tam Tikri Objektai Erdvėje is an album about space, whether cosmic or inward or the one in between. It easily surpasses the sum of its influences and the materials and tactics used to produce it.

What you do is a fundamental question. But it's how you do something that ultimately determines the effect." — Julian Sartorius

With 'RLLRLRLLRRLRLRLRLLRLRLR', Swiss drummer and sound artist Julian Sartorius presents his third album in three years. Together with 'Ensemble This | Ensemble That' Sartorius has created a mesmerizing 39-minute percussion album that conclusively expands his artistic output. For the first time, an ensemble plays an idea conceived by Sartorius, while he assumes the role of an interactive conductor, manipulating the sounds made.

Sartorius is known for his fluid and versatile solo performances in which he continually modulates the sound of his instruments, adding objects and progressively unfolding his sound world. The idea of expanding this practice was already gestating when the 'Ensemble This | Ensemble That' invited him for a collaboration. Together with the drummers and percussionists Brian Archinal, Victor Barceló, Miguel Angel Garcia Martin and Bastian Pfefferli the concept was further explored, elaborated upon in detail, and finally realized.
'RLLRLRLLRRLRLRLRLLRLRLR' is both title and score for the ensemble's four percussionists. The pattern, consisting of 23 individual beats, is played continuously by the ensemble while Sartorius gradually makes alterations to the instruments played. The result is a piece that has a sustained rhythmic flow yet is perpetually changing. Sartorius' interventions and the precise musicality of the ensemble allows the listener to discover an expansive array of moods and intensities.

The album is structurally recursive but develops an almost mystical magnetism through an odyssey of diverse musical landscapes. Sartorius explains: "It amazes me deeply how much the sentiment can change based on a musical mood - this sense of curiosity is made audible with this album." The album recording itself is designed as an endless loop: at the end of the recording, the ensemble's sound has returned to its starting point, thereby completing an endless, self-contained cycle, with no beginning or end. In this way, Sartorius also echoes his 2021 album 'Locked Grooves'.

Julian Sartorius' precise and multi-layered rhythmical patterns are keen excursions into the hidden tones of found objects and prepared instruments, bridging the gap between organic timbres and the vocabulary of (experimental) electronic music. He has released numerous solo albums, creates audiovisual art works, collaborates with musicians, writers, and artists, and performs live in intimate venues and on festival stages.

Ensemble This | Ensemble That (ET|ET) have established themselves not only as interpreters of contemporary music, but also as collaborators to a wide range of artists including projects like Zimoun, Myriam Bleu, Strotter Inst., Lê Quan Ninh, Marko Ciciliani, Jürg Frey, and Michael Maierhof, amongst others.

Longtime D&B producer Submorphics launches his new imprint Rosebay Music with a 2 track single showcasing the modern-yet-timeless soul sound that he is known for. Fusing elements of Motown, deep house, footwork, 80s & 90s, funk and orchestral film soundtracks, the nomadic producer displays his love of emotive, eclectic D&B in signature form on this first single.

Rosebay Music releases will connect the dots between disparate styles of soulful music, with unexpected collaborations, remixes and genre hybrids - focusing on melodically strong D&B, adjacent forms of dance music, hip hop and modern soul. Cinematic, visceral, heartfelt music; Rosebay will be a place for honest musical expression.
DJ Support:

LTJ Bukem, Bryan Gee, High Contrast, Logistics, Lenzman, Bredren, Sustance, Satl, DJ Marky, Doc Scott, Bailey, Technimatic.

After a two-year pause, the PIV label returns with a new release on its ‘Limited’ vinyl only sub label. This time in good company by two legends in the making: Fabe and Alexander Skancke. PIVLIM, as the sublabel is called, focusses on the more underground sound of house music. Fabe provides 3 original very unique sounding tracks, with Alexander showing off his skills on the high energy driving remix. The tracks have shown their effectiveness countless times on dancefloors around the globe, so be sure to get your copy now, as only a limited amount will be pressed on vinyl only.

DJ Support: Lauren Lo Sung, Rossi, Chris Stussy, M-High, Fabe, Alexander Skancke.

Demi Riquisimo’s ‘A Lifetime On The Hips’ sub-label returns to make it a hat-trick of releases for2023 with the impressive ‘Body Move' V/A featuring eclectic club cuts from Dreamrdreamr, SY, Papa Nugs, Elfenberg, ABSOLUTE. & YSANNE.

