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CD
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3000GRAD 017CD
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Sometimes with, sometimes without vocals; sometimes with tangible, sometimes with virtual instruments; and always with a solid dose of bass. Buzzing with an unmistakable groove, the productions of Mollono.Bass take ever new directions. That's why his Remix Collections present themselves as broadband tonics for party heads with musical sophistication. Number five in the series in no exception: From hands-up-in-the-air moments of collective euphoria to glandular tickles and cortical itches, there's pretty much everything a real good party experience is made of. Features Whale vs. Elephant, Elias Doré & Acado, Taster Peter, Bonfante, Dandara, Anissa Damali, Dole & Kom, Stereo Express, Matchy & Bott, Oh Sleep, Mark Tarmonea & Yannek Maunz, Renga Weh, Einmusik, Junge & Maedchen, and Antoine Villoutreix.
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12"
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4GN3S 003EP
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Fresh from the release of their third album Autonomy (4GN3S 002LP) in the summer of 2019, comes Autonomy Variations: four brand new perspectives from four exciting, innovative kindred spirits of the avant-pop duo. South London's Medlar breaks the seal. Following a series of incredible live collaborations with Dele Sosimi (Fela Kuti), he's has turned "Autonomy" into a minimal, percolating house track. Swapping the acid spikes for analog bleeps, Medlar's signature can be felt every step through this vivid energetic stomper. Fabric resident Anna Wall follows with another beautiful subversion as "New Politik" is given a smoldering take. Moody, intimate, downtempo; there's some serious late night HTRK-esque vibes to Anna's twist. Further into the remix trip you glide to find Dischi Autunno, Ombra International affiliate Curses pulling "Electric Light" into the fringes. Taking the upbeat, crystalline pop of Penelope and Stephen's original and flipping it into a stark postpunk Bauhaus-inspired take, Curses' live bass and driving new wave beat shine a whole new light on the original and write it a whole new chapter. Finally, brand new act, Isolating have the honor of closing the EP with industrial modular apocalyptic take on "Infinity". A vast playground of contrasts, at points it's dirty and pounding. At others it's quiet and menacing. File under: Dystopian Techno. Four extensions on one of the most interesting electronic albums released this year. DJ Mag stated it's The Golden Filter's best work yet while Clash called a it a bruising return. These remixes follow with complete forward-thinking consistency.
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LP
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99CHANTS 005LP
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Dream Rooms, the new release from the shadowy Italian project Ambienti Coassiali, is an organic development rising out of the ashes of the surreal synthesized tone poems they released in the late 1980s, developing into cult favorites, spoken of with quiet reverence. Spread out over two sides, Dream Rooms is an immersive listen, ambience that's frigid but not dark; a cold morning in the valleys. Recorded with a vintage EKO Ranger guitar from the early 1970s, loops extend to infinity, echoing into the distance and melting into themselves, over and over again. There's not much manipulation, sounds are left alone to slowly evolve and develop organically. Over their three decades of creating music, Ambienti Coassiali show that, whether synthesized or organic, they are able to construct complex atmospheres out of the ether, all parts in their place; music for the conscious, and the subconscious. 180 gram vinyl.
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AKU 1018LP
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Akuphone presents Saz Û Dilan, the second solo album of Rizan Said. After King Of Keyboards, (CREP 034LP, 2016) this release brings the most exciting Kurdish-Syrian dance music to one's ears. Surrounded by young local singers, Rizan offers his own interpretation of the modern dabke through eight original uptempo compositions full of energy. Rizan Said is a composer, musician and producer, responsible for hundreds of Syrian recording industry productions as well as compositions and themes for television and cinema. Hailing from Ras Al Ain, in northeastern Syria, Rizan was a musical prodigy from a young age -- a gifted player of percussion and reed instruments before a wealth of synthesizers began flooding Syria in the late 1980s and early 1990s. Steadfast on the Syrian cassette album circuit at the time, Rizan was already sending his signals out from the Jazeera frontier, thanks to a partnership with local Syrian producer Zuhir Maksi. Later, he was the man behind Omar Souleyman's music and has recorded and toured across the world with him. Nowadays, he performs as a solo artist and brings the original dabke dance sounds of Syria to European festivals and concerts. Includes download.
