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12"
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126D 006EP
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Metro Skim returns to 6dimensions with Actualising Possibilities. On the surface, Actualising Possibilities presents itself as a lucid and dark collection of minimal-techno but when asked about the release Metro Skim's objectives demonstrate something entirely different. On the track "Monotony", Metro Skim becomes a bastion for mindfulness through a techno lens, finding positivity through something that might initially seem disconcerting. Actualising Possibilities drives forward at an unrelenting pace with the use of the Roland 909 that was more sparsely used on the producers debut.
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2LP
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99CHANTS 001LP
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A proudly nonconformist and multifaceted electronic artist, David August went on hiatus for a year. Taking time to reflect and discover unknown paths in both, musically and personally, August connected to his Italian roots, drawing inspiration from its history, rich culture, and diverse landscape. The result is a new language of sound and space that until now has remained hidden inside of him. Ready to come back, August emerges with a new label, 99CHANTS, a finite project limited to 99 releases. Offering an openminded platform for a diverse range of artists, the label aims to contribute to culture and society in a positive way. The first release comes from August himself. Ambient in form, DCXXXIX A.C. marks the first step that will lead to a bigger picture. David in his own words: "A couple years ago, I found myself in jam sessions, naively messing around with sound; no rhythm, no structure. Not considering any borders, trying to 'think' about music, as subconsciously as possible. It's been a vein in me ever since, which I developed and explored quietly in my personal space, slowly realizing that half of me somehow existed in this realm; so-called ambient music. During these years, a relevant amount of drafts came together. While working on my main project last year, I decided to present this other side of me in an own independent way, to initialize a path that would be continued. I founded a new label, 99CHANTS, a dream I wish I could have realized earlier. . . . Everything relies on these two things, in my opinion. The record is 60 minutes in length and contains 24 tracks, which I see as being all linked together, forming a single, extended breath. As my most recent work pulls inspiration from my Italian provenience, so does this album. I go back in time, finding myself surrounded by the nature and old spirits of an ancient commune, in the middle of the country. Relating to the details of a land, it's a soundtrack to a time and space unknown. Generally speaking, the tracks took shape rather quickly, trying to believe in the moment of what a first intuition could have of value, or maybe not. All music came together in Berlin, Iceland, above the Atlantic and in a small Mediterranean town. Connecting the dots, the story leads to where the next begins." Gatefold sleeve.
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LP
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ACOLOUR 008LP
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"You've got to listen to this band, you'll really like them, I know." A Colourful Storm presents the first-time vinyl issue of Blueboy's The Bank Of England, originally released in 1998. The group of Paul Stewart, Keith Girdler, Cath Close, Ian Gardner, and James Neville are Sarah Records royalty alongside The Field Mice, Heavenly, The Wake, and The Orchids, and this is the final recording from arguably the most beautiful, afflicted band of '90s indie-pop and DIY. One of the true treasures of modern pop music. Mastered from the original recording tapes with assistance from Sarah Records and Shinkansen Records' own Matt Haynes. Full color reverse-card LP sleeve with printed insert.
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LP
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AUR 021LP
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LP version. Danny Wilson (Danny And The Champions Of The World, Grand Drive), and Robin Bennett (The Dreaming Spires, Goldrush, Saint Etienne) join forces with Tony Poole (Starry Eyed And Laughing), producer extraordinaire, and king of the electric twelve-string Rickenbacker. Their voices, guitars, and songwriting combining to marvelous effect in a collection of songs that began as uplifting acoustic music and grew into something far more wide-ranging and transcendent. Pulling on influences from the '60s pop of The Byrds, The Beatles, and The Beach Boys, through to the harmonies of Crosby, Stills, Nash and Young, with dashes of Petty and Springsteen thrown in for good measure, perhaps the most remarkable thing is that what shines through all of this is the quality and originality of the songwriting. The songs deal with wide-ranging issues and personal truths, from the aptly-titled opener "Soon Enough" through the biographical tale of Danny's family in "Wilson General Store", and the politically-charged rallying cry of "Hate Won't Win" to the social commentary of album-closer "Lifeboat (Take a Picture of Yourself)". All three collaborators have had critical acclaim in their own right. Danny Wilson's credentials go back to his days in Grand Drive with brother Julian, and his consistent high-caliber output with his Champions Of The World led them to sweeping the board at the first UK Americana Awards with "Album", "Artist" and "Song" of the year awards richly deserved; Tony Poole's Starry Eyed And Laughing were hailed as "the English Byrds" on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer; Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires, alongside founding two award-winning festivals (Truck and Wood) and lending his multi-instrumental skills to Saint Etienne. But in Bennett Wilson Poole, the trio seem to have stumbled upon that rarity of the whole being greater than the sum of the parts.
