quête:x 13

BLACK VINYL EDITION

Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Alfredo Linares is a globetrotting pianist, composer, bandleader and producer from Peru with a long, prolific career in latin music. His long sought after by DJs and collectors of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Details: Alfredito "Sabor" Linares is a globetrotting pianist, composer, bandleader and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William "Quantic" Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and 80s during the salsa boom. However, his career began in Lima, backing timbalero Ñico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary 'El Combo de Pepe' album for IEMPSA/Odeon. Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as "salsa" with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, 'El Pito', and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations. As Linares himself recounts, "In that era, we fought against a generation that was half-blind, because the people who understood what we were doing were few. We had to fight hard for our space in Perú, that's where the swing comes from." That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes and Carlos Muñoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was "open-ended, some musicians came some days, others on other days_Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre." Though the recordings were cut "live in the studio" and many were basically composed on the spot, the intrinsic strength and maturity of the performances on 'Yo Traigo Boogaloo' stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela. Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Pablo E Yglesias DJ Bongohead of Peace & Rhythm

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

Society is shaped by its history, stories that have evolved over time and held to be true. Stories of the imagination, stories from the ill-informed, stories conjured by favored subjects, but all loosely wrapped in the truth. Systems such as morals, religion, politics, and a culture are powerful enough to influence the mind of one and the minds of many and therefore direct the evolution of the species. Unseen Forces is a conceptual work that dissects this idea. A collection of four songs cause the listener to re-examine not only what they believed to be real and true but also why. Side A dives head first into testing your belief system by introducing the first stage of influence - Disruption and Experimentation. Introducing a simple question into the belief system that cannot be answered and observing the result. The Disruptor - subtle but powerful making its point with eerie, off center synth lines, and synthesized drums. Driving a wedge between the listener and the comfort of familiarity. Dr. Blowfin's Experiment - a long time and highly revered classic previously released on SID, continues to re-evaluate beliefs with modifications to the original. The question of why is still unanswered. Beliefs are broken and chaos ensues. Side B begins to take direct the chaos with another classic - Crossphaze - injecting live funk and modulated filters with this flexible floor mover previously released on Accelerate. Crossing into another realm unfamiliar to the listener as new beliefs are formed. Deconstructing the Immortals - leaves the listener with no other choice but to eagerly leave their old world behind and everything they know in ruins. This offbeat and mesmerizing anthem makes the question of why unimportant, because the answer is what now.

Tape / Cassette

Ferdinand Domes is an all-round electronic music producer with a current focus on sound design and ambient tracks. Horror Childs Orient is a collection of live drum machine and syntheziser jams that were created live in Ferdinand’s studio. All tracks are a result of a flow in the moment, creating a sonic scene rather than an arranged track. The result is a collection of atmospheric rhythms, grooves and ambience. The focus is on the individual sounds and the characters of the different machines in Ferdinand’s collection; such as drum sounds from the MFB522 and TR626, synth lines from the Kawai 1M, Yamaha PSS380 and Mikrokorg. All run through tape decks and tweeked with Portastudio and guitar pedals creating a raw and warm analog sound.

What exactly happened in the Italian underground / post punk scene 30 years ago, is not entirely clear. Therefore, this collection of 13 incredible tunes helps track down the feeling and focuses on the blurry images of a period that was mixing influences from the UK/USA scenes with a more national' approach to new music developments. The damage began in 1977 when a series of urban / suburban musical agitators, whether skilled or complete amateurs, decided to embrace instruments as weapons for a war against sonic stereotypes. Here's the result: a multiform sonic attack that marks the history of a movement that may have remained local in most cases but whose echo reflected the amazing creativity of a generation.

After his acclaimed debut EP « Cotonou » on Alma Negra’s record label, James Stewart comes back with his new EP Atlantic River Drive for Mawimbi Records, featuring two collaborations with Ghanaian kologo musician Ayuune Sule as well as two remixes from Simbad aka SMBD.

