Techno/House

Techno/House2020-03-10T00:48:14+00:00
Matt Karmil “STS371”  (Smalltown Supersound)

Matt Karmil “STS371” (Smalltown Supersound)

Made primarily while on the road, the nine-track LP spans techno, electro, deep house and ambient. It’s Karmil’s second full-length on Smalltown Supersound, following 2018’s Will.

Describing his production process, the UK artist says, “I tended to record a little here and there when I could grab some time with my gear, and then do most of the arranging and choices while I was traveling about—until the end when I went to mix in one of my favourite studios, Cologne’s incredible The Brewery.”

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Container “Scramblers” (Alter)

Container “Scramblers” (Alter)

Ren Schofield’s work as Container has developed into a succession of complementary releases over the last decade. He’s released four aggressive noise-techno LPs, all simply titled LP with searing noise and grinding electronics providing grisly decorations for rigid, skeletal beats indebted to hardcore and minimal techno. While Schofield can wreck plenty of audio destruction, the rhythmic foundation beneath the chaos gives every track a throttling momentum.

Schofield’s latest album, Scramblers, offers some major and minor changes to his spartan formula, the most obvious being the release’s titular divorce from the LP series. On Scramblers, Schofield junks familiar elements while keeping the noise at a euphoric high. The eponymous first track opens as hardcore techno written for jackhammers and power drills before boiling over with an off-kilter synth arpeggio. “Mottle” sounds like it’s constantly on the verge of ripping itself apart, slowing, accelerating, and convulsing relentlessly. While “Queaser” deploys synths that feel ripped from an old video game sound-chip. When that song’s beat finally drops out, it opens space for a field-recorded collage of howling and hooting animals that seamlessly meshes with the following track’s industrial clangs. That transition is a perfect example of how skilled Schofield has become at sequencing his work, landing haymakers with something as subtle as a tracklisting. Container has always had a firm grasp on the nuances of both noise and dance music, but this album captures the thrill and fun of the hybrid in a way he’s never quite done before.

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Vatican Shadow “Opium Crop Airstrikes” (Hospital Productions)

Vatican Shadow “Opium Crop Airstrikes” (Hospital Productions)

Opium Crop Airstrikes is a Vatican Shadow EP with long-form industrial tracks in the style known from Jordanian Descent (2012). A portion of the proceeds go to AYOK civil society volunteer organization for earthquake relief in rural Mexico. Cassette comes in oversized package; includes fold-out poster.

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Flamingo Pier “Flamingo Pier” (Soundway)

Flamingo Pier “Flamingo Pier” (Soundway)

2020 repress. Following their self-released debut EP, Flamingo Pier (DJ residents Luke Walker, Dominic Jones, and Bradley Craig) have crafted four dance floor-worthy tracks influenced by the boogie, disco, Afro and classic house. Slick, rolling disco synths and punchy drum machines are woven in with Afro-centric percussion and dreamy vocal chants, for an exotic disco-boogie journey from start to finish. Early support for the EP is already coming from Bill Brewster, JD Twitch (Optimo) and Ray Mang. The EP is being released to coincide with the Flamingo Pier Festival in Waiheke, New Zealand.

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Yasuko Agawa “Lowdown” (Studio Mule)

Yasuko Agawa “Lowdown” (Studio Mule)

One of most popular jazz singers in Japan, Yasuko Agawa’s late ’80s release was originally released as a promo only. It’s finally reissued here on 12″ with remastering by Kuniyuki Takahashi. “Lowdown” is a house cover of Boz Scaggz. It’s a Japanese house classic. “You Bring The Sun Out” is a super mellow electric lovers rock.

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Moodymann “Mahogany Brown” (Peacefrog)

Moodymann “Mahogany Brown” (Peacefrog)

The debut Peacefrog album from Kenny Dixon Jr. aka Moodymann originally released in 1998 is an album of truly epic proportions, a must have for any and all collectors and lovers of house music. Utilising soul, funk, gospel, and even hip-hop production techniques and alternating from mellowed-out disco dubs like “Mahogany Brown” and “Stoneodenjoe” to more raw and dirty tech-house tracks like “Me and My People’s Eyes.” Mahogany Brown delivers a slice of Black American music that affirms Kenny’s reputation as a major influence on house music today.

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In The Dark (The Soul Of Detroit)

In The Dark (The Soul Of Detroit)

The incredible double pack ”In The Dark” with exclusive, unreleased tracks by Marcellus Pittman, Rick Wilhite, Delano Smith, Mike Huckaby, Keith Worthy, Malik Olston and others. All the artists involved in this project are essential creators and perpetuators of the musical heritage of the motor city.

