cd includes a 35-minute sound installation audio piece, in dvd case, 48-page booklet. publication is being released as part of the exhibition: wolfgang tillmans: there were 30 years between 1943 and 1973. 30 years from 1973 was the year 2003 at kunstverein in hamburg from 23 september to 12 november 2017. recordings, sleeve and booklet by wolfgang tillmans:

recently, superpitcher was invited to go on a safari in south africa. he bought a custom made safari hat at his favorite milliner in cologne (ju&#776,rgen eifler) and set off with big eyes and a pair of binoculars. it was wild and wonderful and he saw many exotic (and big!) animals, even a leopard in a tree that told him the secret of the universe. he forgot what the leopard said because his mind was still playing and replaying the sound of what he heard on the first night of his arrival Ð the hypnotic and moving sound of the voices of africa, the voices of the wonderful tanda tula staff choir. there, the choir members work during the day at the camp and at night entertain the guests with their captivating voices and energetic dancing. so impressed was he with their songs and beautiful shangaan language that he decided to record a cd for them to sell in the shop at their camp and now this precious recording is also available through hippie dance / bush recordings on vinyl and cd for you in whatever wherever camp you are. the lp of the tanda tula choir comes with a very pretty poster.

house music broke through in 1987, at the same time when aids arrived in france with the first contamination peak in gay and drug addict circles. in 1989, the founders of act-up paris knew that both the fight against aids and triumphant house music should be joined together. from 1992 to 1995, the period covered by Ò120 bpm-, house reached its most beautiful plateau even though techno was becoming dominant. Ò120 bpmÓ is a get-together moment through clubbing, this moment where fears are forgotten by dancing with oneÕs friends, what we called Òthe chosen familyÓ at act-up. boys and girls dancing in a club where the walls cannot be seen, flooded with simple light. this is their activist recess. arnaud rebotini, composing the soundtrack of robin campilloÕs previous film, Òeastern boys-, is a recognized dj, a composer and a kind man, which is for me the most important quality. here, his work is marked by restraint of his love for house and after techno. i believe he deliberately withdrew himself in relation to the filmÕs power and the aids theme.

say what you wanna say, but you have to give strahil velchev this: the manÕs a powerhouse. recording and playing live under the kink alias, he went on to become one of finest purveyorÕs of funk in techno and house. what it is, by definition, ainÕt exactly clear. and that is the beauty of it. kinkÕs music is unifying in the best possible way. channeling the spirit and feeling of a time where it didnÕt really matter who the faces behind the music were, kink plays with the elements of genres and sub-genres as if the future of it all is still wide-open. at the same time it could be accused of retro-fetishism, as much as the pope himself is infallible. the pure need to recreate moments, feelings and experience - rather than carbon copies of existing designs - was what started kinkÕs production work. hailing from bulgaria, it was nearly impossible to get your hands on all the records and music that fed into a system of raves, clubs and record shops that seemed far away from sofia, and financially it might as well have meant another galaxy. wanting to dj without having access to the tracks that spun the carousel meant that you had to create them yourselves. so, here we go with a private bootlegger gone public mastermind and one of the loudest voices in house, techno and beyond. from kinkÕs early productions with neville watson to his smash-hit for ovum, a cerebral album for macro, tons of remixes & tracks and his mind-bending live act, playground seems to take all that into a blender. simultaneously a sound-summary, the harvest of a field of ideas, and the exhibition of an artist in his prime, it also works as a sort of kink dictionary: avant-garde soundscapes stand next to boisterous bangers, classic club tracks and peak time emotions

2cd digipack + booklet - includes 21 classic tracks + 2 previously unreleased titles. review on acid jesus, the first of many collaborations between roman flŸgel and jšrn elling wuttke. including 2 unreleased tracks! situated in germanyÕs then blistering techno scene and especially a mirror of frankfurt at the time (and it s holy label trinity of playhouse, klang and ongaku), flashbacks are also a feedback loop to what was happening in the uk and the usa. flŸgel and wuttke succeeded with their own and unique take on it, that owned as much to underground resistance and the belleville three as it did to sven vŠth and andrew weatherall.

semiomime is the more spherical alter ego of dj hidden/the outside agency. 6 years after his previous album Òfrom memoryÓ and his Òsix stepsÓ ep . it was time to return to mindtrick records with a new album. Òclose onesÓ is an absolute musical milestone for semiomime showing his more sensitive side.
all songs have been written over an extended course of time. they needed to grow and transform to become impressions of memories and the emotions attached to them. he wanted to capture their essence, translate the way they are stored in his head. by doing this, this album became a very personal album.
it will make you think of some of those things that can make life special... remind you of your close ones.

