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12"
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MUSIQ 228EP
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The debut release of German deep houser youANDme on Mule Musiq. Title track "Belong", with African diva black soda is reminiscent of old King Britt's Obafunke. "Unbound" is atmospheric deep house for fans of Lawrence or Levon Vincent.
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MUSIQ 218LP
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Is Watarase the best jazz record from Japan, as the French-born Gilles Peterson once assumed? Or is it maybe the best jazz record of all jazz records? Everyone can decide for themselves and listen to Watarase, the second solo piano album of the Japanese pianist Fumio Itabashi, originally released in 1982. Tokyo-based Mule Musiq have unearthed it, re-mastered the original recordings and brought it back to the world in order to seduce all music lovers that embrace notes which come straight from the heart and soul. Any sensible listener finds the instrumental piano pieces are somehow soulfully connected to what Keith Jarrett plays on his legendary Köln Concert (1975). Like Jarrett, Itabashi does not play his notes academically. He lets them fly, gives them some kind a life of their own, hits the piano keys deeply emotionally and injects his into compositions and interpretations a kind of nervous human soul. In terms of style, some call his Watarase recordings post-bop, others contemporary jazz. It is all, however, just that kind of agitating jazz that melts spirituality with humanity. Three tunes, the epic "Someday My Prince Will Come" as well as "Msunduza" and "I Can't Get Started", are interpretations, respectively, of compositions by Frank Churchill, Dollar Brand, and Vernon Duke. The other four compositions were written and by Itabashi, who started to play the piano when he was eight years old. While studying at Tokyo-based Kunitachi College Of Music, he fell in love with jazz. In the 1970's, he worked with such musicians like trumpet player Terumasa Hino, drummer Takeo Moriyama, and saxophonist Sadao Watanabe. Today Itabashi is still a vital part of Japanese jazz culture as a performer and composer. Those who want to see how he makes love with his piano should check the Internet for the French documentary Jazzed Out (2010), that captured his unique way of playing in one episode. But as music is always firstly for the ears, and not the eyes, one had to be directed to play the Watarase recordings loud, to get hooked by the highly infectious piano gems that have been recorded at Nippon Columbia 1st studio in Tokyo on 12th and 13th of October 1981. They will force one to become a good friend with the repeat button, in whatever medium one chooses to surrender to the music of Fumio Itabashi.
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12"
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MUSIQ 229EP
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Mule Musiq announce The Call Super Mixes, Call Super's remix package for our main artist Kuniyuki. In the works for some time, here are first class tunes.
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12"
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MUSIQ 227EP
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Petre Inspirescu is back. His dance single is almost four years since the last one. Two first class minimalistic house tracks.
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12"
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MUSIQ 226EP
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Mule Musiq are proud Frankey & Sandrino are back. This duo delivers two first-class hypnotic dancefloor weapons. Unnecessary to say bla bla bla...
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12"
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MUSIQ 225EP
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The debut release on Mule Musiq by Italian DJ and producer Toto Chiavetta. Toto has been releasing eclectic house music from mighty Innervisions and Yoruba Records over the last few years. Magnus EP starts with the floor-killer, tropical tech house track "Higher Than A Bird". On the B side is "Magnus" and "First Day Without Her", more dark techno for the big rooms, but you can still hear some musical elements.
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12"
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MUSIQ 224EP
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The first collaboration of Kuniyuki and Japanese legendary jazz pianist Fumio Itabashi, originally released in 2009, recorded for Kuniyuki's third album Walking In The Naked City. Kuniyuki and Itabashi invited Henrik Schwarz as vocalist, you might remember Henrik and Kuniyuki's house version. Itabashi said "River" is one of the best songs he has produced. Finally available on vinyl!