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Albumsi

Albumsi

The year is 2019, and Jan Schulte is spelling out his vision in simple terms. Within the first few of Albumsi’s hour-plus runtime, our host lays out the mat, and welcomes us to the ‘Galaxy’, just as he welcomed us to ‘Zum Paradies’ on Instrumentalmusik von der Mitte der World. There, he donned a Wolf Müller mask. Here it is nom de doof, Bufiman. The directive is clear: buckle up, as this trip advisor for countless left-of-the-dial dancers and deep thinkers alike is back in the hot seat.

True to his word, the first thing that hits is the drums. Across the album are samples that Bufiman has been collecting since he was a mere Bufiboy. Recordings culled from market stalls 20+ years ago and song sketches that lay dormant since 2006 get a facelift at the Wolf Müller Flanger Studio and walk into the world as finished articles. A proggy tribute to funk classic ‘Blow Your Head’ takes this updating job most directly, transporting Fred Wesley & The J.B.’s to the fringes of a Frankfurt rave with a decanter of spiked punch, doin’ the worm through a space-time wormhole as they go.

Sometimes those drums jive away steadily, and sometimes they boom and bap right under your n

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Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89

Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89

Flashback to Chicago in 1985, when House Music was just being born.

A few kids – Matt Warren, Miguel Garcia and Ralphi Rosario, get together to join forces with the already established Sunset Mobile Disco – owned by brothers Alex and Robert Rojo – to create a new record label as an outlet for their productions.

In the following 4 years, Sunset Records Inc. released some of the most groundbreaking Chicago House records, mixing New Wave, Disco and Industrial influences with “beat tracks” and a huge amount of talent expertly scouted by Matt Warren & Miguel Garcia.

While largely remaining in the shadows of larger labels like Trax and Dj International, the metamorphosis of Sunset Mobile Disco into Sunset Records Inc. perfectly illustrates the wide range of influences that gave Chicago’s dance scene its unique sound.

Jerome Derradji is proud to present the definitive story – written by Jacob Arnold – of one of Chicago’s House Music best kept secret in a superb gatefold DLP and a DCD compilation that includes remastered, rare and unreleased tracks from the Sunset Records Inc. label along with lost pictures and artifacts spread in a gatefold DLP and in a 23 page booklet (DCD only).

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Voodoo Of the Godsent

Voodoo Of the Godsent

2011 album available on vinyl for the first time. Master percussionist Bonjo Iyabinghi Noah joins forces once again with dubmaster Adrian Sherwood at the controls and a whole host of guest musicians, including contributions from dancehall pioneer Jazzwad and electronics from Adamski.

All the elements of a classic African Head Charge album are present: spaced out dub, tribal chants, ecstatic trance, but updated with a rugged sound system undercarriage. Arguably some of the hardest hitting AHC rhythms laid down in the studio to date.

Part of an extensive reissue campaign that sees all of African Head Charge’s 1990 – 2011 work presented in lovingly put together new editions, a companion to the reissue of the band’s early work that On-U Sound undertook in 2016.

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In Pursuit of Shashamane Land

In Pursuit of Shashamane Land

Originally issued in 1993 and the last African Head Charge album on On-U Sound for 12 years, released at the height of the band’s popularity as a staple of live music festivals. Continuing the skillful fusion of styles they had explored on Songs Of Praise, this album added elements of trance and electronica to their trademark percussion-heavy sound.

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Various Artists “Bubble Chamber” (Gentrified Underground)

Various Artists “Bubble Chamber” (Gentrified Underground)

Gentrified Underground presents an interdisciplinary project tackling the sonic fiction and Afrofuturism of Drexciya. Thought as an extension to the Bubble Chamber exhibition happening at Mikro & UP STATE Zürich, Gentrified Underground releases a 2×12″ vinyl compilation and a booklet with contributions by Abdul Qadim Haqq, Charlie Mills, chukwumaa, Dominiqueh White, Gentrified Underground, Maïté Chéniere, and tracks by Xor Gate (Gerald Donald), Shawescape Renegade, DJ Dijital, Plant43, The Exaltics, Kuldaboli, Iko, Tom Ware, Luz1e, and Sansibar. The goal of this compilation is to showcase the reach and influence which Drexciya had on generations of electronic music producers while linking them together with compositional predecessors from the early ’80s. The musical timeline of the compilation starts from 1982 and reaches its contemporary end in 2019. The 56-page booklet contains unseen and unreleased Drexciyan drafts by Abdul Qadim Haqq, an interview between him and GU, contemporary art contributions by chukwumaa, Dominiqueh White, and Maïté Chéniere, and an academic essay by Charlie Mills. 56-page fanzine booklet; cover by Abdul Qadim Haqq.