James Stewart met Ghanaian kologo musician Ayuune Sule, after booking several shows of kologo music star King Ayisoba in Lyon. Stewart was quick to witness the bluesy tone of Ayuune’s voice and his kindness as a musician, despite his impressive stature. Quite logically, Stewart invited Sule to record vocals on two of his ongoing demos at Bruno Patchworks’ recording studio (Voilaaa, Mr. President, Da Break), with the idea of making a rather unheard crossover between traditional kologo music and contemporary styles that would both appeal to Ghanaian crowds and a Western audience. Stewart then had a number of his arrangement ideas re-recorded by a talented cast of musicians, resulting in a brilliant mix of acoustic and electronic textures, sounding both vintage and modern.

Nodding to Eddie Palmieri’s landmark record “Harlem River Drive”, “Atlantic River Drive” is a stomping dancefloor track, drawing from the 6/8 feel of kologo music and the energy of contemporary club music. The track can be read as a tribute to the musical cross-pollinations between the African continent and its many diasporas, which Stewart has dedicated a long part of his life to, but also as a more intimate story about his life and family. All words were written by Stewart and then translated by Sule in his native Fra fra language from Northern Ghana.

“Where Are We Going?” is a two-part journey that reminds us that we should care about each other, about our communities while we don’t know what the future is made of. An important and much welcome message to navigate through these troubled, uncertain times. Referencing congolese N’dombolo tracks, the track has two parts and rich arrangements, with its first part going deep with syncopated clarinet hooks and playful percussion parts, and its second part moving to a four-on-the-floor pattern and an entrancing baritone saxophone solo.

The EP also features Worldwide FM and Brownswood maestro Simbad, who delivers two dancefloor-ready reworks of the track “Where Are We Going?” under his SMBD moniker, turning it into a spiritual, dubby journey, as well as an emotional house music track.

We met Franck Vigroux for the first time years ago at Berlin's Berghain during a soundcheck. At that time he performed with Mika Vainio, with whom Vigroux often worked together.

The first track on »Ballades sur lac gelé« dates back to that time. It was created under the impression of this collaboration and friendship with Mika Vainio. This album is dedicated to him.

Vainio's oeuvre is also significant in connection with the history of raster, so it was only logical and our wish to release this album by Franck Vigroux.

With the beginning of the corona pandemic, Franck Vigroux took up this early material again, he continued to formulate it and completed the present album »Ballades sur lac gelé«. The title already defines the theme of the ballad, a "song/poem with very minimal structures" (quote Vigroux).

"Ballade" is also a play on words with the French word "balade", in this sense a ramble, a ramble over a frozen lake. The reduced, cool structures reflect this. But at the same time, under the surface, the (often distorted) sound carpets steadily increase to immense power. Like ice that grows and tectonic forces that have to erupt, glacier-like.

Vigroux is very skilled at creating music in this minimalist setting. The intertwining of very few musical elements creates a kind of soundtrack that is multi-layered and at the same time universally intelligible.

»Ballades sur lac gelé« will be released on June 26th, 2020 as a digital pre-release exclusively on our sites. The physical formats, i.e. CD and vinyl, can be pre-ordered. The official worldwide release date will be announced at a later point in time.

Fresh from the release of André Hommen’s More Than This album earlier this year, October will see the German talent follow up with the first of two special remix packages. Set for release on his own imprint, These Eyes, More Than This Remixes Pt. 1 includes stellar offerings from two Kompakt regulars: Robag Wruhme and Jonathan Kaspar.

Beginning with the punchy sounds of Robag Wruhme ’s remix, hard-hitting drum combos are swiftly complemented by reverberating vocals, as up-tempo hats create rhythm to forge a no-nonsense dancefloor cut. Jonathan Kaspar ’s remix rounds things off gently, with a softly-building bassline that ebbs and flows alongside whispering hats and warm, soothing pads.

