|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 89 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
CD
|
|
541 541568CD
|
The Subs celebrate their tenth anniversary with A Decade of Dance. 2016 marks the tenth anniversary of The Subs: Ten years of partying, touring, making friends but most of all, ten years of making music. Since 2006, The Subs have become a household name in the Belgian (electronic) music scene. They've released three full albums to date, wrote numerous high-rotation-radio-hits and performed at the best venues & festivals Belgium has to offer: Pukkelpop, Rock Werchter, Tomorrowland, I Love Techno. The Subs have performed live in the Netherlands, France, UK, Italy, China, Japan, Australia and so on. It's been an amazing journey so far and The Subs have no intention of slowing down, but while they gear up for the future, this tenth anniversary is also the perfect moment to look back at their heritage with A Decade of Dance, a best-of-album containing 18 previously released tracks and one new single. Tracks feature: Colonel Abrams, Friends In Paris, Etienne De Crécy, Jean-Pierre Castaldi and Party Harders.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
7"
|
|
AKU 7001EP
|
Between surf music and ballad, this record rediscovers the effervescent Khmer musical scene of the 1960s. In 1959, in the midst of artistic turmoil, Mol Kamach and his brothers created a band: the Baksey Cham Krong. Kagnol got his guitar inspiration from the Ventures and the Shadows while Kamach admired the vocal techniques of crooners such as Paul Anka, singing in either French or Khmer. In 1975, Khmer Rouge stopped musical development. This reissue brings back the Cambodian musical scene of the 1960s.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
7"
|
|
AKU 7002EP
|
Between surf music and ballad, this record rediscovers the effervescent Khmer musical scene of the 1960s. In 1959, in the midst of artistic turmoil, Mol Kamach and his brothers created a band: the Baksey Cham Krong. Kagnol got his guitar inspiration from the Ventures and the Shadows while Kamach admired the vocal techniques of crooners such as Paul Anka, singing in either French or Khmer. In 1975, Khmer Rouge stopped musical development. This reissue brings back the Cambodian musical scene of the 1960s.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
CD
|
|
N 051CD
|
Alien Ensemble present their second album, Alien Ensemble 2. Micha Acher, who plays tuba in the band Millipede and is also a member of The Notwist, formed Alien Ensemble in 2010 as a passion project. He wanted to have a personal outlet that allowed him to focus on his two greatest passions: playing trumpet and coming up with intricate, instrumental arrangements. The Ensemble's self-titled debut album was released via Alien Transistor (N 040CD/LP, 2014), the label Micha's been running with his brother Markus since 2003. Arriving in a similar vein as its predecessor, everything from jazz to kraut, from ambient to soundtrack-type music, from new music to pop is present. Playing more and more shows has, over time, turned "this project into a proper band" as Acher explains: "At this point, each of us has really found his place in the dynamic of the group - also in terms of how we write and compose." A case in point being the new track "Skeleton Dance" which was written by Andi Haberl, drummer of The Notwist. The track has a beat that can only be described as stoical, a banjo that settles on one chord and stays there all the way till the end, topped off by amazing melodies that shape shift and interlock just beautifully. "Gedanken" written by trombone player Matthias Goetz, who also plays in the band Millipede, is the Ensemble's definition of pop: a slow-moving lower end, contributed by Haberl (drums) and Matthias Pichler (bass), that has an almost hip-hop feel to it. Given the certain cool, seasoned and nonchalant attitude, there's nothing cold or dispassionate about these recordings. Instead, the new material's emotional depth is already present in album opener "Arc Trilogy". What starts out as an almost classic "cool jazz" song, suddenly disintegrates and makes way for the only solo part on 2: Double bass player Matthias Pichler uses a bow and takes it into unexpected new music territory. The Notwist's Karl-Ivar Refseth (vibraphone) manages to steer the track towards a more ambient-sounding sphere. The shape-shifting harmonies and arrangements presented by Alien Ensemble on this album are never predictable. The Ensemble keeps breaking new ground, creating one set of colorful hues after the next. It's an album that's stunningly compact and coherent. Says Micha Acher: "Well, we recorded it in just one day. Things were really relaxed and easy."