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MUSIQ 223LP
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Mule Musiq present the first vinyl reissue of Fumio Itabashi's Nature, originally released in 1979. The legendary Japanese jazz pianist's first solo record ever, Nature was recorded at Nippon Columbia's first studio in Tokyo from March 13-15 in the year of its release. It features Itabashi making feverish love with the piano and he shares the studio with the great bass players Hideaki Mochizuki and Koichi Yamazaki, drummers Kenichi Kameyama and Ryojiro Furusawa, soprano saxophonist Yoshio Otomo, and vibraphone wizard Hiroshi Hatsuyama. They all joined him to perform his very own songs, composed by Itabashi himself and produced by Ryonosuke Honmura, who also produced Japanese jazz heroes, like saxophonist Keizo Inoue, during his career. Nature is fresh, propulsive, twitchy, and melodious from the first to the last tone. Sometimes the instrumentalists play a classic solo in an overall deep modal jazz atmosphere that seems to be made for cats that love the good old stars and inventors -- from John Coltrane to Miles Davis, from Thelonious Monk to Art Blakey. Nature also shows how deep Itabashi studied the history of the genre, while keeping his very own vision of jazz alive. The man that made his professional debut as a member of the Sadao Watanabe Quintet in 1971 and who was also a member of the Elvin Jones Jazz Machine world tour from 1985-1987, plays the piano in all tempos, from a nervous high-flying quickness to a deep blues-style slow. Besides the traditional jazz flavors, you get a feeling of mind-expanding spiritual jazz, that grand masters like Pharaoh Sanders or Gary Bartz, turned into a sacred music genre. A master-class record in ravishing big city jazz music, adventurous, sometimes meditative, sometimes faster than the speed of light, always grooving with a bright, pure-toned sensibility and deeply soulful melodic imaginations. It extends the jazz history with a fine balance between tradition and innovation. And it stays infectious all the time while sounding surprisingly fresh due to a lot of thrilling musical spontaneity that touches profoundly even though all notes have been written down by Itabashi before he and his combatants entered the studio. And maybe that's the mystery of these timeless five at times epic recordings: all notes written on paper, but each musician had the freedom to dance with them in his very own unique way.
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12"
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MUSIQ 222EP
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Raw, soulful, and agitating: Glenn Astro, the humble house sorcerer from Berlin, produced four tunes and a sweet interlude for Mule Musiq that show house music is still heading for the future. With countless EPs, albums, and collaborations for labels like Ninja Tune, Tartlet, or his own imprint $ex Records, the DJ and producer already emphasized that he thinks house counter to the trend. The Taurus EP shows this anew with unpolished, speedy, even techno-like rhythms, and deep gentle melodies. Dance music for jagged movers that have enough of high gloss sounds. Glenn Astro delivers some fresh grooving prayers.
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2LP
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MUSIQ 221LP
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Double LP version. "Music is the silence between the notes," the French composer Claude Debussy once said. The German trio Wareika, consisting of Florian Schirmacher, Henrik Raabe, and Jakob Seidensticker, love the silence between their notes, even if their music is often fully loaded with many detailed sounds, rhythms, melodies, and intercultural sound links. Since 2007 they've spread their passion for repetitive club grooves in the minimal house spheres that love to swing in an epic way. With four albums on labels like Perlon (PERL 081LP, 2010) or Visionquest, as well as EPs for labels like Eskimo (ESK 502365, 2008), Tartelet (TART 001CD, 2010), Circus Company (CCS 061EP, 2011) or Bar 25, the trio has proofed their craftsmanship for multi-layered dance music, already arrestingly deep on numerous releases and during tours around the globe. Now they deliver a new one-hour long sonic journey on the Tokyo based Mule Musiq, the label on which Wareika member Florian Schirmacher already released as part of the Glowing Glisses project in 2008 (MULE 048EP). Wareika are not new to the Japanese imprint, as they previously dropped a remix for the mysterious project Jemmy in late 2015 (MUSIQ 185EP). And now they present Water, Sky, Sun, Wood, an ambitious one-track love letter that kicks you deep into meditation, assuming you'll surrender yourself to their complex sounding and grooving story-arc. It all started with an unplanned four-hour jam session between Henrik and Florian, gaming and messing around on the piano, guitar, and drum computer. Later Florian edited the happening into a one-hour sensation, Henrik added some congas and synth lines, and Jakob mixed it down. The result is a meticulously edited, deeply absorbing dance between the piano, guitar, conga, MFB tanzbär, MFB Dominion 1, OB-6, Jupiter 6, and Manikin Mellotron synthsizer. You can use it to get lost. You can use it to move to a place beyond words that guarantees some genuine experience. Or you just can shut yourself down to it, dive deep into your unforeseeable dream world, and dance your sub-consciousness around and around. Wareika's latest adventurous blend of jazz, techno, house, and world music will move each soul individual. Water, Sky, Sun, Wood is a reverberation of the inner notes that are floating and dancing in Florian, Henrik, and Jakob.