André Hommen ’s international following should come as no surprise given his already storied career. As label head of These Eyes, the imprint has welcomed standout releases from the likes of Ane Brun and Marc Romboy previously. Another staple of Germany's ever-flourishing music scene, Robag Wruhme ’s productions have found a welcome home on labels as acclaimed as Koze’s Pampa Records, Kompakt and Mute to name a few, whilst fellow prolific-producer Jonathan Kaspar has released two EP’s on These Eyes, then also Objektivity and Acid Pauli’s Ouië in an already-storied career.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

Svart Records is proud to present the original soundtrack to the supernatural thriller series Requiem! Debuted by BBC One in the UK and NETFLIX globally, psychological horror series Requiem became an instant hit, not least because of it’s haunting, spine-tingling score. Conjured by award-winning composers Dominik Scherrer (The Missing, Ripper Street & Marple), and Natasha Khan of Bat For Lashes, Requiem is an eerie landscape of sharp, scraping cello, soothing harps and tense string sections. From the urban uncanny to folk horror, there is a distinct atmosphere in the fresh collaborative dynamic between the British-Swiss decorated grandmaster of unique television series soundtracks Scherrer, and the rising enigma of alt-pop, twice Mercury Music Prize-nominated singer/songwriter Khan. Of their alchemical and otherworldly creative chemistry, composer Dominik Scherrer recalls: “Natasha Khan and I spent some weeks in my studio in Brick Lane, coming up with themes and recording outlandish vocals and terrifying sounds. There is a cheeky element to the show, as well as a genuinely scary one. Together with a pastoral spookiness of the cello and strings themes started to give Requiem its own unique atmosphere. We experimented with deviant playing techniques and unconventional recording approaches, to complete a moody air of retro horror and pastoral spook.” Available for the first time on CD and LP, this highly celebrated “spooksome” score harkens back to the 1970s lo-fi soundtracks from BBC’s Radiophonic Workshop or 1970s horror soundtracks. Winning an Ivor Novello award for the “Best TV Soundtrack” in 2019, Requiem is a one of a kind treasure, now rightfully preserved and beautifully presented on lush vinyl and CD format by Svart Records. “Requiem promises much, not least in way of sound. Nominally just another spooksome BBC tingler – old castle in Wales, birds flying into windows, locked room, pagan symbols, creepy locals – it is rendered a whole cut above by not having the heroine’s every move into peril foreshadowed by dissonant eek-eek string” (The Guardian)

Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions.

17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D.

Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim.

Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul.

Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März.

Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources.

Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident.

And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion.

The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze.

Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain.

Limited edition, stocks might have to be allocated! Baker's Dozen is a vinyl series that shines a spotlight on instrumental music and the personalities behind the craft. To commemorate the 13th release in series history, Fat Beats Records aims to focus on thirteen of its most respected producers with the aptly titled compilation "Baker's Dozen: XIII".

Maurizio one of the founding members of Concrete Records drops 2 original tracks that bring us into hypnotic landscapes full of deep groove and abstraction.

Ethereal and strong at the same time, this tracks are made for being played in the most disparate dj sets both as regular "dj tools" and as real killer tracks.

To confirm this, the two Tensal remixes lead the release to even more extreme territories, without however deforming the "mood" of the tracks.

A perfect match for a release that has a well-defined and very powerful sound.

Limited edition of 150 copies

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.

2 x 180g Black 12” vinyl
20 page hardcover 12” art book
Song Machine Season One Deluxe CD
Download card for the full deluxe album
3 x 12” art prints
1 x 12” label copy sheet











j 10. Désolé (feat. Fatoumata Diawara) Extended Version










j 10. Désolé (feat. Fatoumata Diawara) Extended Version

Anlässlich des diesjährigen Piano Days und als Reaktion auf die außergewöhnliche Situation, in der wir uns seit Beginn des Jahres befinden, hat Nils Frahm am 28. März überraschend acht Soloklavierkompositionen unter dem Titel Empty veröffentlicht. Bislang nur digital erhältlich, erscheinen die mit Spannung erwarteten physischen Editionen (CD, LP) von Empty am 23. Oktober 2020 bei Erased Tapes.



