€

Search "raw+soul+3" 7227 Items

Name: V.A. - Danjet 005
Brand: Dan Jet
SKU: 1144250v1
Price: 15.99 EUR
Availability: OutOfStock

Show Filter & Categories

Filter Results

Artist

24hr Experience

3WA

6th Borough Project

A Winged Victory For The Sullen

Abe Duque

Abul Mogard & Rafael Anton Irisarri

Actress

Adam Beyer

Adam F

Adham Zahran

Adryiano

Al Jarreau

Alex Puddu

Alexander O'Neal

Alexander Skancke

Alton Miller

Alva Noto

Amotik

Amy Dabbs

Andrew Grant & Lomez

Androo

Anfisa Letyago

Anthony Nicholson

Antigone

Aphex Twin

Apoena

Arapu

Aroop Roy

Art Of Tones

Arthur Russell

As One

ASC

Ascion

Ash Ra Tempel

Atom TM

Autechre

Avatism

Baby Ford

Basement Jaxx

Basic Soul Unit

Bay B Kane

Beatconductor

Bibio

Bicep

Billie Ray Martin

Birth Of Frequency

Blue Hour

Bobby Brown

Bon & Rau

Bonobo

Boo Williams

Boozoo Bajou

Borai

Boris Brejcha

Boris Divider

Brandt Brauer Frick

Brass Construction

Bread & Souls

Brian Kage

Bruno Pronsato

Bungle

Cabaret Du Ciel

Calibre

Carlos Nilmmns

Caserta

Cassius

Catching Flies

Cerrone

Chaka Khan

Chaotic Discord

Charlotte De Witte

Cheb Terro & DJ Die Soon

Chelonis R. Jones

Chez Damier

Chontane

Chris Korda

Christian Smith & John Selway

Christina Vantzou

Christopher Rau

Ciel

Cloudland Canyon

Cody Currie

Cool Million

Coultrain

Coyote

Coyu

Crue

Curd Duca

D'Julz

D-Train

Daft Punk

Dam Swindle

Dana Ruh

Daniel Ögren

Daniela La Luz

Dark Vektor

Darone Sassounian

Dave Aju

David Spanish

Dawl

Dazz Band

De Sluwe Vos

Debbie Jacobs

Deepchord

Degiheugi

Demuir

Dennis Quin

Dfra

Diana Ross

Die Roh

Dimi Angelis

Dimitri From Brooklyn

DisX3

Dizzee Rascal

DJ Aakmael

DJ Jauche

DJ Koze

DJ Sneak

DJ Soul Slinger

DJ Steaw

DJ Tron

Doc Wör Mirran

Dom & Roland

Dome

Don Carlos

Donna Summer

Dopplereffekt

Dreamcastmoe

DRS

Dubfire

Earth, Wind & Fire

East End Dubs

Eddie Fowlkes

Etch

Everything Is Recorded

Exercise One

Extrawelt

Eye

Fabe

Fabrice Lig

Fango

Fat Freddys Drop

Fat Jon

Felipe Gordon

FFF

FKA Twigs

Flako

Flashbaxx

Flevans

Floating Points

Flying Lotus

Franck Roger

François X

Fred P

Full Force

Function

Gari Romalis

GAS

George Benson

Gerardo Frisina

Gideon

Giovanni Damico

Glenn Astro

Glenn Davis

Gloria Gaynor

Golden Bug

Gorillaz

Gotan Project

Gratts

Gregor Tresher

GummiHz

Gus Gus

Gwen Guthrie

Harmonious Thelonious

Heiko Voss

Helena Hauff

Hiatus Kaiyote

Hieroglyphic Being

Historics

HLZ

Horse Meat Disco

Hudson Mohawke

Ilija Rudman

Infinity Machine

Inkswel

iO (Mulen)

Ital Tek

Jabu

Jacek Sienkiewicz

James Brown

Jamie 3:26

Jamie XX

Jay Lumen

Jay Tripwire

Jazzanova

Jean-Michel Jarre

Jeffrey Osborne

Jenifa Mayanja

Jeremiah R

Jerical

Jermaine Jackson

JKriv

Joe Sample

Joey Beltram

John Selway

John Talabot

Joi Cardwell

Jonas Kopp

Jordan GCZ

Josh Wink

Jovonn

Jungle

Junior Sanchez

Juzer

Kaiser

Kangding Ray

Kemetrix

Kennedy

Kenny Larkin

Kerri Chandler

Kick Puncher

kidkanevil

kidkanevil & Daisuke Tanabe

Kikko Esse

Kink Gong

Klaus Schulze

Kloke

Klymaxx

Kraftwerk

Krewcial

KRTS

Kruder & Dorfmeister

Kübler-Ross

Kutiman

Lady Blacktronika

Laid Back

Lapalux

Laraaji

Lars Bartkuhn

Late Nite Tuff Guy

Laurent Garnier

LAWA (Leonard Alain Wank Alex)

Lea Lisa

Lee Holman

Legowelt

Leo Anibaldi

Lex

Long Arm

Loose Ends

Lorenz Rhode

Los Hermanos

Losoul

Lost Souls Of Saturn

Lostlojic

Louie Vega

Lovebirds

LSB

Luigi Madonna

M.I.A.

Maedon

Malik Alston

Manuel Sahagun

Marcus Intalex

Marcus Intalex & ST Files

Maribou State

Mark De Clive-Lowe

Mark N-R-G

Mark Reeve

Markus Suckut

Marquis Hawkes

Martin Rev

Marxist Love Disco Ensemble

Maurice White

Max Cooper

Max Essa

Medlar

Melba Moore

Melchior Productions Ltd

Metric System Aka Thomas P. Heckmann

Metro Area

Mezzoforte

Mica Paris

Michael Gray

Midnight Star

Mike Inzinger

Mogwaa

Moodymann

Moplen

Motohiko Hamase

Mount Kimbie

Mr K

Mr. G

Mr. K

Muslimgauze

Nail

Nebraska

Neural Network

Nico Lahs

Nightmares On Wax

Niko Marks

Nils Frahm

Nina Simone

Noir

Nosaj Thing

Novo Line

Nu Yorican Soul

Octave One

Oliver Dollar

Oliver Rosemann

Olivia

Omar S

Oneohtrix Point Never

Opolopo

Orbital

Orlando Voorn

Osunlade

Pablo Valentino

Pantha Du Prince

Para One

Patrice Scott

Patricia

Paul White

Pavel Dovgal

Perc

Persian

Peter Clamat

Pitreleh

Pittsburgh Track Authority

Pointer Sisters

Pole

Prince

Prince Charles And The City Beat Band

Project Mooncircle

Project: Mooncircle

Purple Disco Machine

Pusher

R-Zac

R-Zone

Radio Slave

Radiohead

Rafael Anton Irisarri

RAH Band

Rave Creator

Raw M.T.

Raw Stylus

Ray Kandinski

Ray Keith

Ray Mono

Ray Parker Jr.

Ready For The World

Reboot

Red Axes

Red Rack'Em

Regent

Reggie Dokes

Rei Harakami

Remco Beekwilder

Renegades Of Jazz

Restive Plaggona

Reversed Twister

Rhyw

Ricardo Villalobos

Rick James

Rico Puestel

Rio Padice

Ritzi Lee

Robert Hood

Robot Koch

Rod20

Roman Flügel

Ron Trent

Rove Ranger

Roy Davis Jr.

Roy Of The Ravers

Röyksopp

Ruf Dug

Ruff Cherry

Ruff Stuff

Rüfüs Du Sol

S-Tone Inc.

S3A

Saele Valese

Sala

Sally Shapiro

Sameed

San Proper

Sascha Dive

Scar

Schwefelgelb

Seba

Session Victim

Seuil

Shaka

Shakatak

Shalamar

Shanti Celeste

Sidney Charles

Siggatunez

Sigma

Simoncino

Skeptical

Sleaford Mods

Sleep D

Sly

Smokey Robinson

Sneaker

Soela

Sol Ortega

Sol Power All-Stars

Solid Gold Playaz

Solo Moderna

Soul Button

Soul Capsule

Soul Clap

Soul II Soul

Soul Intent

Soul Jazz Records presents

Soul Mass Transit System

Soul Of Hex

Soulphiction

Soulstatejazz

Sounds Of Blackness

SP-X

Speedy J

Squarepusher

Stasis

Stefan Goldmann

Steve Spacek

Stevie Wonder

Stone

Submerse

Submorphics

Superpitcher

Sven Väth

Sweatson Klank

Sweely

Syberian98

Sybil

Syst3m Glitch

Tahiti 80

Talismann

Tawatha

Terry Francis

Terry Tester

The Avalanches

The Black Dog

The Dining Rooms

The Exaltics

The Fatback Band

The Jacksons = The Jacksons

The Patchouli Brothers

The Prodigy

The Q4

The Raw Interpreter

The Robinson

The Stylistics

The Supermen Lovers

The Time

The Unknown Artist

Theo Parrish

Think Twice

Thom Yorke

Thomas Fehlmann

Tilman

Tiptoes

Tokimonsta

Tom Noble Presents: House Of Spirits

Tommy Guerrero

Tony Terry

Tor Lundvall

Transmission Towers

Triform

Truncate

Turbojazz

Twice (Patrick Gibin)

Tyree Cooper

Unknown Artist

Urban Soul

V.A.

Vadim Svoboda

Verrina & Ventura

Vick Lavender

Vince Watson

Vladislav Delay

Waajeed

Warp 9

Was (Not Was)

Whitney Houston

Will Saul

Will Saul & Tam Cooper

William Onyeabor

Yosh

Young Pulse

Yves Tumor

Zadig

Zanov

Zopelar

Label

!K7

(Emotional) Especial

100% Silk

1432 R

181.0

20/20 Vision

3 Feet Deep

3 Lanka

3AM Eternal

3TH

3XL

430 West

45Seven

4th & Broadway

541 Label

A&M

Above Board Projects

Acid Test

Adeen

AKO Beatz

Al Dente

Albert's Favourites

All Day I Dream

Amen Brother

AMOTIK

Anna Logue

Antinote

Arcane

Arista

Art Of Dance

Arts

Atlantic

Atomnation

Aus Music

Avant!

Avian

Bastard Jazz

BBE Music

BCM

Be Strong Be Free

Be With

Because Music

Big Bait

Bite

Black Knoll Editions

Black Lodge

Black Truffle

Blanco Y Negro

Bless You

Blue Hour

Boogie Angst

BPitch

Brainfeeder

Break New Soil

Breakbeat Paradise

Bridge Boots

Brother Music

Bunker

Bureau B

Burning Sole

Butter Sessions

Capitol

Casablanca

Castles In Space

CBS

CBS/Sony

Cécille

Chiwax

Chiwax Classic Edition

Cineploit

Circus Company

Classic

Clone West Coast Series

Club U Nite

Cocoon

COD3 QR

Cold Spring

Columbia

Compost

Connected

Constellation

Construct Re-Form

Contrafact

Cosmocities

Cracki

Craigie Knowes

Crosstown Rebels

CSM

Cyphon

D3 Elements

Dailysession

Dais

Dance Trax

Dark Entries

Ddr

De:tuned

Deeptrax

Defected

Dekmantel

Delsin

Delusions Of Grandeur

Dement3d

Denovali

DFA

Digital Tape

Dirt Crew

Dirt Tech Reck

Discrepant

Distangled

Djebali

DMC

Domino

Dopeness Galore

Downwards

Dread

Drone

Drowned By Locals

Drumcode

Dust Science

É Soul Cultura

Eastenderz

Echocord

Eclectic Limited

Ed Banger

Editions Mego

Eglo

Electric Blue

Elypsia

Embassy Of Music

Emerald

EMI

Emotional Rescue

Emotional Response

Environ

Epic

Equinox

Erased Tapes

Evar

Exarde

Exhale

Exone

Fabric

Favorite

Feines Tier

Figure

Fixed Rhythms

Fleisch

Flexi Cuts

Fokuz

forTunea

Foundation Music Productions

Four Flies

Frank Music

Frappe

Freerange

Freestyle

Fresh Meat

Freude Am Tanzen

Frigio

Funkyjaws Music

Future Romance

FXHE

G.A.M.M

G.A.M.M.

Galaxy Sound

Galletas Calientes

Gated

Get Physical

Ghost Box

Ghostly International

Gordy

Groove Culture

Groovin

Growing Bin

Gudu

Hakuna Kulala

Hands In The Dark

Harthouse

Heels & Souls

Heist

Hell Yeah

Hivern Discs

Holoverse Research Labs

Hospital Productions

Hot Creations

Houndstooth

House Of Disco

Housewax

Hudd Traxx

Hyperdub

Ilian Tape

Important

Increase The Groove

Index Marcel Fengler

Infine

Innervisions

Intangible

Interdimensional Transmissions

International Feel

Irma

Island

Italic

Jalapeno

K S R

Kalahari Oyster Cult

Kaoz Theory

Karl

Klasse Wrecks

Klockworks

Knekelhuis

Kniteforce

Kniteforce / Ruff Guidance

KNTXT

Kompakt

Kompakt Extra

Kontakt

KR3

Kraftjerkz

Kranky

L.I.E.S.

La Tebwa

Late Night Tales

Leaving

Left Ear

Leng

Lion Productions

Live At Robert Johnson

Livity Sound

Lobster Theremin

Local Talk

London

Lost Palms

Love Love

Lovedancing

LuckyMe

Luv Shack

Magazine

Mask

Mathematics

MCA

Meander

Mecanica

Memento

Mercury

Metalheadz

Metroplex

MG.Art

Miasmah

Minipan

Mir

Mixed Signals

Modeight

Modern Love

Monkeytown

Monnom Black

Morphine

Morr Music

Most Excellent

Most Excellent Unlimited

Mother Tongue

Moton

Motown

Moxy Muzik

Mr Bongo

Mule Musiq

Music From Memory

Music On Vinyl

Musique Pour La Danse

Mute

Mutual Rytm

N-Plex

Neroli

Nervous

Network

Network23

New Flesh

New Interplanetary Melodies

New Retro Wave

Newretrowave

Night School

Night Time Stories

Ninja Tune

Noir Music

Not Not Fun

Noton

Nu Groove

Numbers

Nunorthern Soul

Ocha

Only One Music

Optimo Music

Orange Milk

Overdrive

Overseas

P&P

P-Vine

Pampa

Parlophone

Past Inside The Present

Peoples Potential Unlimited

Perc Trax

Perlon

Permanent Vacation

Phonica

Phonogramme

Pingipung

Planet

Planet Mu

Planet Rhythm

Pleasure Of Love

PoleGroup

Polydor

Pomelo

Pont Neuf

Porridge Bullet

Project: Mooncircle

PRSPCT

Prspct

Public Release

Pulp

Pure Hate

Purveyor Underground Limited

Quindi

Quintessentials

Qwest

R & S

R&S

R=A

RA+RE Records

Rajaton

Rams Horn

Rant & Rave

Raster

Rave Alert

Rave Or Die

Rave Radio

Rave-R

Raw

Raw Culture

Raw Raw

Raw Soul

Raw Tapes

Rawax

Rawax Motor City Edition

Razor-N-Tape

Razor-N-Tape Reserve

RCA

Re:Discovery

Rebirth

Record Makers

Reef

Rekids

Repeat

Reprise

Rhythm Section International

Rings

Riot

Robsoul

Rocksteady Disco

Roof

Room 40

Rough Trade

Row

Rua Sound

Rue De Plaisance

Ruf Kutz

Running Back

Rush Hour

Rvng Intl.