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MUSIQ 060CD
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"Music is the silence between the notes," the French composer Claude Debussy once said. The German trio Wareika, consisting of Florian Schirmacher, Henrik Raabe, and Jakob Seidensticker, love the silence between their notes, even if their music is often fully loaded with many detailed sounds, rhythms, melodies, and intercultural sound links. Since 2007 they've spread their passion for repetitive club grooves in the minimal house spheres that love to swing in an epic way. With four albums on labels like Perlon (PERL 081LP, 2010) or Visionquest, as well as EPs for labels like Eskimo (ESK 502365, 2008), Tartelet (TART 001CD, 2010), Circus Company (CCS 061EP, 2011) or Bar 25, the trio has proofed their craftsmanship for multi-layered dance music, already arrestingly deep on numerous releases and during tours around the globe. Now they deliver a new one-hour long sonic journey on the Tokyo based Mule Musiq, the label on which Wareika member Florian Schirmacher already released as part of the Glowing Glisses project in 2008 (MULE 048EP). Wareika are not new to the Japanese imprint, as they previously dropped a remix for the mysterious project Jemmy in late 2015 (MUSIQ 185EP). And now they present Water, Sky, Sun, Wood, an ambitious one-track love letter that kicks you deep into meditation, assuming you'll surrender yourself to their complex sounding and grooving story-arc. It all started with an unplanned four-hour jam session between Henrik and Florian, gaming and messing around on the piano, guitar, and drum computer. Later Florian edited the happening into a one-hour sensation, Henrik added some congas and synth lines, and Jakob mixed it down. The result is a meticulously edited, deeply absorbing dance between the piano, guitar, conga, MFB tanzbär, MFB Dominion 1, OB-6, Jupiter 6, and Manikin Mellotron synthsizer. You can use it to get lost. You can use it to move to a place beyond words that guarantees some genuine experience. Or you just can shut yourself down to it, dive deep into your unforeseeable dream world, and dance your sub-consciousness around and around. Wareika's latest adventurous blend of jazz, techno, house, and world music will move each soul individual. Water, Sky, Sun, Wood is a reverberation of the inner notes that are floating and dancing in Florian, Henrik, and Jakob. CD version includes an additional track.
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12"
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MUSIQ 220EP
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UK producer Laurence Guy delivers his debut for Mule Musiq: three house-not-house grooves enlarged with a deep musicality. So far the boy from London has one album and six EPs on such labels as Church, Rose, or Cin Cin under his wings. All his three tunes for Mule Musiq feature a piano that spreads deeply haunting melodies. Combined with house rhythms and a warm oscillating atmosphere, he manages to arrange an EP that is reminiscent of the musical art of producers like Andres or Portable. Deep house beyond the clichés, charged with bewitching melodies and a heartiness with staying power.
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12"
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MUSIQ 219EP
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Sebastian Mullaert, Sweden's long standing techno, experimental, and ambient producer, is back on Mule Musiq with three deep tunes. "Mirror" seduces with discreet claps, a kind of drunken groove, deeply meditative tones, and a twisted melody that arrests your emotions inwardly. "Broken Mirror" is a sensible layered grower that delivers grooving minimal techno for those who love to dance slow. The second "Broken Mirror" tune comes as a "Wa Wu We Reflection", is even more slow, but still deeply groovy and packed with mesmerizing sound particles that stretch your mind and soul endlessly.
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12"
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MUSIQ 217EP
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The in-demand duo Chaos In The CBD is back on Mule Musiq with another breath-taking EP. This time the New Zealand natives present different atmospheric spheres. "Comfort Zone" is a slow house burner enlarged with bird sounds, flute melodies, and super warm bass power. "Educate The Hear" marries dub atmospheres and four-to-the-floor grooves, without giving up the hotness that dub music has to offer. "Pressure" is a gentle house track that stays calm while spreading hard to resist dance emotions and brings in funk that shakes the booty. A heartfelt produced EP with three, kind heavy hitters.