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Subtle Houzze “Controversy” (Running Back Double Copy)

Subtle Houzze “Controversy” (Running Back Double Copy)

Subtle Houzze were Boris Dlugosch and the late Gary D. The joint venture of Hamburg’s golden boy and Front resident Dlugosch and his Unit/Tunnel counterpart Gary D was like a moment in love. Written and produced in 1992, it cast the grappling statues of techno soul and deep house in bronze. Save for two tracks of the original release, albeit graced with another and previously unavailable mix of “Hemisphere”, all the glory of the future of the past is available again. Remastered, restored and reconfigured via the Running Back Double Copy series. If you need more proof, see this quote from Discogs user guigui612 from September 26, 2019: “Super good EP. Very diverse, full of deepness and emotions.”

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African Head Charge “Songs Of Praise” (On-U Sounds)

African Head Charge “Songs Of Praise” (On-U Sounds)

Considered by most fans to be AHC’s masterpiece. One of the prominent elements throughout African Head Charge’s discography has been the ethnomusicology influence. On Songs Of Praise this is even more pronounced, featuring religious chants set to an African dub backdrop of hand percussion, with a mighty sonic and great musicianship. A significant record both for African Head Charge and On-U Sound, originally released in 1990.
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African Head Charge ‎”Churchical Chant Of The Iyabinghi” (On-U Sound)

African Head Charge ‎”Churchical Chant Of The Iyabinghi” (On-U Sound)

A unique album of outtakes from the classic Songs Of Praise and In Pursuit Of Shashamane Land albums, compiled by On-U archivist Patrick Dokter from the original tapes and expertly sequenced to work as an immersive listening experience. A companion piece to the acclaimed Return Of The Crocodile set from 2016 that took the listener on a version excursion through the early years of the group.

These are the dubbier and more out-there experiments mixed down whilst Adrian Sherwood was shaping the sound of the albums. Bubbling percussion lines skitter across the stereo spectrum, ghostly voices echo inside the machine and mangled guitar riffs beam down from Mars, whilst staying rooted in the tough tribal rhythms that form the bedrock of the AHC sound, this is music for the head and feet, take heed!

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Grant “Fantasy Blues” (Lobster Theremin)

Grant “Fantasy Blues” (Lobster Theremin)

US Born, Marseille based house producer and DJ, Grant returns to Lobster Theremin, with a 9 track album brimming with warm, melodic, deep house cuts. Fantasy Blues drops November 29th via Lobster Theremin.

Opener, Ephemeral Chase signals a cosmic journey, driven with four to the floor motive. Mind Space is spaced out, modern deep-house at it’s best. On the flip, Zarenzeit joins Grant on Amaranthine Profundity, while Finite Elements chugs into an ethereal, vocal cut. Manifest picks up the pace, note a welcome homage to London town. Previous collaborator, Dan Piu features on stripped-back roller, Boundless. Joining forces on Invisible Skills, Brooklyn based composer Emil Abramyan injects otherworldly influences to the album, followed by Melancholic wiggler, Lucent Eyes. The Road In Front Of Me rounds out the release on soulful, classic tip, with velvet vocals courtesy of Jenifa Mayanja. Blissful.

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Roger Gerressen “Heading In A Backwards Direction” (Yoyaku)

Roger Gerressen “Heading In A Backwards Direction” (Yoyaku)

After MONOAWARE on Sush031 comes here the long awaited new album from Roger Gerressen

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Benjamin Brunn “Untitled” (Blundar)

Benjamin Brunn “Untitled” (Blundar)

11th Solo Album by Benjamin Brunn, pressed on 180 G Heavyweight Vinyl
After Lowtec, Alex Cortex, STL and iridescence; Swedish label ‘blundar’ presents Benjamin Brunn 11th solo album, 20 years after his debut.
BLUNDAR7 comes as a 10 tracks / 38 minutes long-player, coloured cover on a 180g black vinyl. Artwork by ‘mutantexture’

Brunn wrote and produced all tracks between 2017 and 2018; In contrast to most releases that were limited to one or two synthesisers, this time a whole array of instruments was used: tELHARMONIC, Music Thing Modular Chord Organ, Doepfer A-111-3V Precision VCO, 4ms STS, Yamaha DX7, Clavia Nord Modular G1 & G2. The long-player comes after a collaborative album with Dave Wheels out on Sushitech early this year, and will be followed by one together with Move D, via Smallville in 2020.

