Cerca:wild beyond

This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American
jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his
works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical
Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there
are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz
improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz
the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you
would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic
places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of
their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self –
contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces
though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music,
the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close
your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages
with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify,
which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but
the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while
having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be
found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy
just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a
dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will
soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take
over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s
style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is
another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock
edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER
AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now.

Theresa Stroetges has and always will be a traveler. Under the name Golden Diskó Ship or as a member of bands like Soft Grid or the improv collective Epiphany Now!, the Berlin-based multi-instrumentalist has continuously been moving through the fringes of experimental music, but also extensively explored the possibilities of tried and tested formulas - whether folk, rock, techno or pop. With her fourth solo album, her first for the Karaoke Kalk label, the Golden Diskó Ship is yet again venturing into unknown territory. »Araceae« is inspired by environmental changes and the eerie feelings that arise when faced with natural beauty - when everything seems perfect on the surface but something feels off underneath it all. As a whole, it is notably more focused on electronic grooves that provide the foundation for Stroetges’s poetic long-form storytelling.

Partially conceived during a residency in India, »Araceae« is the first Golden Diskó Ship record to feature two guest musicians. For »Wildly Floral, Slightly Damp,« Stroetges collaborated with percussionist Dripta Samajder who with his Sri Khol contributes complex rhythms to a driving beat that wouldn’t be out of place in the record bags of daring DJs. Sophia Trollmann takes over saxophone duties for »Ortolan,« a riveting coming-together of intricate, IDM-flavoured techno and jazz-inspired improvisation. Both are integral standout tracks on an album that clearly follows a holistic plan. Already the opener »Clouds of Neon Limelight« dips into anthemic synth pop territory, but unfolds into a great saga full of ominous undertones and Stroetges’s trademark: layered vocals that at once evoke feelings of uncanniness and intimacy.

It’s a juxtaposition that runs throughout »Araceae,« thus enforcing the album’s overall themes of sensual experience and alienation. »Game of Biryani« for example lends some of its musical structures from pop music, calling into question traditional songwriting conventions which here reappear as irritating echo effects rather than recycled old tropes. With the lush »Limping over the Prairies« and the adventurous »Glow-in-the-Dark Gloves,« Stroetges further challenges her audience by applying noise and a heavy dose of autotune respectively to disorientating effect.

The couple makes for an impressive finale of an album that scrutinises our ideas of what is natural - whether in music or the world around us. »Araceae« was inspired by the travels of its creator, but also sets out to ascertain what lies beyond everything that eyes or ears can perceive.

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

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

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

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

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

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

A mind-bending blend of modular synth performance, Anthony Baldino’s dynamic Twelve Twenty Two LP is a treat for all ears. Baldino’s transcendent album is available both digitally and on vinyl on Thursday, October 24 via MethLab Recordings.

“The record focuses heavily on the modular synth as a composition tool and instrument. I originally approached this as a collection of tracks that were recorded straight out of the machine with little to no editing. The work flow of generating a complex patch and then figuring out the overall arch and performance of the piece was really exciting. The Tip Top Audio Circadian Rhythms was a key compositional tool in this process and was used to organize the overall structure of these pieces. It wasn’t until I stumbled upon a patch, the opening synths in ‘Fading Quickly Now,’ that I went back to how I used to write and shifted to harvesting sounds and rhythms from the modular and arranging and editing them in the box. That patch was originally created for a different track on the album, which I’ll let you find, but IH ad accidentally changed the clock rate before tearing the patch down. Hearing it in that new way triggered a whole new thought process and emotional reaction for me.” - Anthony Baldino

Originally approached as a collection of tracks recorded straight out of Baldino’s machine with little editing, Twelve Twenty Two is a complex piece of thoughtful modular work. A truly stunning display of masterful sound design, Baldino’s sound resonates with listeners from first note to last. Existing in a unique space where ambient sounds meet vivacious bass, Baldino seemingly exists in an impressive league of his own, with Twelve Twenty Two standing apart powerfully from the masses. With an already powerful arsenal of artists and releases, MethLab Recordings adds a brilliant 10-track addition to their already wild playbook.