born in a remote log cabin deep in the scottish highlands, eventual reality, the debut album from the james lÕestraunge orchestra melds jazz and electronic music sensibilities with a huge helping of heart and soul. in 2014 seasoned producer and musician ricky reid and his partner retreated from the city to embark upon a new life, in his own words Òaway from the constant, incoherent noise of the worldÓ. as he set up his studio, the clean air and spectacular surroundings began to provoke musical inspiration like never before. then, like a scene from Ôfield of dreamsÕ, a series of talented musicians from his former life visited the cabin for a series of late night jamming and recording sessions, leaving behind them hidden treasures to be discovered and lovingly pieced together by ricky over the following months. with nostalgia so much a part of the albumÕs creation, the james lÕestraunge orchestra canÕt help but appear somewhat spectral, after all they are truly the band that never was.

tricky returns with his 13th album, ununiform, out in september on his own label false idols via !k7 music. it‹s a delicate, storming, intricate album that sees tricky take perhaps his most radical step yet a journey into happiness and contentment. it‹s a record that shows the legendary british producer confront his legacy, history, family _ even death itself. and in all of this, he finds the strangest, least familiar thing _ peace.
? full world tour to support release ? appearance in fka twigs recent nike campaign ? features first track with maxinquaye famed singer martina topley-bird since 1995

rodhads debut album anxious sees the artist step away from the dancefloor and further develop the narrative qualities of his beautiful soundscapes. it was the natural next step to present the sound he began cultivating with his recent eps kinder der ringwelt and sšhne der erde as a full length lp. the experience the album is trying to convey is being thrown into a world that is ready to crush you.they have you with your back to the wall, and you are ready to give way to despair. will you be able fight back? how is it even possible? rodhad is the spearhead of a new generation of techno producers and djs. with his bass heavy grooves and dubby atmospheric soundscapes he is a sonic guide, knowing exactly where he wants to take the crowd, leading through the inexhaustible sounds of techno music in all its beauty and gloom. he fully immerses himself into the music, yet never loses himself. growing up in berlins rougher outskirts, as a teenager he was able to grasp the final flashings of berlins mythical nightlife of the 1990s at legendary places casino and ostgut. in the late 2000s the dystopian crew began their own series of parties and then the label with two seminal releases by rodhad, 1984 and blindness.

for their first multi-artist compilation, music from memory take us on a trip to the heart of the amazon rainforest. outro tempo: electronic and contemporary music from brazil, 1978-1992 is a double lp that explores the outer reaches of brazilian music, where indigenous rhythms mix with synthesizers and where mpb mingles with drum computers. as brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of brazilian music and culture. they embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. at the same time they referenced the musical forms and spirituality of indigenous tribes from the amazon. the music they produced was a complex and mesmerising tapestry that vividly evoked brazilian landscapes and simultaneously reached out to the world beyond its borders.

in seiner fast 25-jŠhrigen karriere hat paul fast alles erreicht, was man in der internationalen dance-welt erreichen kann: mehrfach wurde er von den dj mag-lesern zum no.1 weltbesten dj gewŠhlt, 2014 sogar zur no.1 aller zeiten. sein klassiker -for an angel- (1994) zŠhlt fŸr das mixmag zu den 10 besten dance-tracks aller zeiten. weltstars wie madonna, u2, depeche mode, new order oder rammstein nehmen seine remixkŸnste in anspruch. paul spielt jŠhrlich Ÿber 150 shows, mit 1.5 millionen gŠsten gelang ihm silvester 2008 in rio de janeiro ein neuer publikumsrekord. und seine wšchentliche radioshow -vonyc sessions- feierte im mai 2016 ihre 500. folge und gehšrt mit einer durchschnittlichen downloadrate von 250.000 zu den 10 beliebtesten dance-formaten auf mixcloud. nun liegt pauls neue cd -from then on- mit 14 exzellenten tracks und zahlreichen kollabos vor. darauf befinden sich u.a. die 3 bisherigen single-auskopplungen -everyone needs love- (beatport trance #2), -touched by heaven- (beatport trance #3) und der jŸngste smash -stronger together- (beatport trance #1). damit wird die umfangreiche paul van dyk alben-diskografie, die mit album #7 -the politics of dancing 3- im frŸhjahr 2015 ihren bisherigen hšhepunkt erreichte, mit dem achten werk endlich fortgesetzt.

3 cd compilation incl house and disco classics feat. kraak & smaak, tschik, crazy p, sandy b, joey negro, todd terry, mike dunn, hot chocolate , shapeshifters, clivilles & coles, swing 52 , lenny fontana, atfc, gusto, kristine w, joe smooth, gino soccio and many many more