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
LP
|
|
AGS 002LP
|
"Superb late-seventies soul from Hawaii. Sleekly bumptious, with brilliant musicianship and classy arrangements, dosed with jazz and funk (by way of Kool And The Gang), easily traversing ballads and booty-shakers... just the kind of thing Wayne Henderson was doing across the Pacific at the time with At Home productions, for Side Effect, The McCrarys and co. Great stuff."
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
LP
|
|
AALP 081LP
|
LP version. In 1997, an unassuming 59-year-old man named Victor Tavares -- better known since the late 1950s as Bitori -- walked into a studio for the very first time to record a work that many Cabo Verdeans consider to be the best funaná album ever made. Analog Africa's Legend Of Funaná marks the first time that these recordings, originally issued as Bitori Nha Bibinha & Chando Graciosa in 1998, have been available outside of Cape Verde, bringing Bitori's beloved accordion-based sound to the world. In 1954, Bitori embarked on a journey across the seas to the island nation of São Tomé and Príncipe with the hopes of returning with an accordion. Following two years of hard labor, Bitori had saved enough money to acquire what was to become his most valued possession. The two-month journey back to Cape Verde provided time enough for him to master the instrument. Self-taught, Bitori developed his own style, an infectious blaze that quickly caught the attention of the older generation. Before long Bitori was asked to perform at local festivities around Praia, the capital of Cape Verde. But not everybody welcomed the rural accordion-based sound of the funaná. Perceived as a symbol of the struggle for Cabo Verdean independence and frowned upon as music of uneducated peasants, the funaná was prohibited by Portuguese colonial rulers. Performing it in public or in urban centers had serious consequences -- often jail time and torture. As a result, the funaná began to slowly disappear. In 1975, Cape Verde achieved independence from Portuguese colonial rule, and the ban on the funaná was lifted. Many artists embraced the funaná, translating and adapting its musical form in new ways. It was not until the mid-1990s, however, that the funaná in its traditional form was actually recorded. A young singer from the Cabo Verdean town of Tarrafal, Chando Graciosa, heard Bitori and immediately felt drawn to his playing style -- a raw, passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He approached Bitori suggesting they join forces and travel overseas to take the funaná beyond its rural roots. After introducing a receptive European audience to the vibrant energy of the funaná, Bitori eventually returned to his beloved Cape Verde, while Graciosa settled in Rotterdam. Graciosa vowed, however, to bring Bitori to Holland to eventually record an album. In 1997, the time was ripe to immortalize the sound Bitori had shaped over four decades. Drummer Grace Evora and bassist Danilo Tavares helped record "Bitori Nha Bibinha," which catapulted Graciosa to stardom, establishing him Cape Verde's foremost interpreter of the funaná. Bitori's songs quickly became standards -- classics known and loved throughout the country.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
2LP
|
|
AD 004LP
|
The story of Gemini aka Spencer Kincy, one of Chicago's most mysterious and revered characters, has become something of a myth in recent years. Blazing a trail throughout the '90s, prolifically releasing over 200 tracks from 1994 to 1999, Kincy had shades of innovation and soul few of his peers could match. Then, suddenly, at the peak of his career, he disappeared. Gemini's most complete and varied album is 1997's Imagine-a-Nation, originally released on the Cajual sublabel Relief Records. You know the music -- every track is on YouTube, and expensive original pressings are available on Discogs -- but here it is in its fully remastered glory! Rumors and gossip of Kincy's whereabouts and situation have been rife in the music press, and rarely on the money. Kincy is alive and well at the time of this release, and wants his music to be heard. This album has been licensed directly from him, and the money made from its exploitation will go directly to him.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
LP
|
|
BEC 5772894
|