Saft

Samosa

Samurai Music

Saturate!

Schema

Sci+Tec

Scissor And Thread

SCKT

Scruniversal

Sedsoulciety

Selections

Shall Not Fade

Sheik 'N' Beik

Shelter Press

Signature

Skylax

Slothboogie

Slow Life

Slow Motion

Slow To Speak

Smalltown Supersound

Smallville

Snork Enterprises

Soil

Solar

Soma Quality

Sonar Kollektiv

Sonic Cathedral

SoSure Music

Soul Clap

Soul Deep

Soul Jazz

Soul Notes

Soul:r

Sound Metaphors

Sound Of Speed Japan

Sound Signature

Soundway

South Street

Space Echo

Spearhead

Spectral Sound

Star Creature

Steyoyoke

Studio Barnhus

Suara

Subject To Restrictions Discs

Subtext

Suburban Base

Sultra

Suol

Sweat It Out

Syncrophone

Tamla

Tartelet

Technicolour

Teknotika

Tempo

Temporary Residence

TH Tar Hallow

Thank You

The Death Of Rave

The Double R

The Drop

The Tapeworm

The Third Room

Third Ear

Time Is Now

Time Is Now White

Time To Express

Tinted

Tokzen

Too Good

Toolroom

Total Experience

Toucan Sounds

Toy Tonics

Traxx Underground

Trelik

Tresor

Tropical Disco

Truncate

Trust

Turbo

U Know Me

Uncanny Valley

Under The Radar

Underground Quality

Unidisc

Universal

Unknown To The Unknown

Upstairs Asylum

V I S

VBX

Vega

Veyl

Vinyl Fanatiks

Vinyl Me, Please

Vinyl Only

Virgin

Visions

Wagram

Wah Wah

Wall Of Sound

Warm Sounds

Warner

Warp

We Play House

WeMe

White Label

Wicked Wax

Wolf Music

Wonderwax

WRWTFWW

X-Ray

X-Ray Production

YNFND

Yore

Young Art

ZYX

ZYX Music

ZZK

[R]3volution

Search "raw+soul+3"

...

74 75 76

...

75 76

...

75 76

V.A.

Danjet 005

12" | 2024 | UK | Original (Dan Jet)

15,99 €*

Incl. VAT plus Shipping Costs

Release: 2024 / UK – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

As the winds of music blow, a wise heart navigates the spiral, finding wisdom in each of its twists and turns. As the releases of Dubblack’s catalogue pile up, the novelty and exploration for new music keeps on thriving. A brand-new record is approaching, as always available both on a 12” vinyl – limited to 300 copies – and in digital format, featuring the presence of two Masters from the Electronic Music scene: A2 Abd El Monim and Tocchitek. The two-track EP baptised “Dark Side” includes the gems “Euriale” and “Steno”; two expansive compositions that, also due to their length, masterly observe the task of narrating two complementary stories, each with its distinct moments, yet marked by a strong rhythmic temper. Both tracks are planned to share similar sonic elements: a pulsating 160 bpm kick drum, ghostly pads serving as an inevitable backdrop, and indispensable rhythmic details enriching the whole structure and arrangement. A2 Abd El Monim, born Alan Abd El Monim, is an Italian-Egyptian artist/composer. He expresses himself through the creation of music ranging from electronic to purely instrumental, and through the interaction between the arts. His poetics opens in a “dark” dimension that considers and interprets the facts through the notion of shadows and darkness but also through penombre. His “dark” vision stands as a filter through which he reads the world and its interactions, therefore using also the notion of light. His music has been performed in Festivals including Musica d’arte (Riccione – Italy), Luci d’Artista (Salerno – Italy), Gamo (Firenze – Italy), Spazio Musica (Cagliari – Italy), On Air – On site (Den Haag -Netherlands), Sound Spaces (Malmö – Sweden), etc. He composed songs for the solo exhibition “La pelle degli oggetti” and for works Lui&Lei by the artist Giovanni Oberti. In 2020 he undertook a collaboration with the poet Milo De Angelis , putting to music the lyric “A volte , sull’orlo della notte, si rimane sospesi”. He wrote music for several theatre performances by director Emily Tartamelli and has written music for several directors films including Reto Gelshorn, Enea Francia, Paola Piscitelli and Fabio Corbellini. He collaborated with the London based fashion brand B Dodi and was invited as an artist to participate in the collective exhibition “Instructions to Light-Keepers” (Milano – Italy). In March 2023, “Periodo Nero”, its interactive and generative installation music and video, was selected for the tribute to Picasso in the city of Florence, will be presented at the Certosa of Florence in September of the same year. In 2017 he won the International Competition of Composizione Silenzio Musica, in 2020 the diploma from President and Artistic Director of Winterreise International Composition Competition Moscow, in 2021 the Call For Scores banned by the Cultural Association Esecutori di Metallo su Carta. A2 Abd El Monim is signed to international label F.M.T Records and Dubblack Records, with which he regularly publishes his electronic music. Tocchitek is an underground Tekno producer and performer born in Milan, Italy. He started playing live in 2007 as part of the “Approdo Caronte” sound system based in Milan. His first significant appearance as a live performer was at a “Mayday Parade” in 2008 in Milan. In 2009, he joined the “r909 Records” chapters crew based in Milan, bringing his live set to many local club dance floors. Meanwhile, he collaborated and played with many crews around Europe, spreading his music in the free Underground Tekno movement. In 2021, in Milan, he launched “F.M.T Records”. Simplicity is often the hardest thing to achieve when producing this type of music, primarily designed for uncompromising dance-floors, but the duo successfully channels their message with purity and truthfulness. The visual aspects of layout and design are once again entrusted to Vittorio Valigi, who puts a greyscale spiral at the center of the cover. A spiral within which one an eye can be glimpsed – the eye of the musical soul of Dubblack harmoniously fused with that of A2 Abd El Monim and Tocchitek, who become worthy ambassadors of the Dubblack’s sonic mission.

Go to Item

Instant House (Joe Claussell)

Lost Horizons

12" | 1993 | EU | Reissue (Isle Of Jura)

13,59 €* 15,99 € -15%

Incl. VAT plus Shipping Costs

Release: 1993 / EU – Reissue

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Before he co-founded the legendary Sunday afternoon event Body & Soul with fellow New York DJs Danny Krivit and Francois Kevorkian in 1996, Joaquin "Joe" Claussell was the driving force behind Instant House, an eclectic production outift who released a series of uplifting deep house records, several of which were spun by David Mancuso at the 90s iteration of his influential Loft parties.

In 1993, Instant House released their deepest single, Lost Horizons, through Jungle Sounds Recordings. The A-side, ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’ is a seventeen-minute and twenty-second sojourn into the vibrant club sounds of early 90s NYC. Driven by a Latin-accented man-machine beat that marches into infinity, it comes backed by two shorter mixes, ‘Lost Horizons’ and ‘Lost Horizons (Percussion Bonus)’. Twenty-nine years later, Isle of Jura presents an official vinyl and digital reissue of this slow-burning deep cut.

The Instant House story begins in the late 80s at Dance Tracks, an East Village record store established by the businessman, DJ, and graphic designer Stan Hatzakis. Patronised by New York trendsetters like Frankie Knuckles and Larry Levan, Dance Tracks was considered one of the world's best underground dance music retailers.

During the winter of 1991, Stan got together with one of his best customers, Tony Confusione, to make music. A wall street guy by day and a keyboardist by night, Tony was also a serious DJ. Not long after their first recording sessions, they invited another Dance Tracks fixture, Joaquin "Joe" Claussell, to join them in Tony’s state-of-the-art home studio in Long Island. He brought a vibrant, percussive edge to the sample-based tracks Stan and Tony were cooking up. Emboldened, the three DJs began recording together as Instant House. That year, they released the Dance Trax EP.

In 1992, after Instant House had dropped two certified classics, 'Over' and 'Awade', for Jungle Sounds Records, Stan exited the group and sold Dance Tracks to Joe and his business partner, Stefan Prescott. Following Stan's departure, Joe and Tony headed into the studio for a special recording session. “I just remember how powerful the connection was while we were making that record,” explains Joe, recalling the creation of ‘Lost Horizons (The Mind Travel Saturday Night Sunday Morning Mix)’. “It was a very spiritual encounter in the studio.”

While laying out the drum patterns, sound effects, and arrangement, Joe explained the vibe to Tony, who played the lush cosmic chords and an effortless keyboard saxophone line over the top. “That was Tony completely feeling himself,” Joe reflects. “He performed majestically.”

After the release of the Lost Horizons 12”, Joe received a phone call from Cisco International Corp. A plane flight later, he was sitting in their label offices in Tokyo, talking to a senior record executive who wanted to introduce Lost Horizons to Japan. “What they were primarily doing at the time was pressing classical records - we’re talking thousand dollar plus classical reissues - and they wanted to license and distribute Lost Horizons,” Joe remembers. Three years later, Joe and Tony released 'Asking Forgiveness', their final 12” as Instant House, before parting ways with full hearts.

In the context of his career as a DJ, remixer, and producer, Joe is known for long songs and compositions. As Lost Horizons illustrates, he’s carried that impulse with him since his foundational days. “When I produce, I don’t believe in the beginning or endpoint of anything,” Joe explains. “I really despise the rules. To me, that’s not true to the art of creation. I just believe there is a flow in creation. When we were making music in the 90s, we were restricted by format, but that record could have gone on forever.”

The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

Go to Item

Stephan Mathieu & Ekkehard Ehlers

Heroin

LP+12" | 2020 | EU | Original (Keplar)

25,99 €*

Incl. VAT plus Shipping Costs

Release: 2020 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

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.

Go to Item

A2 Abd El Monim / Tocchitek

Dark Side

12" | 2024 | EU | Original (Dubblack)

13,99 €*

Incl. VAT plus Shipping Costs

Release: 2024 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Go to Item

Aural Imbalance

Infinity Spectrum Transparent Orange & Red Vinyl Edition

2x12" | 2024 | EU | Original (Spatial)

37,99 €*

Incl. VAT plus Shipping Costs

Release: 2024 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Aural Imbalance has enjoyed a colourful and celebrated journey through music over the years, taking in ambient soundscapes, deep house and of course, a pioneering role in atmospheric drum & bass. With Spatial, he has unearthed a pure, varied musical prowess seldom seen, with the ability to control both the lighter aspects of the mix as well as expert breakbeat craft. Infinity Spectrum showcases the breadth of talent Aural Imbalance possesses in one incredible package, not to be missed.

A1 - Aurealis Opening the album with a wonderfully serene track, Aural Imbalance delicately rolls out his trademark smooth ambience with building cymbals and an energetic break merging perfectly in the mix - along with a great, pounding undertone of bass. Riddled with old-school sensibilities, Aurealis layers the building blocks until the track opens up further through a superbly lush breakdown, blooming like a flower in the summer sun before the breaks return.

A2 - Glistening Stars Washing strings and the chitter-chatter of playful effects introduce Glistening Stars, before familiar, crisp old school breaks steal the limelight. A happy earworm melody soon reveals itself, and the breaks are gradually filtered back in following an other amazing breakdown before the melody takes on new life. Packed with detail and soul, this track will repeat on you long after you've moved on.

B1 - Alpha Curious, apprehensive tones punctuate a fascinating intro, with a deep old school bassline creeping out first to greet us, before the hi-hat laden break loses its inhibitions and roams free. Crafting a deliciously textured atmosphere, Aural Imbalance continues to showcase the breadth of his production techniques in his Spatial form, flecking the track with sumptuous melodies to create yet another gem.

B2 - Stargazers This piece opens with a special blend of quiet, epic serenity, evoking hope and wonder as amen cymbal work and a stabbing snare-heavy break pattern rise and fall in the surrounding symphony. The quietly musical bassline plays a key role in the aural world-building here, complementing the breaks it harmonises with superbly. Aural Imbalance allows the composition to breathe and flourish for a superbly executed final act. Delightful.

C1 - Slow Motion Introduced with quietly filtered breaks, Slow Motion dials back the pace with a break pattern which relaxes the snare while still maintaining a playful energy as the kicks and bass bumble along below. A uniquely atmospheric yet eccentric melody takes shape with dreamy pads filling the backdrop, and calming scatterings of echoing effects colliding and combining to generate a blissful collage of sound.

C2 - Apparition Switching up the vibe we have Apparition, which boldly utilises long, tranquil yet purposeful pad work before an immense break pattern riddled with stark snares and a jumpy bassline which rides the smothered kickdrums so well, they appear to be fused as one. The breaks on this are truly special and will move the discerning dancefloor for sure, Aural Imbalance continuing to reveal a never-ending depth to his sound.

D1 - Artificial Satellite Introduced with smooth synths and DJ-friendly hi hats, Artificial Satellite sees Aural Imbalance laying down a fresh showcase of old-school breakbeats, laced with that inimitable Spatial flavour. A swirling low-key sci-fi vibe punctuates the breakdown before the beats re-emerge. A deep, brooding bassline pulses beneath throughout, while the perfectly executed breaks enjoy their final flourish.

D2 - Unknown Forces Finally, up steps Unknown Forces for a blistering finale to the LP. Aural Imbalance is at his amen-editing best here with a truly superb showcase of analogue break patterns to nourish the ears and set pulses racing on the dancefloor. Deep bass elevates the gentle intro before thumping kicks begin an epic workout, chopped to perfection with synths and strings flying gracefully above. We couldn't have a Spatial LP without an amen banger could we? What a way to end

Words by Chris Hayes (Spatial/Red Mist)

Go to Item

La Légende d'Eer

Iannis Xenakis - Electroacoustic Works Part 4

LP | 2022 | EU | Original (Karl)

21,99 €*

Incl. VAT plus Shipping Costs

Release: 2022 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

This album is disc IV "Les Polytopes III" of the 5 LP / 5 CD box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

„Electroacoustic Works“ celebrates the 100th anniversary of Iannis Xenakis (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest and mastered by Rashad Becker and finally reveal their full sonic range and dynamics. Booklet with English / German liner notes by Reinhold Friedl (zeitkratzer) and rare photos from the Xenakis archive.

Iannis Xenakis (1922-2001) is one of the most important composers of the 20th century avantgarde whose influence on music can be traced to the present day – not only in the world of conservatory-trained composers but also in various streams of current non-academic underground aesthetics such as experimental electronic music, noise and industrial.