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Grit/Stojche “Genocide” (Grounded In Humanity)

Grit/Stojche “Genocide” (Grounded In Humanity)

As we approach the very last installment of the story, the greatest, final and cruelest battle between humankind and the clones is fought, just after the resistance is discovered hiding out in their underground lair. The humans were overwhelmed in numbers and outclassed in technology so the struggle was soon stifled and every rebel was brutally slaughtered until no one, but the captain, remained standing. Literally the last man on Earth burst into tears as he realized his species had been extinguished for good and he couldn t do anything to eschew it, while he was contemplating the obliterated battleground. That is even more painful than his own imminent death. He doubts for a split second, he pulls his gun from the belt and he says to himself while pushing the trigger.

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Octal Industries “Our Seasons” (Vertex)

Octal Industries “Our Seasons” (Vertex)

After a couple of meetings between Jamie (Exalt Records) and (Andy Verdant Recordings) bosses, the idea of a label collaboration seemed a natural progression for both imprints and ‘Vertex’ was spawned. To honour their common love of music that have depth, width and atmosphere, approaching Gudmundsson for material to kickstart their new venture was an easy choice for both involved.

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Huerta ” Junipero” (Voyage)

Huerta ” Junipero” (Voyage)

Huerta’s debut album for Voyage is a righteous journey along the coast of California; a psychosomatic blend of melodic rhythm, natural sounds and ambient textures.

Recorded throughout 2019, Huerta combines a blissful wash of west coast inspired ambient with the more affable, rhythmic house cuts he has been previously known for. Drawing on the surrounding landscapes of his upbringing, Huerta’s ode to the Juniper tree is an immersive and introspective experience; a long player capable of taking you to an elevated state of mind.

Composed, arranged and recorded by Steve Huerta at Diesel Studios Berlin, 2019

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Derrick May “Innovator – Soundtrack For The Tenth Planet” (Network)

Derrick May “Innovator – Soundtrack For The Tenth Planet” (Network)

When Network Records originally issued “Innovator” in 1991 we knew that the music contained within was timeless. At that time, of course, we had no grasp of how well Derrick’s epic soundscapes would time travel. We christened the collection – “Soundtrack For The Tenth Planet” – because it seemed like the music (and Derrick) had indeed arrived from another world.

The release has been acclaimed as iconic because Derrick, the madcap and maverick philosopher of Detroit Techno, introduced the concept of dance music with a musical and emotional agenda way beyond anything that had come before. Beats with beauty. Literally the strings of life. Where fellow musical geniuses Chic had previously urged everybody to simply “Dance, Dance, Dance” mood alchemist Mayday merged simple yet cerebral dreamscapes with strange and urgent complex dance rhythms and invited us all to Dance And Dream. And in a strange juxtaposed way helped birth the hedonistic Acid House scene with classics “Nude Photo” and “Strings Of Life”

The energy is frenetic, but merged with a new age ambience. The gems collected on this offering were iconic in 1991, now they cause mass hysteria when Derrick turns his one time musical experiments, created in a tiny room in Detroit, and turns them into epic concerts with orchestras and musicians across the globe. “Hand In Hand” existed in 1991 and we wanted to release it then, but it’s taken until now for the complete 13 minute recording to finally meet the world.
It will be revered, because like all of Derrick May’s music it is life affirming. Emotions Electric indeed.

The original “Innovator” release was housed on one single slab of wax. This time around we have expanded it to two discs to make space for “Hand Over Hand” and also so everything elsewhere – masterpieces remastered – can be presented in a complete and superior fashion. Whatever the tweaks, changes and updates etc all these years on, this music still sounds gloriously alien and groundbreaking. But there’s still no Tenth Planet.

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Rrose & Silent Servant “Air Textures Vol. VII” (Air Texture)

Rrose & Silent Servant “Air Textures Vol. VII” (Air Texture)

Double LP version. Rrose and Silent Servant team up to select for the ongoing leftfield compilation series, Air Texture. Featuring unreleased tracks from underground talent including Anthony Child (Surgeon), Ron Morelli, Laurel Halo, Octo Octa, Phase Fatale, Function, as well as Rrose and Silent Servant and legends like Charlemagne Palestine. Also included on double-CD and double-LP versions: James Fei, Not Waving, Luke Slater, and June and An-i, and Laetitia Sonami.