Die Aufnahmen zu Empty, die Nils ursprünglich als Soundtrack zum gleichnamigen Kurzfilm des befreundeten Regisseurs Benoît Toulemonde eingespielt hatte, entstanden kurz bevor er sich den Daumen brechen und das vergleichbar intime Soloklavieralbum Screws komponieren sollte. Empty hat etwas Tröstendes und Heilsames, die breite Palette an Stimmungen der acht Klavierstücke reicht vom schonungslos-ernüchternden Eröffnungstrack „First Defeat“ über die dezente Euphorie von „No Step On Wing“ bis zum besinnlichen, aber auch zuversichtlich wirkenden Abschlusstitel „Black Notes“, in dem Frahm auch Raum für eine Minute der Stille lässt. Empty ist ein bewegender und ermutigender Soundtrack für die turbulenten Zeiten, in denen wir uns befinden.

Retro future past explorer. Ultraromance, hazy desire, a whiff of nostalgia. Excitement, confusion, and disenchantment. Internalization leads to alienation. And the cognition that everything can turn into a straight up joke after a while. So »relax and implode«…

The second full-length album of Berlin musician and futurologist André Uhl invites the listener to a sonic adventure with high emotional impact. Eleven songs are carefully crafted like sculptures in a swampy landscape. Warm, gritty, and viscid, the unique sound aesthetic leads the path through the dusty twilight, breathing down your neck, providing comfort and disturbance at the same time.

The sound material was recorded in a church during André’s two months long artist residency in a monastery in Alsace, France, where a specific set of microphones was used to capture the unique reverb of the nave. Additional material was recorded in Philadelphia, New York and in André’s Berlin studio.

Field recordings play a central role in the album, defining the mood and building the rhythmic foundation for all the compositions. Other elements were produced with a wide range of different analog and digital instruments. A powerful lead of a Roland Jupiter 6, the warm organ of a Moog Opus 3, the quirkiness of a circuit-bent Casio PT10 – or the clicking of an electricity meter in an apartment. »Relax and Implode« by André Uhl will be released on 16 October 2020 on Martin Hossbach.

Trad Vibe records started in Paris in 2005 when two friends and open minded musicians decided to set up a label that would mainly focus on vinyl releases. In times when Serato and other midi controllers dominated the dj booths and when vinyl record sales were experiencing a major downturn, this endevour did not look like an easy bet . "Moar's Remixes", the label's first release allowed Trad Vibe to set foot in the business and to meet people like Grandmaster Dee Nasty, Cortex (Alain Mion), Raashan Ahmad, The Audible Doctor (NYC) amongst many others which resulted in fruitful collaborations."
Ten years and over thirty vinyl releases later we are poud to present you with this compilation that includes unreleased tracks and remixes by Dj Cam, 20syl (C2C/Hocus Pocus), Venice Beach, Lord Funk, Blanka (La fine Equipe / Juke Box Champions) as well as brand new tracks by artists we like among which LS Brigandes (NYC) feat Insight, Moar & Elodie Rama, Dj Suspect & Doc TMK, King Most (San Francisco) and Madjir."

Evolution is our main target and we hope that you will enjoy our new projects as much as we do."

Our lucky 13th release is here!

We have a powerful serving by Russian team Scruscru meets Meowsn.
Both have really cool releases under their belt on Sloth Boogie, NOmada, Nurvous & Star Creature Universal Vibrations.
So, here at Outplay we're very excited to bring you 'Surr Rendez-Vous EP'

A patchwork of creative sampling, wonky jazz chords and powerful synth melodies with a small sprinkling of tongue-in-cheek makes for a super cool four tracker.
The story of the tracks made us reminisce of the rise of the loose beat, broken house of a few years back, while this one still feels very contemporary.
Being a firm believer of letting the music speak for itself: enjoy!