das debŸtalbum von kelela ist ein vielschichtiges, oszillierendes portrŠt, das sich zugleich in die vergangenheit und in die zukunft des r&b erstreckt. was so nach relativ stabilen genregrenzen und zugehšrigkeiten klingt, wird in ihren hŠnden grenzenlos: take me apart steht fŸr sich, es ist ein neues element, das nach eigenen regeln funktioniert, sich aber doch einreihen lŠsst in einen kanon von klangverwandten jŸngeren albummeilensteinen. ehrlichkeit und verletzlichkeit waren schon immer die eckpfeiler ihrer musik auch wenn sie sich gelegentlich gepanzert in avantgardistischen electronica-schichtungen prŠsentiert, und auf take me apart geht sie nun sogar noch deutlich weiter, was den emotionalen tiefgang, wucht und gehalt ihrer message und auch die breite des klanglichen spektrums angeht. nach den lobeshymnen fŸr ihre hallucinogen ep, feature-beitrŠgen fŸr ihre langjŠhrige verbŸndete solange, danny brown oder zuletzt den gorillaz, und nach supportauftritten fŸr the xx, legt kelela mit take me apart den grundstein fŸr eine sehr vielversprechende karriere.

japanese house producer, kuniyuki. a cd album that collaboration with him and talented producers. selection of seven songs from co-production with vakula, dj nature, jimpster which was only record release. dj sprinkles a.k.a. terre thaemlitzs remix and 2 collaborations with londons k15 are included. all 9 songs included. floating points, joaquin joe claussell is also a strong supporter of sapporo.

zed bias is an electronic music pioneer, throughout his career he has traversed genres with ease whilst all the while retaining his signature sound. it was in 2016 that he debuted on exit records with a three tracker featuring zoe violet, the release was a sign of things to come. modern u.k. soul delivered in the 160bpm format, this aesthetic has now been developed with the different response album. it s the sound of zed bias in 2017, undeniable soul with one eye on the dancefloor. hes gathered a formidable feature list to voice the album artists from his native manchester and beyond all lend their talents to the album. label owner dbridge says of the release: an lp that fits perfectly in what i believe exit is about. artists creating music with soul and a sound uniquely their own. zed has shown again whats possible when you listen to your own voice

als in den spŠten 80er jahren die ersten outdoor-trance-partys im indischen bundesstaat goa stattfanden, hŠtte niemand gedacht, dass sich dieser trend so lange halten bzw. weiterentwickeln wŸrde. kaum eine andere dance-szene in europa hat ein grš§eres zusammengehšrigkeitsgefŸhl als die goa-szene. hier wird musik und alles, was damit zusammenhŠngt, noch gelebt. zu keinem genre gibt es eine ausgeprŠgtere und besser entwickelte -underground--partyszene, in zahlreichen foren und communitys stehen die fans in regem kontakt. stŠndig finden kleinere veranstaltungen statt, und im sommer sind die gro§en festivals und partys wie waldfrieden wonderland, vuuv festival, alice im wummerland oder psy-purgisnacht immer ausverkauft.

the sound of studio one can be identified by the great singers that it cultivated along the many great songs that these singers released. but as studio 1 s dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. the reggae sound of the studio 1 would make a great combination and the man to pull this was together bunny lee.

das britische dj/produzenten-chamŠleon midland aka harry agius, der seit 2010 die clubwelt mit surrealen tracks bis modernem pop begeistert und u.a. darkstar, mano le tough und flume remixte, legt mit -fabric live 94- einen faszinierenden mixflow vor, der keinen anfang und kein ende kennt, stŠndig zwischen verwirrung und †berwŠltigung, zwischen momenten totaler klarheit und begeisterung hin und herwechselt und als fixpunkte die tracks von roman flŸgel, lfo und daphni setzt, die dem hšrer/tŠnzer immer wieder orientierung geben.

wegbereiter des techno? begrŸnder der ebm? vorvŠter des electropunk? mit kŸhlem lŠcheln schweigen sie zu jeglichem versuch ihrer historisierung: die deutsch amerikanische freundschaft, kurz daf, ist ein mythos. was wir wissen: zwischen 1980 und 1982 erschienen innerhalb kŸrzester zeit vier alben, die die musikgeschichte weltweit verŠnderten und daf neben kraftwerk und can zu den vorreitern der elektronischen musik aus deutschland werden lie§en. die chice cd-box -das ist daf- enthŠlt ihre vier wegweisenden cd-alben, eine weitere cd mit exzellenten neuen remixen von giorgio moroder, westbam, boys noize, gšrl & hell, gabi delgado und lor, sowie ein poster. ltd. edition. - packaging: klappdeckelschachtel (128 x 127 x 19 mm), 5 cd-stecktaschen, poster