Dreamdreamr’s emotive ‘Zone 4 Booty Call’ kicks off the a-side. A track that effortlessly fuses elements of deep house, trance, and R’n’B, it sets the tone perfectly for an EP not bound by the borders of genre. The title track ‘Body Move’ by SY is up next. A no nonsense house chugger with flourishes of Italian 90’s progressive and acid - a perfect modern interpretation of a foundational strand of club music. The A-side wraps up with one of 2023’s most exciting prospects Papa Nugs and the vocoder infused, percussive, twisted jam 'Loosey Goosey’.

The flip picks up right where the A-side left off with Elfenberg’s ’Solarplexus’, a cosmic, evolving and psychedelic interpretation of house. UK mainstay ABSOLUTE. is up next with ‘Devastating Rhythm’, a peak time techno floor filler that sounds like a Frankenstein mix of seminal imprints Dance Mania & D’jax-Up-Beats’ output - proper gear. Drawing the curtain on the ‘Body Move’ V/A is YSANNE’s ’Tisno Tango’. A slightly more introspective cut but with more than enough groove to make you dance, a perfect closer.

Varhat unveils fresh music for his Up The Stuss debut ‘Breaking Out’, with Canadian favourite Paolo Rocco returning on remix duties.

When it comes to artists who have managed to carve out and command their own unique place within the modern minimal and house scene, French DJ/producer and live artist Varhat is a name you have to include at the top end of your list. The creative behind an endless list of aliases, plus multiple Unknown Artist projects and mysterious labels via Paris’ illustrious Yoyaku, he now readies an impressive outing on Chris Stussy’s Up The Stuss imprint, delivering an eclectic selection of house cuts for all hours and settings.

From the delicate electronics and hazy tones of the opener and title cut ‘Breaking Out’ to the acid-laced, driving rhythms of ‘Nobody’ and the slinking, signature sounds found within ‘Mopho’, the EP is a celebration of all things house music from one of its modern contemporaries. Add in a deep, dubby and cosmic trip from the returning Paolo Rocco on remix duties, and there’s a slice of genius here for everyone to enjoy. Tip!

When Cicadas appear in the area they cause a huge uproar. It’s hard to escape the distinctive noise these critters make, reaching up to 120 decibels. The hypnotic, trance-inducing sound disappears with the insects. A few months after Cykada's explosive debut, the world was hit by turbulence and from Cykada there was silence - fortunately only seemingly, because the next cycle began underground, in the privacy of the studio. It was there that the cicadas matured, waiting for a metamorphosis.

The year 2019 was very successful for Cykada, with a brilliantly received debut album, concerts at numerous festivals in the UK and Europe such as Glastonbury, Wilderness, London Jazz Festival, BAM Festival, La Defense Jazz Festival or Love Supreme Festival, along with constantly composing and preparing material for the second album. As the musicians entered the studio, the coronavirus pandemic was already in full swing across the globe. It was clear then that the world would never be the same. With increasing restrictions Cykada went underground, waiting for changes to surface again. Unfortunately the expected change that was happening seemed only for the worse - Brexit and its socio-economic consequences, worldwide disinformation, accelerating climate catastrophe and Russian invasion of Ukraine. The collapse of the old world order is the perfect moment for metamorphosis and with this message Cykada steps out again into broad daylight, matured and carrying a message with their long-awaited second album “Metamorphosis”.

The meaning behind the title is multifaceted. It refers both to changes taking place in our society and changes to our world as nature defends itself from human stupidity and greed. It is also a reference to the personal and musical development of the band members in that difficult period. It all became a foundation to bravely attempt to make new beginnings.

The metamorphosis is also clear in the musical aspect of Cykada. Their debut album was already difficult to shoehorn into specific genres with their sound that balanced jazz, electronics and elements of global music styles. With the second album their eclectic style has evolved into something distinct and innovative, combining folk/jazz song form and improvisation with heavier sounds inspired by sound system culture and rock. The band grew into a septet thanks to multi-instrumentalist Rob Milne, expanding the horn section to 3 instruments and galvanising its sound. But the biggest change that happened compared to the first album is the singing of Cykada leader Jamie Benzies in singles “So Divided” and “The Crack in the Bricks”. Both songs carry an important message, showing us that the changes in the world are already happening and that only we can make it head in the right direction. This unique sonic mix along with the message unleashes a powerful energy that the musicians want to send to and infect every listener.

V-House Sound boss, AJ Christou is next to make his Hot Creations debut with the two-tracker ‘Babaloop’.