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AKU 1019LP
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The prolific Kink Gong (aka Laurent Jeanneau) returns in a unique duet with one of the most prominent artists of the Chinese avant-gardist scene, Li Daiguo. Kink Gong and Li Daiguo first met in Chengdu (capital of Sichuan Province, China) while playing the same night at the Jahbar music venue. A few months later, as they become neighbors in Cai Cun, a village near the old town of Dali (Yunnan), Kink Gong begins recording Daiguo playing pipa, cello, and zheng. He then proceeded to deconstruct these recordings while adding voices that he mainly recorded in Yunnan Province. This fantastic combination of field recordings, experimental folk melodies, and electronic treatment leads its listeners to a fourth underground universe reminiscent of Jon Hassell's finest hours. Includes download.
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AKU 1020LP
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Deep on a mind trip aboard the ISS Kingston, you are floating upon the low-gravity armchairs of its "Disco 3000" cocktail lounge. Brain-dance soundwaves are being distributed by means of the Akuphone, transmitting the psychedelic music of Spiritczualic Enhancement Center. Me And My Students Have Reached Higher Levels presents itself as an obscure and ever-morphing spectral-jazz album. Produced by eight outer-national musicians, once originating from Iran, Israel, America, Russia, Romania, and Germany, this record carries a distinct centrifugal force. Suspending musical particles out of a brewish stew full of drones, bleeps, and feedbacks, you hear a retro-futuristic sound which could have been big fun back in 1974. It makes you envision the electric dreams of an artificial intelligence modeled after Lee "Scratch" Perry. Given the task to create a dubby fusion requiem for "Bela Lugosi's Dead", it seems Perry's AI has been applied to a jukebox full of Can's and Sun Ra's 7-inches. Includes download.
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12"
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AND 024EP
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Jannis & Lean are North Collective. Why North Collective? Because they romanticize cold and stormy places. Nobody ever took them to the Caribbean. They released their Nurture EP in 2016. Dominik Marz got almost the same feelings, even when he is based in Augsburg/Bavaria. With his 12" release "Tryads" in 2017, he delivered a masterpiece for And Music as well. He is doing pretty well right now. Together with his dude David Kochs (Only For A While) they have some smashers in circulation. For example: "Bavarian Belter" finds support by Ame & Dixon. Dominik delivers two fresh versions for "Haunt". Clubby, dark, and deep. Perfectly converted into something great. Forever and timeless.
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4LP BOX
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ARMA 463LP
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Four-LP boxset. Includes 40-page booklet. Five-time #1 DJ in the world Armin van Buuren unveiled the name and full tracklist of his seventh artist album. Balance, which follows on previous albums -- 76 (2003), Shivers (2005), Imagine (2008), Mirage (2010), Intense (2013), and Embrace (2015) -- is set for release on Armada Music. Rumors that Armin van Buuren was putting the final touches to his new artist album have been circulating the web for months now, and it'll definitely please the legions of dance music fans to know that those rumors weren't false. Features Avalan, Avian Grays, Jordan Shaw, Sam Martin, Garibay, Josh Cumbee, Candace Sosa, Inner City, Ne-Yo, James Newman, David Hodges, Conrad Sewell, Lucas & Steve, Matluck, Shapov, Above & Beyond, Haliene, James Newman, Olaf Blackwood, Bonnie McKee, BT, Nation Of One, Tempo Gusto, Luke Bond, Karra, and Cimo Fränkel.
Armin van Buuren: "I'm so glad I can finally reveal the name and release date of my new album. Balance is a new chapter in my book of life, the result of venturing into known and unknown territories while finding the balance in between. I can't wait to share it with you!"