2016 repress. Metronomy present their third album The English Riviera. The follow up to 2008's critically-acclaimed Nights Out, The English Riviera is a sonic progression of epic proportions and affirms Metronomy front man and producer, Joseph Mount, as a rare British talent. Since Nights Out, the band have swollen to a four-piece with new members Anna Prior on drums, Gbenga Adelekan on bass, original member Oscar Cash on keys/sax, and Joe himself on vocals, keys and guitar. This expansion of personnel is reflective of a new record that is mapped by vast soundscapes, incredible depth and warmth, and big pop hooks. Part love letter to the area of Devon coast Mount grew up in and part concept album about his own semi-fictionalized vision of The English Riviera, the tone for the album is set by the opening sounds of seagulls, distant waves and a Music Hall string quartet. However, any notion of whimsy is swiftly dispelled, as the seismic bass line of "We Broke Free" shudders and ushers in waves of layered guitars and synths. Having produced and remixed everyone from Roots Manuva to Kate Nash an album from Nicola Roberts, this is the first Metronomy album that Mount has taken out of his bedroom and recorded in a proper studio. The results are telling. Characterized throughout with a sense of warmth and richness, The English Riviera is in parts reminiscent of seminal 1970s West Coast studio albums from the likes of Fleetwood Mac and The Eagles, but due to Mount's studio wizardry, the record sounds vibrant and entirely of its time. Few other albums will so successfully transcend such a plethora of influences and ideas and form such a coherent body of work.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
CD
|
|
BORNBAD 085CD
|
The cobbled music and strange pieces from the unpublished majority of The Quirky Lost Tapes 1993-1995 are as bizarre as the genesis of El'Blaszczyk Rock Band Himself. Recorded on tape, at times featuring his ten year old little sister, the irresistible charm of El'Blaszczyk's pieces reveal a delicious bawdiness that is reminiscent of the universe of Jean Yanne, Les Charlots or Boby Lapointe. This is vaguely rhythmic garage music. El'Blaszczyk explores such topics as illness, the French resistance during WWII and medicine in general - all adding to the uniqueness of it all. More than a joke, these pieces are subtle and accomplished, but something suggests that these recordings are also their first plays. In parallel to his schooling at the Beaux Arts, El'Blaszczyk was a student of Christian Eloy, the eminent composer of concrete music and head of the electroacoustic creation of class at the National Conservatory of Bordeaux. No doubt a magneto-phage animal, being a student of Eloy's and his time at the academy reinforced his electro-artisanal approach to music. This period of study and intense creativity allowed him to explore a new path to infinite perspectives, but the academic expectations were ultimately codified - productions for the "less displaced" were received with great caution. The academy allowed him access to a usually difficult to mobilize instrumentation by an amateur: Grand piano, Hammond organ, orchestral percussion, drums, synths and VCS3 Moog 55. The sound database has also served as much to his compositions of concrete and electronic music as it did to his pop productions. Individual schedules provision of the studio is often very late - nightlife in working time was perfectly suited to the more diverse sides. Most of the time, El'Blaszczyk proceeded himself to his own sound recordings. A good disciple of his elder's electro acousticians, he tracked his sounds, its unwavering Nagra shoulder.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
CD
|
|
BPC 325CD
|
Jewel case CD version. Includes 12-page poster booklet. Dillon presents Live At Haus Der Berliner Festspiele. Recorded at the extraordinary Berlin theater, Haus der Berliner Festspiele. Born in Brazil, raised in Cologne and based in Berlin, Dominique Dillon de Byington, aka Dillon, has always had a clear vision of her art. Her two previous albums, This Silence Kills (BPC 244CD/LP, 2011) and The Unknown (BPC 285CD/LP, 2014), told a coherent story and together carried her live shows. Her live shows demonstrate a magical interchange between the dark-melodic songs of both albums. In 2015, she developed a unique concert with a six-piece women's choir for the Berlin Foreign Affairs Festival. The choir accompanied her and Tamer Fahri Özgönenc, her collaborator and co-producer of her first two albums, in the live performance at the Haus der Berliner Festspiele, held in July 2015. "I felt the need to work with vocals and to create an additional layer that breathes in this space between the electronic music and myself. I was very attracted to this idea, so Tamer and I wrote and arranged the choir parts together," Dillon explains. The choir injects a new physical layer into her music, which is dominated by piano and electronic sounds, and her own voice dances longingly in this space. The live recording of the concert reveals just how naturally this new element slots into her dramatically minimal music. "When I started writing my new album The Unknown, I already knew it would be a continuation of This Silence Kills in terms of both music and content. Now the two albums are being brought together as a release, as well as in the live shows. For me, this album could be called 'This Silence Kills The Unknown' ".