die geschichte von -ton steine scherben in dub- begann vor 20 jahren. nach zwei aufsehenerregenden kompilationen des damals noch jungen labels echo beach, die ein schlaglicht auf das britische und internationale dub-schaffen der mittneunziger warfen, sollte sich -king size dub volume 3- auf deutschland konzentrieren. neben den toten hosen, fantastischen vier und nina hagen dachte man dabei auch an die scherben. so kam es zu einem ersten treffen mit r.p.s. lanrue, dem ehemaligen scherbengitarristen und musikalischen nachlassverwalter der band. dadurch landete eine version von -mole hill rockers- auf dem sampler. und dann passierte erst mal nichts mehr. bis labelchef nicolai beverungen zwei seiner dub-spezialisten, n›mlich fe wolter (dubvisionist) und alexander hornbach (aldubb), zu einer weiteren zusammenarbeit mit r.p.s. lanrue bewegen konnte. jetzt wurde es konkret. obwohl f_r die scherbenwerke keine mehrspuraufnahmen vorlagen, gelang es den dub-arch›ologen, die essenz der st_cke in exklusiven mixen zu erhalten. nur punktuell wurden durch overdubs spuren erg›nzt, verst›rkt oder tiefer gelegt. so entstand, was keiner f_r mÖglich gehalten h›tte: ein dub-kaleidoskop aus den scherben des westberliner klassenkampfes.

double cd feat. tracks anc exclusive edits from the jammers, skyy, love committee, charo, double exposure and loleatta holloway. mastermixed by dimitri from paris

the/das ist ein aus der formation bodi bill hervorgegangenes musikprojekt von fabian fenk (gesang) und philipp koller (elektronik, mix), das 2012 in berlin gegrŸndet wurde. der bandname soll eine neutrale bedeutung haben und in keine bestimmte richtung verweisen. ihren sound nennen die beiden techno tenderness, was in etwa chilliger afterhour-musik bzw. new romantic house entspricht. diesen fanden die geneigten hšrer auf bislang Ÿber einer handvoll veršffentlichungen, darunter der lp -freezer- von 2014. dessen innig ersehnter nachfolger erscheint auf dem italienischen, von dj tennis gefŸhrten label life and death. wŠhrend bei frŸheren releases eher der homelistening-aspekt betont wurde, gibt das produzentenduo auf -exit strategies- verstŠrkt clubfreundliche seiten von sich preis. dafŸr vermengen die zwei ziemlich geschickt, geschmackssicher und facettenreich ursprŸnglichen techno berliner prŠgung und organische soundschleifen miteinander und wŸrzen das ganze mit verspielten kinematografischen details. ein aufwŠndiges verfahren, dessen umsetzung von losen skizzen Ÿber die ersten arrangements und immer wieder neuen †berarbeitungen bis zum finalen mix im studio rund drei jahre dauerte.

a.r.c. soundtracks is the audio/visual project of k.craig and david armes. dereliction//mirror is the duoÕs third release, following on from a debut album, archive: volume one (little crackd rabbit) and a cassette release for sacred tapes, from a shattered beam. dereliction//mirror was created on-residency at salford s islington mill, home to gnod, sacred tapes and many other noise/experimental musicians and labels. it is an audio/visual piece that uses the semi-derelict attic spaces as both inspiration and source material. focussing on the notion of ruins and their potential for reappropriation, dereliction//mirror combines a dense, multi-layered sound-world with ritualistic visuals to create an immersive, hypnotic work. this new film and soundtrack takes us into a bleak auditory realm of post-industrial structures and traces the role of the body within these liminal spaces. strained harmonics and industrial, discordance mesh with veiled rhythms and spoken-word narrative to create a heavy, static energy to both sound and visuals.

on limited edition compact disc. no. the disorganisation founded by atomª + material object in 2013 to advance the cause of faceless audio output by no. one in particular are cataloging their 3rd year of existence with no. iii no. iii continues the centuries long tradition, invented by the label masterminds in 2013, of remixing the very concept of a ÔcompilationÕ by slicing, remixing, autotuning and youtubing the entire year of the labelÕs output into the blender for a completely new cocktail that goes beyond merely re-packaging previously released product. although 2016 was a relatively light year for no. in terms of hours of audio output, a famous german philosopher once wrote Ôa samuraiÕs life is not measured in lengthÕ and the mix features two previously unreleased works by the label owners: Ôstill d/aÕ by atomª and ÔiiiÕ by material object. no. iii successfully represents the material released on the label between may 2016 - may 2017 as well as some now declassified transcripts of past communications and unreleased excerpts from future efforts, stitched together with frankensteinian precision and brought to life on the operating table with a blast of atomic energy

the trickfinger project was recorded 10 years ago with no intention of being released at the time, made purely for discovery and learning experience. -in my opinion, making music with no intention of releasing it is the best thing a musician can do for his own development in this day and age. the trickfinger lp was made in that mindset, and it was the beginning of a new musical life for me. when i hear it, it sounds like i am opening up doorways to new worlds, and i never have had that feeling listening to music i made for the purpose of releasing it and selling it.- all the music was recorded live onto a cd burner, through a cheap mixer. john would sit on a chair, in his living room, surrounded by five to 15 machines, and just keep programming and jamming until the track was ready to be recorded. there were no overdubs Ð recorded all live

was auf oracle ungeschliffen passiert, ist der erste output einer deutschen jazz supergroup. zunŠchst wollte man ein unperfektes spiritual jazz album aufnehmen, das vorbildern aus den siebzigern fršhnt (strata east, black jazz et cetera), einfach mal der leidenschaft nachgehen. und man wollte eine fiktive band erfinden, die es nicht gab, und rausposaunen, es handelt sich um ein unveršffentlichtes album von namhaften und beseelten typen aus den 70ern. nun ja: dann hŠtte man nie live konzerte geben kšnnen, von interviews ganz zu schweigen. kurzum, es wŠre schwierig gewesen, das geheim zu halten, also hat man sich entschlossen, die identitŠten preiszugeben: web web sind: roberto di gioia (piano, synth, percussion), tony lakatos (tenor- und sopranosaxophone), christian von kaphengst (upright bass) und peter gall (drums).