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LP
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VISTA 006LP
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LP version. Dorias Baracca's existence was cut short when lead singer and main songwriter, Buster Svendsen, passed away in the summer of 2011 -- incidentally the same day as the album was completed. This is the first time this material has been released. Swirling, melodic dream-pop wrapped in loud, kaleidoscopic guitars, heavy drums, and ecstatic noise. Bleak but sensuous, visceral but tuneful, brimming with youthful wonder and confusion. Dorias Baracca was formed in Odense, Denmark in 2007. They released an EP on Club AC30 in 2010, a release that received plenty praise: "... Already light years ahead of many peers who've spent entire careers searching for a similar happy medium", wrote Drowned In Sound. It turned out to be the band's only release while in existence. Slowdive never sounded this loud, hard-hitting, and desperate. My Bloody Valentine was never this colorful and psychedelic. Dorias Baracca married the thick haze of guitars to trippy psychedelia, and ultimately had as much in common with American bands such as (early) Smashing Pumpkins and Dinosaur Jr. as with the more ethereal British bands. This album would be the last thing the band ever recorded, and for various reasons it has remained unreleased since its completion in 2011, until now. Although they were only in their late teens at the time it's a fully formed album: it's the sound of a band with total confidence in what they're doing, superb skills for melody and arrangement, as well as youthful energy.
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2LP
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BANG 115LP
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What was before The Drones and even before The Gutterville Splendour Six? This! Gareth Liddiard and Rui Pereira seeding the seed of noise and distortion in the period 1994-1998 in this Bong Odyssey project which recorded this never before released, brutal album of what is 100% The Drones' sound. Gatefold sleeve; Edition of 500.
Gareth Liddiard on the record: "Bong Odyssey is a bunch of stuff Rui and myself recorded in the mid-nineties after we left high school. We were total music nerds into stuff like Suicide, Hüsker Dü, Psychic TV, Merzbow, Big Black, lots of free jazz, Stravinsky and all sorts of weird shit. We lived in Perth which meant we didn't have many friends into the same stuff so we just worked at our jobs then came home and smoked weed, took acid and everything else, drank booze and messed around on our tape machines. We had a ton of music gear like synths, Hammond organs, drum machines, lots of weird effects units. None of that shit was cool then so we could afford to own it. We weren't playing many gigs. We'd done the crazy fast and heavy punk thing and we're moving away from that, as you can tell. We basically jammed and recorded songs at night with no intention of doing anything other than blowing our own minds. Our neighbours hated us and we were always being evicted. I have no idea what people will make of this stuff 'cause it is super weird and fucked up. This is before the Gutterville Splendour Six and right at the beginning of The Drones. When we moved to Melbourne in 2000 to do The Drones thing we sold all of our shit and wound up with guitars only. So naturally we became a guitar band. But between 1993 and 1997 or 1998 we did everything in almost complete isolation without anyone else's input on all sorts of instruments. Western Australia was so out of touch with the rest of the world and we were so out of step with Western Australia that we just disappeared up our own arses. Bong Odyssey is crazy music for crazy music's sake. Pure and simple."