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DDJ 048CD
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Tutti Possono Arricchire Tranne I Poveri is a 1976 film directed by Mauro Severino, starring Enrico Montesano, Barbara Bouchet, and Anna Mazzamauro. It tells the story of a couple who comes into sudden wealth thanks to a football lottery and of their vicissitudes in blowing the newfound fortune. The music for this funny and oblique comedy was composed by a trio of musicians very much industrious throughout the 1970s: Franco Bixio, Fabio Frizzi, and Vince Tempera. These three musicians had developed a defined triangular identity, composing wonderful scores such as 7 note in nero, Sella D'Argento, Godzilla il re dei Mostri, Il secondo tragico Fantozzi, Febbre da Cavallo, Roma l'altra faccia della violenza, I quattro dell'Apocalisse, and many more. It was an incredible and prolific collaboration that gifted Italian cinema with iconic scores, celebrated here once again with this unreleased score that doesn't delude expectations, released as part of the DDJ series and presented in a transparent jewel case. Includes 12-page booklet designed by Daniele De Gemini with liner notes by Marco Ferretti. Mastering by Claudio Fuiano.
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DDJ 050CD
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Quando La Coppia Scoppia is a 1981 film directed by Steno and starring Enrico Montesano, Claude Brasseur, and Dalila Di Lazzaro in a comedy in which the protagonist Enrico Granata (Montesano) is facing a matrimonial crisis as a third party (Brasseur) tries to steal his wife (Di Lazzaro). A movie gifted with a score by Piero Umiliani, until now completely unreleased, one of the last composed by him and which denotes, once again, the maestro's proficiency in jazz orchestrations and provides rhythms for every situation, coloring the sparkling atmosphere of the movie. You find various orchestrations of the main theme, cues with a sexy flavor for a handful of nocturnal sequences and two tracks reused from prior films scored by Umiliani, Johnny Moggi Quintet (1975) and News! News! News! (1979). It's a nice tribute to the great Tuscan maestro that can't be missing from his fans' collections and which we are glad to offer in the DDJ series, namely dedicated to music of the '70s and '80s. The CD is presented in a transparent jewel case. Includes 12-page booklet with graphic layout by Daniele De Gemini and liner notes by Marco Ferretti. Mastering by Enrico De Gemini.
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2LP
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BEST 001LP
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Beyond Space And Time is the new record label from Japanese music festival, Rainbow Disco Club (RDC). This time around, festival regular DJ Nobu kindly opens up his collection and shares the music he loves with everyone. On visual duty is Senekt -- his representational yet contemporary drawing illustrates the emotion that comes from DJ Nobu. DJ Nobu describes ten tracks this way: Laurent Garnier's "Water Planet": Highly respected French DJ/Producer Laurent Garnier has been releasing tracks for decades capturing the very essence of Detroit Techno and Breakbeat. He always manages to create something truly emotional. Mono Junk's "Beyond The Darkness": This track represents the very early days of Techno with it's ravey atmosphere. It has a primitive feel, and the obscure mixdown sounds almost unbalanced. Psychick Warriors Ov Gaia's "The Valley": It was always my intention to include this track in a compilation if I were ever to do one. It has a fat underlying groove, with some indigenous spices thrown in. Melody Boy 2000's "Plenty Of Love": I wanted to include a track that had jacking feel to it -- that is my definition of dance music. This track mixes well in both techno and house DJ sets. Drax Ltd. II's "Amphetamine": This is my all-time favorite track by Thomas P Heckman. It asks questions and strikes down all the boring 'wanna be cool' techno tracks. Dan Curtin's "3rd From The Sun": Curtin's refined synth grooves and bass lines make this a true timeless classic. Front 242's "U-Men": The originator of Electric Body Music. Their husky vocals, hard rhythms and strong synth basslines made the group very popular at the time, and they are still to this present day. The Prince Of Dance Music's "E3 E6 Roll On": This is the track I played the most up until around 2006. It is a genuine house track that cuts through trends in music. Pan Sonic's "Lähetys / Transmission": Electronic music has existed for decades, and if you are to choose some of the best from all scattered and hidden places, Pan Sonic's 'Lähetys / Transmission' must be considered. The track emerges beautifully -- breaking structures and transcending the past. Burial's "Archangel": This track merges melancholic emotions with technological prowess at the highest level, and deeply impacted the dance music scene on its release..."
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BLM 570LP
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"Collection of field recordings originally recorded on New Year's Eve 1989 by Ko De Korte and Tom Haarsama. Additional overdubs produced by Bruce Watson at Delta Sonic Sound -- Memphis, TN 2018. Real and raw from one of North Mississippi Hill Country Blues' best -- Jessie Mae Hemphill."