“From the beginning, it was important for me to keep this record musical and emotional and not just an exercise in technicality, so using both the modular and the computer to arrange felt really good both emotionally and sonically and created a different balance to the record that I really liked. Switching the process up a bit halfway through kept things interesting and I think the body of work really benefits from it. This record is split in half with performance based/straight out of the machine tracks and the other half organized in the box. But when listening back, the two approaches overlap so much that it’s hard to tell where one approach ends and the other begins.” - Anthony Baldino


About Anthony Baldino:
Born and raised in New York, Anthony Baldino is an LA-based composer and sound designer whose work spans an enormous range of production avenues. The likelihood that you haven’t heard his world is nearly impossible, with music and sound design in too many trailer campaigns to list, including Prometheus, Interstellar, Ex-Machina, Star Wars: Rogue One, and Avengers: Infinity War and End Game just to name a few. From there, his work ventures to the opposite pole of production with custom sound design based compositions for Dolby Labs mixed in Atmos, beautifully glitched out remixes, and continues on to mind-bending modular synthesizer performances.

With his debut artist release, he delivers a devastatingly beautiful album grounded in IDM that focuses on modular synthesizers/ While a vast amount of modular synth music is currently being released, this album goes far beyond the typical beeps and boops that one may expect when they hear “modular IDM record.” This record is as technical as it is emotive. Tasteful and incredibly detailed, Twelve Twenty Two bridges the gap between sound-design laden beats and cinematic motifs and ambiences. This record does not disappoint and is sure to become a favorite of electronic music fans.

The album opens up with a slowly unfolding melody that seems to be within grasp, but never actually repeats itself. Incredibly tasteful glitchy sound design leads us into a build that one would only expect to be in a movie, and then drops into a full-on sonic assault of impeccable drums and rich synths. From there, the record traverses a wide array of texture, time and technique. Closing with a track that makes you feel like you could actually reach out and touch the sound and float in its space, the sonic landscape created in Twelve Twenty Two is a true treat for ears.

In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.

I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated — brought to life by humankind. Violent — insurmountable and wild beyond our control. Mild — delicious.

Craig Leon revisits the extraterrestrial origins of civilization on Anthology of Interplanetary Folk Music Vol. 2: The Canon, a continuing chronicle of his early 80s albums Nommos and Visiting. Exploring the cosmic lore of Leon’s earlier work, The Canon expands upon the conceptual cycle based on the alien and mathematical relationships that backbone the creation of art, architecture, science, and music.

In 1981, producer and composer Craig Leon, known in the downtown New York zeitgeist for his production on The Ramones and Suicide’s debut albums, released Nommos, a minimal, primitive electronic exploration based on a speculative, wildly imaginative anthropology.

After viewing an exhibition of Dogon art at the Brooklyn Museum in 1973, Leon remained fascinated by the Mali tribe’s creation myth that the Earth was visited in ancient times by the Nommos, a semi-amphibious alien race who travelled from the white dwarf Sirius B to impart their wisdom to mankind.

Nommos, curiously released on John Fahey’s Takoma Records, manifested Leon’s obsession and investigation: an abstract, ascendent collection of music that could have soundtracked the interstellar visitors’ journey to Earth. Shimmering, mechanical, and anchored by an entrancing pulse of the Dogon’s ceremonial music, Nommos and its sequel, the privately pressed 1982 album Visiting, careened into obscurity.

In the intervening years, while Leon pursued his career as a successful producer, cult interest in the albums grew, culminating in the Anthology of Interplanetary Folk Music Vol. 1., the 2014 archival collection which presented Nommos and Visiting as they were intended to be heard, two sides of the same coin.

The Canon picks up where Nommos and Visiting left off, tracing the path of ancient wisdom imparted by the Dogon’s alien visitors spreading from Mali into Egypt and across the water to Greece as imagined in William Stirling’s ""The Canon,"" an anonymous exposition of cosmic law published in a nearly invisible print edition in 1897.

Though the music – propulsive and spacious – is clearly of a part with Nommos and Visiting, the alien sounds of the Nommos become more familiar to western ears and musical vocabulary as the album narrative thrusts forward. The Canon implies – through ecstatic, contemporary sound and synthesis – that the origins of Western thought, and civilization itself, lie in the great beyond.

Nearly four decades since their first collaboration on Nommos and Visiting, Leon is once again joined by his partner Cassell Webb on vocals and album production. Leon composed, and both he and Cassell performed, and produced all of the music of The Canon, consciously engaging many of the same synthesizers and programs of Anthology of Interplanetary Folk Music Vol. 1 for Vol. 2.

A very warm welcome aboard to the splendid AMERICAN STANDARD label !!