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
2LP+CD
|
|
BPC 325LP
|
Double LP version. Includes CD. Dillon presents Live At Haus Der Berliner Festspiele. Recorded at the extraordinary Berlin theater, Haus der Berliner Festspiele. Born in Brazil, raised in Cologne and based in Berlin, Dominique Dillon de Byington, aka Dillon, has always had a clear vision of her art. Her two previous albums, This Silence Kills (BPC 244CD/LP, 2011) and The Unknown (BPC 285CD/LP, 2014), told a coherent story and together carried her live shows. Her live shows demonstrate a magical interchange between the dark-melodic songs of both albums. In 2015, she developed a unique concert with a six-piece women's choir for the Berlin Foreign Affairs Festival. The choir accompanied her and Tamer Fahri Özgönenc, her collaborator and co-producer of her first two albums, in the live performance at the Haus der Berliner Festspiele, held in July 2015. "I felt the need to work with vocals and to create an additional layer that breathes in this space between the electronic music and myself. I was very attracted to this idea, so Tamer and I wrote and arranged the choir parts together," Dillon explains. The choir injects a new physical layer into her music, which is dominated by piano and electronic sounds, and her own voice dances longingly in this space. The live recording of the concert reveals just how naturally this new element slots into her dramatically minimal music. "When I started writing my new album The Unknown, I already knew it would be a continuation of This Silence Kills in terms of both music and content. Now the two albums are being brought together as a release, as well as in the live shows. For me, this album could be called 'This Silence Kills The Unknown' ". Standard CD comes with 12-page poster booklet.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
CD
|
|
BPC 325X-CD
|
Digipak CD version. Includes 12-page poster booklet. Dillon presents Live At Haus Der Berliner Festspiele. Recorded at the extraordinary Berlin theater, Haus der Berliner Festspiele. Born in Brazil, raised in Cologne and based in Berlin, Dominique Dillon de Byington, aka Dillon, has always had a clear vision of her art. Her two previous albums, This Silence Kills (BPC 244CD/LP, 2011) and The Unknown (BPC 285CD/LP, 2014), told a coherent story and together carried her live shows. Her live shows demonstrate a magical interchange between the dark-melodic songs of both albums. In 2015, she developed a unique concert with a six-piece women's choir for the Berlin Foreign Affairs Festival. The choir accompanied her and Tamer Fahri Özgönenc, her collaborator and co-producer of her first two albums, in the live performance at the Haus der Berliner Festspiele, held in July 2015. "I felt the need to work with vocals and to create an additional layer that breathes in this space between the electronic music and myself. I was very attracted to this idea, so Tamer and I wrote and arranged the choir parts together," Dillon explains. The choir injects a new physical layer into her music, which is dominated by piano and electronic sounds, and her own voice dances longingly in this space. The live recording of the concert reveals just how naturally this new element slots into her dramatically minimal music. "When I started writing my new album The Unknown, I already knew it would be a continuation of This Silence Kills in terms of both music and content. Now the two albums are being brought together as a release, as well as in the live shows. For me, this album could be called 'This Silence Kills The Unknown' ".