After he arrived in Paris in 1947, Xenakis not only studied composition with Messiaen and later became a member of the famous GRM (Groupe de recherches musicales), he also worked as assistant to the famous architect LE Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). Although Xenakis also composed for orchestra (his most famous works are “Metastasis“, “Pithoprakta” and “Terretektorh”), electronic music became his way for exploring new ideas and concepts and to develop new techniques like a graphic interface for sound synthesis or later, when computers were easier accessible, his so-called "stochastic synthesis" (Gendy 3, S.709 > Disc V, Late Works). Xenakis’ first electroacoustic pieces (Disc I) like “Diamorphoses” or “Bohor” turned out groundbreaking works while the latter even caused, as Michel Chion put it, the “greatest scandal of electroacoustic music” on the occasion of its performance 1968 at the GRM in Paris.

His so-called „Polytopes“ (Discs II - IV) were overwhelming multimedia performances with especially designed architectures, laser and light shows etc. where sometimes up to several hundred loudspeakers were used to move the sounds in space. For example his most famous composition “Persepolis”, commissioned by the Persian Shah, premiered in 1971 in Shiraz- Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation.

The most radical aspects of sound can be found in Xenakis' late work and its merciless reduction to harsh, almost ruthless sound synthesis. In the early nineties, he devoted himself to the concept of a composing machine: a machine that designs everything independently and calculates the finished piece, the algorithm is the work.

For the first time, the complete electroacoustic works of Xenakis are now available on record the truly overdue testimony and legacy of a restless investigator and explorer of sound. Years of source studies and comparative research by zeitkratzer director Reinhold Friedl, in collaboration with sound engineer Martin Wurmnest, made these critically reflected stereo mixes possible, which were appropriately mastered by Rashad Becker and which, in addition to the aspect of fidelity to the source, put the listener in the center. Xenakis' adventurous music can now finally be enjoyed in its full sonic range and dynamic.

To quote The Wire’s review from May 2018:
“This is the definitive Persepolis“

Go to Item

Hibiki Hana-Ma / Mycenae Alpha / Polytope de Cluny

Iannis Xenakis - Electroacoustic Works Part 2

LP | 2022 | EU | Original (Karl)

20,99 €*

Incl. VAT plus Shipping Costs

Release: 2022 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

This album is disc II "Les Polytopes I" of the 5 LP / 5 CD box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

„Electroacoustic Works“ celebrates the 100th anniversary of Iannis Xenakis (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest and mastered by Rashad Becker and finally reveal their full sonic range and dynamics. Booklet with English / German liner notes by Reinhold Friedl (zeitkratzer) and rare photos from the Xenakis archive.

Iannis Xenakis (1922-2001) is one of the most important composers of the 20th century avantgarde whose influence on music can be traced to the present day – not only in the world of conservatory-trained composers but also in various streams of current non-academic underground aesthetics such as experimental electronic music, noise and industrial.

After he arrived in Paris in 1947, Xenakis not only studied composition with Messiaen and later became a member of the famous GRM (Groupe de recherches musicales), he also worked as assistant to the famous architect LE Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). Although Xenakis also composed for orchestra (his most famous works are “Metastasis“, “Pithoprakta” and “Terretektorh”), electronic music became his way for exploring new ideas and concepts and to develop new techniques like a graphic interface for sound synthesis or later, when computers were easier accessible, his so-called "stochastic synthesis" (Gendy 3, S.709 > Disc V, Late Works). Xenakis’ first electroacoustic pieces (Disc I) like “Diamorphoses” or “Bohor” turned out groundbreaking works while the latter even caused, as Michel Chion put it, the “greatest scandal of electroacoustic music” on the occasion of its performance 1968 at the GRM in Paris.

His so-called „Polytopes“ (Discs II - IV) were overwhelming multimedia performances with especially designed architectures, laser and light shows etc. where sometimes up to several hundred loudspeakers were used to move the sounds in space. For example his most famous composition “Persepolis”, commissioned by the Persian Shah, premiered in 1971 in Shiraz- Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation.

The most radical aspects of sound can be found in Xenakis' late work and its merciless reduction to harsh, almost ruthless sound synthesis. In the early nineties, he devoted himself to the concept of a composing machine: a machine that designs everything independently and calculates the finished piece, the algorithm is the work.

For the first time, the complete electroacoustic works of Xenakis are now available on record the truly overdue testimony and legacy of a restless investigator and explorer of sound. Years of source studies and comparative research by zeitkratzer director Reinhold Friedl, in collaboration with sound engineer Martin Wurmnest, made these critically reflected stereo mixes possible, which were appropriately mastered by Rashad Becker and which, in addition to the aspect of fidelity to the source, put the listener in the center. Xenakis' adventurous music can now finally be enjoyed in its full sonic range and dynamic.

To quote The Wire’s review from May 2018:
“This is the definitive Persepolis“

Go to Item

V.A.

29 Speedway: Ultrabody

12" | 2024 | UK | Original (29 Speedway)

30,99 €*

Incl. VAT plus Shipping Costs

Release: 2024 / UK – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

29 Speedway is a record label and performance series based in Brooklyn, NY featuring forward-thinking improvisational music and live multimedia. Founded in 2020 by Ben Shirken a.k.a. Ex Wiish (‘Shards Of Axel’, Incienso 2023), 29S serves as a platform for artists exploring the fringes of interdisciplinary art and music. Hosting D.I.Y-guerrilla style sound and performance art concerts at Pioneer Works (nyc), Public Records, and in Europe in partnership with Index Records, they have worked with artists such as James Hoff, J. Albert, Yolabmi, Robert Aiki Aubrey Lowe, AceMo, Flora Yin Wong, Nexcyia, Young Boy Dancing Group, Umfang, Color Plus, Poncili Creación, Special Guest DJ, Arushi Jain, Drumloop, Isabella Koen, Ben Bondy, Kamran Sadeghi, Yawning Portal, James K., Syndey Spann, Debit, Pent and many others.

Resident Advisor called their most recent compilation record ‘Channel Plus’ “one of the most stunning documents of the ‘modern ambient-techno movement pioneered by labels such as Motion Ward and West Mineral’, with a focus on New York as well as a global outreach that encompasses chilled-out trap, electro, downtempo and even early '00s electroacoustic music”. Their debut solo artist release from J. Albert and Will August Park, entitled “Flat Earth” (2023), was based on free improvisation and ambient jazz, receiving praise from Philip Sherburne, Shawn Reynaldo, and was included in RYMs top EPs of the year. 29S has been written about on ID, Bandcamp Daily: Best Ambient, Boomkat, Paper Mag, Artnet, Dazed, Clot Mag, Nina Protocol, and Document Journal.

The newest release from 29 Speedway, UltraBody, is a compilation record featuring the music of Jake Muir, Pent & Dylan Kerr, Nexcyia & Mu Tate, James K, Flora Yin-Wong, Ex Wiish & Dorothy Carlos, Kamran Sadeghi, Tati au Miel, James Hoff, Eric Frye, Muein and Maxwell Sterling. The record is emblematic of the artists who have performed at 29 Speedway shows in New York and Europe during the past two years, and is the third in a series released by the label.

The record was born out of a desire to investiage how the self, spirituality, and language are intertwined with the intervention of subjectivity by new technologies. With increasingly sophisticated tech, and the supposed ability to remake the world and ourselves, what differentiates our individual discretion from the will imposed upon us by software? Quoting Walter Chaw from his piece on David Cronenberg’s Videodrome, “Decades of rampant, unregulated and ill-considered technological leaps have begun to evolve, to mutate, humans at a biological level”. This haphazard acceleration towards a techno-utopic transformation of humanity has faulted, and as William Gibson put it, is leading us to live in a “half assed singularity”. In this reality, artistic processes are influenced by excessive access to computational tools and assistance, but not utterly controlled.

This in-between state of dominion is explored in 29 Speedway: UltraBody. “Incoherences” samples the utterances of Dylan Kerr’s voice processed between Pent’s percolated glazes, muddying the gulf between vaporous ambient and reflexive sound design. The voice on James Hoff’s “A... ...Cha.... A... I feel l” was created by trying to get voice cloning technology to sing a gps data stream, the music an extrapolation from an earworm he got stuck in his head while shopping in Kyoto. On “Plogue Chain”, Eric Frye’s most speculative sci-fi observations spiral into a glazed pool of digital cacophony, while Kamran Sadeghi’s “Formula Fiction” is an experiment in (un)controlled generativity. Incorporating minimal pings from a 3D simulation scene based on gravitational interaction, cello bits evolve on “Assimilation”, a collaboration between Ex Wiish & Dorothy Carlos.

On UltraBody, sound has no separate existence from space.

Go to Item

Sven Väth

Catharsis Remixes

3LP | 2023 | Original (Cocoon)

37,99 €*

Incl. VAT plus Shipping Costs

Release: 2023 / Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated,
and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What
I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we
need to go on? This hand-picked list of luminaries have answered the call and certainly don’t
disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising
companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by
Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a
lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you
could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a
homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers
a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect
amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag
Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty
rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with
fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up,
the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher
for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry
and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer
harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet
Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap
impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a
peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must
recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers
emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second
outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion
parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent,
melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A
playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth
pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and
link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell
Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s
Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is
extended as a reverence to Sven himself. Sven's profound vocals clearly infuse time and space and
leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part
of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher

Go to Item

Ifsonever

LP | 2022 | UK | Original (Jazz & Milk)

18,99 €*

Incl. VAT plus Shipping Costs

Release: 2022 / UK – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

If you ever wondered what ambient music of the 21st century could sound like, then you should explore the musical spheres of "ifsonever". This colorful debut-album draws a blueprint of an urban ambient club record of a parallel universe. A collage of beautifully improvised pieces, strictly recorded in "one takes". A gripping fusion that brings together the warm analog textures of classic vintage synthesizers and electronic urban ambiences.
Trying to appreciate the recent times of silence and deceleration, Daniel Helmer aka ifsonever has quickly developed a tonal language as a solo artist. With a non-compromising approach he would visit his studio, a cozy garden shed, to record one new track a day in strictly analog fashion as "one takes". His aim for this project was to capture the innocence and instinctive creative energy of the present moment. These 9 timeless pieces invite the listener to explore hypnotic and meditative atmospheres such as on the opener "transpose" or on "jonesy dreams of birds", as well as gloomy and almost mystical sounding tracks such as "total global" or "an unexpected error has occurred". ifsonever is a wonderful amalgamation of organic, laid-back sounds and electronic, club oriented elements.
Recorded at a time when social contact was forbidden and culture was at a standstill, many professional musicians felt challenged not to feel useless when performances and sessions in public were cancelled, while the need for expression, participation and communication persisted. What happens when you've read all your books, when you're tired of looking at screens, and when you're digitally saturated? Then the unbearable lightness of being will begin. Daniel Helmer decided to let his creativity flow into a picture depicting that moment in time. He gave himself the opportunity to reflect this period through the creation of music. Not always an easy thing to do when the only social interactions would be cats passing by or the sound of children playing nearby. However that can be exactly the perfect tranquil surrounding to ground oneself in the here and now and draw inspiration from the inside. This self titled album reflects a peaceful journey from start to finish.

Two old friends have been invited to contribute overdubs in hindsight. MillianX is a film composer and noise artist, a colleague from the viennese filmacademy. Both worked together on the film score for the science fiction movie "Rubikon" while the album was in its final stages. So a collaboration was an obvious choice. The creamy arpeggiated synthline created for "jonesy dreams of birds"' was extended by Millianx with some field recordings and a big cloudy synthwave that dips into a vast sea of noise.
Guido Spannocchi is a london based jazz musician. Both knew each other for several years but never had the chance to work together. When Daniel Helmer wrote "an unknown error has occured" he imagined a saxophone layer to accompany the existing synthline. But when the two musicians finally got together to record in the legendary jazz club "Porgy & Bess", Guido just let his creativity flow and jammed freely to the track with a totally unique jazz vibe.
Between film, music & sound Daniel Helmer is continuously searching for a spot to call his own. Expanding boundaries, pursuing the unheard and breaking genre definitions are byproducts of his curiosity and his drive to avoid repetition. Daniel Helmer resides in Vienna where he studied at the local film academy. He became one of the founding members of the techno-punk band "Gudrun von Laxenburg" with album releases on the legendary Skint label, collaborated with Sam Irl on "International Major Label" as the production duo "Mantra Mantra" and released an album as "Yogtze" on Gerd Janson's imprint "Running Back Incantations", together with Feater. At the moment he is focusing on his work as a film composer and is currently working on two feature films in Austria.
"ifsonever" offers a timeless ambience to help you slow down, reflect and enjoy the beauty of nothingness. It might help us to learn and accept a state of being unutilized without feeling futile and benefit from this rare silence.
The cover artwork is a collaboration between Jazz & Milk graphic designer Tim Schmitt and photographer Frank Hulsbömer. A scan of the artist's head, hand and foot was 3D printed, photographed and transformed into an otherworldly scenery that visualizes the musical atmosphere.

Go to Item

Alex The Fairy

Can I Hear The Sound Of A Falling Branch

Tape | 2022 | UK | Original (The Tapeworm)

12,99 €*

Incl. VAT plus Shipping Costs

Release: 2022 / UK – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Alex the Fairy is an artist based in Berlin producing music with an emphasis on electronic and concrete methods. Alex the Fairy is also part of the 3Ddancer trio, a live act focusing on improvisation and expression using electronics.

Alex The Fairy writes: "I had sent The Tapeworm tracks before, but I was being difficult so was asked to send a new bunch, with a deadline. I sent the new bunch, a fairly odd collection expecting perhaps some of them to be combined with the older stuff but not seeing any coherence in them. I figured The Tapeworm would find at least something. To my surprise the suggestion that came back was exclusively the tracks I had sent the second time, and, re-listening through the tracks in this new order after returning from a Christmas dinner lying on the floor of my nephews bedroom gave them a completely new context. Despite them being quite varied in terms of age (one had been flung together a few days earlier on the train while another was approaching Schulreife) they seemed to meld together in such a way that I hardly recognised them…

Last year my grandmother died. My last grandparent. I had put off seeing her during corona, as I thought it best not to put her at risk and had almost left to visit her days before her death but had delayed my departure because of a medical appointment. My failure to her weighs heavy on my mind - fates grimacing grin: too little, too late. The approaching march of death, one generation closer was a confrontation I wasn't prepared for.

While clearing out her flat in the following weeks I had kept some of my grandfathers cassettes, live recordings of jazz greats, Pink Floyd, Sade and some classical among them, none originals, several presumably from the radio e.g. a church organ rendition of Bach. At the time I wasn't sure why I was hanging on to them, other than the urge to hoard, and that it felt wrong not at least to keep some. Half a year later, half way through mixing this cassette, suffering from my first bout of Covid, I had the insatiable urge to hook up the cassette player I had received from my grandfather after his death around nineteen years earlier and had been dragging along with me since. I stuck a cassette in only to immediately return to the safety of my covers. I began to work my way into what I had saved, hearing the fruits of my grandfathers labour decades before. It felt like quite an intimate interaction with someone I had long lost contact to/was long gone. Quite a wonderful thing, these time traveling cassettes.