Critical & hedonistic acclaim have already been lavished on this Charleston based sonic excavator of considerable note, so we won't bore you with an exhaustive biog, mainly because there isn't one.
The music is most definitely left to do the talking as this one man 'Folly Beach Psychemagik' fills the record boxes of the world's most discerning diggers with treasure beyond measure.

So, for this latest 3 piece for American Standard we're firmly in the FM synthesis musical district of early 80's planet earth.
70's session players still strung out from the previous decades' debauchery tried their hand at piloting these electricity powered units to wildly varying degrees of success.
Luckily for you, Jaz has been kind enough to find and reload three of the finest, more esoteric, obscure but eminently playable moments from this fertile era for some primo 'back to the future' frugging...

Run The Length Of Your Wildness is a weekly dance party held every Monday night at Underground SF in San Francisco, which initially launched on August 24th, 2015 in a small rave cave known as The Basement — formerly and infamously known as 222 Hyde — in San Francisco's Tenderloin neighborhood. Friends and 100% Silk labelmates Cherushii (Chelsea Faith) and Roche (Ben Winans) started the night as an opportunity to DJ more often, honing their skills in the process. But thanks to the intimate setting, The Basement's supportive owner and staff, and the wonderful crowd who attended on a regular basis, Run The Length Of Your Wildness became so much more than that: a community of music-obsessed weirdos, nerds, scene fixtures, first-time ravers, and eccentrics, leavened by the occasional random partygoer passing by, taking a chance, and finding themselves hooked on their new Monday night mainstay.

We book primarily local DJs and live acts, and make an effort to book artists and DJs who have never performed out before. We encourage experimentation, and we're proud to say Run The Length Of Your Wildness has become a place for electronic musicians and DJs to showcase their expressive freedom and GO WILD!

On December 2, 2016, Cherushii, Nackt (Johnny Igaz) and several other beautiful souls were lost in the Oakland Ghost Ship warehouse fire. The loss is beyond devastating — we miss our friends dearly. The San Francisco electronic music community has come together to do whatever we can to champion their legacy, and Run The Length Of Your Wildness is proud to be an enduring part of that legacy.

Hobo Camp is proud to be able to partner with Run The Length Of Your Wildness to produce a release containing music from Cherushii and Nackt, to preserve their legacy and contributions.

All profit from the sale of this record will be donated to the families of Chelsea Faith and Johnny Igaz.

As humans living on the planet today, we have become so removed from our original, natural habitat—the forest—that we forget our wild roots, our primal, animal origins. Music is one of the things that can bring us back to that place, that can put us in contact with a felt world of instinct, immediacy, and presence: a world where language and the problem-solving mind are not needed, where the music keeps your mind and body in the present moment, and the point of dancing becomes the dance of our inner wildness and animality itself. Hans Berg's Sounds of the Forest Forgotten affirms that music can bring us to a state of mind and body that can help us feel what we've forgotten from the forest. The overlaying project of the album is to conjure musical and conceptual resonances between mysticism and nature, summoning the incredible depth and force of nature that we usually miss, especially living in contemporary urban cities. Sounds of the Forest Forgotten channels the creativity, playfulness, and freedom of a life both before and beyond ours through the sounds of analog and digital synthesizers, a modular system, drum machines, and computers. Recorded between Hans's studios in Berlin and on the Swedish countryside, the album similarly shuttles between contemplative and ecstatic, between delicate and powerful, mixing sublime psychedelic techno compositions like 'Emerald Sea' with acidic dance-floor bangers like 'Storm' and 'Milk Thistle,' all nestled between contemplative and textural ambient compositions like 'Butterfly' and 'Glow Worm.' Berg is known for his enthralling productions and energetic livesets that capture dance floors with his particular brand of hypnotic techno, replete with angular lines, affecting melodies, pulsating basslines, and big drums. He also produces atmospheric scores and ambient soundscapes to accompany the video art and installations of long-term collaborator and celebrated artist Nathalie Djurberg. Berg's live sets have found a home in nightclubs around the world, with recent gigs in Berlin, Stockholm, New York, Tokyo, and Melbourne, to name a few. In addition to 2MR, he has released his solo work on record labels including Ian Pooley's imprint Montage, Klasse Recordings, and The Vinyl Factory. His ongoing collaboration with fellow Swede Johanna Knutsson - as Knutsson/Berg - has led them to start the label UFO Station Recordings, on which they release their own material. The duo also has released on labels such as Idle Hands, Default Position, Kann, and Random Island.