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
CD
|
|
BTT 1502CD
|
Beyond Welcome! is an album of music that didn't exist before, made by people whose collaboration is altogether rather improbable, developed out of political-performative interventions in public spaces, and created against the backdrop of the recent migration movements to Europe. Beyond Welcome! is about border regimes, jazz, post-punk, electronic Afro-kraut music, the Germans and the non-Germans, about an encounter that goes beyond the "welcome culture", about staying strong without legal papers, about social dances and NATO, about Yoruba gods, about Eurocentrism, about ingenious dilettantes and the impossibilities of even imagining a different world, let alone wanting to push for it. Schwabinggrad Ballett, a political and performance collective that was founded in Hamburg at the beginning of the new millennium, began, in the spring of 2014, to work with Lampedusa activists living in Hamburg - a conglomerate of people from different African countries who fled to Germany prior to the outbreak of war in Libya, and who are still fighting for their right to stay. Raw musical ideas arose from their various performances and political interventions in Vienna, Hamburg, Berlin, Bremen and other cities. These ideas created a framework around agitprop didactic plays and confronted the demonstrators and demonstrations with experimental dance music played on instruments that were mobile enough to be carried on the street - old drum kit parts, analog synthesizers, melodica, xylophone, congas, a nineties sampler or the Böhmat, a Brechtian organ machine from the '70s. Much like Schwabinggrad Ballett's debut in 2006 (STAUB 061CD/LP), this album was created in a commune-like camp atmosphere that brings to mind the marathon sessions in Sun Ra's Sun Studio in New York or Can in their studio in Weilerswist. In the winter of 2015/16, Schwabinggrad and Arrivati, a performance group that arose from the Lampedusa movement, rented a converted barn in Gut Reichenow in Brandenburg. After seven days and nights, 16 songs were finished, ten of which made it onto Beyond Welcome!. Three further tracks were recorded at the Art Blakey Studio in St. Pauli, Hamburg. Schwabinggrad Ballett and Arrivati are: Dieudonné Eboth, Jeano Elong, Ted Gaier, Charalambos Ganotis, Sylvie Kretzschmar, Latoya Manly-Spain, Heiko Marn, Heike Nöth, Peter Ott, Liz Rech, Christine Schulz, Oumar Traore, Margarita Tsomou, Christoph Twickel, Asuquo Udo and numerous other people who took part in their interventions, performances and concerts over the last years.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
LP
|
|
BB 237LP
|
LP version. Bureau B present a reissue of Adelbert Von Deyen's debut album Sternzeit, originally released in 1978. Adelbert Von Deyen is a protagonist of the so-called Berlin School (Berliner Schule) of electronic music. On his debut album, he takes his time to develop sound structures, often drifting, floating blissfully into tonal interference. The listener also requires time and patience, but will be rewarded with a Zen-like state of contemplation. Adelbert Von Deyen's musical backstory follows a less than typical path. He recalls: "To make the best use of my evenings, I finally bought a second-hand synthesizer, various electronic keyboard instruments and a tape machine, plus a few bits and pieces you need to make music. If I didn't have enough money, I asked the bank. During the day I worked as a re-toucher for a newspaper and in the evenings, I composed my celestial electronic sounds, invariably deep into the night. It took me around eight months to finish my first compositions. I made tape copies which I sent out to various record companies. I struck lucky straight away. Sky Records in Hamburg were interested in my music and my first record was granted a worldwide release in 1978. I called it Sternzeit and I painted the cover myself." Founded by Günter Körber in 1975, the label had already hosted acclaimed releases from electronic and krautrock stars like Michael Rother, Hans-Joachim Roedelius and even Brian Eno. A decent level of public interest was thus guaranteed. Sternzeit was one of the early releases on the label. In principle, many elements on this first album reappear on the two which followed: rich analog layers, the swirling winds of the ARP Odyssey, masterful synth effects sprinkled so delicately. The second side of the record is devoted to a single track which is based on an incessant organ tone and played with vibrato, engendering a hypnotic sense of weightlessness. Keyboarders often taped down keys on their organs or synthesizers to create such effects back in the day. When Adelbert Von Deyen performs, he sits down with his back to the audience, focused on his arsenal of equipment. The way he has unreservedly followed his passions for music and artistic creativity speaks volumes about his free-thinking nature. Adelbert Von Deyen mixed and produced this album in his own small studio on a Revox A77 tape recorder.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