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2LP
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BAOXX 001LP
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Shlomi Aber presents his third album Linear Equations. The ten-tracker double-LP closes the ten-year celebration of Be As One and follows his 2010 album Chicago Days, Detroit Nights on Ovum Recordings (OVM 9010CD/EP). Through carefully crafted EPs on NonPlus, Figure, Be As One, and more recently Odd Even and Drumcode Ltd, Shlomi's sound has continued to evolve and refine with his Linear Equation album. The album opens up with "Interior", setting the tone for an introspective journey that will take you from the dub-infused techno of "Echo Mission" and "Fractions" to the acidic trip of "Midnight Spooks" and "Mod3333". Hypnotic techno on "Eimeon" and "Fall Into Wonder" flirts with broken beats on "Installer" and climax with the floating percussions and anthemic pads of "State Of Sorrow". Gatefold sleeve.
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LP
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BEAT 059LP
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2018 repress. Beat Generation presents a reissue of Pure Hell sole full-length album, recorded in 1978 but not released until 2006. In 1974, on the streets of Philadelphia, a band unlike any other was formed. They called themselves Pretty Poison. They had a sound so ahead of its time that the music industry was not yet ready for it. They coupled the punk sound of the New York bands of the time with a harder, faster heavy metal edge unheard before. Their unique sound was a result of Kenny Gordon's berserk choreography and Preston Morris's needling guitar riffs, while Steel and Spider added synchronized barrage with no nonsense execution to the arsenal. Inspired by the famous fuel-altered dragster, they changed their name to Pure Hell in 1975. Soon after, they moved to New York City where they played with bands like the New York Dolls, Sid Vicious, Wayne County and the Electric Chairs, The Dead Boys, The Stimulators, Richard Hell, The Germs, The Nuns, The Cramps and more. In 1978 Pure Hell headlined a tour of the UK, with bands like the UK Subs, Wilko Johnson, Vermilion & the Aces and more opening for them. While in the UK, their only original record was released. It was a single released by their manager Curtis Knight on his label, Golden Sphinx Records. The songs on the single were "These Boots Were Made for Walking" and "No Rules." The single charted in the top 40 charts in the UK. During the same year, a full length album was recorded but was never released. It did not surface again for 28 years.
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LP
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BC 044LP
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"When it comes to living legends in the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than vocalist, songwriter and bandleader Sunny Ozuna. Born and raised in San Antonio, where he still resides, Sunny became a star right out of high school in the late '50s and hasn't looked back in the six decades since. After releasing dozens of albums since the mid-1960s (in Spanish and English), Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His classic 45s regularly change hands for hundreds of dollars among collectors around the world, affirming his timeless appeal. As a logical next step after Big Crown's excellent (and Sunny-approved) Mr. Brown Eyed Soul compilation from September, the label has started digging into the vaults of Sunny's Key-Loc Records label to unearth some legit soul classics -- which are hard to find even in San Antonio, and clean originals will cost you a pretty penny if you ever luck into one. The album has been remastered and includes original album art. The band is tight, the sound is honest, the vocals are dusky and deep, and the album is an undeniable soul and Texas music classic, ready to be discovered by a whole new generation of music fans. Dive in and be ready for a permasmile, thanks to that patented Sunny sound."
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CD
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BIS 006CD
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First ever collaboration between Edward Ka-Spel (from The Legendary Pink Dots and Tear Garden) and Steven Stapleton (from Nurse With Wound). It's been years they both wanted to work together and Bisou Records made that happen when they offered them a side on this split release. The other track is the first musical meeting of Colin "the master of drone" Potter and French sax player Quentin Rollet (The Red Krayola, Mendelson, Nurse With Wound, Prohibition, David Grubbs, Thierry Müller, Ilitch). That first take was then re-worked in the studio with piano overdubs by Isabelle Magnon. Two long tracks which make you travel, far. Personnel: Edward Ka-Spel - vocals, sounds; Steven Stapleton - devices; Colin Potter - sounds; Quentin Rollet - alto sax, sopranino sax. Mastered by Patrick Müller.