Night Drive encourages you to enjoy the ride with your car windows down, and volume & bass at
the highest volume possible. Cruise the back roads during Sunset hours, or through some city
lights, as the album titled track 'Night Drive' gives you a warm & fuzzy funky feeling from head to
toe.
'Moving And Dancing' will surely make you move every limb in your body, and it's set to be a
dance floor jam in 2018 & beyond. This melodic groove & retrofit tempo features Brian Ellis on
guitar & Chini on Vocoder & production, setting the upbeat tone for the remaining tracks off the
album. 'Freak Out' features the iconic Linn Drum, who pulsates a heavy groov & Moog bass line
from start to finish. Crunchy vocoder lines, soft pads from the Oberheim, and Chini's experimental
live drumming at the end is sure to make your body move.
'High Life' brings an arrangement of synthesized vocal pads from the Sought-after Korg DVP-1,
which will make you feel like your head is in the clouds. A four on the floor disco tempo from the
LINN drum, a catchy delayed lead & dry bass line form a psychedelic tinge & feeling. This track sets
itself apart, and hopes to please music lovers everywhere. 'Waiting All Night' features Portugal's
underground Funk front man Sair, while Boy Dude (Adam Chini's brother) lays a funky bass line
over the top from start to finish. 'Wanna Do Ya' is a track strictly for the Break dancers & Poppers.
Layered vintage drum machines, Jonzun Crew sounding vocoder parts, and a dirty bass line, set an
aggressive mood for the second to last track. Chini takes you on a wild ride, while closing this track
out with his heartfelt lead solo. 'Clap Boogie' was meant for the 1970's. Chini drives the tune with a
loose style of live drumming, Stevie Wonder influenced clavinet work, dirty bass lines, Brazilian
instruments, live percussion, and more. Cruise in a low-rider & turn the volume up. This tune sets
the tone for what's to come from Chini's future production & style, and will leave you wanting more.

Limited Lenticular 10y Anniversary Edition w/ heavyweight vinyl, printed inner sleeve + digital companion album of unreleased demoes and outtakes from the album

Late of the Pier announce a special 10th anniversary edition of their cult debut album Fantasy Black Channel, produced by Erol Alkan and released in 2008 to great acclaim. Fittingly, the reissue - released on a limited lenticular sleeve, pressed on to heavyweight vinyl and accompanied by a digital companion album of unreleased demoes and outtakes from the album recording sessions. It's set for release through Alkan's Phantasy Sound label, landing in stores on January 18th, 2019.

LOTP (Sam Eastgate, Andrew Faley, Ross Dawson and Sam Potter) were a band of inter-dimensional musicians who landed in the late noughts, whose wild journey took them from the quiet North West Leicestershire countryside to the stages of Coachella, Tokyo and beyond, touring with the likes of Soulwax and Justice. Their music was a mutant take on pop that described the chaos of being a teenager by looking forwards and backwards over and over again until the present moment started to make sense. Following the release of Fantasy Black Channel they put out singles 'Blueberry' and 'Best In The Class' in 2010, picking up fans from Mike Skinner to Dave Grohl along the way. Talking in a 2014 interview, Grohl exclaimed, 'They blew my fucking mind. They're called Late of the Pier. They made one record and disappeared. They use crazy computers and then they rock and it sounds like dubstep for one minute, then it's a crazy prog thing, and it's like, 'Wow'.'

Fresh from starting his own label Insult To Injury, Timothy Clerkin returns to Ransom Note Records with the 'Knife Edge Heart' EP. Three tracks of stirring techno for dark basements and warm hearts. Timothy is a very interesting man, but he's also the sort of person who'd rather let his music do the talking, so we'll move on swiftly. The MVP here is 'Knife Edge Heart', an unabashed pop song whose shimmering exterior is cut through with flashes of steely darkness. Frequent collaborator Natalie Reiss' glacial voice is held at the perfect level of remove, while Timothy allows his love of shoegaze to blossom with a guitar line that seems to extend like a ladder to the stars.'With You' bridges Timothy's opposing impulses, balancing sparkling synths and a celestial vocal sample with churning low-end, while 'Divisive' is paranoid warehouse techno at its very best. With his debut solo album out soon on Phantasy, Gabe Gurnsey of Factory Floor stops by for a lurching, seasick remix of 'Knife Edge Heart' that sounds like the onset of the robot apocalypse we've all been promised for so long. After cutting his teeth as one half of Eskimo Twins, Timothy launched his solo career in 2014 under the now-retired Heretic moniker. He's since released on labels including Throne of Blood, Hard Fist and Days of Being Wild. Timothy's last release on R$N was the 'Serenade' EP, which brought us plenty of special moments last year - most memorably Andrew Weatherall closing out his Houghton quarry set with 'Execute'. Here's to many more this summer and beyond.