2LP
|
|
CCR 006COL-LP
|
Double LP version. White and purple splatter. Clinging To A Dream is the Silver Apples first album since 1998. It features 11 new songs recorded at the ChickenCoop studios in Fairhope, Alabama, USA. Produced by Graham Sutton in London, UK. The new songs on Clinging To A Dream carry on the tradition begun in 1967 by Silver Apples of merging pure, raw electronic sounds with melodic poetic content; this album represents 40 years of polishing and refining this experiment.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
2LP
|
|
CCR 006LP
|
Double LP version. Clinging To A Dream is the Silver Apples first album since 1998. It features 11 new songs recorded at the ChickenCoop studios in Fairhope, Alabama, USA. Produced by Graham Sutton in London, UK. The new songs on Clinging To A Dream carry on the tradition begun in 1967 by Silver Apples of merging pure, raw electronic sounds with melodic poetic content; this album represents 40 years of polishing and refining this experiment.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
LP
|
|
CT 085LP
|
2016 repress. Reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
CD
|
|
COR 039CD
|
Cocoon Recordings presents P. Loaded with power and purity, the latest edition of the Cocoon Compilation series offers a great selection of crazy and kicking techno tunes. Mirko Loko is in control for the beginning. His track "Artificiel" is energetic, crazy and minimalistic with destroyed digital sound fragments. Wouter de Moor follows with his "Tesla Coil", a speedy acid tune with a simple structure and crazy hi-hats, sounding almost like an old steam locomotive. Einzelkind & Robin Scholz present their Rhythm Factory project on "N.2guts". Another kickin' acid-tune, full of power with an energy loaded forward boost. Slightly slower than Wouter de Moor but certainly with a similar vibe. Redshape follows the red acid-tip of the previous tracks with "The Choice" adding a bit of a Detroit and Dopplereffekt vibe. Swedish La Fleur contributes her track "Chemicality" which is nothing less than another great techno anthem. "Porridge" by Alex Smoke sees him doing the shuffle and creating massive musical tension by using cool but insane sounds. "The Whip" by Alex Bau is big time Chicago-techno with a strong DJ Sneak/Blu funk feeling. Hypnotic, oppressive and with no frills. Dustin Zahn's "Sun Breaker" is powerful, strong and masculine. The initial hypnotic loop aesthetics progresses fairly quickly in a massive production full of powerful synths and freaked out sounds. "Rising Lines" by Ilario Alicante delivers another strong, deep techno monster and follows the course set by Dustin Zahn: Big string sounds and twisted harmonies makes "Rising Lines" an epic techno cinema highlight. Josh Wink's "Bouyantly Grounded" is a fat fish, pushing the speakers in a powerful manner and turning each festival and each open air into another unforgettable event. "You Fill Me" by Jacob Korn follows Josh Wink and adds a bucket of nice musical emotions. Korn designs an amazing creation full of gentle harmonies and profound melodies - his contribution deserves to be labeled as "techno music". Any sunrise and any after-hour will be better with "You Fill Me". The last track "All This For A Jump" by Atelier Francesco is cool but kickin' with '80s retro sounds meeting a very unique electronic funk feeling - the captivating vocals make the picture complete.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
10"
|
|
COR 10011EP
|
Scotsman Vince Watson and Frankfurt Cocoon family member Frank Lorber are in charge for Cocoon's latest baby. Although hailing from Erskine in Scotland and meanwhile residing in Amsterdam "Speaker Freaker" by Vince Watson appears like a Detroit house gem in perfection. This is Planet E, this is electronic art, this is a deeper than deep tech-house-lovers delight. Frank Lorber's "L'Obscure Objet Du Désir" has a strong beat, a massive and freaky acidic bassline and driving hi-hats. Frank created a kickin' techno monster spiced up with cool effects and break-downs.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
2CD
|
|
DIYNAMIC 016CD
|