Loraine James follows up 2019's acclaimed 'For You And I' album with a new four track EP, `Nothing'. Her chosen collaborators empathetically extend the feeling in her music with their own unique energies; Uruguayan singer and producer Lila Tirdo a Violeta, Farsi language rapper Tardast, and HTRK front-woman Jonnine Standish. The arc of the EP starts with Lila Tirdo's numb, repeated vocal on the title track. On `Marg', meaning "death" in Farsi, the tense drama of Tardast's despairing poetry describes the hopelessness of refugee experience, cold chords rolling sympathetically around his words. Jonnine shifts the mood with `Don't You See It?', recounting a moment of clarity which allowed her to leave a destructive relationship, Final track `The Starting Point` finds Loraine solo, with punched in bass and chaotic drums pushed through fxs that settle into a plaintive piano melody, the first and only instrument she says she's able to play "properly".

She Lost Kontrol is thrilled to announce the debut full length album by the collaboration between the Berlin based producer Unhuman and the performer – activist Petra Flurr .
The two artists return to the label after their single releases in the two volumes of Surviving in Europe and for Unhuman, after his mighty Aktion Mutante ep in collaboration with Violet Poison back in 2018.

Marking our 14th instalment on the label, ‘’Cause Of Chaos ‘’ comprises eight tracks filled of energy and steeped in to gothic nostalgia and electronic body music. The well-known artists create a mix of post-punk and synthesizer electronics shaped by their uncompromised textures, that glides through genres with ease and combines modern style with retro goodness. An abstract style of contamination seldom seen within the modern music spectrum.

The Deutsch Italo- Griechisch duo offers us an immersive, futuristic and solid sound, inspired by the music which the two artists grew up with, following a natural evolution to their roots in post-punk, electronic and guitar music. Absolutely an album that will find its space on the shelves of passionate collectors of DAF, Liaisons Dangereuses, Virgin Prunes and beyond.

Edition of 350 copies

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

Roman Flügel presents: Sister Midnight!
What started as a party series that saw Roman inviting friends and favorites is turning into a full-fledged label adventure now. Shaped to be the vehicle for old and new Roman Flügel music alike, unreleased surprises and previously released sure shots from the archives, it’s the first time after his involvement in the seminal Playhouse and Klang label universe, that he tends to such an enterprise himself - with the help and support of Running Back records.
Now, the journey of Roman Flügel’s own Sister Midnight label starts with the valuable Tracks On Delivery series. Originally released on the third jewel in the Playhouse crown (Ongaku Musik) from 2000 to 2002, it’s a meditation on and contemplation of techno. Remastered, recut and repackaged as a triple vinyl edition with the addition of two previously unreleased „Patterns“. Pristine sound design, hypnotic wizardry and dry then architecture let all of them appear as if they haven’t aged a day.
Or as Roman says himself:
“I’ve always tried to push myself into new territories since I started music production. Those new territories can surely be achieved by the endless possibilities of inspiration, chaos and will power. At the time of the production of my Pattern series as under the name Tracks On Delivery I was highly inspired by some of Andrew Weatherall’s Techno sets while visiting London for some of his Blood Sugar Parties. Tracks On Delivery is unthinkable without the crude ‚germanic‘ mixture of Detroit labels like Jay Denham’s Black Nation and Weatherall’s own UK Techno imprints like Emissions Output. The Pattern Series, back then created for the Frankfurt based Ongaku Musik label, and now I am very happy to be able to release 15 original Patterns along two unreleased Patterns on my own Sister Midnight label.“