Hailing from Manchester, AJ Christou stands as a testament to artistic accomplishment with his unwavering commitment to his evolving craft and sound. The success of his new label, V-House Sound, has made this year particularly significant for him, with unshakable support from industry heavyweights like Marco Carola, Joseph Capriati, and Jamie Jones, backing his reputation as one of the most sought-after DJs in the game. With another impressive year behind him, December now marks his debut on Hot Creations as he delivers two club ready gems in his ‘Babaloop’ EP.

The bumping two-tracker kicks off with ‘Babaloop’, a lively late-night house cut featuring entrancing male chants and a bouncing bassline that captivates the listener with its groove. ‘No Fear’ follows up with a funky bass riff, alluring female vocals and deep stabs, radiating prime-time resonance and bustling club energy.

Following their 2021 debut album, ‘Brama’, One Million Eyes return with their highly anticipated second album, ‘Iris’, set to captivate us once more through a kaleidoscope of rich analog and instrumental fragments.

The inspiration behind the album was born from a powerful symbol—the iris of the eye. Controlling the inflow of light, the iris mirrors the duo's mission for the album, “letting light in, even in the darkest of times”. Representing an attempt to shed new insight on their sometimes indescribable approach, Paolo and Luciano compare the ambition (and consequent imperfections) throughout their music to that of the imperfect, yet unique array of color found within an iris, in the hope it can completely entrance and mesmerize. With much of the album recorded live, ‘Iris’ marks a refined evolution in the One Million Eyes sound born under their Tempelhof guise many years ago. Infusing organic sound elements such as voice fragments, acoustic guitar lines, and drum beats at the forefront of their compositions, their vast array of analog synthesizers once again provide added depth and warmth, resulting in majestic, hypnotic circular motifs that Paolo and Luciano describe as "Mantras, rising and falling in volume and intensity."

The word Datasal paints inner pictures for most people growing up in Sweden during the 1990’s. The datasal (a classroom for computers) was an ordinary classroom with few changes to fit the school’s 10 newly leased computers. The room represented the change of times in Sweden during this period: the fixed institutions and the awaiting digital flood wave.

The music of Datasal sounds captures the feeling of printing a downloaded picture of your favorite hockey player or music artist or the expectations building up as you wait for the modem to log in to interact with the thousands of users of the internet in 1995. The tracks this release manifests the excitement but also the bit of fright you felt connecting to the world in the mid 90’s - a time when the internet still was fun.

The sound is built around repetitive sequencer loops and programmed beats where electric bass, electric guitar and flute improvise around a theme, creating a sound that is best described as cosmic flute house. Datasal is an harmonic reminder of a time where digital progress seemed less harmful than today.

A compilation of Hearn Gadbois' tracks, published here and there along the years (1983- 2020). Most of them are home recordings with very little or no diffusion, so this release tries to shed some light on these amazing compositions. A sound related to Hassell's 4th world, but developed in a very personal way (he even designs & makes some of his instruments) that feels different and goes far beyond. Using mostly acoustic instruments, Hearn combines a love of traditional trance/ecstatic rhythms with the sensibilities of an outsider artist, creating a music that is both archaic and post-modern. A really original and rare work, difficult to classify or explain... In Hearn's own words, included in the liner notes:
"The pieces compiled here tend to fall, with some overlap, into a few broad categories as near as I can tell: Mystery Psychedelic Crime Jazz (Tuba City, Flesh of the Spirit), Ayahuasca Hut Bachelor Pad Music (Night, Take the Waters, Wood), or Party Music that just fell from the sky or bubbled up through a crack in the earth (Flown Home, What the Goatherd Heard)"

As a percussionist, composer for dance and film, instrument designer/ builder, session musician and teacher, Gadbois worked with Meredith Monk, Sussan Deyhim, Gabrielle Roth, Yoko Ono, Patti Smith, Suzanne Vega, The Master Musicians of Jajouka, and Wim Wenders, to name but a few.

LA based producer Eric Spire released some very forward thinking music on his Silver Pearl label back in the late 90’s. This type of heavy, psychedelic house music was the bridge to a new era of sound and grabbed a lot of attention from the likes of Craig Richards & Lee Burridge’s Tyrant nights at Fabric and DJ Garth to name a few.

Now, 2 decades later, Sushitech and label head Yossi Amoyal compiled a unique series that includes some of the most inspiring and hard to find tracks out of the Silver Pearl back catalogue.

This is an exclusive insight to one of the most inspiring underground labels coming from the west coast. Essential!

LRK proudly presents "All Of Me / Self Revolution" a limited edition Retro Soul 7" vinyl from Gary Beals.

Lyrically, "All of Me" playfully celebrates bringing one's "whole self" to the forefront as Gary playfully expresses his interest and openness, giving of himself to that someone, he is very much interested in exploring more with.