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2LP
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MUSIQ 216LP
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Double LP version. Children are laughing and playing in the back, a baby screams happily: handsome field recordings welcome the listener to the final chapter of Fred P's Fp-Oner trilogy for Mule Musiq. The New York City native's 7 features tunes for deep meditative club use and beyond. 7 brings the listener house music full of cosmic realities, odd jazzing moments, Japanese spoken word pop, synth spheres for ambient use, and an overall outer-national atmosphere that handsomely dances between roughness and subtle, tuned-in deepness. Fred P explains: "I chose to base this project on numbers in order to impart a bit of depth and substance. '5', '6' and '7' have a meaning in both the literal and esoteric sense. We as a species are a combination of matter and energy, so it is a matter of relating the two in harmony. . . . It's like a testimony to the human condition and how we relate to treat and mistreat one another. . . . So rather than doing a project that highlights ego posture, my intent is more about what can I give to the listener." At large, the trilogy is a journey inward -- compelling, mesmerizing, and enchanting. Fred P produced the final chapter mostly in his studio in Berlin on various synths and with a bunch of mysterious samples, all later organized and programmed in Ableton. Fred P explains further: "This project has a beginning, middle, and end. The record 5 (MUSIQ 048CD/187LP, 2015) was intended to introduce a meditative energy within a rhythmic construct, as the number '5' represents the dynamic and unpredictable. . . . The album 6 (MUSIQ 055CD/200LP, 2016) is of an earthly and more harmonious discord. I attempt to bring the inner conflict in the form of natural unnaturalness. The raw energy of the search in this project I think is self-explanatory, which is the point I believe to show how flawed one can be but express very specific themes honestly. Finally, with 7 my goal is to merge the two into balance, as one focused state of mind, as '7' is the thinker beyond understanding or beyond the illusion." Listen deeply, open your doors of perception, dance the atomic mess around, stay small, be true, and don't forget, Fp-Oner's music is a traveling zone with a universal meaning. It can mean many things to different people. "Light Years" features Minako.
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MUSIQ 059CD
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Children are laughing and playing in the back, a baby screams happily: handsome field recordings welcome the listener to the final chapter of Fred P's Fp-Oner trilogy for Mule Musiq. The New York City native's 7 features tunes for deep meditative club use and beyond. 7 brings the listener house music full of cosmic realities, odd jazzing moments, Japanese spoken word pop, synth spheres for ambient use, and an overall outer-national atmosphere that handsomely dances between roughness and subtle, tuned-in deepness. Fred P explains: "I chose to base this project on numbers in order to impart a bit of depth and substance. '5', '6' and '7' have a meaning in both the literal and esoteric sense. We as a species are a combination of matter and energy, so it is a matter of relating the two in harmony. . . . It's like a testimony to the human condition and how we relate to treat and mistreat one another. . . . So rather than doing a project that highlights ego posture, my intent is more about what can I give to the listener." At large, the trilogy is a journey inward -- compelling, mesmerizing, and enchanting. Fred P produced the final chapter mostly in his studio in Berlin on various synths and with a bunch of mysterious samples, all later organized and programmed in Ableton. Fred P explains further: "This project has a beginning, middle, and end. The record 5 (MUSIQ 048CD/187LP, 2015) was intended to introduce a meditative energy within a rhythmic construct, as the number '5' represents the dynamic and unpredictable. . . . The album 6 (MUSIQ 055CD/200LP, 2016) is of an earthly and more harmonious discord. I attempt to bring the inner conflict in the form of natural unnaturalness. The raw energy of the search in this project I think is self-explanatory, which is the point I believe to show how flawed one can be but express very specific themes honestly. Finally, with 7 my goal is to merge the two into balance, as one focused state of mind, as '7' is the thinker beyond understanding or beyond the illusion." Listen deeply, open your doors of perception, dance the atomic mess around, stay small, be true, and don't forget, Fp-Oner's music is a traveling zone with a universal meaning. It can mean many things to different people. "Light Years" features Minako.