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CD
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BS 037CD
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Four long and vaporous unreleased tracks that document the Juri Camisasca's first mystical afflatus, bringing to light the moments of "collective meditation" of some events in 1978, including the recordings drawn from the exhibition "L'evoluzione interiore dell'Uomo", which took place at the Villa Reale in Monza. After his participation in the Telaio Magnetico project in 1975, and in parallel to his contribution in works like Franco Battiato's Juke Box (1978) and Lino Capra Vaccina's Antico Adagio (1978), and in Raul Lovisoni and Francesco Messina's Prati Bagnati Del Monte Analogo (1979), a more general syntony of Camisasca for different aspects of Eastern philosophies seemed to conceive his first personal form of music as a "celestial ocean" in which to break the eternal divine love. The mantra nature of deep drones of a natural reverberated harmonium literally introduce you to another level of consciousness; harmonic chants of dhrupad inspiration expanding the ethereal voice in the transcendental plot of all, while Roberto Mazza's oboe intervenes to paint this perfect osmotic sound echoing motifs of ancient medieval saltarello. For Camisasca, "the vibration of sound is something primordial which contains the mystery of creation"; and in this sense "the musician is a medium through which the Nature is expressed". This makes Evoluzione Interiore an intense minimalist work where singing generates a universal and archetypical spiral of purity and candor that suggests the Pandit Pran Nath's lesson as well as dialogues in concept with the mutability flux of seminal works as Terry Riley's Persian Surgery Dervishes (1972), Peter Michael Hamel's The Voice of Silence (1973) and Nada (1977), or with research on the overtones as that of Roberto Laneri's Prima Materia. Includes liner notes with archival photos.
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2LP
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BS 037LP
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Double LP version. Four long and vaporous unreleased tracks that document the Juri Camisasca's first mystical afflatus, bringing to light the moments of "collective meditation" of some events in 1978, including the recordings drawn from the exhibition "L'evoluzione interiore dell'Uomo", which took place at the Villa Reale in Monza. After his participation in the Telaio Magnetico project in 1975, and in parallel to his contribution in works like Franco Battiato's Juke Box (1978) and Lino Capra Vaccina's Antico Adagio (1978), and in Raul Lovisoni and Francesco Messina's Prati Bagnati Del Monte Analogo (1979), a more general syntony of Camisasca for different aspects of Eastern philosophies seemed to conceive his first personal form of music as a "celestial ocean" in which to break the eternal divine love. The mantra nature of deep drones of a natural reverberated harmonium literally introduce you to another level of consciousness; harmonic chants of dhrupad inspiration expanding the ethereal voice in the transcendental plot of all, while Roberto Mazza's oboe intervenes to paint this perfect osmotic sound echoing motifs of ancient medieval saltarello. For Camisasca, "the vibration of sound is something primordial which contains the mystery of creation"; and in this sense "the musician is a medium through which the Nature is expressed". This makes Evoluzione Interiore an intense minimalist work where singing generates a universal and archetypical spiral of purity and candor that suggests the Pandit Pran Nath's lesson as well as dialogues in concept with the mutability flux of seminal works as Terry Riley's Persian Surgery Dervishes (1972), Peter Michael Hamel's The Voice of Silence (1973) and Nada (1977), or with research on the overtones as that of Roberto Laneri's Prima Materia. Includes liner notes with archival photos.
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LP
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BS 041LP
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Private press library recordings of the early '70s. Together with Florian Fricke and Peter Michael Hamel, Deuter is certainly mainly responsible for the fruitful encounters between European sensibility and Eastern aesthetics in the German music of the 1970s. Soundtrack was originally produced by Kuckuck in 1973 not for an official and public release, but as a "library" recording to be used for films, TV, and radio. As a library recording. it respects the canonical and typological structure of the genre with 26 short sonic fragments, sequences imagined and conceived like fulminating illuminations. There's still a solid electronic vocation that, however, has put aside the most disruptive effluvia of D (1971) of pure "kraut" ancestry. In fact, the album is more like an ideal passing bridge between some ritual instances of the previous Aum (1972) and the following successful phase of Deuter during the period when he stays in the Bhagwan Shree Rajneesh's ashram in Poona realizing, in parallel to a renewed inner life, masterpieces like Celebration (1976), Haleakala (1978), Ecstasy (1979), and Silence Is The Answer (1981). Musically speaking, Soundtrack presents itself as a heterogeneous work with nocturnal, cinematic, galactic and atmospheric-environmental implications. Electronics remains the predominant factor but can vary from mantra drones of more ceremonial and meditative "space-relax" tones of some tracks ("Triad", "Deep Sea", "Gothic Velvet", or "Evening") to the most amused formulations of pulsating analog synths that in the hands of Deuter become "toy-equipment" to modulate and explore ("Desert Rock", "Synth Effect", "Flea Dance", or "Laser"). There is no lack of acoustic moments more ethnically inspired with Arabian and Indian ("Reed", "Arabia") or devotionally solar themes ("Tom Bombaddils Dance"), evoking an air of diffuse peace then completely conquered in the beloved India.