I returned to the tracks to mix them shortly before my corona/cassette experience, with a new mixing console at hand. I had been looking for one for several years, but nothing had ever clicked, until I found this old broadcast desk 30 minutes from my place (it also coincided with a payment from a job the sum of which matched the price identically… fates return). Installing became a massive hassle and I doubted my decision continuously, but the further it was implemented the more it made sense. The first track I recorded with the mixer is on this cassette. Shortly before the mixing I was introduced to an Effektgerät by a friend, Rapha. Another good friend Art lent me their one, and I ended up using copious amounts of it throughout mixing, alongside my usual space creators. All the tracks on this release were mixed again on this mixer and are in a sense all a bit of a dub of the originals. I wouldn't have worked this way without the mixer, and the effect gave me a dimension I hadn't had before, so, from a technical perspective, the mixer and this effect define this release, giving it a coherence, at least for me. Emotionally of course the chaos and turbulence of the preceding year and my newfound appreciation for the medium give it a meaning I will struggle to formulate." – Alex The Fairy, Berlin, 9 May 2022

Go to Item

Palms Trax Presents…Various Artists

The Sound Of Love International 006

2x12" | 2023 | UK | Original (Love International X Test Pressing)

30,99 €*

Incl. VAT plus Shipping Costs

Release: 2023 / UK – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Preorder shipping from 2024-11-08

Love International and Test Pressing commemorate yet another cracking festival with the latest instalment in their collaborative compilation series for their LIXTP label. For The Sound Of Love International #006 chosen Jay Donaldson aka Palms Trax as their selector.

The Berlin-based Brit launched his career in 2013 with releases on various labels which led to headline slots and globetrotting gigs from South America to Australia. He’s a regular at Love International, having spun at the first one in 2015, playing at Barbarella’s for an RA event.

The scope of this new record reflects the eclecticism of Donaldson’s DJ sets and his long-running ‘Cooking With Palms Trax’ NTS radio show and parties. Comprising of cuts collected on his worldwide trips, it’s a magical mind-blowing selection. Jumping between generations and genres, yet all coming together as a wonderful whole. As document it definitely demonstrates the joys of real record shops and physical digging.

The album opens with Linda Waterfall’s Clarity. A fabulous flight of late 1970s spiritual jazz-influenced folk from the late Seattle-based singer / songwriter, who released her debut on Windham Hill, and studied transcendental mediation under the Indian guru, Baba Hari Dass.

Sebastian’s Follow My Heart is a soulful soft rocker, a sax-y seduction theme. Its very European protagonist trying to entice you into a romantic liaison, and promising the time of your life.

On Did It Have To Be Me, glorious gospel choir-like backing lifts Frank E. Jeffries Jr.’s cool croon, and the spirits of anyone lucky enough to be listening.

Two tracks travel from `90s South Africa. El Pedro’s La Luna is a pumping piece of S.A. bubblegum, that’s strangely partly sung in Spanish and whose echoed snares mimic flamenco handclaps. Tropical, a little zouk-y and more mid-tempo kwaito, Novidade’s Masingita features great guitar picking and warm, welcoming group vocals.

Dieta Berliner & Jean Baptiste’s Paula & Kaspar transports us back to Berlin and forwards to 2012. A B-side secret weapon from Dieta’s short-lived Pakalolo City Records, this is a cowbell-led hypnotic head nodding chug, with a swaying sing-along melody and highlife-like licks hidden way down deep in the mix.

Culled from a cult Canadian 45 Angelo Mallia’s Hideaway is cute, catchy tumbling TR-808- driven synth-pop.

A piece of plugged-in Belgian `80s prog-rock, Zardoz’s brilliant Brasilia Drums pits its titular percussion against big cosmic synths, and segues into a new age-y journey.

Danish keyboard virtuoso Gert Thrue shows off his chops on I Play The Body Electronic. For nearly ten minutes switching between Hammond organ and Moog. Feeding everything through psychedelic phasing effects, and overdubbing some fab Fender Rhodes. A true emotional epic, the sonic auteur clearly got lost in its groove.

In Trance 95 might be one of the better known acts here, since the Athens-based duo’s work has been collected on Veronica Vasicka’s Minimal Wave, and in the 2010s they also supported Depeche Mode. Their 1991 single, Warm Nights Driving On Wet Streets, is chunky chill out room gear. Downtempo techno, with moody minor chords, that’s actually a tender love song.

Frenchman Alain Salvati is behind Flayer’s Wanna Get Back Your Love, which first appeared in 1983, oddly on an Italian 12. Rediscovered at the turn of the millennium it’s become a bona fide modern Balearic anthem.

The closing cut, Jeancky’s Variations Sur Protestation, kind of brings the album, musically, full circle. Returning to the late `70s with campfire congas, bongos, and gentle acoustic strumming. Saxophone and vibes taking it in turns to serenade the soothing mantra-like vocal.

The majority of the tracks included were self-released / privately pressed and in many cases the often mysterious artists’ only recorded outings. So, in putting this together Palms Trax has pulled a lot of talented people out of obscurity. No doubt exposing some holy grails and upsetting a few dealers, while making the dreams of folks who love good music come true. Full of excellent, eccentric finds, it’s a blissful collection that’ll fill floors and catch heads’ attention.

Go to Item

Mattie

Jupiter's Purse

Tape | 2022 | EU | Original (Leaving)

8,24 €* 10,99 € -25%

Incl. VAT plus Shipping Costs

Release: 2022 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

“Have you ever really loved a human? Have you ever come across the wisest of them? They will slip right through your fingers, leaving the most unimaginable impression.”

Jupiter’s Purse is the debut EP by Dallas, Texas-based artist Mattie on Leaving Records. Produced in conjunction with fellow Dallasite Black Taffy, Jupiter’s Purse is an expansive and unique work of experimental soul. Featuring 2021’s lauded single “Human Thing,” Jupiter’s Purse broadens a window into the fresh and exciting vision of Mattie. Explaining the EP’s theme, Mattie states, “I’m very fond of the planet Jupiter in the astrological sense because Jupiter represents expansion. It also represents the planet that takes everything that it is that we desire to see for ourselves in this life and it expands it, right? I was inspired to call it Jupiter’s Purse because it also reminded me of a female womb in a sense, the incubation process that happens within the womb, and kind of the purse being the womb of Jupiter. And the planet is basically holding our things and incubating them until it’s time to expand them.”

Of collaborating with Black Taffy, Mattie says, “I felt like his melody and my pen, and the voice that was coming through me and what really wanted to be said through the lyrics, it’s like they just found a home together. And it was so effortless to really just kind of dance with his melodies and write these lyrics and these stories. So that’s basically how we kind of started working together, and yeah, I think we made a baby. A studio baby.” The EP’s five cohesive tracks loosely follow the story of a narrator named Mhuv. Mattie states, “It’s really a story of myself as Mhuv, and how it’s felt for me to be at times identified with the body as a person, and then other times being able to observe the body, and know myself as that as well, and what that has felt like, kind of being in this sense of duality. Jupiter’s Purse is basically a vocal representation of a lot of duality that I experienced. In coming to know my true self, that duality kind of came more to the forefront, so I started to write from that, and to really understand the power in the duality, while returning back to myself as source.”

Director Tramaine Townsend provides visuals for the project. Mattie states, “I wanted it to be clean but experimental, experimental and also clean. I wanted it to have that two-fold. I’ve been listening to a lot of recordings from Virgil Abloh, and he inspired me this year to really appreciate the duality that’s in my work. And even in the visuals, the cleanliness of it, but the experimental aspect. The purist meeting the tourist. The purist being that classic approach to visuals, which I appreciate Tramaine for, and then also allowing me as the tourist, the one that is experimental and that wants to have a different experience… Once you see it, you’ll see the beauty, the continuity of what we’re trying to say.”

Mattie concludes, “I feel like what I realized is that there’s a home in me that is comfortable no matter where I’m at. And my life is based on finding that and remembering that home within myself. And so my focus on the external things, even though I keep them up and I maintain the physical things, but I realize that my only purpose, if there was one, is to really remember myself, as if to remember that home within myself, so that I can be comfortable no matter where I’m at. And my music is an expansion of that, that surrender to that aspect of this experience which is to come home and find that home within myself. The music is about going through what it feels like when you are on the path to remembering yourself. What it feels like, that oiliness, that stickiness, that bulldozer, the big explosions, the feeling of ground zero, the feeling of heightened senses, the feeling of being a giant but then also you feel like you are David, and there’s a Goliath. I plan on moving through, which is why the character’s name is Mhuv in Jupiter’s Purse, because I see ourselves, everyone on the planet, moving through these spaces and them not being intended to be a sticking point for us. And so Jupiter’s Purse is what I would call maybe a gateway, a womb to the other side. Jupiter is going to expand this project, because that’s what Jupiter does, and has blessed this project already, so I know Jupiter’s going to expand it to be another side of this, where we won’t be speaking from duality, but we’ll be speaking from our natural state as wholeness.”

Go to Item

Sven Väth

Catharsis

3LP | 2022 | EU | Original (Cocoon)

33,99 €*

Incl. VAT plus Shipping Costs

Release: 2022 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Catharsis is Sven Väth's first solo album in almost 20 years, and the 50th album to be released on his incomparable label, Cocoon Recordings. Produced alongside Gregor Tresher, it arrives on 25 February 2022 and is a musical autobiography that charts Svens most extraordinary life in techno.

Without the West German-born Väth, techno would look, sound and feel very different. Since falling in love with electronic music and DJing in 1981, his dedication to the art has never faltered. He plays every party as if it were his last. His broad smile has connected with millions of people around the world. His colourful and curious character has imbued techno with a personality it was often lacking. His selections remain hugely unpredictable, despite the fact that he has been playing around the world for more than 40 years. To remain not only relevant but innovative after so long is a testament to Sven's ability to connect through music on a deeper level.

Technically, of course, he is a DJ who can play for thirty hours and not miss a beat. His track selections seem almost divine, and his aura is certainly otherworldly. But more than that, he is a ringleader who is able to mix the artful side of techno with the playful side of partying. Most famously he has done this for more than 20 years at his iconic Cocoon parties in Ibiza. They single-handedly introduced techno to the White Isle and have been its beating heart ever since. Under his charge, strict style guidelines and exaggerated pigeonholing no longer apply. Instead, he has perfected the art of playing far and wide while always remaining true to his own musical identity.

In the studio, Sven has always been just as unique. He has worked under several aliases but always brought a fresh perspective. Whether securing chart hits as part of OFF in the eighties, serving up brutalist techno and trance-tinged sounds in the nineties or crafting major label albums in the 2000s, his music has remained utterly forward-looking. That legacy continues with Catharsis as Sven teams up with highly respected producer Gregor Tresher for his latest long-form offering. Tresher has long been part of the Cocoon family and is a revered artist in his own right, when the two got together in the studio it was clear they had an instant connection and there would only be one person fit to co-author this LP.

It is a record inspired by Sven's interest in the physical and spiritual processes that take place when we dance. "They are realms into which we immerse ourselves to experience our own mysticism and ecstasy," he muses. "Dancing is a conversation between body and soul and it spiritually connects us with each other." Because of the pandemic, that is of course a feeling that we all missed out on for so long. "No dancing, no paradise!" says Sven. "My imagination for this record was fueled by the many cultural experiences and encounters I have had in my life. They gave me the strength to find a way, the way to myself." And that way to himself is through music, through purifying dancing rituals and the exchange of spiritual energies that are generated in the club.

The thirteen-track album explores all facets of Sven's sound. It opens with the stomping drums but sleek synths of 'What I Used To Play' and unfolds through deep and dirty rhythms like 'The Worm', subtly euphoric highs on 'The Inner Voice' and the bubbly tribalism of the title track. There is the impassioned call-to-arms that is 'Feiern', peak-time melodic workout 'Mystic Voices' and soothing electronic lullabies like 'Being In Love'. The second half of the album takes in many more twists and turns such as the exotic strings and driving drums of 'Butoh', the paranoid techno minimalism of 'nyx' and expansive synthscapes of ambient gem 'The Cranes Of Gangtey Valley' before things play out though rugged beats and emotive chords on 'We Are', which is named after the idea that we are what we think. "With our thoughts, we make the world.? says Sven.

Then comes the moody reflection of 'Silvi's Dream', which was written in French for Sven's girlfriend. Last but not least we have the immersive dream that is 'Panta Rhei', which completes a trio of electronica tunes on the album. Ambient music has been an integral part on almost every album Sven has written because it can bring a certain emotional deepness, a quality that Sven always has been looking for.

'Catharsis' is an adventurous album that captures the good times, the sad times and, most importantly, the times of hope.

Go to Item

The Bees

Mamezala / Never Give Up

12" | 2020 | EU | Original (La Casa Tropical)

16,99 €*

Incl. VAT plus Shipping Costs

Release: 2020 / EU – Original

Genre: Organic Grooves, Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

The Bees are a textbook case of the chew and spit cycle that was the late 80’s South African music industry. Although their unknown story is likely unique, it is just as likely that it is no different to that of many other young artists who dreamed of getting their music heard at the time. By 1988, the independent record label was no longer as uncommon as it had been at the beginning of the decade. As the 80s went on, more seasoned A&R reps and Producers that had gained experience and connections from their work under major labels would be trying to cash in on a market they helped create. Without the need of big rooms or expensive recording equipment, the digital advancements allowed many Producers to open or work in smaller studios and promote unknown artists under their own imprints. They would then have their catalogs marketed and distributed by the same major labels they had been working for just years prior. This would open up the possibility of a new era of stars as potential talent no longer had to be pitched to major labels in hopes of them taking a chance on a new signee over their already established artists. With the market growing and a struggle to keep up with the demand for new sounds this agreement would allow the major labels to put new emerging artists or groups on their catalog with little investment and high reward if it happened to be a hit. ON Records was just one of the independent players at the time. Ronnie Robot had just signed the unlikely trio The Bees in hopes of adding a hit group to his label roster that consisted of solo acts. Despite the debut’s fresh house inspired sound, it failed to catch on was outsold by the bubblegum disco the label was known for. Over the years unsold back stock and promos would build up with the distributor. Luckily this allowed sealed copies from the label’s catalog to survive into the 90s when the distributor’s stock was unloaded and picked up by legendary Johannesburg jazz shop Kohinoor. Here sealed copies of the Bees first attempt sat under appreciated for over 20 years before becoming a hot title after they started circulating online and became club staples. This is how the first album of an unknown group with no success was able to become a collectors item and earn a reissue over 25 years later. With their first record behind them The Bees were ready move forward and get back into the studio. A suggestion from producers had the trio change camps and go work with the newly formed Creative Sound Recordings, the label that promised “Music for the Future” and ended up being an essential studio in the early years of Kwaito. They would work with producer Chris Ghelakis and guitarist George Vardas, while a young Marvin Moses sat behind the desk. Musically the sophomore album was as good as a follow up as you could get. Building on the first album, Mashonisa delivers catchy melodies backed by heavy drum programming that would score points with any Pantsula. The Black Box inspired “ Never Give Up” was one of two tracks chosen to be pressed as the promo for the album, hoping to trick listeners with their catchy version of the hit( A year later the label would release their first volume of Black Box covers sang by neo soul diva BB, it would be a great seller). The label printed up an unknown amount of these in a last attempt to push the release in Shabeens and on Radio. The cheaper route of flooding the market with promo copies would only pay off 25 years later when unplayed copies started being rediscovered and had survived the years in a quantity that original run of the full album could not. Once again it was clear that with no mainstream appeal, the quality of the music on its own was not enough to garner any success at the time. The album flopped worse than their first and failed to make it past it’s initial run, making it one of the harder titles to get from the CSR catalog. Mashonisa would be the last attempt from the Bees. They would disappear from the scene as quickly as they appeared. Of the three members it is only known that lead Singer Solomon Phiri continued in music fronting a wave dance group before he mysteriously vanished in 1993, never to be heard from again. Through a combination of luck and circumstance the group, which is unknown in South Africa to even the most plugged in musicians, producers and radio hosts of the time, managed to finally get some of the recognition they deserved 30 years later. Unfortunately this small blip of fame would happen with none of the band members present to give their side of the story, or even aware of how their two albums became popular enough to be printed on different continents in a new millennia. The Bees suffered the same fate as countless other artists of the time, who thanks to emerging independent labels and willing producers were given an opportunity to have a short career, only to be replaced by the meat grinder of the music industry when they failed to produce a hit.