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2LP
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MUSIQ 215LP
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Double LP version. In February 2015, Japanese producer and sound designer Kuniyuki Takahashi, sometimes known as Koss, released the EP Newwave Project #2 (MUSIQ 183EP), a record that tapped some roots of his musical education: new wave, German electro punk from bands like Deutsch Amerikanische Freundschaft, EBM from acts like Front 242, as well as industrial music, all styles Kuniyuki claims are his "favorite music". Nearly two years after his first Newwave Project EP, he drops an album that is leaning towards his musical love from the past. Compared to his former work, which was rooted in worlds of classic, jazz, house, ambient, and electronic song-writing, his new tunes are full of melodic drifts and rhythmical shifts. As usual, all is loaded with tones and rhythms straight from the heart that filter and modulate human emotions without losing their natural source. To get a sound that is fresh but still leaning to the '80s, he used some old synthesizers, like Roland Jupiter 8, Juno 60, Korg MS 20, and an old tape echo machine, but he also used newer instruments, like the Roland AIRA. His modular synthesizers talk too. Sampled voices, and other alienated sound sources of unknown origin, inject otherworldly atmospheres into his new tunes. It is also evident that he is a fine instrumentalist, as Kuniyuki also plays piano, percussion, and flute on the album, if he felt their warm sound was needed for his freely grooving tracks. Some dance in house or techno outfits; other slam like a mix of funk and EBM. Tunes like "Puzzle" or "Body Signal" are twisted treasures that bemuse deeply. In-between, you hear the echoes of cosmic spheres, the darkness of the Cold War days, and some bewitching tribal jungle vibes; A new, moving, unorthodox, yet catchy side of Kuniyuki Takahashi. It is not totally novel to him, as he already released some industrial, EBM, and electronic with the project DRP. But for his listeners that know him for detailed house, jazz, and classic, or even his collaborations, the Newwave Project sheds a light on a different artistic side of Takahashi. It is diversified, with many rhythmical and atmospheric turns, but stays stirring and compelling throughout. A true new wave, formed, played in, and envisioned, with a view on the past that was filtered through the now while feeling the future. Cover art by Swiss artist Augustin Rebetez.
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MUSIQ 058CD
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In February 2015, Japanese producer and sound designer Kuniyuki Takahashi, sometimes known as Koss, released the EP Newwave Project #2 (MUSIQ 183EP), a record that tapped some roots of his musical education: new wave, German electro punk from bands like Deutsch Amerikanische Freundschaft, EBM from acts like Front 242, as well as industrial music, all styles Kuniyuki claims are his "favorite music". Nearly two years after his first Newwave Project EP, he drops an album that is leaning towards his musical love from the past. Compared to his former work, which was rooted in worlds of classic, jazz, house, ambient, and electronic song-writing, his new tunes are full of melodic drifts and rhythmical shifts. As usual, all is loaded with tones and rhythms straight from the heart that filter and modulate human emotions without losing their natural source. To get a sound that is fresh but still leaning to the '80s, he used some old synthesizers, like Roland Jupiter 8, Juno 60, Korg MS 20, and an old tape echo machine, but he also used newer instruments, like the Roland AIRA. His modular synthesizers talk too. Sampled voices, and other alienated sound sources of unknown origin, inject otherworldly atmospheres into his new tunes. It is also evident that he is a fine instrumentalist, as Kuniyuki also plays piano, percussion, and flute on the album, if he felt their warm sound was needed for his freely grooving tracks. Some dance in house or techno outfits; other slam like a mix of funk and EBM. Tunes like "Puzzle" or "Body Signal" are twisted treasures that bemuse deeply. In-between, you hear the echoes of cosmic spheres, the darkness of the Cold War days, and some bewitching tribal jungle vibes; A new, moving, unorthodox, yet catchy side of Kuniyuki Takahashi. It is not totally novel to him, as he already released some industrial, EBM, and electronic with the project DRP. But for his listeners that know him for detailed house, jazz, and classic, or even his collaborations, the Newwave Project sheds a light on a different artistic side of Takahashi. It is diversified, with many rhythmical and atmospheric turns, but stays stirring and compelling throughout. A true new wave, formed, played in, and envisioned, with a view on the past that was filtered through the now while feeling the future. Cover art by Swiss artist Augustin Rebetez.