Derek Carr “Warm Machines” (Trident)

Derek Carr “Warm Machines” (Trident)

Derek Carr re-issues his highly sought after Warm Machines EP on his own label Trident Recordings. Four smooth, warm and uplifitng Detroit rooted House tracks in Derek’s singular style.

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Sarita Colonia

Sarita Colonia

New EP from Sofia Kourtesis on Studio Barnhus, following up her instant hit debut from early 2019. Four mind-expanding dancefloor bombs chock-full of intricate rhythms and next-level sampling wizardry. “Sofia Kourtesis makes house music that skirts convention and renounces rote functionality without ever forgetting that its purpose is to make people move” 

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The Orion Years

The Orion Years

AGE’s The Orion Years finally reissued to celebrate his 25th anniversary, originally released on Mille Plateaux in 1994. Hybride Sentimento invites Thomas P. Heckmann with one of his most prolific projects: an ode to ’60s German sci-fi TV series: Raumpatrouille Orion. A classic spacy and deeply electronic album by Thomas P. Heckmann. New artwork; includes two bonus tracks.

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Sound Trek

Sound Trek

Trading Places present a reissue of Emerald Web’s Sound Trek, originally released in 1980. Pioneering space music duo Emerald Web, comprised of Bob Stohl and soulmate Kat Epple, made some of the most ethereal, divine, and healing sounds between 1979 and 1990. Crafting their debut album in a haunted mansion in northwest Connecticut, their second disc was created in a small log cabin. A subsequent move to the San Francisco Bay Area brought an extended stay at an Indonesian martial arts ashram, which led to the Valley of the Birds, a remote avian haven in which the duo produced Sound Trek, an incredible space rock long-player drawing on their immersion in fantasy realms, sci-fi, martial arts, and UFOs. Created mostly with monophonic synths and an Oberheim DS-2 sequencer, it also features Shakahachi flutes, electronic flutes, and more standard acoustic instruments. Licensed by Kat Epple.

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Hepatopolitika

Hepatopolitika

Japanese sound artist Kimihide Kusafuka, better known as K2, originally came onto the scene in 1981, in order to explore the possibility of noise. The activities at that time were only the creation of cassette works and actions in the world of mail art with no live performance. A few years later, he suspended his music activities to concentrate on his studies and returned in 1993 after having just graduated as a pathologist. K2 perceives no alteration between the act of making noise and the act of science and he practices a kind of alchemy through his noise. Hepatopolitika, an ultra-rare work released in 1994 on transparent vinyl by German label Praxis Dr. Bearmann in only 125 numbered copies, represents in an exemplary way the idea just expressed. He sets one’s sights of metamorphosize himself with both the awareness he gets from his scientific experiments and the emotional strength he obtains from performing and listening to noise. The work is essentially a cut-ups noise oriented in its most exhausting form and in its rawest form. The sound is exceptionally lo-fi; the actual aggression of sound deconstruction in both sides leaves you astonished and consists in amazing assemblage of crashing, creaking, and scraping sounds made with pieces of junk metal plus concrete music and voice, edited in a jarring, unpredictable style. 140 gram black vinyl; black inner sleeve in a deluxe black cardboard sleeve with logo in silver silk screen plus obi that include art collage from original vinyl label; Edition of 199.

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Sofia Kourtesis “Sarita Colonia” (Studio Barnhus)

Sofia Kourtesis “Sarita Colonia” (Studio Barnhus)

New EP from Sofia Kourtesis on Studio Barnhus, following up her instant hit debut from early 2019. Four mind-expanding dancefloor bombs chock-full of intricate rhythms and next-level sampling wizardry. “Sofia Kourtesis makes house music that skirts convention and renounces rote functionality without ever forgetting that its purpose is to make people move” 

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Age “The Orion Years” (Hybride Sentimento)

Age “The Orion Years” (Hybride Sentimento)

AGE’s The Orion Years finally reissued to celebrate his 25th anniversary, originally released on Mille Plateaux in 1994. Hybride Sentimento invites Thomas P. Heckmann with one of his most prolific projects: an ode to ’60s German sci-fi TV series: Raumpatrouille Orion. A classic spacy and deeply electronic album by Thomas P. Heckmann. New artwork; includes two bonus tracks.

