Search "Six Organs Of Admittance" 8 Items

St Petersberg's Dobro label is noted not just for the quality and playability of its funky house and disco re-edits, but also for its value for money. This, their seventh release, is another great example, with no less than six floorfillers included on one 12", each bringing their own individual mood to the table. 'Flowers Festival' from Sun Rhythms has throbbing organs and fruity keys, topped off by a gorgeous Russian vocal. DJ Merci's 'Timetable' goes for chunky rave pianos and Fairlight stabs, lending it an 80s Italo-disco feel, before Ground Plane Aerial's 'Transition SP' closes the side with slap bass and stripped down house vibe that echoes some of Roule Records' more accessible moments. Side two VIGI's 'I Am You', is the most memorable of the whole package, with its idiosyncratic female vocal weaving a magical spell around the listener, before we finish off with a double whammy of Monny Me's swirling stringfest 'The Name Of The Game' and the parping horns and strutting groove of Ugly Frankie's 'Free Alcohol Shit', the latter including a bewitching and unexpected piano solo. Great work all round.

Gab002 sees Gimme A Break Records keep things local with a rowdy EP from Leeds-based DJ and producer Beerus. Over the last six months, Beerus has demonstrated his production power through two bodacious releases on Gunfinger Food’s new sub-label, Booty Frooty Records. Fusing UK styles including hardcore, acid and jungle with US staples such as electro, juke and footwork, Beerus has established a playful sound primed for the dancefloor.

Beerus’s “9000” EP opens with a hardcore weapon which combines rave stabs with Dragon Ball samples and an acid line threatening to spiral out of control at any given moment. “Play This Shit” sees the EP take a sensual turn as Beerus channels the sounds of Chicago with an enticing juke number. “Booty Acid” follows suit, offering up a particularly self-explanatory track title: luscious electro meets 303s. “Love4U” is Beerus’s love letter to the happy hardcore scene as a thumping 4x4 bassline collides with melancholic vocals and piano lunacy. Finally, Beerus rounds off Gab002 in style with the junglist mediation “DO U Want ME”.

Creole poetry, folk mysticism and heavy-grooving cosmic synths combine on this unprecedented survey of spiritual Martinique polymath Gratien Midonet’s first four albums.



“I always broke free from the rules, from codes being too narrow,” says poet, musician and sonic shaman Gratien Midonet. “I have always had this sense of peaceful knowledge that there is no separation between genres, beings and universal things.”



For Midonet, pushing musical boundaries was less a choice than an extension of his spirit. A self-taught guitarist and composer,



drawing on his childhood memories of bélé and beguine rhythms, Midonet’s musical life developed in parallel to his academic and spiritual pursuits. Studying philosophy and psychopedagogy in France, it was his fascination with pan-Africanism and animism which fuelled the transcendent energy of his music. Although Midonet honed his sound in France, the four albums he released during the



late ‘70s and ‘80s were heavily inspired by diasporic nostalgia, or what he describes as the “smells and colours… subliminal noises… fruity notes, the memories of funeral wakes, the bombastic organ of the cathedral and the gasps of the drums” of his childhood home on the Caribbean island of Martinique.



Fittingly, it’s there that Midonet achieved cult status for the title track of his 1979 debut, Van An Lévè, which became a protest anthem for the island’s independence movement, and was briefly censored by the French authorities. Look no further than ‘Mari Rhont Ouve La Pot’, which opens this collection, to hear the propulsive mix of cosmic synths, acoustic folk, and Creole lyricism that became the essence of Midonet’s sound. Released on Martinique label Touloulou, Van An Lévè was followed in 1980 by L’inité, whose tropical acid folk (‘M’en ka Monté Mon’) and majestic, violin-led melodies (‘Kannaval Sakré Pou Tout Z’Heb Poussé’) confirmed Midonet’s unique and intuitive approach to composition.



Not content to skip effortlessly between genres and influences, Midonet also began pushing the boundaries of the album form itself. His third album, Bourg La Folie, released in 1984, was a soundtrack for a lost film about the mysticisms of carnival, while his fourth, Fô Ou Tchimbé, took the form of a ‘conte musical’ (a narrated story accompanied by music) presented at the Pompidou Centre, and spoke to Midonet’s literary prowess as a fierce proponent of the Creole language.

Sticker cover has sticker residue on the back.

2020 re-issue, 140g vinyl, remastered from the original tapes Track List. Linda “Babe” Majika’s insanely brilliant Don’t Treat Me So Bad is a tight six tracks of blistering electro-flavoured bubblegum and synth-drizzled solar-powered machine-funk. It has become increasingly hard to find, with copies currently moving for over £200. But this is definitely a case of eye-watering price equalling heart-thumping quality. Once of the Hot Soul Singers, Don’t Treat Me So Bad was Linda’s debut LP as a solo artist. It was produced by Ace Mbuyisa of boogie-funk maestros Freeway and was originally released on Umkhonto Records in South Africa in 1988. The enormous “Let’s Make A Deal” is probably the best known track here, and it’s definitely the best one if you ask us. Linda’s vocals drip with attitude over warm, breezy synths and an urgent, edgy electro beat to create a timeless club-ready bomb that sounds as fresh as ever.

This is a limited edition of approximately 300 copies on 140 grams black vinyl plus 6 unreleased bonus tracks and a UV laminated outer sleeve. As part of the emerging alternative rock/post-punk movement, Proxies was formed around 1978-79 in Thessaloniki, Greece, by Dimitrios Bitzenis (guitar), Jiannis Nastas (bass), George Pavlidis (lead singer), Manolis Trihakis (keyboards), and Lazaros Pliampas (drums). This formation got very well known locally by playing covers of Roxy Music, Talking Heads, Magazine, Devo, Television, Stranglers and other New wave bands. When Pavlidis left Greece, Nastas also left Proxies to form his own band, thus leaving Bitzenis behind as the new lead singer, guitarist and synth player, Trihakis on synth and bass, and with Pliampas still on acoustic drums. That formation almost got an contract with EMI but Xristos Vatseris (RIP), owner of the independent Thessaloniki based record company CVR, took Proxies under his wings so that they could keep control over their work. Eventually – in 1983 – their debut album “Groovin’ over Beirut“ was released, recorded at the CVR studio together with engineer Kostas Kosmatopoulos (RIP). Bitzenis and Trihakis then went to the UK to study and almost got signed to Virgin Records who loved their music. Unfortunately they had to return to Greece to do their military service and the dream was over. In 1984, Pliampas left the band and the second album “Eastern Side of Love“ was released. It featured a cover of the traditional Greek song “Fishing Boat“ which became a huge hit and made Proxies a well-known name all over Greece. Trihakis eventually left the group due to not agreeing to the musical direction Proxies was about to pursue. In 1991, Bitzenis released a new album together with his cousin Nikos Bitzenis (who later formed the band Mikro and co-founder of Undo Records), and a final album together with Marina Jele in 1994 before Proxies went quiet. This re-issue features a bonus LP with six previously unreleased tracks recorded between 1982 and 1985.

The young Label Deep Circus from Berlin (Ger) is celebrating its one year birthday. For this special occasion we arranged a small, but smooth compilation for the anniversary which won't leave any musical need of you unsatisfied. It contains six brand-new tracks by artists like SweetnCandy, Benny Grauer and Aemkay, who have already successful released on Deep Circus, plus some new additions such as Patrick Kunkel & 212fahrenheit, Smilla and Oldich Sic Jr. The Vinyl edition will be split up into two singles, of which one will also be released as a limited edition on white vinyl. Enjoy!