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BS 043LP
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With Standing Waters Maurizio Abate recovers the discourse started with Loneliness Desire And Revenge (BS 027LP, 2016) but with a different narrative sensitivity. The symbolic air that you breathe suggests a personal and universal experience in which thoughts and perceptions remain as enveloped in an eternal cosmic wheel. It's a condition that flows sincerely into an emphatic introspection and identification between the stasis of an inner soul and the flowing vitality of stagnant aquatic landscapes. In this direction the music of Abate always condenses multiple ranges of different emotional spectra evoked by profound naturalistic references. The airy openings of the strings, the distant whispers of the harmonica, cascades of phrasings calmer or more torrential can lead into the magnificent climax of nostalgia. The string arrangement for violin and cello by Lucia Gasti introduces in a dimension of idyll, in elegiac passages of touching poetry almost of chamber music but at the same time wet by the pastoral and bucolic moods of autumn landscapes; they are paintings imbued with different flavors and colors that recall the light and the candor of the Venetian tones or the moving paintings full of meaning. In the darkest and saddest moments, the open chords are like suspensions of unresolved questions and torments, but the cathartic finale with a free and minimalist piano prelude to possible future glares, almost alludes to the idea that even where there's stasis the sun can still shine the hope for the new on the clearing of the pond. There remains the feeling with that stylistic "freedom of expression", dear to the visionaries Fahey and Basho, but there is also a clear interpretation of the expressive possibility of the lead guitar, absolutely lyrical and contemporary for refinement of the crystalline sound, which places this work in parallel with the basic acoustic tests of others great like Jim O'Rourke, Jack Rose, or James Blackshaw.
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BETBC 009LP
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Self-titled debut from Ice Baths. London-based Ice Baths take influence from cult heroes such as Swell Maps, Television Personalities, Devo, US Maple -- all restless energy and angled aggression. Lyrically there is a bleakness and darkness, though the band prefer the listener to reach their own conclusions as to lyrical themes. "They centre on feelings or imagery that can be dreary, dark, difficult and abstract. We deliberately pass the buck to the listener to pick out certain moods or feelings," explains the band, which consists of Alex Ives, Thomas Cleall, Ed Shellard, and Jack Davis. The production process was not simple nor was it smooth. The band had a very clear idea of how they wanted the record to sound and that included a long, pain-staking period where ideas were scrapped and reworked. "It was an absolute challenge, we were very picky about how to get the sound we wanted. It led us to mixing the record ourselves. We wanted the record unpolished and raw, hissy, trebly, bitty and a bit uncouth," says Alex. To achieve the desired effect, the album was recorded on a selection of different Tascam tape machines -- a move to retain the grittiness of early demos as well as the spike their live shows are known for. Ice Baths have been on the London circuit for a short while now, they're a notoriously tight live band but now they are ready to take the next step. 140 gram vinyl; Includes two art prints, lyric sheet, and download code. Recommended to fans of Swell Maps, Wire, Devo, Women, Faux Fur, Unblonde, Cold Pumas, Viet Cong, Pavement.
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12"
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BPC 335EP
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Paris club kid Maxime Iko joins BPitch Control with this four-track trip into the depths of his mind. Infused with acid licks and electro motifs, this is a scintillating debut from an artist who represents diversity and inclusiveness. Concilium EP starts with the frenetic "Achartade", a track which pulsates with eerie vibes. Following are two killer cuts: "Répulsion", where the main riff has a jaunty, arpeggiated rhythm and "Timeline's Wrong", a heads-down acid roller with vocal stabs and an absorbing atmosphere. The EP closes with the multi-tempo closer "Concilium", a demonstration of Maxime's penchant for playfulness and experimentation.