it has been eleven long years since urbs dropped his last album which was called Òtoujours le meme filmÓ. back then, the musician, dj and producer created the soundtrack to a fictitious film noir, which was released on kruder & dorfmeisterÔs g-stone label, but after touring europe he almost completely retreated from public life. he does not consider his creativity as being his career, but rather as a part of his life which rarely is subject to concrete planning, and that is why urbs quite consciously took his time to create his latest Ðuntitledalbum.

an unreleased classic from the vaults emerges with beautiful reshapes by cv313 (recorded and reshaped from 2007-2016) this is where the sound of cv313 was realized, culled from cassette tapes recorded live (1995-2000) with nothing but analog/digital hardware, no computer in sight (excluding our commodore 64 midi sequencer, which is still alive and well today). the radius project has been absent since the final release in 2001, the first 12- appearing in 1996 (limited white label run of 100 copies pressed at acme pressing in canada) after revisiting these works we realized there was truly some magic here. this project was initially sent to rod modell & mike schommer shortly after they launched their brilliant deepchord label in 2001. they were incredibly kind in saying it was the best demo they had ever heard and passed it on to octal records for release, sadly, that didn t materialize and since then these masters have been collecting dust in our cassette rack for nearly 20 years now. we ve spent months doing our best to restore the old tapes from our tascam 688, an 8 track cassette recorder purchased and abused since 1992 and to our ears still sounds quite impressive even by modern standards. (that is of course, if you can get past the tape hiss) we ve had nearly every component replaced and re-calibrated to bring this obsolete machine back to life, it s been a truly nostalgic experience re-visiting these masters.

im sommer 1999 aus der taufe gehoben, ist unsere total compilationserie kaum Šlter als das 21. jahrhundert selbst Ð was total 17 als letzte ausgabe vor der volljŠhrigkeit kennzeichnet. und tatsŠchlich strahlt die 2017er kohorte einen verspielten †berschwang aus, mit dem sich nur wenig andere compilations nach Ÿber 15 jahren am markt messen kšnnen: labelveteranen und neuzugŠnge wie etwa superpitcher, weval, tobias thomas & michael mayer, chris klopfer, juergen paape, voigt & voigt, max scholpp und nu u orchestra begeistern mit einigen der eingŠngigsten tracks, die die serie bis dato gesehen hat.

wie andere total compilations zuvor, ist total 17 zuallererst eine perfekte gelegenheit in unser aktuelles programm einzutauchen, dank der actiongeladenen 2xcd version die gefeierte hšhepunkte und persšnliche favoriten von laurent garnier, the orb, k…lsch, vermont, t.raumschmiere, patrice b€umel, danny daze und vielen anderen vereint. die filetstŸcke jedoch dŸrften zweifelsohne die exklusiven tracks sein, die sich auf beiden editionen, 2xcd und 2xlp, befinden Ð acht brandneue produktionen von kompakt-kernkŸnstlern und ausgewŠhlten labeldebŸtanten die sowohl den sammelnden kenner als auch den ambitionierten tanzflur-aktivisten mitreissen werden.

pianos have featured in house music since day one. there s just something about the combination of looping piano chords and a skipping house groove which works so well. in contemporary dance music the piano still remains intrinsically linked to house, though it was in the late 80s and 90s that the true piano house classics were created. we took it to our hearts. the emotionally charged piano riff became a defining motif of uk dance music. producers knew they only had to alight upon a suitably uplifting three-chord piano hook in order to unleash a tide of misty nostalgia for rave s halcyon days. ministry of sound are proud to present piano house classics.