Gary Beals is an acclaimed Canadian singer-songwriter known for his soulful voice and captivating and heartfelt performances. Rising to prominence as a finalist on the first season of "Canadian Idol," Beals has continued to captivate audiences with his exceptional talent and genuine artistry. His music seamlessly blends R&B, pop, and soul, resulting in a timeless sound that resonates with listeners worldwide. With multiple successful albums and a dedicated fanbase, Gary Beals continues to inspire and uplift through his powerful music.

Craig Charles is a big supporter of Gary's Beals and spun "All Of Me" for weeks on his Soul and Funk show on BBC radio Six

Moxie’s On Loop imprint proudly presents ‘Manifold’, the highly anticipated debut solo EP from Amaliah. The rising Londoner delivers on her burgeoning ravey promise, unleashing a remarkable trio of percussive club tracks that link UK house aesthetics with global soundsystem influences, and comes with a wonderfully knotty remix from celebrated producer Call Super.

Borne Fruits founder Amaliah has rightfully ascended through the musical ranks of her native city to emerge as one of its most exciting voices. As a DJ and producer, she intersects at the exhilarating crossroads of contemporary house sounds, soundsystem culture and UK club influences to packed dancefloors weekly across the UK and EU. The Manifold EP flexes Amaliah’s parallel trajectory as a wicked tunesmith, offering her long-awaited and most substantial musical offering to date for Moxie’s much-loved On Loop imprint.

Opening track “Helix” curls a percussive membrane around its funky core, pumping along with nocturnal rave menace punctured by sirens and grotty synths. Next up, “Me So” shimmers with bubbling assuredness, diffusing Detroit-inspired melodies atop a bumpy house stepper that spurts with synthetic glee along its way. “Spooky Dub” greets us on the flip, wasting no time in igniting its punchy dembow groove while peppering its rubbery bassline amongst some dub-drenched fx. It briefly retreats for a half-step breakdown before re-launching us straight back to dancefloor salvation. Can You Feel The Sun’s Call Super sees us out with a typically psychedelic labyrinth-like remix of “Helix”, refracting a minimalised Electro groove through a magnificent fairground ride of wide-eyed sound design and intimate melodics.

Early support from Saoirse, Call Super, Parris, Moxie, Niks, Roza Terenzi, ISAbella and featured in Pangaea’s BBC Radio 1 Essential Mix.

deadbeat Records is pleased to announce the launch of their highly anticipated second release, "Farsight - Sorry Mate! EP". Following the success of their debut release, the label continues to push a playfully energetic and late-night sound with this latest offering.

Marshall Smith AKA Farsight brings his characteristically unique flair and top-notch production skills to each track. The release is already getting DJ support from the likes of Emerald, Nikki Nair, Jay Carder, Rnbws, Hunter Starkings, Lex G, Dawn Razor, Plot 45 and Oldfield to name a few - and there are a limited number of records available.

Jackie Mittoo is one of the most important artists in the history of Jamaican music. As founding member of the legendary Skatalites, as in-house arranger/producer at Studio One and as a solo artist in his own right leading groups such as The Soul Brothers, Sound Dimension and Soul Vendors.

These classic and rare recordings were made in the mid 1960's at Studio One. The Soul Brothers bridged the gap between Ska and the arrival of Rocksteady mixing it all up with Funk, Jazz and Latin styles. The Soul Brothers recorded at Studio One between 1965-1967. This was the transitionary period between Ska and Rocksteady where the music was a mixture of Funk, Latin and Jazz sometimes with a reminder of Ska and the hint of Rocksteady.

The previous era of Ska had been dominated by the Skatalites, the first in-house band at Studio One who created classic hits such as "Guns of Navaronne", "Man in the Street", "El Pussy Cat" and many more. Unfortunately the strong personalities in the group meant that The Skatalites stayed together for less than two years. It was also around this time that the mentally unwell Don Drummond was arrested for the murder of his girlfriend, the dancer Margerita.

In August 1965, barely a week after the demise of the original Skatalites, The Soul Brothers (featuring ex-Skatalites members Jackie Mittoo, Roland Alphonso, Johnny Moore and Lloyd Brevitt) were up and running as the new house band at Studio One.

The Soul Brothers were essentially a collective, releasing material under their own name or under a nominal leader (usually Jackie Mittoo or Rolando Alphonso). The group line-up changed over time with Bobby Ellis (trumpet), Bryan Atkinson (bass), Dennis Campbell (Sax), Harry Haughton (guitarist) and Joe Isaacs (drummer) replacing various members alongside the ever present Jackie Mittoo.