Go to Item

Spragga Benz, Rodney P & DJ Phantasy

Mygraine

12" | 2023 | UK | Original (Buttercuts)

13,99 €*

Incl. VAT plus Shipping Costs

Release: 2023 / UK – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

"Alternative Hip Hop Artist Rebel ACA Channels his Pain in ""Migraine"" ft. Spragga Benz, Rodney P
LONDON - The word ""migraine"" can make you twinge, especially if you experience the pounding head, vertigo, and tinnitus associated with migraines. Imagine if you put all those feelings into music - that is what Rebel ACA did with his latest single, ""Migraine.""

Rebel ACA's new single flows through his twenty-year journey of advising on international tax by day and rapping and producing by night. Perhaps, the ACA stands for his accounting qualification.

Dropping in April, there will be two versions, an original version and a DJ Phantasy Remix of ""Migraine"" on streaming platforms. Depending on the version, ""Migraine"" is a musical representation of a severe headache. The drum and bass mix features a funky, constant drone throughout the track, while the original version is a funk-latent hip-hop song.

""I suffer very badly from migraines every week,"" said Rebel ACA. ""To me, it was logical to write a song about migraines. The lyrics talk about what it feels like by using synthesizers to bring out the feeling of a migraine.""

Joining Rebel ACA on the single is Spragga Benz and Rodney P. The duo shares their thoughts on using marijuana to cure a migraine. While Rebel ACA acknowledges he is not a medical doctor, studies have shown that smoking weed can reduce migraine pain.

""We talk about smoking weed to fight the migraine,"" he said. ""The lyrics revolve around what it feels like to have one in your head. Doctors have told me that migraines are caused by triggers like alcohol and getting f*cked up. Then you get a migraine and now you get more f*cked up on pills or weed to feel better."" This revolving cycle spirals throughout the single.

Born and raised in the UK, Rebel ACA experienced London's musical melting pot from birth. Hailing from northwest London, he was exposed to the rich Caribbean influence and massive underground music scene.

From squat parties to illegal raves, London's music was all mashed up, and Rebel ACA soaked up every genre and cultural influence. As a result, he is a successful singer/songwriter/producer who fuses hip hop, reggae, and indie sounds to create his unique style.

""Where I come from, the UK hip hop is like the 90s hip hop in America,"" he stated. ""There is a hip hop scene that talks about poetry. I'm trying to keep it real with my lyrics and talk about things that are important other than guns, money, and bitches.""

Rebel ACA's music is versatile but uniquely his own by utilizing numerous live instruments and coming in hard with a big boom-bap sound. The Rebel ACA sound is born by adding a funk influence on his tracks aligned with funky bass. On ""Migraine,"" he uses some vintage 70s French influence vibes to give the single a flavor of its own. There is nothing out there like ""Migraine.""

Rebel ACA records under Buttercuts Records, a company he owns and operates. The London-based production company has been ""bashing out buttery beats"" since 2000. Buttercuts Records is the go-to place for releasing hip hop, reggae, breaks, funk, soul, and folk records with a tongue-in-cheek attitude and marketing that surpasses witty wordplay.

As ""Migraine"" gains international attention, it is easy to understand how Rebel ACA combines old and new hip hop with effortless flows and brilliant lyrics. Maybe the world is ready for an international tax advisor who drops bars and vibes out to some wicked rhymes.

Make sure to stay connected to Rebel ACA on all platforms for new music, videos, and social posts.

Amazon Music: https://music.amazon.com/artists/B01IUCK482/rebel-aca

Apple Music: https://music.apple.com/us/artist/rebel-aca/1086797152

Bandcamp: https://rebelaca.bandcamp.com/track/she-wants-to-love-me

Soundcloud: https://soundcloud.com/rebelaca-music

Spotify: https://open.spotify.com/artist/0ze2Yu0NUzfbXo6OqnOW22

YouTube: https://www.youtube.com/channel/UC4IwpcbAaVJM57DnPgcZsBA

Facebook: https://www.facebook.com/rebel.aca

Instagram: https://www.instagram.com/rebel_aca/

Twitter: https://twitter.com/rebel_aca"

Go to Item

Roedelius Story

4 Hands Clear Vinyl Editoin

LP | 2022 | EU | Original (Erased Tapes)

26,99 €*

Incl. VAT plus Shipping Costs

Release: 2022 / EU – Original

Genre: Electronic & Dance, Classical Music

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Go to Item

Roedelius Story

4 Hands Black Vinyl Editoin

LP | 2022 | EU | Original (Erased Tapes)

20,39 €* 23,99 € -15%

Incl. VAT plus Shipping Costs

Release: 2022 / EU – Original

Genre: Electronic & Dance, Classical Music

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Go to Item

V.A.

Total 24

CD | 2024 | EU | Original (Kompakt)

15,99 €*

Incl. VAT plus Shipping Costs

Release: 2024 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Hello 24! Nice to have you here. 23 is so yesterday, so over the top, really. Well, we’ve been dancing the following dances recently. What about you?

The opening honours go to Hamburg’s bundle of joy, Ada who remixed her dear friend Heiko Voss. We feel that the outcome is clearly one of the most emotive, heartwarming pieces of music you’ll hear this year.

When Rhenish cheerfulness meets holiday anticipation, the result is something like this Hawaiian shirt turned music called “Chee-Caruso” by JÜRGEN PAAPE. No animals were tortured for this piece, even if it sounds like it.

Next up is one of this year’s Kompakt debutantes, a truly glamorous bird of paradise called DEER JADE. “Jukurpa” is a highly original, frolicsome house tune that has been moving crowds all over the planet.

As an integral part of the family, JONATHAN KASPAR is of course not to be missed. “Are You” celebrates the kind of early morning rapture that is commonplace at his new DJ venue, the brand new Cologne superclub FI. Everything is so colourful here.

If you’re ever in London and you need a great tune, we recommend calling HARDT ANTOINE. He’s firing from all cylinders lately and he’s god damn good at it. “I Will” holds the record of being the most played Kompakt track of the season. We salute you, Antoine! SASCHA FUNKE takes a bow to one of the greats of German showbiz with the trippy electro smasher “The Heck”. Born – like DJ Koze and Barnt – in Flensburg, died in Berlin in 2018 and wore glasses. More will not be revealed.

What takes a long time usually turns out well. Having admired TEE MANGO from afar for many years, our A&R Michael Mayer took heart and invited him to this year’s TOTAL. “So In Love” is in the best tradition of the KOMPAKT minimal funk of the early years. We are delighted to have this lovely Englishman on board!

Brazilian come Austrian come Berliner JOYCE MUNIZ has certainly become a household name with her intoxicating brand of uplifting pop house. Fittingly, she has joined our ranks and we’re happy to give you this collaboration with Sara Blum, “Beats & Lines”.

More Brazilian feel good vibes come in the form of GUI BORATTO’s “The Shell” which he conceived together with the former Underworld producer and legend in his own right, DARREN EMERSON.

We turn our attention to the realm of fauna, to London’s award-winning pedigree dog REX THE DOG. “Laika” is a heart-warming ode to the mongrel dog of the same name, who was the first living creature to make it from the streets of Moscow into space. She would have loved that bleep.

A little-known fact about MICHAEL MAYER is that he is one of the fastest crossword puzzle foxes on the left bank of the Rhine, always in a relentless rivalry with Wolfgang Voigt, who thinks he is even faster. The big battle is yet to come. Uninvited guest with five letters? “Urian”.

RAXON – these five letters mean business. Taken from his recent Speicher release “Beskar” showcases the Egyptian lover’s fascination for all things Starwars and his undeniable ability to churn out monster tracks.

DAVID HASERT & NICONÉ’s “Wasting My Time With You” is surely one of the most beloved Kompakt releases of 2024, so it can’t be missed on this compilation.

REINHARD VOIGT has always placed great emphasis on loving animals. On this track with the unsurprising title “Der, der mit dem Gummiball sang (Orange)”, he lets whole hordes of different four-legged friends and poultry on the microphone. Hopefully the stench will dissipate from the studio.

More emotion, more love, more sing-along factor? Si, claro! ARGIA’s “Love Keeps You Running” masterfully combines groove and pop – a blend that sounds very familiar to us. She may be at home in Madrid, but there’s Cologne DNA in her somewhere. We’re sure of it.

Let’s meet the legends, the veterans! JÖRG BURGER is still in a psychedelic mood in 2024. That suits him, that’s where he needs to be, that’s where we want him to be. A parallel universe is conceivable in which such music is affectionately called Goa.

Before going to bed, the WASSERMANN reads us a fairy tale from the Arabian Nights. At the same time, we focus on a point between everything, but really everything, and absolute, stark naked nothingness. 3, 2, 1… Let go.

Go to Item

David Morales

Life Is A Song

2LP | 2022 | EU | Original (Diridim)

23,99 €*

Incl. VAT plus Shipping Costs

Release: 2022 / EU – Original

Genre: Organic Grooves, Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

There is nothing quite like an evening under the rhythmic spell of the legendary David Morales. Stepping on the dancefloor while he's behind the decks requires full trust and surrender. You agree to hand the reins of your mind, body, and spirit to his intuition and ability to guide you to where you need to be at all times. It will occasionally be cathartic and intense. It will often make the hairs on your body stand on end, and make you sweat more than you ever have before. The endorphin release will be powerful. You will feel like you can touch joy and euphoria it in the air around you. As he gently brings you back down to reality, you will feel renewed and ready for anything life brings your way. This is more than a night of dancing. This is an experience at the hands of a magical maestro of music. How is this possible from a night on the dancefloor? Well, it begins with the brilliant mind of an artist at the peak of his creative power, imbued with the empathy necessary to connect with what has become a global legion of fans. "If there is any secret, it's really simple: I love what I do with all of my heart," Morales says. "I'm a DJ first. I thrive on human interaction. I am always adjusting my sets based on what the people in the room need. Each night, we form an emotional connection that inspires the music as it comes." For Morales, "working in the studio is important, but it exists as a way of supporting the DJing experience. It's all to inform how it will work on the dancefloor." To that end, you're reading these words as you dive into a new collection of Morales classics. Ever the collaborator, he has enlisted the input of a wide range of voices and talent. There is the diva power of fellow legend Ultra Nate, who brings her signature sass to "I Can Dream," while Michele Perera's explosive chemistry with David is all over the inspiring "Life is a Song" and "Never Give Up", as well as the impassioned "Addicted." Morales reminds the listener of his ever-evolving musical scope in collaborations with blondewearingblack ("What Can I Do"), Lea Lorien ("Never Looking Back"), and Blakkat ("Can't Get Enough"). There's the clubland supergroup of David with Mr. V, Scotty P. and DJ Rae on "The Feels." Rounding out the set is a reunion with longtime muses Elle Cato ("I Feel Love") and British soul icon Joe Roberts ("Easy"). Just be sure to listen closely, because there's bound to be a surprise tucked between these grooves to tickle your ears and move your body. The beauty of this sparkling new foray into electronic music is the heightened intimacy between Morales and the music. What you are hearing here is almost exclusively from the man's own fingertips. "The technology has evolved in the most extraordinary and liberating ways," he says, adding that he is now able to be far more directly hands-on during the building of each track. "Back in the '90s, I had to have more people involved, With the changes and growth in technology, I can now do it, myself. I don't even have to be in the studio anymore. It's smart, financially, but it's also way more fun and creative." David adds, "I don't have to wait to manifest an idea anymore. I can just build my ideas as they come to me." In fact, he reveals that many of these new tracks were born in unique places, like planes, cars, his bedroom, and a host of other settings. "Music is always spinning around my mind. I no longer worry about losing an idea." Surviving the highs and lows of an ever-changing world has also brought Morales back to the basic essentials of life and music. "The pandemic has brought things full circle for me," he says. "I love what I do and I still have the passion of a kid who is just getting started" Yet, we know that Morales has been in the game for longer than a minute. He's a Grammy award-winning producer, remixer, and songwriter. He has lent his skill to countless of records by icons that include Mariah Carey, Madonna, Whitney Houston, Michael Jackson, Aretha Franklin, Donna Summer, Seal, and Jamiroquai. As a turntable artist originally from New York City, he earned his bones of credibility back in the '80s and '90s in clubs like the Paradise Garage, Red Zone, Tunnel, and Club USA. He initiated the concept of DJs touring beyond their hometowns with countless, wildly successful treks that have taken him the farthest-reaching corners of the world. As electronic music thrives on pop radium, David tops the list of every young artist and DJ as a primary influence. Even with such a staggering legacy, Morales never looks over his shoulder. "That is how you stumble and fall," he says. "If you get all caught up in the past, you're going to lose sight of what is right in front of you. You lose the excitement of discovery. That is what gets me off; taking what I know and combining it with what I don't know as I learn it. There is nothing better than experiencing how it all comes together. It's different every time." And that is the ultimate secret to that extraordinary spell that David Morales casts over us all every single time.

Go to Item

Victor Simonelli

Behind The Groove Present Victor Simonelli The Early Years Volume 2

2LP | 2023 | UK | Original (Unknwn)

40,99 €*

Incl. VAT plus Shipping Costs

Release: 2023 / UK – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and Ez-al, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/Wbls/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on Wbls, Wktu and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his Wbls/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound. With Victor Simonelli Live in the UK on Sunday April 30th, please go to www.behindthegroove.co.uk for all the latest news and features.

Go to Item

Virta

Horros Black Vinyl Edition

LP | 2023 | EU | Original (Svart)

28,99 €*

Incl. VAT plus Shipping Costs

Release: 2023 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Horros, the third album by Finnish sonic voyagers Virta, is set to be released on Svart Records on October 6th

With Horros, Virta build on and take into new terrain the questing, jazz-tinged electroacoustic adventures of their last album, December 2016’s Hurmos, and its predecessor, their November 2012 debut Tales From Deep Waters. Still recognisable as who they were, the Virta of 2023 now delves further than ever before into their inner world to craft their most affecting, most atmospheric and most cinematic music to date.