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CD
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BB 327CD
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Bureau B present a reissue of Notorische Reflexe's self-titled release, originally released in 1985 on Rebel Records. Mark Reeder on Notorische Reflexe: "I honestly can't remember the first time I saw Notorische Reflexe perform, but I imagine it was probably at some mad avant-garde experimental event in SO36 or Tempodrom, or somewhere, because those days have become a hazy, crazy mixture of drunken, drug-fueled fragments of memories that have become barricaded in the back of my mind. One thing I do remember, is that their performances were always packed with wild and experimental artistic creativity. They were always extremely entertaining to watch, mixing self-made movies and music at a time when it was not the norm . . . Yet, the Notorische Reflexe were not just a band in the traditional sense, they were a collective of artists, each with a unique talent of their own, which they pooled together to create an experimental experience with every performance. You didn't go to a Notorische Reflexe gig to listen to a collection of their greatest hits, you went to a Notorische Reflexe gig to be enlightened and always, challenged. The '80s were a time of creative liberation . . . It was as if they almost expected you to be weird and the weirder you were, the better and without doubt, Notorische Reflexe certainly fitted that bill. I loved watching them live. They were fun and funny. I sometimes got the impression they were trying to force a square peg into a round hole, like mixing disco with dirge, but that was the whole point of their unconventional presentation. They caused you to consider and query. Each performance was a one-off event never to be repeated. The movies mashed with the music, always in a bizarre setting, with piles of electronic junk as their stage scenery, which became their signature. Ok, the Notorische Reflexe might not be as well-known as Einstürzende Neubauten, Die Tödliche Doris, or Malaria!, but they were as equally important in creating what has meanwhile become known as the Berliner Geniale Dillitanten scene, because it was all the other bands like Notorische Reflexe (or my own band Die Unbekannten), who participated in this experiment, and who were an essential part of the pyramid of bands that supported the main feature and helped to create the Berliner Krankheit."
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LP
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BB 327LP
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LP version. Bureau B present a reissue of Notorische Reflexe's self-titled release, originally released in 1985 on Rebel Records. Mark Reeder on Notorische Reflexe: "I honestly can't remember the first time I saw Notorische Reflexe perform, but I imagine it was probably at some mad avant-garde experimental event in SO36 or Tempodrom, or somewhere, because those days have become a hazy, crazy mixture of drunken, drug-fueled fragments of memories that have become barricaded in the back of my mind. One thing I do remember, is that their performances were always packed with wild and experimental artistic creativity. They were always extremely entertaining to watch, mixing self-made movies and music at a time when it was not the norm . . . Yet, the Notorische Reflexe were not just a band in the traditional sense, they were a collective of artists, each with a unique talent of their own, which they pooled together to create an experimental experience with every performance. You didn't go to a Notorische Reflexe gig to listen to a collection of their greatest hits, you went to a Notorische Reflexe gig to be enlightened and always, challenged. The '80s were a time of creative liberation . . . It was as if they almost expected you to be weird and the weirder you were, the better and without doubt, Notorische Reflexe certainly fitted that bill. I loved watching them live. They were fun and funny. I sometimes got the impression they were trying to force a square peg into a round hole, like mixing disco with dirge, but that was the whole point of their unconventional presentation. They caused you to consider and query. Each performance was a one-off event never to be repeated. The movies mashed with the music, always in a bizarre setting, with piles of electronic junk as their stage scenery, which became their signature. Ok, the Notorische Reflexe might not be as well-known as Einstürzende Neubauten, Die Tödliche Doris, or Malaria!, but they were as equally important in creating what has meanwhile become known as the Berliner Geniale Dillitanten scene, because it was all the other bands like Notorische Reflexe (or my own band Die Unbekannten), who participated in this experiment, and who were an essential part of the pyramid of bands that supported the main feature and helped to create the Berliner Krankheit."