LTM presents a limited double vinyl gatefold edition (500 copies only) of B9, the definitive collection of cold wave and minimal electronica from Belgium, recorded between 1979 and 1983.
Originally released on Sandwich Records in May 1981, B9 featured 10 exclusive tracks by luminaries such as Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese, the latter the first recording project by Daniel Bressanutti of Front 242. Now digitally remastered, with 10 additional tracks on the second disc, this new deluxe vinyl edition also features Front 242, The Names, Marine, Siglo XX, The Neon Judgement, Berntholer, Allez Allez, Isolation Ward and more.
Cover op-art by Victor Vasarely. Design by Benoît Hennebert, based on a poster for The First Belgian Rhythm Box Contest (1981). Liner notes by James Nice. The existing CD version of B9 is also still available (LTMCD 2486) 

Repress!

Summer's in the air, and with impeccable timing, Bawrut returns with his fourth EP for Ransom Note Records! From ‘Ciquita’ to ‘Rumba’ to ‘Three Sounds’, the Madrid-based producer has been providing DJs with off-kilter dance floor ammunition for years now, amassing a dedicated following in the process. Out 13th September on 12” and digital, the Pronto Arpeggio EP is arguably his biggest and best collection to date. It’s certainly his silliest, kicking things off with a frankly absurd title track. Clocking in at almost 11 minutes, ‘Pronto Arpeggio’ is a prog techno labyrinth of fakeouts, tempo switches, thwacking kickdrums, and huge synths like if Giorgio Moroder did the music for Tomorrow’s World . So yeah, not your average mid-set toilet break tool (although if you want to use it for that, we won’t judge you). ‘Shooreee’ is classic Bawrut with a psychedelic twist, like spiking your own Negroni with mescaline. This sweaty, slow-burn acid weapon bides its time before erupting into a potent payoff. ‘Atchu’ carves its way through laser bleeps and dub FX, built around an unforgettable vocal sample that’ll be lodged in your skull for months whether you like it or not.

When it came to the remixes, we thought it was only right to enlist some of Bawrut’s biggest supporters. KiNK chisels ‘Pronto Arpeggio’ into a vlean slab of high-velocity machine funk, while Ruf Dug teases out the gentler side of ‘Shooreee’, resulting in a melodic track that feels tailor- made made for Mediterranean sunsets.

Bawrut absolutely ruled the festivals in 2018 with ‘More Cowbell’ and we’re expecting more of the same this year as he continues to go from strength to strength. Forza!

Anna von Hausswolff is a Swedish singer, pianist, organist and songwriter. This album consists of ORGAN SONGS INSPIRED BY SACRO BOSCO/PARCO DEI MOSTRI

Repress

René Pawlowitz presents himself in many different forms; whether it’s as Head High, EQD, Wax, WK7, The Traveller or more recently as Hoover - he consistently, and without any fuss or hype - produces some of the most effective, quality techno you can find on the planet. The Shed alias is usually reserved for his best work.

With this in mind, it really is a special event to announce this amazing new EP from Shed on Tectonic, showcasing 3 distinctive and highly effective techno cuts.

‘Try’ takes a broken-beat techno rhythm for it’s spine - reminiscent a little of the 2008/9 dubstep/techno crossover period. Tension is set with dissonant elements pulsing around swooping subs until we are saved by the heroic pads that ease in, building ever upwards to a lush finale. Close your eyes and be transported back to the rave.

‘Box’ is a darker, more percussive affair - claustrophobic and industrial. 130bpm 4/4 distorted kicks set the stage as frantic drum machine hats and claps crash about heavily reverb’ed ghostly samples.

Lastly we come to ‘Sweep’, a hypnotic bleepy roller with a bass heavy presence. As the riff loops up and over, drums build and a dissonant synth part creeps in. The not-quite 4/4 kick drives you ever forward with a gentle stumble as rattling hi hats flair about over head. Great finish to a great EP.