One of our humble imprint's closest allies and a longstanding pillar of Philadelphia's electronic music community, Billy Werner has been a constant presence in the booth at parties throughout the Northeast Corridor since 1998. We debuted his M//R alias in 2014 with the 'Gathering Response Data' 12" . Since he's been busy bringing the grit to points beyond the City of Brotherly Love, putting in work for the likes of DetailsSound, L.I.E.S. and JackDept. Most recently, he turned out a remix of Karen Gwyer's 'Why Does Your Father Look So Nervous' for the 'Rembo' remixes on Don't Be Afraid, as well as another for Chaperone's 'Grit Neglect' on the aforementioned 'SnapbackBalaclava'EP.

Written, recorded, and mixed over a period of 15 months,'Among The Methods' is in no small part a reflection of the affinities and sensibilities Billy holds as both selector and producer. Referencing a variety of influences from jazz to dub to electro, the album's allure stems from his deft ability to recontextualize those genres' disparate aspects into a familiar-yet fiercely idiosyncratic-musical context.The end result is at once wildly fractured and precision-focused as 'Among the Methods' finds its own seductive rhythm within a matrix of dub echoes and modulated low-end. It's heady ground,to be sure;as well as the most declarative aesthetic statement fromM//R to date.
Presented without further comment. The music is the message