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MUSIQ 057CD
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Framed by two spoken word samples and wrapped in house and techno emotions, that know about electro and '90s electronica too, the second album by the Leipzig and Berlin based producer Martin Enke, aka Lake People, moves in a fresh way. This time he shifts towards a focus on the essentials of electronic club music: sounds and groove, rough and playful interweaved with the aesthetic particles of techno. With his Point EP, released on the Berlin based imprint Krakatau Records in late 2012 (KKT 006EP), his creative life as a producer for melancholic driven club tunes took off. Several top notch DJs played the tune "Point In Time", Lake People started to tour world-wide with his mesmerizing live set and produced countless remixes for colleagues from all around the globe. In 2015, he finally released his first album Purposely Uncertain Field on the Munich based label Permanent Vacation (PERMVAC 136CD/LP) and delivered eleven tracks at the interface of techno, ambient, experimental, and electronic, that bewitch with hymnal chords, yearningly melodies, detailed production, elaborate sound design, and an overall introspective, emotive feeling. Now, just shortly after releasing Break The Pattern on the Dresden based imprint Uncanny Valley (2017), Lake People drops Phase Transition, a new album consisting of ten haunting tracks full of dance suspense. He recorded all the tracks between 2016 and early 2017 on various vintage analog synthesizers, UAD, and other creative interfaces. To find out if his latest pure slamming tracks work deep, he tried them out during his live shows in order to catch some new ideas directly from the dancefloor. Later he refitted the tested material so that all ten tunes dance together as a compact album, which at times sounds melancholic and vulnerable, but comes around at large in a more self-assured guise. You also experience in any tone, rhythmic twist, or melody that his latest music came naturally out of the soul of a producer, who constantly is doing music, at home or on the road. During this continual work flow, he created sparser, direct kicking spheres that still bring some drama to the party. A fine, moody, don't-stop-grooving record that follows a heartfelt syuzhet, which is full of temperament and devotion, partly Larry Heard-ish and straight like a bullet, carrying the audience from joy and whimsy, to melancholy and sugared desolation.
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MUSIQ 214LP
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Double LP version. Framed by two spoken word samples and wrapped in house and techno emotions, that know about electro and '90s electronica too, the second album by the Leipzig and Berlin based producer Martin Enke, aka Lake People, moves in a fresh way. This time he shifts towards a focus on the essentials of electronic club music: sounds and groove, rough and playful interweaved with the aesthetic particles of techno. With his Point EP, released on the Berlin based imprint Krakatau Records in late 2012 (KKT 006EP), his creative life as a producer for melancholic driven club tunes took off. Several top notch DJs played the tune "Point In Time", Lake People started to tour world-wide with his mesmerizing live set and produced countless remixes for colleagues from all around the globe. In 2015, he finally released his first album Purposely Uncertain Field on the Munich based label Permanent Vacation (PERMVAC 136CD/LP) and delivered eleven tracks at the interface of techno, ambient, experimental, and electronic, that bewitch with hymnal chords, yearningly melodies, detailed production, elaborate sound design, and an overall introspective, emotive feeling. Now, just shortly after releasing Break The Pattern on the Dresden based imprint Uncanny Valley (2017), Lake People drops Phase Transition, a new album consisting of ten haunting tracks full of dance suspense. He recorded all the tracks between 2016 and early 2017 on various vintage analog synthesizers, UAD, and other creative interfaces. To find out if his latest pure slamming tracks work deep, he tried them out during his live shows in order to catch some new ideas directly from the dancefloor. Later he refitted the tested material so that all ten tunes dance together as a compact album, which at times sounds melancholic and vulnerable, but comes around at large in a more self-assured guise. You also experience in any tone, rhythmic twist, or melody that his latest music came naturally out of the soul of a producer, who constantly is doing music, at home or on the road. During this continual work flow, he created sparser, direct kicking spheres that still bring some drama to the party. A fine, moody, don't-stop-grooving record that follows a heartfelt syuzhet, which is full of temperament and devotion, partly Larry Heard-ish and straight like a bullet, carrying the audience from joy and whimsy, to melancholy and sugared desolation.
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12"
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MUSIQ 213EP
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NYC producer Marcos Cabral, often releasing certain DJ weapons from the labels as L.I.E.S and The Trilogy Tapes, gave birth to three tracks of punchy, energetic machine-ism. His addictive polyrhythms and lo-fi hardware pulses always set some hooks -- which can be found in boosted drum lines and sometimes industrial noises as "Pest Control" and "In The Red" (which features Entro Senestre). Set up with "Standing On The Corner", which is also nicely balanced deep house tune, the EP captures the aesthetics of roughness and fineness.