REVIEWS

"Jackie Mittoo was a true star of Jamaican music; a founder member of The Skatalites, a prolific composer and the keyboard powerhouse behind many a classic tune. His simple, often hypnotic approach, to ska, rocksteady and reggae made him one of the most distinctive sounding musicians of the era." BBC.

"Jackie Mittoo was one of the great names in Jamaican music, manning the keyboards for the Skatalites, the Soul Vendors, and Sound Dimension-- three of the greatest house bands of the 60's
(and I mean anywhere, not just in Jamaica)." PITCHFORK.

A command across genres has distinguished Yasushi Ide’s work as a DJ and producer since emerging from the multiscene spawning big bang that was Tokyo’s highly influential club milieu of the 1980s. His productions draw variously from hip-hop, dub, house, punk, jazz dance, exotica and electronic music - and at their most expressive, synthesize sensibilities within a single track. The respect Ide’s earned is well evident in the impressive roll call of collaborators he’s accrued over the years - Masters At Work, Tom Verlaine, Don Letts, James Chance, DJ Krush, Pharaoh Sanders, U-ROY, and Bongo Herman, just to name a legendary few.



Now available for worldwide distribution from Love Injection Records in both digital and 7-inch 45 vinyl formats, the Yasushi Ide “A Place In the Sun (Kaoru Inoue Remix)” is paired with the equally gorgeous “A Place In the Sun (Dub).” On the former, Inoue’s treatment largely strips away the track’s beats, anchoring it to a subtle percussion pulse that emphasizes the composition’s irresistible melodic qualities. The latter finds Yoko Ota at the controls restoring and pushing reverb-soaked drums to the forefront of the mix, accentuating Ide’s affection for the sound system aesthetic while exercising just the right amount of spacial arrangement flourishes to inject some brawn amidst the beauty.



These serendipitously rediscovered renditions of a back catalog deep cut are just the latest examples of Yasushi Ide’s artistic reach. In addition to recording such acclaimed albums as 2020’s Cosmic Suite and its 2022 sequel (for which Love Injection has remixed a track), his work has spanned music supervision of some 200+ compilations for major labels, artist management, his Grand Gallery shop/gallery proprietorship, and books showcasing the depth of his archival sensibilities, including vintage t-shirt and ephemera curation. Perhaps most inspiring, however, is that Ide is still winning new appreciators and collaborators in unexpected ways four decades into a revered career that continues to evolve and expand.

Closely following a busy 2023, GiGi FM announces her brand-new record label, offering “Kiwi Synthesis Diary Vol. 2” to mark the debut. Sea~rène takes aim at dreamlike and ethereal electronic music to reconnect the subconscious and the cosmos through immersive storytelling. As the identity quote of the label says itself “We are Sea~rène swimming in-between supernatural tides, forever following the emotional waves of the universe”.

Already quite accomplished in her milieu through an acclaimed release on Bambounou’s Bambelabel, where she explored the relationship between bodily technologies and music, as well as through her residency on NTS Radio where she explores inter-dimensional sounds and shares her own musical palette, GiGi also continues to perform at strings of performances in the past years in settings like Berghain, Rural Japan, Draaimolen, Fabric, De School, Primavera, The Bunker New York, and Sustain Release. The French/Italian artist takes her productions further with this first release of her imprint. A continuation of her first self-released project, “Kiwi Synthesis Diary 21k,” in 2021, GiGi FM celebrates the exchange between her, as the owner of the journal, and its reader through euphoric soundscapes and vibrant psychedelia. Taking a step back from lockdown introspections, blurred lines between dream and reality like ambient and drony atmospheres, GiGi gives us a bent club record full of colors and life.

GiGi FM guides us through dreams of sonic environments and the adventures to be had through them. Some are characterized by evolving fractals and shifting landscapes like in the healing mushroom journey of ‘Amadamushies’ and the mythical Japanese Heron ‘Tsuru’. Combining steady rhythm and immersive ambiances, the result intends to soothe into a state of openness through kindly familiar territories. Sifting through the tracks, we find ourselves traveling fast through cosmic ecosystems like in the spiritual and cosmic teaching that “Tevora'' represents, as well as ‘Househopping (Keroppi)’ and “Sly Xupete Di Barcelona,” conveying the urgency to feel and create, even within difficult circumstances, while “Spazio Teletrasporto'' takes us on a hypnotic whirlwind trip into the depths of the cosmos and our inner consciousness. Through these chapters of a journey, a connection between the mind and the beyond is implied, and its importance is highlighted.