der dramatische thriller der beiden safdie-brŸder ist eine hypnotische odyssee durch die new yorker unterwelt, in der der protagonist verzweifelt versucht, seinen bruder aus dem gefŠngnis zu holen. die hauptrollen spielen robert pattinson (in seiner bislang besten performance) und jennifer jason leigh. musik und bilder gehen dabei eine symbiose von unglaublicher tiefe ein, wenn banale events zu dramen und montagen zu miniopern werden. oneohtrix point never gelingt mit dem soundtrack ein ausgesprochenes hšrerlebnis, das seinen exzellenten studioalben in nichts nachsteht und mit -the pure and the damned- featuring iggy pop einen markanten schlŸsseltrack enthŠlt. der spiegel schreibt: -das einzige, was -good time- im vergleich zu -drive- fehlt, ist dessen hemmungslose romantik, -good time- ist zuallererst ein kumpelfilm, aber kein sentimentaler. die emotionalen lŸcken, die dadurch immer wieder aufrei§en, fŸllt jedoch der soundtrack von daniel lopatins aka oneohtrix point never mehr als zur genŸge aus. der maximalistische musiker und starproduzent (u.a. fŸr anohni) war sich noch nie fŸr einen dramatischen effekt zu schade. hier darf er nun nach belieben drŠngende bŠsse, kreischende gitarren und kitschige synths abfahren, sitzen tut alles.-

following on from the 2015 return to the frey real ibiza returns to the white isle for the 2016 edition of the benchmark balearic compilation -real ibiza volume 9-. first launched in 2000 real ibiza was one of the first wave of ibiza / balearic inspired compilations. a cornerstone of the genre alongside the caf̩ del mar series. real ibiza gets inside the balearic bloodstream by mixing in downtempo sensibilities, mellow house, cool jazz and plentiful doses of evening sun-washed grooves. for episode 9 bahamian dj loudery returns to sample the delight and mood of balearic music worldwide. as is the formula for real ibiza the zeitgeist is all ibiza whereas the particpants int the music hail from locations all over the word. first up we head to prague to sample the 30 piece string section of the prague philharmonic orchestra with czech producer sonority setting a mellow introducing tone with the cinematic -virtus-. its then a trip to the other side of the world for australian producer gary b to set things on a dreamy plateau with his bass guitar driven -better life-. next it is some unabashed sunshine groove with the lazy trumpet, sunshine piano and -boys of summer- guitar with -isla paradisco- from steven solveig.

delroy wilson the original Ôcool operatorÕ was also known to many as ÔteacherÕ. a title given to him as he unselfishly taught the up and coming singers including one youth dennis brown, the art and delivery of singing technique. delroyÕs rich tone to his voice added a depth to any song that he chose to sing. delroy wilson (b.1948 kingston,jamaica) began his musical career at the school that was coxonne doddÕs studio one label. after a brief stop in 1969,which saw delroy working for producer sonia pottingerÕs tip top label. again producing such hits including Ôit hurtsÕ and Ôput yourself in my placeÕ. the 1970Õs saw delroy wilsonÕs arrival at bunny Õstriker ÕleeÕs door and what would result in a winning formula,scoring hit after hit. it is from this great period in delroyÕs career that we have compiled this selection of killer tunes,cut with the drum and bass rhythm kings themselves sly dunbar and robbie shakespeare.such classis as Ôwho careÕ ,Õcan i change your mindÕ,Õget readyÕ,Õyou must believe meÕ and the timeless title track to this collection Ôhere comes the heartachesÕ. an album of great tracks cut with Ôthe hitmaker from jamaicaÕ bunny lee and his team. a match made in heavenÉ.enjoy the setÉ.

lapalux veršffentlicht ende juni sein drittes album, ruinism, auf flying lotus label brainfeeder. sein letztes album, lustmore, war z.t. inspiriert vom konzept der hypnagogie, dem auch wachdenken genannten bewusstseinszustand, der beim einschlafen und/oder erwachen auftreten kann. auf ruinism setzt der britische produzent nun seine entdeckungsreise fort und erforscht diesmal den sogar ominšseren schwebezustand zwischen leben und tod. in diesem bereich, wo sich das endliche und das unendliche vermischen, ist lapalux zu hause auf ruinism mehr als zuvor. auf seinem neuen album benutzt er zum ersten mal in seiner karriere ausschlie§lich hardware und echte instrumente, er hat synthesizer und drum-versatzstŸcke aufgenommen und erneut gesampled, gepitcht, verbogen und miteinander verschmolzen, until it was ruined, bevor er die všllig entstellten samples aus dem mittlerweile entstandenen trŸmmerhaufen barg und erneut versuchte, diese in etwas kohŠrentes zu verwandeln, wie er selbst beschreibt. mit marielle tepper als kreativdirektorin auf ruinism, wird die lp als hervorragende und streng limitierte deluxe-doppelvinyl-ausgabe erscheinen, die in zusammenarbeit mit dem pariser atelier impremerie du marais entstand.

it was in february 2015 when japanese producer and sound designer kuniyuki takahashi, sometimes known as koss, releases with the ep ™newwave project ¾2š a record, that tapped some roots of his mu-sical education: new wave, german electro punk from bands like a daf, ebm from acts like front 242 as well as industrial music. styles, about kuniyuki claims that they are his ™favourite musicš. now, nearly two years after his first newwave project ep, he drops an album that is leaning towards his musical love from the past. com-pared to his former work, that 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 1980ees, he used some old synthesisers like a roland jupiter 8, a juno 60, a korg ms 20, an old tape echo machine but also new instruments like the roland aira. furthermore, his modular synthesizers talk too.