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2LP
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MUSIQ 211LP
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Double LP version. With his third album Vin Ploile (MUSIQ 051CD/192LP, 2015) the Bucharest, Romania based producer, musician, and DJ Petre Inspirescu captured a whole new audience and reached out with minimal left-field ambient sounds to music-loving folks that are not part of the worldwide dance music universe. Well known as one of the key figures of the Romanian electronic dance music scene since his first EP Tips on Luciano's label Cadenza (2007), Inspirescu stepped away from club sounds that made him famous due to releases on labels like Vinyl Club, Lick My Deck or Amphia. His two solo albums Intr-O Seara Organica... (2009) and Grădina Onirică (2012), both released on [a:rpia:r] the record label he initiated with his buddies Rhadoo and Raresh in 2007, do not have much in common with the sound of Vin Ploile - a mesmerizing deeply musical album that he only tuned in with some elements of piano, string and wind instruments as well as analog electronics. At the end of 2015, his nine slow-swinging arrangements were celebrated in many polls and now, just a bit more than one year after the release of Vin Ploile, Inspirescu delivers Vîntul Prin Salcii, another album enlarged with seven to twelve minute long arrangements, continuing where Vin Ploile ceased. They all listen to the name
"Miroslav" and only differ numerically in their title. You can call them ambient. You can call them minimal music in the sense of classic compositions by Steve Reich or Terry Riley. They groove - sometimes more, sometimes less. They spread the sounds of flutes or saxophones, delicate piano figures, organic jazz drumming, arpeggiated analog synth-lines, mesmerizing strings, choral singing, alienated looped vocals, and spaced-out new aged spheres. What unites them all is the way, the melodies dance upon and in each single tune. Their beautiful textures ensnare and they are continuously engaged with experimentation. Vîntul Prin Salcii is a mystical album full of evolutionary music to which each listener is able to paint their very own emotional picture - moody, dark and at the same time light-flooded, shape-shifting compositions. Cover artwork by illustrator and photographer Julian Vassallo.
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2LP
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MUSIQ 212LP
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German artist Oskar Offermann, the owner of leading label White, presents a quality double LP package on Mule Musiq, strongly effecting his meditated mindsets. As well as his DJ sets, his crafted productions have a superb balance between not being too excessive and not being too minimalist - creating a dynamic which makes people move, based on his own aesthetic, featured with well-polished, functional electro phrases and raw machine beats. Because of its floating grooves, it's nice for club use, but will surely be a good for the home-listening. Oskar continually points to the fact that listening to deep house is not a meandering journey, but something meaningful and fruitful.
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CD
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MUSIQ 056CD
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With his third album Vin Ploile (MUSIQ 051CD/192LP, 2015) the Bucharest, Romania based producer, musician, and DJ Petre Inspirescu captured a whole new audience and reached out with minimal left-field ambient sounds to music-loving folks that are not part of the worldwide dance music universe. Well known as one of the key figures of the Romanian electronic dance music scene since his first EP Tips on Luciano's label Cadenza (2007), Inspirescu stepped away from club sounds that made him famous due to releases on labels like Vinyl Club, Lick My Deck or Amphia. His two solo albums Intr-O Seara Organica... (2009) and Grădina Onirică (2012), both released on [a:rpia:r] the record label he initiated with his buddies Rhadoo and Raresh in 2007, do not have much in common with the sound of Vin Ploile - a mesmerizing deeply musical album that he only tuned in with some elements of piano, string and wind instruments as well as analog electronics. At the end of 2015, his nine slow-swinging arrangements were celebrated in many polls and now, just a bit more than one year after the release of Vin Ploile, Inspirescu delivers Vîntul Prin Salcii, another album enlarged with seven to twelve minute long arrangements, continuing where Vin Ploile ceased. They all listen to the name "Miroslav" and only differ numerically in their title. You can call them ambient. You can call them minimal music in the sense of classic compositions by Steve Reich or Terry Riley. They groove - sometimes more, sometimes less. They spread the sounds of flutes or saxophones, delicate piano figures, organic jazz drumming, arpeggiated analog synth-lines, mesmerizing strings, choral singing, alienated looped vocals, and spaced-out new aged spheres. What unites them all is the way, the melodies dance upon and in each single tune. Their beautiful textures ensnare and they are continuously engaged with experimentation. Vîntul Prin Salcii is a mystical album full of evolutionary music to which each listener is able to paint their very own emotional picture - moody, dark and at the same time light-flooded, shape-shifting compositions. Cover artwork by illustrator and photographer Julian Vassallo.
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12"
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MUSIQ 209EP
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After Lawrence's excellent new album Yoyogi Park (MUSIQ 054CD/196LP, 201), Mule Musiq's favorite German producers provide this great remix package. One of the most respectable Giegling artists, Kettenkraussell, delivers two versions. One is dark deep house and one is more electronica, reminiscent of Jan Jelinek. Roman Flügel's remix is more uplifting and trippy - simply nice for the club. Lake People's remix is old school electro style but sounds very modern and playful.
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