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Deee-Lite “Infinity Within” (Get On Down)

Deee-Lite “Infinity Within” (Get On Down)

Never Before Reissued On Vinyl! After the smash success of Deee-lite’s debut record World Clique, and their now-iconic dance club hit Groove Is In The Heart, anticipation was high for a follow-up from the New York-based dance music trio of vocalist Miss Lady Kier, and producers DJ Towa Tei and Super DJ Dmitri. For their sophomore record Infinity Within, Deee-Lite opted to venture in a different direction of sorts. The club-embracing disco-funk sounds and groovy vibes of World Clique were ever present,but while that record contained themes of global togetherness, Infinity Within took a more socially aware route, with politically charged themes of environmentalism, (To show their bonafidese, Infinity Within was one of the first titles to be issued in an ecologically friendly Eco-pak.) sexual liberation, voting rights, and critique of the juidicial system. Taking major inspiration from the ancient Chinese divination text I Ching, Miss Lady Kier would later explain that Infinity Within was a natural progression for the group, not a departure.

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Deee-Lite ‎”World Clique” (Get On Down)

Deee-Lite ‎”World Clique” (Get On Down)

Sometimes a single is released that reaches such dizzying heights of success that it becomes a pinnacle of the decade they’re indelibly tied to. Groove Is In The Heart by dance-house trio Deee-Lite is one such single. The infectiously quirky, and eminently danceable track is prominently based around samples of Bring Down The Birds by Herbie Hancock, and Get Up by Vernon Burch, among many others, (Courtesy of dual producers DJs Dmitry and Towa Tei) paired with top-tier guest contributions from JB’s veterans Maceo Parker and Fred Wesley, background vocals from Parliament-Funkadelic’s own Bootsy Collins, and even a guest rap from Q-Tip, not to mention frontwoman Lady Miss Kier’s own siren-like vocals. All disparate and disconnected elements, but ones that would come together to form dancehall greatness, and chart-topping success worldwide for Deee-Lite. Groove Is In The Heart managed to reach #4 on the Billboard Hot 100 chart, but excelled at its best on the Hot Dance Club Play chart, where it reached to the #1 spot. On top of its success in America it was a smash internationally, climbing the heights of the charts in the UK, Canada, Australia, and a vareity of other countries. It remained in heavy rotation for much of 1990 on MTV as well. As the decades went on, Groove Is In The Heart would be ranked among the greatest dance tracks of all time, as well as one of the greatest songs of the 1990s by VH1, Pitchfork, Buzzfeed, and many more. Groove Is In The Heart was a potent single for Deee-Lite to lead with, but the album bearing it was nothing to slouch at either. The group’s debut record, 1990’s World Clique was released to major commercial and critical success, owing just as much to its addictive hybrid of seductive retro aesthetics, modern dancefloor flair, and esoteric, socially conscious messaging, on the back of celebratory club staples like Power Of Love, Good Beat, E.S.P., and of course Groove Is In The Heart. World Clique would reach top 20 charts in the US, UK, and Canada in sales, as well as earn rave reviews from NME, Chicago Sun-Times, Rolling Stone, and Slant Magazine, who called it an “essential pop album.”

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Andras “Joyful” (Beats In Space)

Andras “Joyful” (Beats In Space)

Andras’ Joyful is a cornucopic vision rooted in the decay of dance music from one of Australia’s most distinct yet understated voices. Cutting a path through an overgrowth of nostalgia around 70s acid folk and 90s acid house, Joyful is an invitation to till a n old garden in a glistening new light.

A thirteen year old Andrew Wilson sits in the back of his parents’ sedan, driving down the coast from Melbourne. Headphones covering his awkwardly aged ears and connected to a jam-packed mp3 player, he experiences an intense synchronicity when the car careens over a mountain crest in the Otway Ranges right as the track in his ears peaks. A momentary vision of a “first rave rush,” in which Australia’s lauded party history dances tellingly with this dreamer’s destiny.

Not so much later but perhaps more worldly and certainly more aware, Wilson returns home from touring, now a “veteran” of the dance world, to realize a different synchronicity in his record collection. Finding Ian Van Dahl nestled next to John Fahey, William Orbit spine-to-spine with Shira Small, the harmony between folk music of the early 70s and dance music from the 90s becomes perfectly audible in unimaginable ways.