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CACHE 022LP
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From the same studio that brought us 48 Chairs (Gerry & The Holograms), The Fall, and The Blue Orchids, while following the bona-fide bloodline between Danny And The Dressmakers, Toolshed, and 808 State, the "difficult second album" by Biting Tongues (released on a minuscule cassette run by The Buzzcocks' vanity label) has since become a near mythical artifact of Mancunian DIY. Cementing the path between the Absurd label's kitchen sink synth assaults and Factory's 99 informed downtown aspirations, Biting Tongues' bass-driven, pounding-sounding, schizo-skronking, squat-pop put the emergence of punk-funk under a blinding interrogation bulb then hid 'round the corner evading secret police. Pouring three letter words like "ESG", "DAF", "PIL", and "ACR" into Ken Hollings Scrabble bag would result in a unique form of wordy dictaphone agit-rap and closed-circuit commentary to Graham Massey's overqualified punk ensemble, laying foundations of future Manc activity using uncertified sand and gravel tactics, only to be safety checked every 38 years, or thereabout. Live It, the lost Biting Tongues album, still breathes. Including what the original members of this pioneering post-punk platoon unanimously consider their greatest work, Biting Tongues seldom-heard, second roll of the dice was presented to The Buzzcock's own label New Hormones to coincide with full-length DIY debuts by Ludus, Dislocation Dance, and a distinct tightening of purse strings. Recorded on half-price studio time (in the midst of a multi-track repair session) and duped on to compact cassettes to keep pressing costs down, the album Live It even entirely bypassed the non-existent art-department before landing in the hands of a small readership of peculiar-punk die-hards, instantly slipping into obscurity, evading official band future discographies, and reaching an imaginary status in the history of unchartered Manc-manufactured messthetics. Now available, on vinyl, with two sleeve variations and extensive notes from Graham Massey and Ken Hollings, Live It is a welcome misplaced release and an essential addition to Finders Keepers' Cache Cache catalog. Biting Tongues make wise heads!
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CSR 274CD
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Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019. CD version comes in six-panel digipak; the track "The Doctrine Of Eternal Ice" appears on CD only.
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CSR 276CD
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Cold Spring Records announce the long-awaited reissue of Stolen & Contaminated Songs, Coil's 1992 album. Stolen & Contaminated Songs was recorded and produced by Coil in 1992. It is comprised of over 60 minutes of outtakes and unreleased songs, evolved during the recording sessions for their prior album, Love's Secret Domain (1991). A wealth of superb material showcasing the diversity of Coil: dark, violent, vivid, and fractured, yet cohesive and beautiful. Combined with the latest studio technology and Coil's ever-evolving production skills, S&C Songs walks a fine line between tradition and innovation, continually creating semi-abstract soundscapes with a cinematic quality. CD version comesin in six-panel digipak.
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12"
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CRWDSPCR 010XEP
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The pioneers of slo-mo trance are back with the fourth installment of their Back To Disco Valley series on Crowdspacer. Don't get misled though, there's almost nothing disco about Full Circle (aka Alexis Le Tan and Joakim). Instead you're in for 15 minutes of psychedelic slow techno that became the trademark of the duo: on the harder, epic acid side of things on "Alien Nation" (probably the duo's biggest club edit so far) and on the trippy, tribal side on "Shivering Shiva".
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12"
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COS 509EP
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"Belizean artist Bredda David Obi set out to put Belizean music on the map in 1984 with the release of his debut LP No Fear. With this album he introduced the world to a new Belizean groove he called kungo (or cungo). A mélange of traditional Belizean brukdown music and sprinklings of the rock, funk, calypso and reggae. He would further develop this modern tropical sound on subsequent albums, integrating more and more elements from Belizean niche genres like sambai and paranda. Years later DJs and record collectors found his records in basements of record stores in Los Angeles and Brooklyn. These DJs incorporated his music into their DJ sets to the excitement of dance floors all over the world. The DJs and remixers on this 12" took it a step further and edited and remixed David's music. DC based DJs -- Sol Power All-Stars morph 'Dancin'' from an electro brukdown breakbeat into a four on the floor acid house track with an Afro-Caribbean feel. Los Angeles based DJ and record collector DJ Duckcomb tastefully melds both the dub and original versions of 'Experience' into one epic reggae discomix. My Rules Records owner and DJ/producer Justin Van Der Volgen uses his heighten production skills to turn Bro David's 'Sunshine' into a heady trippy cosmic version of the track. Last but not least LA-based Heatwave DJs turn 'Cungo Music' into a dancefloor tested and approved extended anthem."