Deeply influenced by astrology, philosophy, and the cosmos; for GiGi, music is both a tool for expression and introspection. As a multi-hyphenate artist, she continues on her quest to push artistic boundaries and hold space for unique audience experiences. Whatever medium she may adopt, the result is a rich embodiment of the interconnectedness of sound, color, movement, and metaphysics.

Ein weiteres Kultalbum von Jazz Room Records mit Danny Ward & Reality, die Mitte bis Ende der 70er Jahre die Go-To-Funky-Jazz-Band für College- und andere Hardcore-Funk-Party-Gigs in und um Seattle im pazifischen Nordwesten waren.

Sie veröffentlichten Coverversionen der neuesten Disco- und Top-40-Hits und nahmen ihr Publikum regelmäßig mit auf einen musikalischen Trip durch die funkigsten und jazzigsten Sounds der Zeit mit Titeln, die durch George Benson, Lydia Pense & Coldblood, The Headhunters, Mandrill, u.v.m. berühmt wurden.

Diese einzigartige Aufnahme, die die Band live bei einem Auftritt unter der Woche in Bremerton, Washington, einfängt, zeigt ihren unnachahmlichen Stil.

Next up on Toolroom’s 4-track vinyl sampler series, we welcome LA based DJ and producer Noizu to the label, debuting with his remix of Mark Knight, Green Velvet and Rene Amesz – ‘Live Stream’. Diving deep and pulling up a Toolroom classic from the 2016 archives, Noizu delivers a powerful rendition of ‘Live Stream’, ramping up the energy of the original to a whole new level, cutting it fresh for dance floors in 2023.

Next up and landing back on the firm during our 20th birthday celebrations is none other than Danny Howard, who returns to the label with a beefed up edit of a Toolroom classic – ‘Hear What They Hear’ by Adrian Hour. A secret weapon for DJs worldwide, released back in 2016 on Adrian Hour’s ‘Like This’ Ep, this B side became an unlikely hero that still gets hammered today by the likes of John Summit and Eats Everything. After doing the rounds at Glastonbury festival this year and beyond, Danny's update has turned one record with a solid dance floor reputation into a certified slammer!

Next up, we’ve got an absolute belter of a record from two renowned producers in the scene: Watermät And Raumakustik, with their debut collaboration ‘Out Of My Head’. Merging each artist’s signature sounds together, from Raumakustik’s solid production skills to Watermät’s penchant for locking in quirky and catchy vocal hooks, ‘Out Of My Head’ is a certified dancefloor weapon in the making.

Last but not least, is another label debut from London based DJ and producer, deeper purpose, who’s landing with a huge tech house roller, ‘The Stutter’. An artist creating shockwaves across the dance music spectrum, deeper purpose is fast becoming a familiar name in the dance sphere having earned a solid reputation as a producer with killer releases on highly regarded imprints such as off the grid, catch & release and repopulate mars. A staple record in all his performances, ‘The Stutter’ has shaken dancefloors all over the world, from EDC Vegas to Club Space Miami, to Ministry Of Sound London and beyond!

Countless Radio Plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong

DJ Support:
Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, Gw Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone

Recut & Repressed!

Tbilisi based party series Pluto’s Plan launches a new label sharing the same name. To start the things off 3 local producers collabed to merge their sounds in 1 decent wax. A stellar VA compiled EP “Starship of Charon” consists of 2 pure house, acid pumper and slow breaks. A1 and B1 house joints were delivered by the label's own Hatsvali. A2 is claimed by a very good friend of a label Toke, family member of D.ko he delivers a masterpiece with pleasing acid chops fitting any party at any given time. B2 is an unheard side of Horoom resident Hamatsuki, a smooth slow burner for early heat.

WOLFDRIFTA steps up to his own Wolves That Drift label with another stylish fusion of sounds that stand him out in a class of one. The London based artist has a fresh sound and is really making waves with his own platform which evokes real emotion and brings innovative sounds to the underground. The title cut pairs dubby bass with snappy electro-style percussion and sci-fi melodies. It's a distinctly futuristic world of cinematic designs and immersive atmospheres. Remixer Theo Nasa has credits on the likes of Rekids, ASPX and We Are The Brave and flips it into a double time and bass heavy stepper with compelling rhythms and tribal percussion. Tekdroid then layers up crispy drum programming with swirling pads for a twisted and acid laced techno workout. Glitch Overdrive has a future sense of soul over hunched drums and rasping bass.

Phuture Shock is a game-changing EP from this crucial producer.

Oceanvs Orientalis teams up with Italian artist Tooker and joins the Crosstown Rebels roster with ‘II Lupo’, including a remix from Acid Pauli.