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Alien Ensemble's trombone man Mathias Goetz caused quite a splash when he released his eponymous debut LP under his Le Millipede moniker back in 2015: The multi-instrumentalist's initial offering was clearly something else, impossible to grasp, a musical vessel beyond genre, beyond style or era, seemingly beyond space and time even, a vessel that carried an almost cosmic kind of song-craft - music with no fixed stamp of origin, though it did somehow feel like an Alien Transistor release. Followed by remix album Mirror Mirror, which comprised reworks by 1115, Protein, LeRoy, Olaf Opal, and Saroos, to name a few, it's now time for album #2: The Sun Has No Money.Let's face it: There's nothing as majestic as the sun. At least not in our world. If it runs out of juice one day, it's game over: The End. Light's out. For everyone. At that point, it wouldn't even matter if you're rich or poor. We're all equal under the sun. Same level. And yeah, this might not be major news, but then again... we're talking about the sun. The sun! Guess it's about time to acknowledge its power and superiority, right In fact, you can feel it on your bicycle: pedaling at night, when it's on duty in other hemispheres, and you're working hard at the dynamo, sweating, you can actually feel how powerful it is. In the end you get off the bike all recharged, a tune on your lips - and somehow feeling like a miniature version of the sun yourself. And whenever you feel like that, that's exactly the right moment to grab a melodica and get to work.Following an initial warm-up round sans electricity, this new album soon begins to glow: Mathias Goetz aka Le Millipede doesn't need pedals, he boosts circulation by single-handedly* playing tons and tons of different instruments - it actually feels like thousands, easily. And thus begins a show that has countless levels to it: There are various sonic illusions... and yet Le Millipede doesn't hide anything: He's also willing to show the inner workings, the actual recording process and everything else. In short: he goes meta. Makes songs about making songs. That's right: why not use all these beautiful means to address the issue of money It's not the sun that casts shadows, all it does is recharge, fuel: growth & thriving, that's the sun's area of responsibility. And yet there came a man whose plan was simple: steal the fruit from your garden, only to sell it right back to you, for money. We can hear the sea gulls crying in the distance, as somebody is throwing breadcrumbs up into the wind that carries their voices...It's not the sun that casts shadows - all it does is radiate light. And yet there came a time when someone blocked those rays of light. Now if you're some kind of Diogenes, you'll simply say, Move at least a little out of the sun.' But if you're a teacher, you'll maybe light up your pipe and use that to lighten up. What matters is that the percussion parts, in this case, resemble some serious musique concréte. The sun doesn't know shadows - all it knows, is itself. And yet somebody entered the picture and built an entire city. A city full of streets, so that houses can cast shadows into these avenues. Plus, there's music in the streets, music originally written inside the walls of said houses.One of those streets is known as the Tin Pan Alley: a place that got its name from a music writer who compared the sound of so many pianos to the banging of tin pans. That sound: that's one side of the road that is this album. Some of these melodies appear to be shadows of earlier tunes, dating back to, say, 1898 or even before that, melodies that were first registered in the Tin Pan Alley publishers' offices back in 1912 or 1917. We actually get to see this Alley at that point in time. We see the ropes, the workings. How things come together, the actual act of creation. Suddenly, we can hear the shadows!
Okay, so one side of this street is America. The US of A. The opposite side: Russia. And smack dab in the middle: Europe. A pothole in the center. All the back-and-forth that occurs between these two poles ultimately depends on the movement of the sun. Night and day, taking turns, commuting in and out of sight. We get to meet Prokofiew's and Scriabin's ghost, among other spirits, reframed and published by Le Millipede's own imaginary label imprint on the historic Tin Pan Alley. Indeed there are moments on this album when Le Millipede seems to be playing Scriabin's clavier a` lumie`res (tastiera per luce), when his performance seems to be based on synesthesia, a wild cross-pollination of colors and sounds. In case you didn't know this: In the States, Prokofiew goes by the name Brian Wilson, and Scriabin's also known as Sun Ra - yet another guy who's usually broke, but gets to spend a lot of time out in the sun. Together, these assorted protagonists ask the people of the Antilles for Mutabor dance-tokens and send postcards to Moondog in Germany, right back into the darkness. On the postcards you can see people dancing the Biguine...Firing foreign fossil fuels from all pipes (Brennelementsteuer!), Le Millipede controls the very center of this hustle and bustle: going as far as to employ some southern Chopped & Screwed styles, he's 100% current and zeitgeisty! Houston, we've got a problem: there's some kind of myriapod, centi- or millipede on the loose! Well, give me another sip of lean, sizzurp, dirty Sprite, and on goes the journey in the Pullman coach. Let's follow the sun! Keep on moving, keep things motorik! Here comes the Trans-Eureka-Express. Cherish the backpacking days! A piercing rhapsody of sound (bohrende Rhapsodie), we'll remember them fondly! And thus things move on, the sun, the days, the earth: rise, set, action, round and round... onwards eternally. The sun: the biggest loop known to mankind. As if it was some kind of sonic Rube Goldberg contraption, time seems to be stretching out while listening to that hmmm. After all: time is a lot (a lot!) more than just money. And yeah, the sun is the real big shot on (or rather: above) Planet Earth. Le Millipede's live line-up also includes Markus & Micha Acher (The Notwist etc.), Nico Sierig (Joasihno), and Manuela Rzytki (G. Rag & die Landlergschwister, Kamerakino etc.).
*sole exception: Evi Keglmaier (Zwirbeldirn, Hochzeitskapelle) plays the viola. Words/sun worship: Pico Be

To progress towards a civilization which does not unconsciously perpetuate or aggravate inequality and poverty, we need to accept our many differences. For those who prefer uniformity or others who would rather avoid proximity, the celebration of diversity might sound ridiculous.
A certain measure of discomfort is required to reach compassion. But peace through diversity is no prophet's fantasy. It is no harder to imagine than the magical fact that we are alive right now.
The eternal act of dancing is one of the most active form of contemplation. Facing our own selves in the mirror of movement, we realize that we indeed are reflections of one another at all times. What will our own actions and thoughts feed around us
With over 30 years of combined dancefloor experience, Possible Futures have been witnesses to the wildest fauna and flora the great nocturnal jungle has to offer.
Sourcing their inspiration from the many shades of color that co-exist between black and white, it is through the open and eclectic selections of inspired and devoted luminaries that Possible Futures have found their manyfold sound: Frankie Knuckles, Larry Heard, Francois K, Carl Craig, Moritz von Oswald, DJ Harvey, Theo Parrish, Chez Damier, Ron Trent, DJ Deep or Moodymann, amongst so many others, have dedicated their lives to the flourishing of diversity on the dancefloor.
While the minds of Possible Futures float in the air with their bodies rotating behind the turntables, their feet are steadily rooted in reality, enabling their musical knowledge to unfold beyond the night. Through their own record label, Possible Futures share their therapeutic musical blends.
The first two cuts come from the grooves of Argentine old hand Leonel, a family friend of long date. 'Antares' and 'Bunda' drag their dusty trails across different genres, to be enjoyed at 45 rotations per minute. Curative properties guaranteed.