claude debussy (+1918) was one of the most popular and forward thinking composer associated with impressionist music. his innovative and at this time new way to compose music with non traditional scales and chromaticism inspired countless artists from the likes of steve reich, philip glass, miles davis and herbie hancock. remarkable attributes of his music were i.e. the usage of parallel chords, bitonality and many compositions of whole-tone and pentatonic scales and all this surely reminds us on contemporary electronic music where you hardly find limits or boundaries when it comes to traditional, harmonic sounding scale tone music. after studying countless composers of the last centuries marc romboy decided to accept the challenge to edit, remix and reconstruct several works of his favorite french composer, ranging from ãla merÒ to -prŽlude ˆ l apr�s-midi d un fauneÒ. romboy: ãone sentence of debussy impressed me a lot when he said that he simply intents to write new sounding music. this is and has been exactly my goal, to create kind of unheard soundsÒ. on the album romboy performs together with the dortmund philharmonic orchestra, the renowned conductor ingo-martin stadtmŸller, the well respected dŸsseldorf based concert master miki kekenj and sound programmer ali khalaj. the recordings was directed december 12th 2016. its the first live recording ever released on an album where electronic sounds and classical components were merged in such manner.

erster offizieller re-release des disco-klassikers von retta young, erschienen im original 1976 auf all platinum. remastered from original tapes. die cd wurde zusŠtzlich erweitert um zwei vorabsingles, darunter den uk top 40 chart-hit (sending you an) s.o.s., sowie den 12-mix der post-album-single my man is on his way von 1978, was diesen re-release zur kompletten anthology von retta young werden lŠsst.

our first go ibiza compilation has been compiled by bobby & steve and michael hughes and mixed by our very own bobby & steve. it features 28 amazing tracks and is modelled around the launch of our groove odyssey presents go ibiza four day weekender, which took place from the 19th-22nd of may 2017 at the beach star hotel, san antonio bay, ibiza. with over 40 artists from around the globe coming together on the magical island of ibiza, it was a memorable affair and many of the guests now feature on the album.

love and money front man james grant has collaborated with producer gordy goudie to form the korvids, releasing a dance album. for the older generation who might want to bust a move once more in honour of their younger selves. james says, i wanted to be someone else for a while. sound different. write different. it can be dreary being me all the time..i sing most of my vocals on the record in falsetto, which, as we know, is the international language of disco. the korvids marry their love of disco and 70 s funk with influences such as deodato, massive attack, miles and anything else that takes their fancy. after the success of their debut release beach coma, which was picked up by sirius us radio and remixed by balaeric legend jose padilla, the duo released bad faith, a beauteous cut of late 70 s disco remixed by love & money and steely dan s producer gary katz. james was the front man for love and money, everyone s favourite band from the 1980 s who should have been massive but somehow werent. the other half of the korvids, gordy goudie, is also no stranger to the business having produced simple minds and playing bass and guitar for the primevals and echo and the bunnymen.

panorama bar resident nick ho&#776,,,,,ppner gets to work on his second solo album on ostgut ton, connecting the territories of house music with the ease of alt-pop. work as in labor. an axiom that fuels the capitalist system just as the techno/house scene economy says that one needs to keep oneself busy to make a living. as a musician, things are complicated of course. itÕs a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. after leaving his full time job as ostgut tonÕs label manager in 2012, nick ho&#776,,,,,ppner went fully freelance, focusing on his musically diverse, deep and dynamic djing in and outside berghainÕs panorama bar, but more importantly spending more time in the studio. the result was his critically acclaimed debut album folk (ostgut ton, 2015), various 12Ò releases and remixes, and now his sophomore lp, work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.

leben, lieben, lachen. schmerz, schamgefu&#776,,,,hl, schuld. trauer, trost, tatendrang. hoffnung, heilung, hilflosigkeit. einsamkeit, egoismus, entta&#776,,,,uschung. u&#776,,,,bergangslos erleben wir eine harmonische verbindung all dieser und vieler mehr emotionen, die uns hypnotisch in den bann ziehen. hier wird man mit der wahrheit konfrontiert. einzigartig clever verpackt mu&#776,,,,ssen wir uns am ende vielleicht eingestehen, dass das, was wir von der einen auf die andere minute fu&#776,,,,hlen ko&#776,,,,nnen, zwar aufbrausend und einnehmend ist, dass uns aber genau diese eigenschaft menschlich macht. die zehn sehr unterschiedlichen titel, die differenten sprachen und sprichwo&#776,,,,rtern gewidmet sind, nehmen uns mit auf eine reise durch die gefu&#776,,,,hlswelten des menschlichen daseins. oder darf der interpret an dieser stelle psyochologisiert werden und stattdessen sprechen wir wohl eher von der reise durch sein gefu&#776,,,,hlschaos? denn durchaus verarbeitet mario hammer in seiner musik eine zeit des nachdenkens und gru&#776,,,,belns. er selbst nennt das lebenserfahrung. wir du&#776,,,,rfen teil dieser erkenntnis werden und vielleicht wird uns bewusst, wie oft wir uns doch selbst beim ho&#776,,,,ren der musik wiederfinden ko&#776,,,,nnen. es ist sowohl die kreativita&#776,,,,t, als auch das enorme feingefu&#776,,,,hl fu&#776,,,,r to&#776,,,,ne und klangfarben, die dieses album ausmachen. vierzehn monate hat mario hammer in zusammenarbeit mit josef steinbu&#776,,,,chel ein emotionen- und klangkarussell entwickelt, dass nicht nur unsere sinne beru&#776,,,,hrt, sondern ebenso gedanken anregt. bereits das debu&#776,,,,talbum lÕesprit de lÕescalier war ein voller erfolg und bescherte den ho&#776,,,,rern eine wunderbare andersartigkeit.