Hailing from Istanbul, Safak Oz Kutle, also known as Oceanvs Orientalis, is a true maestro at crafting hypnotic, evolving sounds while blending a diverse mix of Turkish, Kurdish, Arabic and Armenian influences. Unfolding after a busy year of performances at venues across the globe, including a notable appearance at Crosstown Rebels’ Rebel Rave at Club Space Miami, he now combines his signature downtempo sound with the talents of Italian native Tooker, a partnership two years in the making. With their joint creation teased across their sets, both artists now unveil their first collaboration on the label with the soul-stirring, ‘II Lupo’ including a remix from Damian Lazarus’ longstanding friend Acid Pauli.

‘II Lupo’ weaves a haunting atmosphere through ethereal synth-lines, echoing wolf howls and low rumbling drum hits, transporting you to a realm of intrigue and allure. Infusing his unique touch, Acid Pauli adds an extra layer of sonic flare to the release by layering cosmic stabs and shimmering chimes, enriching the melodic experience.

Big Love label boss Seamus Haji commits four of the label’s pristine releases to wax for the fourth edition of ‘A Touch Of Love’, opening up the compilation himself with ‘Wish’, made with Full Intention’s Michael Gray and featuring vocals from current Chic singer-songwriter Audrey Martells.

This collaboration of legends is followed by another from Mark Lower & Fleur De Mur, this time with the fiery nu-disco track ‘Burn For Love’ before one half of NiCe7, FrescoEdits continues to develop his uplifting, loop-based sound with the disco-inspired ‘Get Free’. Closing out this eclectic release of Big Love favourites, London-based duo Saison and their motivational collaboration with Kameelah Waheed, ‘Be Yourself’.

Label head Blue Hour steps up for the next release with an impressive two tracker, offering a new exploration of sound from the Berlin based producer. First up on the A side ‘Dimensions’ reveals a dramatic and eery driving Techno track with an atmosphere akin to early British IDM releases but with a more dancefloor-focused approach. ‘Dimensions’ is punctuated by warped mechanical percussive fx, pummeling drums and relentless groove highlighted by a simple yet effective melodic line which boldly opens things up and cuts through the complex layering of sound as the track evolves. On the B side ‘Sun Dogz’ adopts a similar soundscape, however picks up the tempo with a more Trance orientated production inspired by darker Goa/Psy styles and modern Fast-Trance productions. Hypnotic acidic lines, spatial fx and tribal percussion guide the listener to the main event. A heavily reverbed metallic hook and unique piece of sound design which takes multiple twists and turns along the course of the track. The EP wraps up a year of multiple successful releases from the label, with next year marking 10 years since the labels inception - keep an eye on things to come.

Zenit is a jazz ensemble from Krems in Lower Austria, founded in 1976 by Hannes Treiber and Willi Langer. Their music was celebrated locally, but to reduce them to their local fame would be a shame: After all, their first two LPs, Stimmungswechsel (Change of Moods) and Früchte (Fruits), quickly gained them a much wider audience of discerning listeners. Arguably, however, Zenit's third and final LP Straight Ahead is the most special of their records. It initially came out in 1986 on the producer's label Spray Records, and is today one of the hardest-to-find Austrian jazz records. Its centrepiece is the infectious slow-motion disco piece 'Waiting,' with vocals by American jazz singer Linda Sharrock. Effortlessly bringing together pop, soul and new age vibes, this is a record that is as unique as it is difficult to date. Does it sound like from the 80s We're not sure. To our minds at least, it could also be from the future.

Debut album of heavy Colombian salsa by the obscure and short-lived El Clan Antillano. Founded in 1975 by singer Jacky Carazo and radio personality / composer Mike Char and backed by a studio orchestra comprised mostly of Fruko Y Sus Tesos band members. The record has been remastered from the original tapes, with an additional three bonus cuts taken from two rare 45 singles, including the sought after track ‘Alma’. First time reissue. 180g Vinyl.

El Clan Antillano was an obscure, short-lived salsa group started in 1975 by singer Jacky “El Caballo” Carazo, originally from Cartagena, and radio host / song composer Mike Char, from Barranquilla. The band was active only until 1977, with a mere two albums to its name. Carazo and Char, “los amigos costeños” (friends from the Caribbean coastal area) created El Clan Antillano as a fresh start after the previous group Carazo had been the lead singer for, El
Afrocombo, had become inactive.