(Locked Groove, Nuno De Satos remixes) Something Happening Somewhere and Mary Go Wild combine their forces for a very special record, containing two cuts by Presk and remixes by Locked Groove and label honcho Nuno dos Santos.

Something Happening Somewhere and Mary Go Wild combine their forces for a very special record, containing two cuts by Presk and remixes by Locked Groove and label honcho Nuno dos Santos. The original A1 side has already been released on SoHaSo last summer on their SOMEWHERE compilation, but has now found a place on delicious black gold and is further enriched with a fresh B-side and aforementioned remixers delivering quality reworks.

2BXPRZD is an ode to the celebration of night life and the diverse spectrum of people that move within it. The club has always been a place where people from every background, religion and gender imaginable can meet and express their being through Dancing. It doesn't matter in what way you move, only that it's authentic and respecting towards the fellow dancers around you. Presk provides all the necessary ingredients: the funkiness in the drums melting with the dark and sinister bassline and pitched vocal perfectly assemble the conditions for such an interaction to take place.

Locked Groove takes this celebratory dance and turns it into an even darker and hypnotizing affair. Stripping the original to its bare essence with a pounding kickdrum to lead the way. Pulsing atmospheres and emotive pads swirl around and behind, granulated in a way that they almost fall apart. This is further reinforced by the stream of voices that are processed to sound like a field recording from beyond the iron curtain in Soviet times, anticipating the unavoidable collapse that follows.

The B sides provides a little more uplifting environment with Starets, unsettling melodies and dissonant atmospheres propel forward before restraining the whole thing and letting broken chord stabs seep through the system. Again reworking the original material into a more skeletal structure, Nuno dos Santos adds a poignant arp melody that is typical for his melancholic style. Driving yet breathing with emotion, it's the perfect accompaniment for a night drive while floating through clear skies. This records proves a delightful combination, containing something imperative for every soul feeling the need to express themselves in a unique way.

Following almost two years of driving bass music promotion, in the form of compilation albums, free download round-ups, reviews, guest mixes & mix series CDs, the time has come to transcend from what first began as an online blog into our very own music label. After working with renowned artists such as El-B, Quest, BunZer0 and Phaeleh, as well as fellow promotional platforms FatKidOnFire & Deeper Vibrations - the Albion community has developed and grown to become recognised across the board of the bass music spectrum. This extension of our brand will help in pushing this music even more, enabling us to curate a fundamentally diverse sound beside the culture that we so passionately enjoy.The launch of Albion Collective Recordings is to be set in motion with In Pieces, a collaborative down-tempo effort conceived between Vaun and Jafu which is radiant in textural soundscapes. This particular piece has been doing the rounds as a clip on Deeper Vibrations' YouTube channel since 2013, inducing longing excitement for the song to finally surface.
Bristol based Daniel Brown, aka Vaun, has prospered into one of the scene's most prolific producers, covering multiple styles and turning out numerous releases for MindStep Music, Redshift-One and Soulstep Records. After recently hinting at the imminent release of an album, Brown can also reap in the keepsake of ALBION001 alongside Canadian artist James Fuller, aka Jafu, who likewise has blossomed astutely alongside his soulful Chord Marauders collective.In Pieces falls somewhere amongst immersive trip-hop and jazzy 2-step, an affectional arrangement that makes wonderful use of Marvin Gaye's a cappella in his classic Sexual Healing. The composition will certainly induce healing of the cerebral kind, with its stripped and delicate percussion work, dubbed out horns and soothing string sections. Encapsulated within Vaun & Jafu's musical offering is our label's statement of intent. That is, to champion unique music that emanates elegance such as this collaboration - and such as J.Sparrow's remix treatment. Ryan Wild aka Jack Sparrow, a Deep Medi Musik signee and one half of dubstep extraordinaire duo Author, has granted the scene with his tenacity to build profoundly stunning electronic music. Wild has the tempo notched up for his In Pieces edit but remains true to Vaun and Jafu's approach in the sense of its lavish spatial touch. The atmospherics breeze over with a soft vibrancy, as the electronic guitar solo recording from the original plays over the initial main section charmingly. This is all resulting in a simply sumptuous mix which goes right up there with his top drawer remix work for Annie Drury and De Niro & Y. To compliment J.Sparrow's sublime contribution and to also complete the package, the Black Butter Records assosciated and Bristol-based outfit Sly-One have whipped up an outright banger of a remix. Joe Cannon, Dave Constant and Oliver Read can already boast an admirable set of releases in the four years since they've joined forces, featuring on Shifting Peaks, Lost In Translation and 877 Records. Add that to a rude collaboration with fellow Bristol head & rasta emcee Buggsy and a remix for Bad Mojo on Meanbucket, Sly-One had clearly meant business from the offset - and have shown absolutely no let up for us at Albion Collective. Served with a side order of the trio's classic subtle cowbell hits, their 2-step/bassline fusion works wonders with the vamped-up vocal sample and is ready and waiting to rumble clubs & festivals for this summer and beyond. Early DJ support for the release has been noted from artists including Phaeleh, Quantum Soul, Thelem, J. Robinson, Walsh, K-Man, Nanobyte, Syte, Trashbat, Majora and D-Operation Drop & Foster. Radio airings to date stand at Sub FM on the BunZer0's legendary FOB Show, BBC Introducing showcased the release and Monki played the Sly One Remix on BBC Radio 1 Extra. The almighty
Dubstep duo Truth added the J.Sparrow Remix to their recent 'Chronicles' mixtape on Soundcloud, which was posted to their 75,000 plus following, Biscuit Factory Records owner and dubstep legend Walsh opened the edit on his latest podcast and J.Sparrow is set to showcase the version in a mix for the iconic Deep Medi label. Support is confirmed from digital publications such as FatKidOnFire,
GetDarker, Trusik and MTV Wrap up, which will involve a number of featuresm reviews, track premieres and artist spotlights. A review will also be printed in November's edition of Mixmag on Tomas Fraser's Grime/Dubstep page