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12"
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DKMNTL 073EP
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Synergizing their respective studio prowesses and harnessing their accomplished hardware artistry has helped establish Neon Chambers as a modern symbiosis of atmospheric, contemporary club sounds, and multi-rhythmic machine-driven sonics, the two producers have set out on the beginning of a new era of electrifying, astute sound design, and breathtaking modern electronic music. The duo's debut EP, One is a whirlwind of crushing modern sonics, that is equal parts jagged rave, progressive dub-fueled two-step and night time-ethereal IDM. Throughout all five-tracks, the producers wield a wicked awareness of state-of-the-art sound design, that makes each kick cerebral, every bass-sound an epic vibration, and every synth a futuristic cacophony of finely-tuned noise. The sounds are an amalgamation of everything that has made each artistic unique in their own right, while correspondingly helping create something new. "Apollo" is a prodigious working of melodic synthesis, with delicate, and rolling breaks, while "Cascade" moves into a more grandiose, heavenly territory, befit with trance-like, precision synthesis. "What It Takes" brings on board a more UK, post-dubstep sound, albeit one with more craft, and sonic mastership. "Your Touch" toys once more with atmospheric rolling breaks and solemn vocal samples, while "Helles", the closing track, is an excursion into more compelling, auditory realms.
Neon Chambers is the new project of UK producer Sigha, and French artist Kangding Ray. Sigha, aka techno producer James Shawm comes from a steadfast background in abstract and grounded techno, with previous works on Token Blueprint, Avian, and his own Our Circular Sound imprint. Kangding Ray, aka David Letellier, has made a career for himself with genre-breaking and experimental sonic adventures that have taken him across such era-defying labels such as Raster-Noton, and Stroboscopic Artefacts. In 2019, he also started his own imprint ara for more bespoke, avant-garde releases. The duo came together to create Neon Chambers to further extend their analogous ambitions, and create bigger, and more daring live and audiovisual performances.
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5CD
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D 50020CD
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Five-CD set presenting 100 masterworks composed by Wolfgang Amadeus Mozart. Performed by various orchestras and choirs from Germany, Hungary, Great Britain, Austria, Bulgaria, Slovakia -- with all the details and credits noted in the enclosed six-page leporello booklet.
Wolfgang Amadeus Mozart (born January 27th. 1756 -- died December 5th, 1791), baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was the prolific and influential composer of the classical era. Born in Salzburg (Austria), Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and travelled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death have been much mythologized.
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D 50022CD
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Five-CD set presenting 100 masterworks of the opera, from Giuseppe Verdi, Giacomo Puccini, Gioacchino Rossini, Vincenzo Bellini, Wolfgang Amadeus Mozart, Georges Bizet, Jacques Offenbach, Charles Gounod, Bedrich Smetana, Peter Tschaikowsky, Modest Mussorgsky, Richard Wagner, and many more. Performed by various orchestras, conductors, singers, choirs from Germany, Hungary, Poland, Great Britain, Austria, Bulgaria, Czech Republic -- with all the details and credits noted in the enclosed six-page leporello booklet. Also features operas by: Ruggiero Leoncavallo, Gaetano Donizetti, Arrigo Boito, Amilcare Ponchielli, Pietro Mascagni, Alfredo Catalani, Georg Friedrich Händel, Jean Philippe Rameau, Claudio Monteverdi, Henri Purcell, Christoph Willibald Gluck, Luigi Cherubini, Ludwig Van Beethoven, Peter Cornelius, Camille Saint-Saëns, Jules Massenet, Giacomo Meyerbeer, Nikolai Rimsky-Korsakoff, Michail Glinka, Otto Nicolai, Albert Lortzing, Carl Maria Von Weber, Conradin Kreutzer, Franz Schmidt, Friedrich Von Flotow.