Char primary passion was music, especially songwriting. One of his skills in this area was adapting foreign songs, often in a different language, rhythm, arrangement or genre, and refashioning the tune in an uptempo Caribbean dance mode as a salsa or cumbia. This formula, as well as his own original compositions, soon brought him success not only with costeño friends like Carazo and Vicentini, but also with Medellín’s Fruko, allowing him to make a name for himself with record labels in that city. It was at this juncture, in 1975, that El Clan Antillano was born. This is their first album and was recorded with local studio musicians. It’s been said that most on the first album were from Fruko Y Sus Tesos (the voice of Joe Arroyo can be heard on coro) as well as others involved with various groups like La Protesta (de Colombia) and Juan Piña’s La Revelación.

The album kicks off with ‘Donde ‘sta? Donde ‘sta?’, a medley of costeño lyrical phrases quoting various popular porros. Gradually changing the vibe, this is followed by Enrique Aguilar’s ‘El baile del
ratón’, a humorous cumbia that changes into a salsa halfway through. As if El Clan Antillano were not entirely confident about featuring purely salsa from the start, the same cumbia/salsa hybrid formula is used in the third piece, a faithfully rendered version of Eddie Palmieri’s ‘Mi cumbia’.

‘Estás equivocada’ rocks hard like the best Venezuelan salsa of the time. ‘Esta mañana’ is a cover version of an obscure bolero from Curaçao’s Erwin Castaneer with Super Combo Castaneer. ‘En la oscuridad’ is an interesting mashup of Puerto Rican bomba and New York style pachanga. ‘El despertar’ is a sunny sounding pop song reinvented as a Nelson y sus Estrellas style salsa/cumbia hybrid with a fantastic ‘montuno’ section.

Up next is a hard salsa jam in the ‘pregón’ (street vendor’s cry) genre, written by Fruko Y Sus Tesos percussionist Álvaro Velásquez (composer of ‘El preso’). The original album track list closes out with a fantastic rendition of Puerto Rican singer/composer Bobby Capó’s classic ‘El negro bembón’ that the world first leaned to love through Cortijo y Su Combo. Three bonus tracks have been added to the album as it was originally very short. Interestingly, there were four songs from two 45 singles cut by the band that were never included on either long play. While the ephemeral El Clan Antillano may not be as well known as the groups it’s related to, namely El Afrocombo and Fruko Y Sus Tesos, it certainly deserves credit as a worthy participant in the historical evolution of salsa colombiana.

Following the successful release of their inaugural collaboration, "Die Zeit," esteemed artists Timo Maas and Marc Romboy now present their second installment in their creative series. This latest offering delves into the realm of "Der Rhythmus," exploring the intricate nature of rhythm, as expounded upon by the introspective musings of vocalist Fadila.

The original composition emerges as a contemporary electro opus, meticulously crafted to infuse an exhilarating energy into moments calling for broken beats. With its innovative sonic palette, "Der Rhythmus" serves as a dynamic auditory experience, promising to captivate listeners seeking an electrifying sonic journey.

In addition to the original, the release features a transformative reimagining by none other than Dense & Pika. Their remix propels the track into a futuristic soundscape that seems to beckon from the year 2030. Immerse yourself in a riveting odyssey that transports you to a science-fiction world, where visionary sounds harmoniously merge with avant-garde techno rhythms. Dense & Pika's rendition embodies forward-thinking musical craftsmanship, inviting enthusiasts to explore new dimensions of electronic music.

"Der Rhythmus" emerges as a testament to the boundless creativity and collaborative prowess of Timo Maas, Marc Romboy, and Fadila, as well as the innovative remix artistry of Dense & Pika. This release is poised to leave an indelible mark on the ever-evolving landscape of electronic music.

Mary Yuzovskaya's vinyl-only Monday Off imprint delivers the sixth instalment of its various artists series, calling in a crew of talented artists to explore deep, cosmic anomalies and soothing modular soundscapes. Kicking off the compilation is Poland-via-Berlin artist Blazej Malinowski, a true wizard with sound, whose 'Ocean' sees rich textural synths crash like waves onto driving low-end. The Gods Planet, Svreca's Semantica, and 012 artist is followed by Nonplus+ and Blank Slate's Michal Wolski, who delivers 'Essence', a track boasting squelchy sequences, subtle acid and swirly psychedelia.

'Black Moss' is next, a minimalistic tripper by Xhato that expertly weaves rolling synthlines into sturdy drum work. It's a constantly evolving, deep space adventure before Milena Glowacka closes the EP with distant, foggy wastelands and dubbed-out hypnotics in 'Dystopia'. Volume 6 of Monday Off's compilation cements itself as another must-have collector's item for those venturing into the trippier side of techno.