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LP
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BB 288LP
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LP version. Bureau B present a reissue of Tyndall's third album, Reflexionen, originally released in 1982. The third Tyndall album is less experimental than the electronic duo's previous work from 1981 Traumland (BB 287CD/LP). The songs, featuring vocoder vocals, are more clearly structured into verses and choruses, the arrangements more considered. Stylistically, Reflexionen is a mix of synth-pop and electronic krautrock, at times not a million miles away from the early works of Andreas Dorau. More so than on their preceding instrumental albums, Tyndall's Reflexionen held a mirror to the band members' personal situation and the prevalent mood of the period during which they made the record. First of all, the two musicians (Rudolf Langer, Jürgen Krehan) had relocated to West Berlin, an exclave in the GDR. Due to the fact that German military was forbidden by the Allied Powers in West Berlin, neither Krehan nor Langer had to do national service or its alternative, community service. Meanwhile, 1982 was the year when German-speaking pop and rock found its way into the charts alongside old-fashioned Schlager songs. Punk and new wave had done the groundwork a few years earlier, but the music of bands like Fehlfarben, Deutsch Amerikanische Freundschaft, or the Doraus Und Die Marinas were now ready to enter the mainstream under the banner of Neue Deutsche Welle. Music with German lyrics was flavor of the season. On a lot of tracks Jürgen Krehan sings in German on Reflexionen as well (using a vocoder). Reflexionen is a less experimental album than its predecessor Traumland. Due in no small measure to the vocoder vocals with verses and choruses, the tracks feel more clearly structured, the arrangements more considered. Bass octave, simple, breezy, dreamy harpsichord melody sprinkles, cheerful, carefree, sometimes enigmatic lyrics. The album closes with a series of eminently listenable instrumentals, which hint at the next stage of musical evolution which would ultimately reach its conclusion on the fourth and final Tyndall album.
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BB 289LP
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LP version. Bureau B present a reissue of Tyndall's Durch Die Zeiten, originally released in 1983. Having successfully released three albums, the Berlin-based electronic duo Tyndall fell out so badly with one another in 1983 that they ended up splitting the fourth album in two, taking a side each. Jürgen Krehan's half showcases his customarily nimble synth-pop, as well as several pieces influenced by classical music. Rudi Langer launches into celestial revelry on the other side, underpinned here and there by a driving beat. Nevertheless: both sides sound unmistakably like Tyndall. On Durch Die Zeiten Jürgen Krehan used a music computer for the first time, aided by a mysterious musician by the name of Yin Yang from Tokyo, according to the original credits, who apparently contributed computer programs and two tracks entitled "Barock" and "Klassik". Yin Yang may well be a pseudonym Krehan used, also surfacing on the rare and highly-prized cassette Flusswelt released on David Elliott's YHR Tapes label in 1983. As anticipated by the last tracks of the previous album, 1982's Reflexionen (BB 288CD/LP), the pieces here are structurally clearer, more developed, moving in a more classical direction, away from synth-pop. Rudolf Langer opens the B side with a track called "Kambrium". This geological era was ushered in by the "Cambrian explosion". He paints this "big bang" of animal life in almost religious, idyllic, fanciful tones, with roaring sounds and futuristic pitch sweeps. The next track, "Silur", references the Silurian period, characterized by massive tectonic activity which precipitated biological crises. Next up, the jovially marching "Karbon" may be Langer's vision of the indefatigable cycle of luxuriant vegetation as it sought to survive in the carbon deposits of this age. The LP finishes with a track dedicated to the Permian period. In retrospect, a certain conceptual rigor can be attributed to Tyndall's releases. A common thread runs through each album, allowing the tracks to unfold in sequence. On the one hand, the album borrows from classical notions, on the other, Langer's playfully impressionistic works. Durch Die Zeiten was the last record released by the Tyndall duo. Both musicians continued to make music, just not with each other. Rudolf Langer teamed up with Peter Preuß to found LAPRE. Jürgen Krehan released a number of new age albums as Nik Tyndall. This reissue marks the first CD issue of Durch Die Zeiten.