Even so, Horros does not need to be accompanied by images – it envelops so much that signposts are unnecessary. The music itself is the guide through this sound world.

The creators of this environment are Antti Hevosmaa (electronics, flugelhorn, trumpet, vocals), Erik Fräki (electronics, drums, percussion, vocals) and Heikki Selamo (bass, electronics, guitar, lap steel, vocals). Together as Virta – which translates from Finnish as electricity, energy or stream – the trio were acclaimed as a “cornerstone of Finnish experimental music” by Finnish daily by newspaper Savon Sanomat in 2016. Horros will ensure this status becomes the case internationally. Beyond Finland, Virta already have dedicated listeners in Canada, France, Germany, Poland, the United States and the UK.

Reflecting on Horros, Antti says “We’ve always made music we want to listen to ourselves. We’ve asked what is the sound we want to listen to? We are digging deeper now, with new elements – more vocals. Lyrics too, which we haven’t done before.” Without sacrificing who they are, Virta now have a wider scope than ever.

“A key idea with Virta is to make the music you hear in your head and share it with people,” adds Heikki.

“Yes, to share what is in our heads,” agrees Erik. “But also, it becomes live music, that’s the point – to make music we share, to make connections.”

Practically, some things have changed. Erik and Heikki are supplementing their traditional instruments with more electronic gear than before. The band formed in Kuopio and had moved to capital city Helsinki. Nowadays, they are dispersed across Finland. Nonetheless, they remain creatively and spiritually united as Virta.

Coming together on Horros, Antti, Erik and Heikki have fashioned an album with a flow, which, although not explicitly stated, has a narrative drive. “It is as if you are arriving on a strange planet,” explains Erik. “It is quite solitary at first. The opening track ‘Aelita’ feels like entering some kind of unfamiliar atmosphere which you come through to see a landscape. Then, with ‘Tunneli’, exploring begins. It’s quite chaotic, you don’t know where you are. With ‘Sola’, the landscape starts to open up a little. When the album’s second side is reached, the mood is warmer, you understand where you are.” The album’s cover image portrays how the seemingly impenetrable atmosphere appears on reaching this world.

The Finnish-language lyrics and title reflect this voyage of discovery. Horros translates as hibernation – which has two meanings: Virta have reawakened, and the album’s journey is an awakening too. The opening track “Aelita” asks “Ei kai oo valoo ilman varjoo?” – “I guess there’s no light without a shadow?” The album ends with “Aamu”: “Hei aamu, Tummuu, Yön kaipuu” – “Hey morning, Getting dark, Longing for the night.” This place has become somewhere comfort can be found, where the coming of night presents no anxieties.

When they began composing what became Horros in early 2020, Virta already had the rough drafts of some of the building blocks. Elements of “Aelita” had been performed during a live performance film soundtrack project. “Toukokuu” grew from improvisations Erik and Heikki had undertaken in 2018. Virta had performed for weekly live streams in 2019, some themes from which also fed into Horros.

And although Virta did not discuss the music they were currently listening to – in the past, they would say “hey, have you heard this?” to each other – when they began recording at Erik’s summer cottage in the middle of 2020, there were some subliminal, long bedded-in touchstones: the original animé film of Ghost In The Shell and its soundtrack, seminal Finnish cross-genre outfits Nuspirit Helsinki and RinneRadio, the pioneering 3D video game Metroid Prime and the earlier role-playing video game Chrono Trigger. Mostly, the trio talked about immersion in music and sound.

Once they had assembled, they spent two weeks recording Erik’s drums and Heikki’s guitars live. All the while, Antti worked out where to play and sing. Then his contributions were recorded as Erik finished his drum tracks. What was captured was shaped and reshaped – Erik says “we all threw ideas in to help the music find its final form.”

“There were happy accidents which ended up on the album in post-production,” adds Heikki.

Antti stresses that “It’s organic, we wake music together as a band. We started making music in 2011 and we already knew each other before then – the music comes from all three of us, Virta is never the one person.”

Such empathy means that when Horros is played live, room is there for improvisation. “We may expand the sonic palette live, stretch out,” reveals Antti. “We might do some jamming to fit the ambience of the show.” The journey taken by the album is not over.

Horros is more than an album for Virta. It is also an expedition into fresh territory for Antti Hevosmaa, Erik Fräki and Heikki Selamo – creatively, musically and metaphorically. The spell it casts instantly captivates. Once this world is entered, it is not possible to depart.

Go to Item

Peter Cat Recording Co.

Bismillah

2LP | 2019 | EU | Reissue (Panache)

30,99 €*

Incl. VAT plus Shipping Costs

Release: 2019 / EU – Reissue

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

New Delhi-based Peter Cat Recording Co. will release their debut album, ‘Bismillah’ on June 14, 2019 via French independent label Panache Records. Debut UK live shows are soon also to be announced by the band.

Peter Cat Recording Co. could almost have a question mark on the end of its name. Not least as founder & frontman Suryakant Sawhney refuses to explain where that name really comes from or what it means (perhaps a reference to the Tokyo jazz club owned by Haruki Murakami), but also since the very existence of the band itself raises a raft of questions. When was the last time we fell for an indie rock band for the right reasons? Not because the band in question nostalgically imitate a perceived ‘golden age’ but because they innately embody the fundamentals of such music: fantasy, sincerity and the freedom to make music without rules or career aspi- rations. And when was the last time this kind of band sounded like Sinatra, Barry White, the sweetest doo-wop, humid fanfares and a psychedelic wedding band, all at once? And all of this coming from India? In truth, the story of Peter Cat Recording Co. was written within the triangle of San Francisco, Delhi and Paris. In the first of these cities, Sawhney (a native of Delhi) pitched up to study film-making. More distracted by the city’s peaking live scene of the early noughties, this is where he started to make music and to sketch out an idea for the band.“ The people I lived with supported my idea of writing music, they introduced me to great mu- sic. There used to be a great garage scene in San Francisco, like The Oh Sees [also Ty Seagall, Mikal Conin], all those bands. This is a world I had never seen in my entire life. A big inspiration from San Francisco was that you could record yourself. You don’t need to be in a studio and spend a lot of money to make an album. You can do it”.

At the end of the 2000s, Suryakant returned home to New Delhi, and started his band for real, more or less the same band that plays today. “I wasn’t so concerned about will we be performing, will we be the greatest band, will we be trendy. I just wanted to make something that was consequential and important for us, I think. Something which would last, something people could listen to and be like « this is life changing ». It was for the sake of beauty”.

For the first few years and in India alone, this is exactly what Peter Cat Recording Co. did, in total indifference to the rest of the world. This was until young Parisian label Panache stumbled across the band online via Vice’s Thump subsidiary, stupefied by the band’s cosmic video for seven-minutes-and-counting track, ‘Love De- mons’. And so in spring of 2018, ‘Portrait Of A Time: 2010-2016’ was released on Panache - making the first international release from Peter Cat Recording Co., bizarrely enough, an anthology of re-mastered, hidden gems from the band’s ramshackle back catalogue, previously recorded in Suryakant’s own living room. With Peter Cat’s off-kilter charm hitherto unheard of beyond the fringes of India, the release provided a gateway op- Whilst the title track found its way onto Tracks Of The Year lists at the Guardian & NME, it was tricky for new Pcrc enthusiasts to get a firm grip on the startling push/pull between the immediate, uncanny music this release gathered, and the cultural backdrop of New Delhi at which it was so startlingly at odds.

Opportunity for a wider fanbase to fall in love with their cloud-like, drunken songs for the first time. If discovering your favourite new band via a ‘Best Of’ feels a curious premise, then ‘Bismillah’ does more than hint towards the promise of Peter Cat Recording Co’s future. Blending gypsy jazz, psychedelic cabaret, space disco, bossa supernova, Bollywood and uneasy listening with kaleidoscopic ease, in many senses, the band’s knack hasn’t altered. Always different, paradoxical, unpredictable yet somehow familiar. The new album opens to the strains of bird chatter, the whisper of a city’s soundscape and the first few notes from an instrument which seem to be calling us to the departure lounge, a fore-shadow of the flight ‘Bismillah’ launches its listener on. Suryakant sings with the detached, rueful elegance of Sinatra marooned on a desert island, whilst his band create small space-time capsules which navigate their way through genres and eras – including the future – and between nostalgia and eccentricity.

Peter Cat recently trailed ‘Bismillah’ with the release of ‘Floated By’, an appositely titled musing on failure & missed opportunities, punctuated by the fulsome brass section which weaves through so much of the album.

The languid, blue quality to the track is offset by the attendant music video, created with footage shot, implau- sibly enough, at Suryakant’s own marriage ceremony (needless to say, the wedding band hired for the day was of course, Peter Cat Recording Co.) Sawhney dryly notes; “Hopefully it’s not a many-a-times-in-a-lifetime event. You can’t fake that set, those people actually having a good time, being really emotional and intense.” ‘Bismillah’’s colour-drenched album cover also captures Suryakant’s father-in-law making his wedding toast on that same day - a nod back towards the cover of ‘Portrait Of A Time’, itself a black & white image taken at the wedding ceremony of Suryakant’s own father.

A stumbling but gracious collection of songs rooted in a kind of drunken soul music, the melancholy nature of some of the songs on ‘Bismillah’ renders them almost liquid, before they develop into more dance-like shapes. Suryakant’s rangy voice swoops from the falsetto glide of ‘I’m This’ to the beat-up baritone blown along by the warm breeze of ‘Soulless Friends’. The elliptical structure of album opener ‘Where The Money Flows’ also al- lows for the use of brief bursts of autotune effect on his vocal without feeling incongruous, whilst the desultory lyrics of ‘Heera’ (a Hindi word for diamond) - sharing something with the Morricone school of grand storytelling - have an emotional weight that would impress even coming from a native English speaker. Perhaps the most gleefully unpredictable moment on ‘Bismillah’ comes with the illusory, vocal loops on the intro to ‘Memory Box’, errupting into 8 exhilarating minutes worth of unbridled, string-backed disco joy. A cat might have nine lives, but on ‘Bismillah’ and beyond, Peter Cat Recording Co. are hinting towards an un- knowable multitude of dimensions. Throw them all together, and it equates less to a listening experience and more to an out-of-body experience.

Peter Cat Recording Co. are: Suryakant Sawhney (vocals/guitar/organ), Dhruv Bhola (bass), Kartik S Pillai (organ/guitar/electronics), Rohit Gupta (horns), Karan Singh (drums)

Go to Item

The Bambi Molesters

Dumb Loud Hollow Twang

LP | 2003 | EU | Reissue (Dancing Bear)

23,99 €*

Incl. VAT plus Shipping Costs

Release: 2003 / EU – Reissue

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

180 gram vinyl

Not many acts who continue for a few albums get a chance to go back and take care of what they might see in retrospect as mistakes or tentative starts — but there are always glorious exceptions. Thus the course of events that led to the Croatian surf-rock quartet The Bambi Molesters rerecording their 1997 debut Dumb Loud Hollow Twang in a ‘deluxe’ edition, with special guests, bonus tracks and more besides.

What might have seemed a quixotic exercise gets explained in the liner notes — the album’s original run, though popular in surf-rock obsessive circles, had not resulted in a reprint, while the group’s growing popularity resulted in further demand and attention for the start. The band themselves felt the debut was far too rushed — it was literally recorded in three hours as a one-take rip with instrument leakage and bad mixing ruining the impact — so with more time to spare and a chance to flesh out the sound, the result was 2003’s Deluxe.

The quartet’s command of the surf vernacular is unparalleled — guitarists Dalibor Pavicić and Dinko Tomljanović have the reverb down and rhythm section Lada and Hrvoje Zaborac shift between mania and moodout with ease. The guest musicians add just the right touches — keep an ear out for Neven Franges’s piano on the late-night menace of “Pearl Divin’”, as well as on the smoky Eurospy vibe of “Sun Stroke” and a trumpet/sax duo on a variety of songs adding some further sting.

If the overall effect is pleasantly reverential rather than a striking new reworking of surf and garage roots, it’s still a solid result that works beyond mere genre exercise. The bonus tracks are all covers, and winners they are — the Molesters collaborator in the Strange project, Chris Eckman, adds whispering menace to “Restless”, the album’s sole vocal track. Best song title of the bunch — “Beach Murder Mystery.” (Ned Ragget, All Music Guide, 2005)

Nothin’ dumb about this one! The Bambi Molesters hail from Sisak, Croatia, and they play a slightly dark brand of traditional instrumental surf music. They’re all about subtlety. Lead guitarist Dalibor Pavicić lays back in the mix, painting the sound with dreamy apparitions of melody and tone. How much of this was always part of their formula, and how much producer Phil Dirt created at the console, I don’t know, but either way they’re onto something good here.

All fifteen tunes were written by Pavicić and guitarist Dinko Tomljanović, and that’s surprising enough for such a young band, but on top of that, all fifteen are exquisitely crafted and fully realized. “Sun Stroke” is one of the most beautiful surf tunes of the year, filled with passion and power and delivered with a delicate touch. If you fancy a twist of spy in your surf, “Beach Murder Mystery” is the bomb. By the way, if you’re voting for great titles of the year, you may want to consider “Standing on the Nose in a Stylish Manner”, which also happens to be a killer surf tune. So add Croatia to your surf scene map and keep an eye on The Bambi Molesters, because they’ve officially taken their place in the book of who’s who. (DJ Johnson, Cosmik Debris, 1998)

A stunningly good set of tracks from the only surf band in Croatia. Their writing is melodic, pristine, well structured, and unique. I find their slower material to be the best, with its stellar beauty and delicate balance between lead and rhythm. I’ve been communicating with the band for about a year, and earlier this year, they asked me to produce their album. I was honored. They laid down 16 track ADAT in Croatia, and mailed them to me in the US. I mixed them here, and mastered them as well. Based on the DAT I’d received late last year, I was expecting good tracks. I was not prepared for just how good they’d turn out to be. This will be a classic of the future. (Phil Dirt, DJ KFJC)

Dancing Bear Band Information (from 2005)

Formed in 1995 under the influence of 60’s garage and surf classics, the Croatia based band The Bambi Molesters won sympathies of rock critics and underground rock audience with their first album “Dumb Loud Hollow Twang” which was released in 1997. Since then they have been playing regularly in Croatia and all over Europe and their fiery and energetic live performances have helped to build their reputation as one of the finest and most original contemporary instrumental bands.

In 1999 the band signed the record deal with Dancing Bear. They released their second album called “Intensity”. The same LP was also released in Germany on Kamikaze Records. Both “Intensity” and “Dumb Loud Hollow Twang” gained positive reviews in the music press and were nominated in various categories of the Croatian music award.