DIY: A simple idea, rooted in the wish to change the predominant principles and to do something in one's own way. For 10 years now, Diynamic - the artist collective surrounding label father Solomun - acts true to this calling. Since 2006, it's all been about releasing, partying, thinking ahead and doing it yourself. Born in the heart of Hamburg's St. Pauli neighborhood, it is now home in virtually every corner of the world. The beginning of the adventure dates back even further, to the year 2003, when the clique around Solomun introduced their DIY party series in Hamburg. 2006 saw the founding of the music label Diynamic, followed by the opening of infamous EGO club in Hamburg's red light district, St. Pauli. in 2009. This was soon succeeded by festivals on multiple continents, worldwide Diynamic showcases and several successful residencies on Ibiza. How do you commemorate such a special anniversary? The year 2016 already saw the novel 10-Years-Diynamic parties in multiple metropolises around the globe - so now it's time for some music. The 10 Years Diynamic compilation is a collection of 13 unreleased original productions by Solomun (feat. Liu Bei), Adriatique, H.O.S.H., Kollektiv Turmstrasse, Stimming, Karmon, NTFO, Thyladomid, Ost & Kjex, Magdalena, Johannes Brecht, Undercatt and Lehar. But it's not just all four-to-the-floor: the styles of the tracks are as diverse as the artists on Diynamic, as diverse as the members of a family. So, no more words - hear it for yourself. Double CD version comes in a six panel digipak.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
LP
|
|
DOC 132LP
|
Doxy Cinematic present the score for L'Avventura (1960), composed by Michelangelo Antonioni's longtime collaborator, Giovanni Fusco. Starring Monica Vitti, presents a great thematic variety with a memorable main theme, swing tunes, dramatic love themes and some funky tracks. Extra tracks and alternate versions included. Edition of 500.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
LP
|
|
DOC 133LP
|
Doxy Cinematic present for the first time on vinyl, the complete score for the legendary movie L'Eclisse (1962), composed by Michelangelo Antonioni's longtime collaborator, Giovanni Fusco. Starring Monica Vitti and Alain Delon, this is a collection of disturbing and dissonant tunes that mirror the dark mood of the Antonioni's masterpiece. Includes "Eclisse Twist" by the great Italian singer, Mina. Edition of 500.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
LP+CD
|
|
MIR 100746LP
|
Dubiterian is a Brazilian dub music producer and melodica specialist who graduated in audio engineering in Munich, Germany. He has performed all over the world since 2004 sharing the stage with the likes of The Skatalites, The Roots Radics, Ras Michael, Fully Fullwood, Mad Professor, Sister Nancy, Ranking Joe, Gentleman, Mungos Hi-Fi, Jahtari and Soom T. He has collaborated in the studio with heavyweight producers and artists such as The Scientist, Adrian Sherwood and Dub Syndicate, amongst others. This tribute to Augustus Pablo, the great Jamaican roots reggae and dub record producer active from the 1970s onwards, is mixed by the legendary dub master Scientist. Tribute To Augustus Pablo was originally release digitally in 2014. This is its first time on vinyl. Remastered by Hopeton Overton Brown (Scientist). Contains a bonus CD of the album.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
2LP+CD
|
|
MIR 100748LP
|
The debut album from Chicago band Ted Sirota's Heavyweight Dub was recorded, mixed, and mastered by the legendary "Dub Chemist" Overton H. Brown, aka The Scientist. Sirota, a veteran of the Chicago music scene, decided to address his 30+ year love for Jamaican music by putting this new band together in early 2013. Only weeks after starting the band, Sirota had a chance encounter with one of his biggest influences, The Scientist. With this band, Sirota and cohorts hope to bring back some of the serious musicianship that was emblematic of the "golden age" of reggae. Through his original music, and arrangements, Sirota hopes to creatively pay respect to legends like Tommy McCook, Cedric Brooks, Ernest Ranglin, Jackie Mittoo, Winston Wright, Leroy Sibbles, Roots Radics, Soul Syndicate, The Upsetters, The Revolutionaries and many others, while still keeping an eye on the future. Originally released digitally in 2013, this is the albums first time on vinyl. 45rpm audiophile edition. Contains a bonus CD.
|
|
|
|
Artist
|
Title
|
Format
|
Label
|
Catalog #
|
|
|
|
2LP+CD
|
|
BEC 5156617
|
Mr. Oizo (aka Quentin Dupieux), the French producer and pioneer of modern electro alongside Daft Punk, Air and Cassius simply can't and won't stop working. Having released five studio albums, four original soundtracks, a multitude of EPs and directed six movies over the past 20 years, the "Godfather" is back with All Wet. And this time, he is not alone as the track list features an impressive selection of quality guests: Peaches, Boys Noize, Skrillex and Charli XCX among others. All Wet will be a new occasion to further explore the mind of one of the most fantastically uncommon artist today. Also features: Tetanos, Phra, Siriusmo and Mocky. Comes in gatefold sleeve with yellow vinyl. Includes CD.
|
viewing 1 To 25 of 89 items
Next >>
|
|