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2LP
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DDS 041LP
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Dropped Out Sunshine is NYC mutant Madteo's incredible new album of trigger-happy club graffiti on Demdike Stare's DDS, weighing in a keenly anticipated follow-up to 2012's cult-classic Noi No LP for Sähkö. Splitting at the seams with deviant funk and irrepressible attitude, Madteo's first LP in sevem years forms a fractal, mixtape-like mosaic of asymmetric techno informed by skewed traces of rap, house, R&B, and dancehall. Its 12 tracks are delivered in an enviably nonchalant, freehand style that's become the Italian-American artist's ear-snagging signature since 2012's Noi No and Mad Dip Revue albums, and also a dozen 12"s and mixtapes over the interim; all of which exerted heavy inspiration for everyone from Andy Stott and Joy O to Demdike Stare over the past decade, making this new LP a perfectly unusual fit for the anything-goes DDS aesthetic shared by label alumni including Mica Levi, Equiknoxx, Iueke, and Shinichi Atobe. Without beating around the bush, Dropped Out Sunshine is a straight-up masterpiece of cut-up sampledelia bound to make the club dance differently. Crammed with sawn-off edits that never lose the thread, its wild and effortlessly inventive turns of phrase are anathema to linear club music convention, generating fizzing alchemy from mutually exclusive bedfellows such as dancehall and techno, or R&B and noise that could really only be executed by a producer of Madteo's caliber. Yet for all its singular nature, the album is also patently symptomatic of the times, sub-consciously parsing a gripping intimacy, personality and urgent yet elusive psychedelia from ubiquitous media overload. Kicking off with another *****-sampling zinger "1 4 U" (following his infamous use of "Marvin's Room" on Noi No), and ending up mired in the melancholy gauze of "The Lies That Bind", at each step the album effortlessly resists a struggle to square the nature of artistic expression. Fragments of gospel blues noise intersect gauntlets of filtered house fuckery, while restless Autechrian electro rubs up against uncoiled trap and needle-worrying levels of textured bass turbulence, leading to an outrageous turn of stuttering ragga-tekno in "Resident Alien (Broke-'n-Steppers Reluctant Club Mix)" and a final side of collapsed, post-club styles that will leave listeners wondering wtf just happened, and ready to do it all again. RIYL: Andy Stott, Joy O, Mica Levi, Demdike Stare, Moodymann. Mastered and cut at Dubplates & Mastering, Berlin.
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LP
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DR 040LP
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"Digital Regress's foray into the fabled NZ underground hops over to the North Island for two exquisite pieces of acoustic DIY and shadowy, cracked pastoralia. After a few years spleen venting at the front of Wellington art brutes Shoes This High, Brent Hayward struck out on his own, self-releasing a few EPs as Smelly Feet before forming The Kiwi Animal with Julie Cooper in 1982. The duo released their first album, Music Media, on Massage Records (their own imprint) in 1984. Billing itself 'New Acoustic Music,' the Kiwi Animal's debut is a set of introverted and austere yet lambent folk songs. Textural, gently hypnotic guitar chords anchor minimal arrangements, as Hayward and Cooper's entwined vocals -- think Pip Proud meets The Vaselines -- project paranoia and forlorn, diffident cool. Wry, imagistic lyrics somewhere between the stoned political economy of D. Boon and the head-fuck soliloquies of Robert Ashley complete The Kiwi Animal effect. The music of The Kiwi Animal, moody and intelligent and often abruptly gentle, works subcutaneously, propelled by guitars that churn and weave -- no jangle here -- and a his 'n' hers vocal delivery for the ages. Digital Regress is happy to make these essentially perfect records available again."
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CD
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CDDM 304CD
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Digitmovies presents the original soundtrack by Nico Fidenco for the film Blue Jeans. An EP single (RCA, TBBO 1114) was originally released with the songs "Blue Jeans" and "A Final Step", performed by the group Cyan, which open sides A and B. For this LP, Digitmovies used the original tapes in full stereo that were preserved in the RCA archives. Nico Fidenco composed a pleasant soundtrack with a pastoral flair which is dominated by the main theme, a romantic ballad where you hear a faster and slower vocal version. It is then reprised with different instruments: cheerful and rhythmic flute, harmonica and orchestra, harmonica and strings with a touch of country, harpsichord, and classic guitar. Directed in 1975 by Mario Imperoli, Blue Jeans starred Gloria Guida, Paolo Carlini, Annie Carol Edel, Gianluigi Chirizzi, Mario Pisu, Marco Tulli, Barbara Betti, Rino Bolognesi, Domenico Bua, and Mario Di Girolamo.
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