In December 2001 The Bambi Molesters released their 3rd CD “Sonic Bullets: 13 from the Hip” (the LP version is from 2003) with the following guests: Peter Buck (REM), Scott McCaughey (Minus Five, REM touring band), Chris Eckman (The Walkabouts), Terry Lee Hale and Eduardo “Speedo” Martinez (The Flaming Sideburns). Just like the previous one, the new The Bambi Molesters album was published by the Croatian record label Dancing Bear. The CD got excellent reviews in various magazines (Mojo, Uncut, Pitchfork, ...) and received the Croatian journalist award for the best album of the year 2001.

In June 2002 “Sonic Bullets: 13 from the Hip” was licensed by ACE Records and was released on their Big Beat label.

The Bambi Molesters’ songs are regularly played on American (KFJC, KFAI, KXLU, WREK, WHUS) and British (BBC RADIO 1 in London) radio stations. The song “C Alpha E” was included in the movie called “The Treat” by Jonathan Gems (screenwriter for “Mars Attacks” and “1984”). Their music can also be heard in videos (“Cross Cuts” for Tonix Pictures and Dragonfly BMX video). Three songs from the first LP are included in the movie “Barabe” (Viba film, Slovenia). During the last couple of years the band has played more than 100 gigs and supported well known acts including The Cramps, REM, Chrome Cranks, Man or Astroman,...

In July 2003 the band played as a support at the R.E.M. European tour. The Bambi Molesters played at three gigs in front of 50000 people altogether.

In June 2004, together with The Walkabouts singer Chris Eckman they formed The Strange. Their debut album “Nights of Forgotten Films” is out on Dancing Bear.

Go to Item

W1B0

When Humans Ruled The Earth

2LP | 2022 | UK | Original (U-Trax)

22,99 €*

Incl. VAT plus Shipping Costs

Release: 2022 / UK – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Debut album by Dutch producer w1b0, who passed away in August, to be released in November on U-trax.

Wibo Lammerts' sudden death on August 15thshocked the worldwide electro community, and also left the record label, that had been working on the debut album with the artist known as w1b0 for the past two years, dumbfounded and in grief.
Wibo had jokingly always called his upcoming debut album 'his legacy', which now sadly has become a painful truth. With the support of Wibo's family, U-trax is now doing the only thing that doesn't feel totally wrong: proceed as planned, and release 'When Humans Ruled The Earth' on November 11.

W1b0 made quite a name for himself with heavy electro tracks that he released on labels like Bass Agenda, Hilltown Disco and Discos Antónicos. Standing at 202 meters, and combined with a cheerful character, most people remember him as the gentle giant of electro. For this album, Wibo wanted to steer away from the dark and heavy electro he mostly made until then. The idea of having a platform to create delicate electronic music in different styles, and make it a showcase of his versatility, was very appealing to him. And that is where he and U-trax found each other.

The full-length album (over 75 minutes on cd and digital) comes after 'The Pilex Program EP', released in October, that featured a remix by Detroit's Ectomorph of 'Pilex Driver' and saw 'Program Yourself To Feel' remixed by a well-known Dutch producer that recently created the new 'techno alias' Human Form. As usual with U-trax, the album comes in three different editions, with the 11-track double vinyl version containing the Ectomorph and Human Form remixes. The CD and digital version boast original versions only, plus four additional tracks: 'Alternate Reality Interface', 'Mixed Matter Fluctator', 'Synthetic', and 'In There'. The cassette version more or less has the same track list as the CD/digi version, but has both aforementioned remixes and a bonus track in the incredibly hypnotizing 'I Wanted You', a track that unfortunately couldn't be on the CD and vinyl versions.

Buyers of the physical releases get treated on superior quality products, another trademark of U-trax. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Buyers of the physical releases get treated on superior quality products, another trademark of U-trax. The vinyl edition boasts over one hour of music, on two 180 grams, green vinyl discs, in a black & white & neon green gatefold sleeve. The eye-catching artwork is created by Utrecht artist Leffe Goldstein, known amongst others for his psychedelic beer can designs for Utrecht brewery Maximus. Wibo, being the beer lover he was, had zero doubts about having Leffe Goldstein do the cover for his album. The CD has a total playing time of 75 minutes and comes in a beautiful 6-panel digipack, while the cassette will have full-color on-body print and comes in a plastic-free Maltese cross fold-up sleeve.

Opener 'Acid Whip' is one of the oldest compositions on this album, in which a dark 303 bassline hums over layers of spacey strings. Wibo named it after the legendary Whip It party in Amsterdam's De Melkweg. 'Alternate Reality Interface' then presents bouncy rhythms toying around with all sorts of analog (bass) synthesizers, before we go really deep with the epic ambient techno track 'Wandering Souls'. Then things get a little lighter spirited: 'Mixed Matter Fluctator' is an electro track that builds on sounds created by Matt Buggins. It has very strong Detroit influences, the city Wibo loved so much and that he made a pilgrimage to with a group of friends that called themselves 'The Techno Tourists'. The tempo goes up a notch in 'Program Yourself To Feel', that halfway opens up in wide science fiction strings that evoke memories of Star Wars, the movie series that Wibo was a great fan of, and that was the source of many of his tracks' names. The Human Form remix opens the vinyl edition of this album and is a downright belter of a track.

Next is a somewhat experimental intermezzo named 'Synthetic'. Erratic beats and pounding bassdrums get accompanied by very subtle eerie-sounding strings, before melancholic synthesizers and piano chords take over. This is an excellent prelude to the epic 'Hologram Computing', a track that is one of our favorites. It slowly and softly builds and builds, before a pounding bassdrum breaks loose and a hypnotic arpeggio takes you to higher planes. Not ready to letting the listener relax, w1bo then serves 'Beilstein Reference', which again presents his trademark cocktail of down-to-earth electro rhythms and catchy melodies, covered in all sort of little sounds and noises, giving the song a lot of energy. What follows is 'Hit me', a track loosely based on a song by Dutch indie rock band Mr. Joe Abe. Wibo met the band's singer on a camping site while being on holidays and the two decided Wibo should do a remix of one of their songs. Nothing was left of the original except the vocals, and the result is a remarkable cheerful, poppy electro song.

'Anticipated Input' is one of the more recent tracks Wibo made for this album, combining electro, acid and, yes: epic strings. But not all is peace and quiet on this album, as 'Pilex Driver' shows. This is w1b0 going experimental in a danceable fashion: Industrial sounds make the track sound like we're passing a construction site that is playing loud electro music. On the vinyl version of this album, Ectomorph totally decomposed the original and made it into a mysterious, almost subdued, and totally brilliant electro track that sees a main role for the retro Roland CR drum machines sounds.

TFHats, Wibo's fellow member of the Transhumanism collective, added lyrics to 'Cartesian Coordinates'. His vocals add a pleasant New Wave flavor to this song, that has breaks that remarkably reminds one of Nirvana's 'Smells Like Teen Spirit'. What follows is the most personal track on this album. 'Fornan' is a song that Wibo made for his wife Nanette, and was added as the last piece of the puzzle that creating an album is. The warm Detroit techno atmosphere in this electro song couldn't be a more beautiful tribute to his love, and mother of their two young boys. The album then takes a surprising detour through a 1980s landscape with 'In There', that features the Joy Division-esque vocals of another one of Wibo's friends, indicated only as Vincent. The super slow and gloomy track is a treat for anyone that loved the darker side of New Wave. The album has a worthy closer in the sensitive, yet playful 'Schlegel Diagram'.

Go to Item

Rathauz

Ciccio Bomba Cannoniere

LP | 2024 | UK | Original (Drowned By Locals)

13,99 €*

Incl. VAT plus Shipping Costs

Release: 2024 / UK – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Preorder shipping from 2024-11-01

ciccio bomba cannoniere (chunky monkey)
Is the sound weapon of the A-zienda rthz, illustrated by the render called M.E.R.I.C.O.O. (Erect, rechargeable intelligent machine with organic dog) This project of a definitive media A-ssailant presents all the necessary elements for the domination of social hierarchies:
trace of a human face for identification
a stalker server for omnipresence in digital field
a system of locomotion for moving in any field
a genetically modified dog for keeping counterfeiters away
comfy clothes and an M60 around the neck
The name derives from an A-ncestor rthz called Merico. Police officer who in the late 1800s left a tavern and rode on the back of his mule Cina with the objective of stopping a train so that he could light his cigar. And this happened. Merico was then tried and dishonourably discharged.
- rathauz, translated from Italian -
------------------------------------------------
"*warning In my research for this piece I downloaded an app I found buried in the press release, drove around an airfield as a wolfman with a rifle, then unlocked a wrestling concept album on Youtube by jumping towards the light, became a subscriber for 20 Euros a year to get access to exclusive content and almost bought 5 grams of dirt harvested from the area surrounding the Rathauz studio.*

ciccio bomba cannoniere is a gateway drug, a gateway into the cybernetic multimedia cvlt of Rathauz.
And while a physical release might run counter to the insanely futuristic drive of the Rathauz, it's probably the album of the year so buckle up.

For the uninitiated the A side might play out like merely the best goddam side of actually fun techno you've heard in 2020s. Rollicking acidic galompers. Tbh most techno can get in the bin these days but this swinging evil continuum championed by Acidic Male / Giant Swan / Missterspoon is more than right by us. Rathauz add internet dial up noises, reggaeton shuffle, distorted screams and frayed EBM arps into this heady heady mix, showing they're about twice as interesting as the top 10 techno on Bandcamp already. Seriously RA would be creaming themselves to hit the recommend button if they could grow a spine in the office between them.

But Then side B gets rolling with boom baps and distorted guitars in a kinda frat-trap circle pit. This is the sound online Rathauz disciples know and love; electro-punk-trap-pop twisted genius. Their scifi vision and demented humour reminds us most closely of our beloved Kinlaw & Franco Franco if Franco had spent more time living in Milanese squats. Policepunk=S.W.A.T. is classic anarcho scuzz hxc on speed and trap and.....maybe Show Me The Body albums and not enough sleep. Venetia-monitor rips off the riff to Smells Like Teen Spirit in glorious Midi chaos. TLC is the most fun you can have in 2 minutes.

After listening we have only one question: Where ARE THE Techno Punx Making Actual Fucking Punk EH? And why not do it on the same album?

Cos you are never gonna get to crowdsurf at Tresor, kid. The bouncers will make you disappear and you Will miss your flight back to Kansas.

God bless Drowned By Locals.
Vinyl with printed sleeve (with the best art you've probably ever seen)."

- Miles Opland, Rwdfwd -
------------------------------------------------
A-Biography (translated from Italian)
RAT is the surname Hauz is the survival place, we make house music in the municipality of the web like the pharmaceutical industry.

Rathauz is the A-zienda or company that produces perceptible frequencies from its works in reinforced concrete located in a farming plot forever ploughed and fertilised, the whole area surrounded by barbed wire. You can visit the works through A-ndroid A-pplication A-zugo ( play.google.com/store/apps/details?id=com.rthz.Azugo&gl=IT&fbclid=IwAR3VKIQzcLIoipGeeEBpGkE6vJg0NXC6MGe9_Ev6X5aRFi_W2gp8xN_n7iE ). Its workers have been embedded into the factory's walls and their names disappear absorbed in the structure. When they A-ppear they always wear their A-gro wear; wrestler shirts (emblems of expository hyperreality). In their productions they insert their singular individuality and relativistic abilities merging into a single quantum machine. They are the perfect emblem of the band: two brothers who share blood (a-), surname (Rat) and produce frequencies made at home (house music) but are almost always in conflict. Often during the A-ssembling of the frequencies they A-ttack each other as was reconstructed in WRESTLA-live, each product is then a derivation of a complex human skimming. Rathauz is focused A-utonomously on the primary sector, secondary, tertiary everything in the quaternary. They sow, grow, distil, peddle and often are the first consumers of the complexity of the material, creating their own A-utarchic world. They compete with other international labels but while those are associations made of many identities with different styles (the many Artists), Rathauz is the assembly of any frequential style recast by a single unique A-rtistic individualism, which has to overcome such role becoming the inhumane machine that produces and exports. The A-zienda only exists in relation to the A-utoproduction of the media, everything is developed only by the two laboratories. Both have productive activities in full with their identifiable subjective relativisms and these are not secondary but coexistent with the A-zienda A-ctivity. While the single A-'s (both laboratories with their own identities) work in a global context, Rathauz is simultaneously and exclusively dedicated to the cultural, media and technological development of the Italian state. This doesn't mean productions are inferior or superior but of a certain quality that differs from the products of individuals. The themes of both representatives in their individualistic projects are the visions of two Europeans squashed by imported capitalism and globalisation while Rathauz gathers the traditions and cultural movements of a particular region of Italy, Veneto, under the influence and the techniques of an imported capitalism and globalisation. Either when displaying their individual identities and when they act as the A-zienda, they confront a global context, but if they happen to emerge with their individualism of relative beings on the sea of international connection, the A-zienda is always the maker of a locally defined product, precise and calculated, which does not deny the inspiration but refines it to the limits of incomprehensible complexity. The A-zienda is a company that produces product (a metaphor for the identity of any artist under a label) but ultimately being the A-rtist as well, there are no thematic links or expressive limits, that is within the view of Italian cultural implantation in many demographic A-spects. The name Rathauz is the union of two concepts rat and hauz as A-forementioned, and yet the Anglosaxon A-nti-Italian sound that emerges recalls the great capitalist Corporations. Before launching the project Rathauz we had to clear the road as Rat-truppen. We fought club after club, we broke moulds with too-powerful basses, moshing where it was previously culturally inadmissible (only white shirts). With our dj-sets we imported the sound textures that later became the culture that "A-cquired value". Rathauz and many like it. As we moved from record to record many evenings a week we continued to produce a sound material yet to be emitted and which later contributed to lay the groundwork for the stable A-zienda. The first A-bsolute A-lbum we produced was in *2003 "Music Fear" (both laboratories had 8 and 12 years respectively) and this was the real starting point seeped in electronic textures, house and Drum'nBass and you can hear a first example of modern Base Trap, where we created a rap beat with a horror sample and used a distorted kick.
P.S.:
Usually as in the case of track 3030 (which deserves pages of in-depth A-nalysis), the sound is not only the basis but it is linked to the themes of production and later happened to become a sound standard as in the case of hdma where the distorted bass we came up with was an emulation of the stereo system at maximum volume of A- friend's car.

Original text by rathauz:
ciccio bomba cannoniere
È l'arma sonora dell'A-zienda rthz, illustrata con il render di M.E.R.I.C.C.O. (Macchina, eretta, ricaricabile, intelligente con cane organico). Questo progetto di definitivo A-ssaltatore mediatico presenta tutti gli elementi necessari alla dominazione delle gerarchie sociali:

parvenza di viso umano per l'identificazione

Uno stalker server per l'onnipresenza su campo digitale

Un sitema di locomozione per muoversi su ogni campo

Un cane geneticamente modificato per non lasciare avvicinare alteratori

Abiti comodi e al collo un M60

Il nome deriva da un A-ntenato rthz chiamato Merico. Carabiniere che a fine '800 uscì dall'osteria e salì in groppa della sua cavalla Cina con l'obbiettivo di fermare un treno per farsi accendere un sigaro. E ciò avvenne. Merico fu poi processato e congedato con disonore.