Through an afterglow from both summers of love seeped in shared sonic soil, on Joyful, Wilson cultivates melodic drama and tenderness, memorable hooks and rapturous arpeggios; sentimental strings summon both joyful aspirations and the shadows of faded dreams. Using folk songs as fodder—lyrics, samples, note progressions—each entry of Wilson’s debut album under his Andras moniker is a return to a different springtime of the mind.

Many artists working in Australia can relate to the feeling of “not quite being there,” as Wilson describes it. Always a couple years behind trend. Turning up at the party as it’s winding down. Fearing that in many ways the culture is looking backwards, confirming the narrow outlook of a parochialism that many have worked tirelessly to disprove. Using this disconnect as an invitation to dream another dream, Joyful becomes the soundtrack of early teen Andrew’s fantasy of Utopic parties past, specifically the late discovery of a bygone warehouse rave scene, as well as a return to a guileless chapter of personal history as heard through plain, sane, and simple folk melodies. Joyful is a homecoming, a testament to the evolving euphoria of a flower garden rooted in earth’s tender rot, of birds and bees flying free but not without a changing landscape in sight.

On behalf of Andras, a portion of proceeds from this release will benefit the Invasive Species Council on the recommendation of Tim Low, author of the book Feral Future and Where Song Began.

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Original Soundtrack “Maniac” (Waxwork)

Original Soundtrack “Maniac” (Waxwork)

Waxwork Records is proud to present MANIAC Original Netflix Series Soundtrack by Dan Romer. Starring Jonah Hill and Emma Stone, MANIAC is a 2018 psychological dark sci-fi series that follows two strangers who connect during a mind-bending pharmaceutical trial.

The soundtrack by Oscar nominated composer Dan Romer is an orchestral and electronic hybrid with incredible production and diverging sounds. Playful electronics alternate between fast moving and ambient synth work. Chasing percussion transitions seamlessly with dramatic, lush strings. The soundtrack to MANIAC is a textural playground that caters to any listener. Like the series, the soundtrack is cerebral, emotionally provoking, and hypnotic.

Waxwork Records had the pleasure of creating a deluxe 2xLP soundtrack package to MANIAC featuring 180 gram neon yellow and pink vinyl, old style gatefold jackets with overall UV gloss coating, printed inserts, and design by Aesthetic Apparatus.

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Pauline Oliveros “Deep Listening” (Important)

Pauline Oliveros “Deep Listening” (Important)

To celebrate the 30th anniversary of Deep Listening, Important Records offer a definitive double-LP combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band’s 1991 album, The Ready Made Boomerang. Recorded in a cistern, this double-LP reverberates with brilliant sonic clarity and masterfully improvised performances combining live electronics, vocals, trombone. and accordion. Deep Listening is a classic in the fields of improvisation, minimalism, ambient/drone, and modern classical. Listen with attentiveness, listen while lying down, listen with headphones — as recording engineer Al Swanson entices the listener to become a virtual performer in selecting the many different ways to perceive these phenomenal tracks. Whatever you do, listen deeply. Packaged in a gatefold sleeve with original and updated recollections from the performers, the engineer, and a mesostic from John Cage, to whom these recordings are inextricably linked.

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Peter Davison ‎”Music On The Way” (Fact Of Being)

Peter Davison ‎”Music On The Way” (Fact Of Being)

‘Music On The Way’ was the Peter Davison’s debut in 1980 and has not been reissued since its initial release. A mesmerising ambient recording with just a touch of early new-age music in its finest incarnation. An absolute classic in the spirit of Iasos, Brian Eno, Jon Hassell and Michael Stearns. The outstanding mastering works have been prepared by Grammy-nominated Jessica Thompson which guarantees an immersive deep sound experience and an unforgettable journey inwards.

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Mura Masa “R Y C” (Polydor)

Mura Masa “R Y C” (Polydor)

Mura Masa releases his much-anticipated second album, R.Y.C (Raw Youth Collage). Guests including Clairo, slowthai, Tirzah, Georgia, Ellie Rowsell from Wolf Alice (and Alex himself stepping out as lead-vocalist).