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12"
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BYR 006EP
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This release sees Roska dropping some new, serious fun, with the pad-tinged menace of "Windbreaker Riddim" and the Carnival-flavored "Warming", both of which are made for the dancefloor. Working across UK funky, house, and various, mutated strains of bass-heavy club music, Roska has earmarked himself as one of the UK's most accomplished underground exponents, and a Resident Advisor "Top 1000" global artist. Vinyl-only released; Edition of 500.
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12"
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COMP 510EP
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Two floor-filling house bombs by Compost's long-term house specialist Shahrokh Dini, backed with remixes by Karim Sahraoui and LoYoTo (Eva Be and Clé from Berlin). Purveyor to the house royals and regalness, Shahrokh Dini has had widespread support throughout his long career as a DJ and true house producer. He had releases on Strictly Rhythm in the late '90s and a boast of enviable releases on Compost Black Label. Shahrokh Dini is not only a house producer and DJ, he has been running clubs since the mid-90s.
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COMP 514EP
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Spanish maestro Pablo Fierro provides three tribal, driving tropical/Afrohouse-tunes, showing his amazing production skills. Tony Allen sending imaginary greetings. Tip-top Compost Black Label 12" from start to end: no filler, just killer. Pablo Fierro is a producer, musician, DJ, born and raised in the Canary Islands, Spain. Pablo is the founder of Vida Records, one of the prominent Global Club Music record labels.
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CD
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CURLE 061CD
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Efdemin, aka Phillip Sollmann, returns with a striking hybrid concept that merges the album format with the "continuous DJ mix" format, presenting completely new material in a seamless manner. This CD-mix, named Naïf, officially reinstates his label of the same name and is a sprawling tour of inner space featuring 19 distinct tracks from fellow producers (e.g. Margaret Dygas, Steve Bicknell, Jeroen Search, Pom Pom, Marco Shuttle, or Gunnar Haslam) along with an additional ten that feature Efdemin himself (either as soloist or collaborator). Naïf consists of completely unreleased/never-before-heard material from both himself and valued collaborators, all of which will eventually manifest as EP releases: two will be available on Curle Recordings, with an additional five on his own Naïf label. All of the individual contributions are combined here in a painstaking assembly process that took an entire year to complete, and the result is that the album flows with an almost paradoxical effortlessness from one style to the next. Besides the strong collection of tracks from well-known and undiscovered producers alike, it's Efdemin's own contributions that stand out. This becomes evident once the album opens with spectral, distant bells and homemade modular synth sounds leading into more unreleased Efdemin pieces, "Watte" and "Sirius", whose deep dub resonance will completely grab your attention. Later in the mix is electroacoustic textures of "Laveline", a collaboration with Konrad Sprenger. The standout composition on Naïf is Efdemin's infectious microtonal techno "Move Your Head" where Sollmann's voice hovers over distorted 808 patterns and immersive justly-tuned synth pads, pointing the way towards the formative, trailblazing influences that pre-dated techno: Silver Apples, This Heat and the drone aesthetic of Tony Conrad. A supporting cast of favorites turn in everything from blinding energy (Steve Bicknell's "Running Man"), to unrestrained ecstasy courtesy of Inland/Ed Davenport, to the overdriven lockstep groove of Cassegrain's Rhyw. Naïf is a release that will take several listens to fully explore, with each successive listen unearthing a new discovery. Also features Autolyse, Gürtler, WaWuWe, Kuf, Staffan Linzatti, DIN, Cassegrain, Pharaoh, Savas Pascalidis, Patrik Skoog Jinge, tobias., Nihad Tule, Aubrey, and Simone Gatto. Four-panel digipak; Includes download card.