A-biography
"Ing: RAT is the surname Hauz is the survival place, we make house music in the municipio della rete like the industrie farmaceutiche."
Rathauz è l'A-zienda che produce frequenze percepibili dal suo stabilimento in cemento armato situato in un campo agricolo perennemente arato e concimato, tutta l'area è circondata da filo
spinato. E' possibile visitare lo stabilimento tramite l'A-pplicazione per Android A-zugo (https://play.google.com/store/apps/details?id=com.rthz.Azugo&gl=IT&fbclid=IwAR3VKIQzcLIoipGeeEBpGkE6vJg0NXC6MGe9_Ev6X5aRFi_W2gp8xN_n7iE). I lavoratori sono stati inglobati
nelle pareti della fabbrica e i loro nomi singoli scompaiono assorbiti dalla struttura. QuandoA-ppaiono indossano sempre la loro divisaAziendale; maglie di wrestler (emblema dell'iperrealtà espositiva). Nelle produzioni inseriscono le loro singole individualità e le loro relativistiche abilità fondendosi in un unica macchina quantica. Sono l'emblema perfetto della band: due fratelli che condividono sangue (a-), cognome (Rat) e producono frequenze fatte in casa (house music) ma sono quasi sempre in contrasto. Spesso durante l'A-ssemblamento frequenziale fannoA-botte come è stato ricostruito in WRESTLA-live, ogni prodotto è quindi derivazione di una complessa scrematura umana. Rathauz si occupa in modoA-utonomo del settore primario, secondario, terziario tutto nel quaternario. Coltivano, lavorano, raffinano, smerciano e spesso ne sono i primi fruitori data la complessità del materiale, creando il loro mondoA-parte. Competono con le altre etichette internazionali ma mentre esse sono associazioni con all'interno più identità con diversi stili separati tra loro ( i vari Artisti), Rathauz è l'assemblamento di qualsiasi stile frequenziale rielaborato da un solo ed unico individualismoA-rtista, che deve superare tale ruolo diventando anche l'inumana macchina che produce ed esporta. L'A-zienda esiste solo in base all'A-utoproduzione dei media, tutto viene svolto solo dai due lavoratori. Essi hanno entrambi attività produttive in proprio con i i loro relativismi soggettivi identificabili e tali non sono secondarie ma coesistenti all'A-ttività A-ziendale. Mentre i singoliA-( i due lavoratori con le proprie identità) lavorano in contesto globale, rathauz è parallelamente e prettamente dedito allo sviluppo culturale, mediatico e tecnologico dello stato Italiano. Ciò non significa che le produzioni siano inferiori o superiori ma di un certo tipo di qualità che risulta differente dai prodotti dei singoli. Le tematiche dei due esponenti nei loro individualistici progetti sono la visione di due europei pressati da un capitalismo e un globalizzazione importata mentre Rathauz raccoglie le tradizioni i movimenti culturali di una determinata regione d'Italia, Veneto, sotto l'influsso e le tecniche di un capitalismo e una globalizzazione importata. Sia quando hanno le loro identità singole che quando sono l'A-zienda si confrontano con un contesto globale ma se in un caso emergono con il loro individualismo di essere relativo a galla nel mare della connessione internazionale, l'A-zienda è sempre fautrice di un prodotto localmente definito, preciso e calcolato che non nega l'ispirazione ma la raffina a limiti di incomprensibile complessità. L'Azienda è un'azienda che produce prodotti (metafora dell'identità di qualsiasi artista in una etichetta) ma essendo comunque direttamente anche l'A-rtista non vi sono vincoli di tematiche o limiti espressivi, sempre però nell'ottica dell'implentazione culturale italiana in variAspetti demografici. Il nome Rathauz é unione di due concetti rat e hauz come giàA-ffermato prima, tuttavia il suono AnglosassoneA-ntItaliano che emerge richiama le grandi Corporation capitalistiche. Prima di avviare il progetto Rathauz Abbiamo dovuto spianare la strada come Rattruppen. Abbiamo combattuto club per club, rotto impianti per via di bassi troppo potenti, pogato in luoghi dove prima era culturalmente inammissibile (solo camicie bianche). Con i nostri dj-set abbiamo importato le sonorità che poi sono divenute la cultura che ha potuto "Apprezzare" Rathauz e vari simili. Mentre ci muovevamo di disco in disco facendo varie serate ogni settimana continuavamo a produrre materiale sonoro tutt'ora non rilasciato che ha contribuito poi a fornire le fondamenta dallo stabileA-ziendale. Il primoA-lbum inA-ssoluto che abbiamo prodotto è stato nel *2003 "Music Fear" (i due lavoratori avevano rispettivamente 8 e 12 anni) ed è stato il primo vero punto di partenza in quanto in mezzo a sonorità elettroniche, house e Drum'nBass si può ascoltare un primo esempio di Base Trap moderna, dove abbiamo creato un beat rap con un campionamento horror e usato kick distorti.
P.S:
Spesso come nel caso della traccia 3030 (che meriterebbe pagine diApprofondimento), il suono non è solo base ma legato alle tematiche della produzione e poi casualmente diviene culturalmente uno standard sonoro come nel caso hdma dove il basso distorto che abbiamo ideato era un'emulazione delle stereo a volume estremo dell'auto di un nostroA-mico.

Go to Item

V.A.

Dynam'hit Europop Version Française 1990-1995

LP | 2021 | EU | Original (Born Bad)

21,99 €*

Incl. VAT plus Shipping Costs

Release: 2021 / EU – Original

Genre: Electronic & Dance

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

France, 1990. Fun Radio, NRJ, Skyrock set a new pace, and their crushing hegemony irrevocably marks the end of the free radio utopia. The giants become vital in the hit industry and carry on fuelling France’s greatest invention: la variété. A quintessentially French version of British dance pop with a very specific tang to it, too coy to emulate trendy clubs’ and rave parties’ music, europop cautiously tests the waters of what will soon turn into a tsunami : house music. Is house the soundtrack of the 90s? In Europe, it gave steam to comeback bands just as much as to the most memorable formations of the decade, while in France it paved the way for the global success of French Touch. “Real” house music emerges in early 80’s Chicago (where the Warehouse club, which allegedly gave its name to the genre, closes down in 1983). England’s acid house and Belgium’s new beat, its European offshoots, fed the cravings of tabloids in 1988 and 1989. The house music we’re interested in though, the type bound to soon overwhelm European charts, is already pretty far away from the afro-american music born in Chicago. So far away it inherited a new name: dance music. Just like it had been the case with disco a few years back, house and techno aren’t exactly in the good books – acid house and new beat even less so. And it’s precisely the genre’s mainstream iteration this compilation focuses on; the house en français, which strives to get on board the running train in 1990. The house which sports the all-over jean look, bandana, cap, chewing gum, peugeot 205 complete with snazzy beats on the radio. The big deal big fuss type, miles away from the original, underground house. It might not have been born in the nineties, but that’s clearly when house music became mainstream. What underpins house music might even be what is to define the decade to come: jingles and pin’s, megaclubs and clips. That and the hits. Very soon house is everywhere: on the air of the big radio stations and on TV, creeping in as far as kids’ programs. The French may not even notice, but they’re all listening to it. Meanwhile, music producers smell the gravy and, willy-nilly with the earnest, enlightened amateurs, propose their very own club versions, cross breeding French variété and house. The result: a chart and club ready ersatz that is to quickly seduce young audiences. Hits, that’s what we want – or tubes for the French, like in House Tube, one of the landmarks of this compilation. The tracklist, like the soundtrack to a club night that never happened, fictitiously reconstructs the fleeting moment when house made its arrival in France, bridging the gap between variété and eurodance. House quiproquo House music barges in like a UFO on European land. With the arrival of this repetitive, yet transgressive music, tabloids freak out, while widespread incomprehension over the genre inspires dubious misconceptions. The media are happy to suckle on the music’s popularity, though well hidden behind the veil of decorum: NRJ airs a remake of a famous new beat track, Rock To The Beat, in which, however, “ecstasy” is swapped for “fantasy”. Dechavanne, thoughtful as usual, calls fans junkies and nazis on his tv show, Ciel Mon Mardi – though the show’s theme song is nothing else than a house track. The footage became a classic, and the comments, sampled by producers, provided the vocals for a flagship new beat track (Dr. Smiley – L’Echo Dechavanne). The Dechavanne episode is representative of the general confusion surrounding this barbarian music; skepticism remained high, even (if not more so?) in the musical world. In fact, it’s the subject of the unequivocal House Tube: “House tube, bouse tube ; on n’aime pas vraiment le house tube House soupe, bouse soupe ; on n’aime pas vraiment le house soupe” That is: “House hits, house shit; we don’t really dig house hits House soup, shit soup; we don’t really dig house soup” The success of house music inspired many exasperated reactions, just like House Tube (the B-side of a deodorant ad’s theme). Laurent Castellvi, surprised that the joke-track he composed at the time still sparked interest, told us: “At the beginning of the nineties, house was all over the radio. It annoyed me a little that most tracks were based on the same two chords. House Tube is a joke, it’s me sitting at the piano playing two chords. And that’s what the lyrics say.” On the other hand and following up with the next track, Fred de Fred was clearly in the know. The Frenchman had moved to the epicentre of the English commotion, Sheffield, a few years prior to the arrival of house. That’s where Warp (Autechre, Aphex Twin) originated – and at the time Warp still went by the name FON, Fred already hung around in their studios. Robert Gordon, Fred’s pal and co-founder of the label, signs the remix of one of his 1989 tracks, Sous Sous. In 1991, he composes a record of songs, and when it comes to pairing a suitable club remix single, Fred knows what’s up. Je T’Aime En Amour, sleek rock, mutates into a syncretism of french chanson and nearly rave breakbeat (here provided in its “2020” version). Fred de Fred is exemplary of the variété-club crossover driving this record; his career started within the collective ZNR, he crossed paths with the likes of Alain Bashung and then the Stone Roses, was close to Warp, and ended up signing a record on Barclay. Studio sharks Electronic musicians are often referred to as “producers”. This emanates from the delimitation of roles in the making of recorded music, traditionally assigned as singer, songwriter and producer. The latter takes care of the recording per se; that is, he manages the project, rents the studio, hires the musicians (known as requins de studio – studio sharks – for accumulating studio sessions) and cashes in at the end. The artist in electronic music is the producer alone, who essentially combines all roles at once: totally autonomous in his home studio, he can do without musicians or singers. The moment we’re interested in is this transitory period in which the two types of producers coexist. On the one hand, the new producers, like Fred Rister with Everybody Dancing, who recorded in a shack on a 4-track recorder, according to the sound engineer. On the other, the revival of old brigade producers, always on the lookout for a hot deal. The producer behind Près De Toi is of the latter type – pursuing a long musical career though quick to forget Claire-An (and so did posterity). New beat’s heritage isn’t negligible : its pioneers fashioned the “new generation” producer formula, a one-man-band in his machine-filled home studio. They’re also the first to churn out major hits, hitting the floor of a few Belgian clubs and eventually making it to the European top 50. What seems like mad creative abundance (hundreds of tracks between 1987 and 1989) is in fact the work of a handful of Belgian producers, barely ten, hidden behind multiple aliases. Among them, Marc Neuttiens, Jack Mauer and Fabian Van Messen, who often work as a trio and produce some of the genre’s most iconic tracks. In the midst of which On Se Calme, produced under the name Bassline Boys, sampling none other than Christophe Dechavanne. It’s no coincidence then that Anne Zamberlan should knock on their door with in mind the idea of an antidrug track. She wants to make noise, they know how to make a hit. And the track has it all: proto-acid gimmicks, big beat, house piano, verses rapped with a hiphouse flow… It might have been great, but even a Virgin Megastore ad she appeared in two years later got her more success. À la folie, je danse This tale is also the one of the pioneers who brought house music to France, first on the radio, well before rave parties or Laurent Garnier’s nights in Paris. As soon as the early eighties, Robert Levy Provençal plays the edits of the young Dimitri from Paris on the airwaves of Radio 7. At the time they’re unusual: like one would use samples in hip hop, Dimitri loops soul, funk and disco tracks, creating extended mixes. He breaks down tracks, reducing them to a gimmick or a bass line, thus creating easy-to-mix tools for DJs and bringing them closer to the sounds of house and techno music. He soon becomes resident DJ on NRJ and hosts the popular show Hot Mix. Like his colleague RLP, Dimitri proposes a trailblazing selection, blending together French news and the odd new sound from the States. At the turn of the nineties, when europop wants in at the club, only these influencers master the dance side of things. There’s RLP, Bibi Fricotin, Dom T… And Dimitri, who becomes the assigned variété remixer, adapting dozens of songs that were never meant to make it into a club. The general tendency however is less to official remixes than to bootlegs: a “pirate”, unauthorised and often private remix – just like Jacques Dutronc’s Opium, stretched out into a nearly 7-minute-long mix. The nineties also set the stage for the first TV stars, the ones who become famous without anyone really knowing why. Take, say, Jordy, four years old. The kid, in his diapers, sings along a New York style, house piano production and somehow makes it to the top 50’s number 1. For years, Jordy plays out the role of the child star and demonstrates that dance music is a perfectly profitable affair: it fuels the radios turned juggernauts, and lands on TV, seeping through music programs… In 1989, Vincent Lagaf (a famous french TV host) dives in with Bo Le Lavabo. The pitch is simple: the TV host adapts a track well known overseas, Lil Louis’ French Kiss (without any direct reference), simply adding lyrics taken from a sketch. He’s rather clear on his intentions (“Well, that’s just how you make it to the top 50”) and has no mercy for a musical genre he clearly understands nothing about (“See? Easy.”). Single night stars The club is a democratic place where anyone can be a star for a night (a nineties remix of Andy Warhol’s famous saying, meaning to imply: never has fame been so near, yet so far). The ghost of stardom haunts all of these forgotten tracks… This is particularly true in the case of Techno 90, Fred Rister’s first band. The DJ hailing from Northern France takes part in the short-lived though seminal Maxximum radio and mixes everywhere on both sides of the Belgian border, quickly becoming a local celebrity. At the turn of the century, he starts collaborating with David Guetta – another DJ, slightly better known than Rister and a rising star of the Parisian club scene. Together they eventually co-sign a few global hits: Love Is Gone, When Love Takes Over, I Gotta Feeling. This tale is the story of French variété’s unforeseen encounter with the avant-garde, of DJs who rose to the status of pop stars and others who descended deep into the rave party scene. It’s all of these oddities our compilation seeks to recount, like a wacky TV show featuring anonymous stars, forgotten ghosts of a decade bygone (Jacques Dutronc, Jean-Francois Maurice) or yet to come (David Guetta), inspired though unlucky blokes plus a girl band. And somewhere in the shambles, the tracklist of our compilation, the B-side of dance music’s official story – what could have been France’s alternative hit machine.

Go to Item

...

72 73 74 75 76

...

72 73 74 75 76

...

74 75 76