skam records are very proud to announce the return of bola. after 10 long years hidden away in the hills, huddled in the bolamachine - at long last bola awakens, delivering an album of power, elegance and beautyÉ recorded @ bolamachine b all tracks composed and performed by the bolaman. kappafects co-composed and performed by dennis bourne. no humans were harmed during the making of evensong. while every care was taken, slight but unavoidable human abuse was endured in the making of kappafects.

jewel box with a 4-page stapled booklet, camilles second live album from the 2013 olympia concert. camilles second live album from the 2013 olympia concert.

camilles fourth studio album including allez allez allez,mletourderie and tout dit.

deleted - an unreleased classic from the vaults emerges with beautiful reshapes by cv313 (recorded and reshaped from 2007-2016) this is where the sound of cv313 was realized, culled from cassette tapes recorded live (1995-2000) with nothing but analog/digital hardware, no computer in sight (excluding our commodore 64 midi sequencer, which is still alive and well today).

kompakt releasing t.raumschmiereÕs new, epic solo full-length heimat. it presents another side of his work which was always there, but never got that much airtime: the artist, the author, the composer with the crystal-clear sound. heimat is a stunning techno album that neither excludes ambient, nor gets reduced to constant ass kicking. it s perhaps the best recording so far from this man who asks so deeply, so extensively, so much. and at some point even answers.

als in den spŠten 80er jahren die ersten outdoor-trance-partys im indischen bundesstaat goa stattfanden, hŠtte niemand gedacht, dass sich dieser trend so lange halten bzw. weiterentwickeln wŸrde. kaum eine andere dance-szene in europa hat ein grš§eres zusammengehšrigkeitsgefŸhl als die goa-szene. hier wird musik und alles, was damit zusammenhŠngt, noch gelebt. zu keinem genre gibt es eine ausgeprŠgtere und besser entwickelte -underground--partyszene, in zahlreichen foren und communitys stehen die fans in regem kontakt. stŠndig finden kleinere veranstaltungen statt, und im sommer sind die gro§en festivals und partys wie waldfrieden wonderland, vuuv festival, alice im wummerland oder psy-purgisnacht immer ausverkauft.

there arenÕt many artists that can lay claim to having put out records on labels as divergent as rough trade and john talabotÕs hivern discs. perhaps this is because few artists express such genuine diversity in their musical tastes and creative explorations as david kitt. since the turn of the decade as new jackson he has mined a seam of driving, ghostly house to run parallel with his solo strand of ambient folk electronica. his debut release in 2011 the night mail on pogo channeled early record collection heroes aphex twin and orbital through to drexciya and projekt pm but had one foot firmly in the 21st century beaming in like some futuristic cyberballad. on the flip side hussle free had that mix of house and boogie sensibilities with dark and dusty synths and vocoder that would become a signature. this was followed by acclaimed releases on hivern, permanent vacation, major problems, apartment and most recently cin cin. his debut album set for release on all city in may was recorded in kittÕs bedroom studio overlooking dublin bay, its nocturnal hues very much a product of the nightshift often working on headphones with the rest of his housemates fast asleep. it takes full advantage of the scope of the lp format, ebbing and flowing between deep house club ready gems and more restrained and meditative beatless moments for the morning after. the recording process yielded many eureka moments with kitt finally nailing sounds that had hitherto proved elusive.

dieses album hat einen weiten entstehungsweg hinter sich, da seine tracks fŸr viele jahre ein teil von mir waren. als ich letztendlich anfing, ihnen die nštige aufmerksamkeit zu widmen, konnte ich sie nach und nach zu dem zu formen, was sie heute sind. einzelne fragmente und elemente bildeten sich nach und nach heraus, nachdem ich ihnen raum zur entfaltung gab. der gesamtprozess war herausfordernd und manchmal auch schwierig, aber die titel verlangten einfach nach ihrer entstehung.