Over the years, the sonic world of Heist has grown into a place where energetic house, live instruments and worldly electronics move together in the most natural way. We're very proud of the fact that we can showcase artists that cross boundaries or simply create their own universe, while keeping a strong connection with the identity of the label.

Our next release, the 'Exposures EP' by Teleseen, fits perfectly into this aesthetic. Teleseen is the main project of nomadic DJ, producer and multi-instrumentalist Gabriel Cyr and draws influence from deep house, afro house, samba, batucada as well as the experimentalism and sound system cultures of his home town NYC. His sound leans heavily on polyrhythmic programming and he's nothing short of a synth wizard. His 'Exposures EP' features 3 originals, and a remix by Berlin based Italian house guru Black Loops.

The record features a number of collaborators and recordings of various instruments, ranging from percussive sections to synths and guitar. This live approach to electronic music is one that is deeply rooted into Gabriel's work. His upcoming release on Soundway as 'Thaba' is another good example of this approach and also shows how diverse his sounds really is.

The title track is a thrilling synth affair with tribal-like chants running through a vocoder. The combination of handclaps, crunchy synths and steady drums make for a thrilling afro house track that hints towards early motor city electronics.

Black Loops is known for his deep grooves and built his fame with his releases on Freerange, Pets and Shall not Fade. His take on 'Exposures' sees him upping the tempo to a pacey 130 bpm, where an introvert vibe of reverbed hits and bleeps take you into full dream mode. He expertly chops up the original into a contemporary track that fits somewhere between high tempo tech-house and minimalistic deephouse.

On the flip we get to hear more of the sonic world Teleseen has to offer. 'Dekalb' is a track that seems impossible to box into a genre. Its mood is set by a lovely section of free-flowing Rhodes chords and the chopped vocals and open synth- bass give the track a whole new feel. It is that ballsy electronic edge combined with dreamy textures and live rhythms that give 'Dekalb' its unique vibe.

The final track of the EP -'Transfer'- takes us down to a mid-tempo percussive workout with a balearic twist. The steady electronic groove and the free flowing guitar take you to yet another corner of Teleseen's beautifully crafted universe.

Enjoy the music and play it loud!

Yours Sincerely,
Lars & Maarten

Jacques Bon used to have a lovely record store in Paris called Smallville. It was there that Superpitcher hosted his 12 Sun-Oh-Bration release parties of his Golden Ravedays album in 2017. They were intimate gatherings, so legendary that the same furious old man from across the street complained at each one of them at exactly 9:47pm. Inspired, Jacques, a lover of the lyrics and music of Brigitte Fontaine and Jacno, produced the two reworks for this beautiful record. It has a brighter side with « Ah Que La Vie Est Belle » and a darker one with « Si Je Te Quitte » No complaints!

‘Is Love Enough?’ is the band’s sixth studio album and was recorded at Paul Weller’s Black Barn Studios in Surrey and produced by Stone Foundation’s founding members Neil Jones and Neil Sheasby. It continues their fruitful collaboration with Paul Weller who produced 2017’s Street Rituals and played on 2018’s ‘Everybody Anyone’ both of which have streaming figures in the millions. Paul contributes lead vocals to ‘Deeper Love’ and also prominent backing vocals on ‘Picture A Life’. He also joins the band and plays guitar on three other tracks (‘Af-Ri-Ka’, ‘Help Me’, ‘Love’s Interlude (II)’).
Stone Foundation are renowned for their collaborative approach and this time is no exception. Legendary actor Peter Capaldi provides a spoken word coda to the album, reading words by Vincent Van Gogh written about love. Additionally, two rising stars of the soul scene feature on the record. Durand Jones joins for a lead vocal on ‘Hold On To Love’ and Laville sings lead on ‘The Light In Us’.

Coladera is a merge of friendship and talent formed by Vitor Santana from Brazil and Joao Pires from Portugal. Both artists were eager to create a sound which they felt was missing in the Lusophone world: a true refelection between Portugal, Brazil and West Africa, especially Cape Verde and Angola.