R.Y.C (or ‘Raw Youth Collage’) is an ambitious and exciting left-turn from an artist and producer whose ability to always surprise is matched only by his remarkably consistent, singular vision. Breathing new life into – amongst other things – New Wave, Emo, Folk and 90s Rave – tracks like No Hope Generation reinvent Mura Masa’s sound whilst also paying tribute to the alternative roots which shaped him when he first became a genuine musical outsider, growing up in the remote island of Guernsey. And it’s this fondness for the music of adolescence – reworked in thoroughly modern, bedroom-pop fashion – that became an analogue for the theme of the album as a whole…

Spiritually, R.Y.C (Raw Youth Collage) addresses a generational addiction to nostalgia, and its uses (and limits) as means of coping with the difficulties of the present. Influenced by ideas around Hauntology, it explores the irony that in times of increased urbanisation and digitisation, somehow it’s never been easier to feel lonely. For Mura Masa, it’s only once we accept nostalgia as a permanent fixture – a fact seemingly embodied by the cyclical phases in which different subcultures, political movements, fashion trends, even musical genres wax and wane – that we can start to learn from it. Why do we keep going back? How reliable is memory? And if your youth – and its assorted musical scenes – will always appear rose-tinted in the rear-view, then perhaps your present is there for the taking, after all.

Despite the odds, Mura Masa’s endless desire to learn and push himself further has led to where he finds himself on R.Y.C (Raw Youth Collage): an artist able to channel those highs and lows of youth culture, and use it to expand what pop music should sound like today. It’s an album that strikes on the zeitgeist of his generation precisely by understanding the road that took us to this point. Even when interrogating the past, Mura Masa sounds like the future.

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Trent Reznor & Atticus Ross “Bird Box” (Null Corporation)

Trent Reznor & Atticus Ross “Bird Box” (Null Corporation)

Nine Inch Nails’ Trent Reznor and Atticus Ross continue their prolific scoring career, this time for Netflix’s psychological action thriller Bird Box.

The latest in a series of films that focus on sensory deprivation (see also: A Quiet Place and Altered States), the film has become a full viral sensation, with 26 million viewers streaming the title within its first seven days on the platform reports Nielson.

As Reznor and Ross have explained on their website, the 66-minute album is labelled as the “abridged” version of the score:

“We created a significant amount of music and conceptual sound for Bird Box, a lot of which never made it to your ears in the final version of the film. We’ve decided to present you with this version of the soundtrack record that represents what Bird Box is to us. We hope you enjoy.

Pender Street Steppers “Our Time” (Mood Hut)

Pender Street Steppers “Our Time” (Mood Hut)

Pender Street Steppers Productions (PSSP) proudly presents a sweet new double single. Please enjoy and thanks for everything.
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Move D & Benjamin Brunn “Let’s Call It A Day” (Smallville)

Move D & Benjamin Brunn “Let’s Call It A Day” (Smallville)

Can music be classic and contemporary at the same time? Can it contain a secret genetic code in which the summary of the past, the present pulse, and the future view are hidden? Be ahead of its time and not lose relevance along the way? Let’s Call It A Day, the first album collaboration of German authors Move D (David Moufang) and Benjamin Brunn, proves it is not only possible hypothetically, but can also live amongst us. First appearing on a CD via Bine Music in 2006, it is now remastered here by Calyx and on vinyl for the first time ever. This is a complete piece built from seven sections, each one is a microcosm of unique textures, depth, ambience, emotions, programming, looping, and melodic rules; together they are a homogenous creation, a symphony that culminate in dance music experiencing elevation. Let’s Call It A Day, which in a way is the big brother of Songs From The Beehive (SMALL 001CD/LP) — their exhilarating installment for Smallville from 2008 — is an album above the Zeitgeist. The way Moufang and Brunn fuse different genres together without committing to any musical doctrine, makes them appear prophetic. However, it is in no sense a retrospect feeling; even at the time it was clear that the perceptions, experience, vision, and delicacy of this album were outstanding. Every element here, every frequency, rhythm, turnaround or keyboard tapping, is the material from which masterpieces are made of. From the opening meditative, ever-evolving loops of “On The Magic Bus” to the abstract drones of “Grains” with its almost nonexistent bass drum — like it was aimed to hit the ambient-house craze; through the mesmerizing dubbiness of “A”, which sounds like a rave ending in an echo chamber and the constant micro-movement of the arpeggios in the title track; “Ω”, which sounds like a soundtrack for a sinking submarine footage and the ambient downbeat of “C-Sick”, which melts your heart from within; and finally the closer — the fragile and elegant beauty of “Magnetically Leviated Train”. More than 76 minutes of diving constantly deeper and deeper. This new remastered version will feature a brand new and extra glossy Stefan Marx gatefold cover, that will give the perfect visual expression of the album’s timeless music. And If there was ever a downside to Let’s Call It A Day, it would be its lack of a vinyl edition. Well, this is exactly what’s being sorted out now, isn’t it? Gatefold cover.

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