Sister Label to Vanguard Sound Anunnaki Cartel plays host to the fourth installment of the Vanguard Sound Series featuring 4 tracks from crew members Dakini9 (Lola), Chris Mitchell, DJ. Spider, and founder Amir Alexander. During the time since Vanguard Sound Vol. 3 launched the Vanguard Sound label, the series has reached a kind of cult classic status among the most dedicated U.S. underground vinyl collectors. As more and more people discover Alexander and his Crew of ultra talented DJ/Producers, their releases on discogs disappear and then reappear for three to five times their original price. Buy on sight status is quickly being achieved by all six members of this shadowy Crew.

The four tracks contained in this release all touch base with the vibes already established by the Crew, while continuing to expand the sonic palette as well.
Amir Alexander's Cypher is classic dirty analog at it's finest. With a slightly overdriven synth baseline leading the way, followed by restless percussion. Midway through, deep and mysterious pads create a dreamy texture as a spoken word passage muses about loyalty to those you came up with.

Chris Mitchell's 213NL raises the temperature with Chris's signature "Phrenetic" drum programming under an SH101type acid baseline oscillating wildly as melodic strings soar.
DJ Spider keeps things gutter with some Vanguard/ Plan B style street knowledge in the form of New World Resistance. An industrial/ futurist tech beat frenzy full of vocals dropping science about the New Word Order's plans for global domination.
Dakini9 closes the release by taking us to the depths and beyond with her deeply emotive work in the form of Rollercoaster to Nowhere. Sci fi atmospherics weave in and out of lushly serene pads while her always deadly serious percussion marks the time effortlessly. Time travel is evoked as the dulcet tones erode all sense of the here and now. Fall into infinity! For the collector's, this one is not to be missed as it is a rare Vanguard Volume on it's sister label Anunnaki Cartel with both logos on one record. Don't sleep..

Walton returns with a strictly-limited EP to precede the release of his debut album 'Beyond'. This is a vinyl-only, once it's gone it's gone kind of release, just 300 copies available. 'Baby' is a brilliant and extreme mutation based around an R&B accapella, one that seems energised by R&B's avant-garde but danceable late '90s period. A hiccuping giggle over stuttering rusty engine stabs, and a so-stiff-it's-funky kick and and snare combination, make this a track that works brilliantly on the dance floor by sheer force of ideas and wildness. 'Can't You See's' widescreen ambience is held together by epic swelling chords, punctuated with rolling 8-bit spirals, trap-like bass, and snares. It's held together so tightly, it feels like it's going to 'drop' at any time, but prefers to just tease the listener in a state of excited suspense. Also included is an instrumental version of 'Baby'.