With their latest Album "Lá Dôtu Lado" ("There on the other side") they created an authentic example of their dream, featuring songs which emphasizes the close musical and cultural ties within the Atlantic triangle. An epiphany on both sides of the Atlantic were the goddess called Yemajá on one side and Kianda on the other side. both are associated with the water and feminine mysteries.

VENT’s 21st release, a remix EP edition of 120 copies all hand numbered with a risograph printed cover, sees the collaborative works of 2019’s Kına LP by MAYa & Tolga Baklacioglu (VENT017) being reinterpreted through the lens of four prolific remixers. Each has brought their own perspectives and experiences to the table, challenging and redefining the original versions in their own way. Palestinian producer Muqata’a, for instance, has taken the track “Jyoti”, a track dedicated to Jyoti Sing, who was gang raped and murdered in India, reconstructing it so as to emphasize the continuous violence against women, whereas Martial Canterel has universalized the notions of yearning for a homeland in his remix. As a release featuring a broad range of bold and uncompromising remixes in different styles, the themes of nostalgia and yearning helps each remix highlight the qualities of the others. As keys to decrypt each remix more carefully, the artists have provided their brief comments, below:

Silent Servant (legendary dj/producer):

"I tried to give this remix a different approach than what has been my usual. Something based on perceived nostalgia but mixed in a modern way. I wanted it to feel like a lost RMX for the Hacienda from 1984 but hit in a modern club standard.”

Martial Canterel (cult poster boy for 21st century minimal synth):

"In approaching the work of my very dear and old friend, Maya, and her collaborator, Tolga Baklacioglu I wanted to situate differently the atmosphere and longing, to word it entirely otherwise. I wanted to dramatize this yearning for home and homeland, what the Welsh call Hiraeth. I want to place her plaintive strivings for home and tranquility in a festival of upbeat rhythms and releases."

Muqata’a (Palestinian beatmaker):

"It was very interesting remixing this powerful piece, working with the concept and different elements of the track, 'Jyoti', creating a more loop-based structure in an attempt to represent repeated violence against women."

Decimus (uncompromising esoteric artist):

"What I find amazing about the original version of this track is how colossally monolithic it is. It shifts and morphs over its 13 minutes but it never relents in its intensity and density. It feels epic and gigantic. I chose it to remix because I saw it as a challenge to carve something quieter and perhaps more narrative, in form, out of it while trying to stay true to the intensity of the original."

To challenge the leader of the five element ninjas, Shaw Cuts lines up a heavy squad on the next record, armed with versatile remixes of Farron's "Five Element Ninjas EP": Pugilist, Substance, Jonas Friedlich and Realitycheck.

First off the mark, Pugilist launches into battle dealing forceful blows with his version of "Liquid Shorts". Whirlwind breaks, sharp drum patterns and cavernous chords, lacerate the ninja leader. The heat is on!

Substance rolls in to support, shredding the field with his remix of "Contaship". With blood-spattered pads, a gargantuan rolling groove and harmonic synth elements, he brings the villain to his knees.

Jonas Friedlich blazes in with his remake of "Brooklyn Banks", catching the leader off-guard with dirty Hip-Hop rhythmics, swirling vocals and twist of the original's lead synth. The leader lurches forward...

Realitycheck furiously steps into the clash. His remix version of "It's Only 4 Life" circles the field, its propelling rhythm and floating percussions closing in on the enemy.

The target surrounded, attacking from four sides with full force and allegiance, they execute the ninja leader in one sweep.
The battle leaves them with deep scars, but suffering, like fate and death, is part of life. And through it, the strongest souls emerge.

Label boss Kenny Dahl signed the 13th release with a powerful and darkness techno imprint.
This publication inaugurates the new "wired-cube"graphic concept. The impressive and realistic cover by Simone Dattilia an emerging visionary artist will sign the covers of Eclectic limited future releases.