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LP
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CREP 054LP
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Starting with an artist residency Tasos Stamou visited the Greek island over the course of three summers, collecting field recordings, performing with local musicians, producing electronic compositions and gathering old records and tapes of traditional music of the region. The project resulted in the assembling of a unique sound collage which reflects his personal experience as a music visitor to this part of the Mediterranean. Tasos Stamou is an electroacoustic music composer, performer, alternative music technologist, and tutor. During a decade of sound performances and recordings Tasos Stamou developed a unique style of live electroacoustic composition. Long and continuous pieces are created live using a "portable electroacoustic music studio". His gear consists of acoustic (prepared strings, reeds, objects) and electronic instruments (handmade electronics, modular synthesizer systems soft synths). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise. Artwork by Tasos Stamou. Mastered by Rashad Becker. Edition of 300.
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LP
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CREP 055LP
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Japanese artist Sugai Ken presents a kaleidoscopic radio play inspired by the traditional Japanese art of Mingei. In Sugai Ken's own words: "In recent years I have been researching old Japanese culture and customs in order to deepen my musical production. I am still excited to find that there are many untouched roots yet to be discovered which only motivates me to pursuit my research further. As I dig deeper, I'm always struck with the general idea that 'everything has its own ground', otherwise known as rigid ideas and concepts. Indeed, it is important to have a clear ground to explore things from. Especially as our times are overloaded with too much information, things which are spoon fed to us will always be short lived, so for me it becomes a case of those rigid ideas becoming less flexible. One of the many benefits of computer music is being able to separate it from history/traditions and allowing you to simply enjoy mixing sounds and concepts, regardless of its original meaning. By being free from 'having to' make sense we can make creation much more enjoyable. When I made this album I put my priority in freedom, rather than being stuck with those rigid ideas and concepts. This way I could really enjoy and get deep into the 'mixology' of it all. Like my other works, Japanese is always a fundamental motif and I envision it like an imaginary radio drama by adding spontaneous dialogs throughout. I will be happy if listeners pay attention to these (and other) details and enjoy listening to my work." Artwork by Evan Crankshaw. Mastered and cut by Rashad Becker. Edition of 500.
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2LP
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TILLE 001LP
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25 years of Distillery. That's a memory-laden, even historical event for underground and club culture. Or let's just say, culture in general. Getting into detail about the impact, this club had for the last quarter-century, would fill a couple pages, so let's just state the obvious real quick: Distillery has witnessed and co-determined socio-cultural change and progress in its past. Be it in its hometown Leipzig, basically building up the city's infrastructure for club culture over the years. Or be it on national or international scale. It carries a legacy of being one of the longest-serving and one of the most influential clubs in Germany. At the same time, it's focus always lies ahead, sensing trends, running a booking that intersects the big players with the up and coming of an underground electronic music scene. With the same spirit that supported DJ/producers on their way to international careers, it brings up new talent. It is this spirit in particular that now finally led into the idea of mirroring the club's philosophy within the agenda of a record label. And as catalogue number one, unfolding a whole new chapter in Tille history, this anniversary compilation right here already nails what Distillery Records will be about. A conjunction of familiar faces and newcomers. A playground for residents, affiliates, and just great artists that the label likes. You'll find "Thursday Noon", the opening synth-driven house-banger of young blood Napoleon Dynamite next to deep and spaced-out techno courtesy of Tille-resident Chris Manura. Lars Christian Müller's atmospheric trip "No Future" next to Leipzig-scene-honcho Filburt who hands in a stomping and steaming cut, tinged by electro-references. You'll find a joint venture by Daniel Stefanik and Mathias Kaden that progresses from Detroit leanings into an affectionate piano finale, bass heavy breaks by Monkey Maffia, acid-grounded dub techno by genre-heavy weight Joel Mull, a rather odd take on techno by Georg Bigalke, and the record's mightiest bounce in form of Héctor Oak's take-no-prisoners-approach to move a crowd as the conclusion of this compilation. A compilation that's evidently curated with an all-killer-no-filler-agenda and the overall sensible approach to manifest the unique Distillery vibe on two plates of vinyl. Includes download code with three digital-only bonus tracks from Matthias Tanzmann, Thomas Stieler, and Sven Tasnadi.
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