hidden orchestras dawn chorus remixes folgt dem aufschlussreichen album dawn chorus, das neueste album des produzenten und komponisten joe acheson mit immersiven field recordings und ausgedehnten soundscapes zu einer reise durch electronica, deep house und ambient psychedelia. dawn chorus remixes enthält bearbeitungen von max cooper, matthew herbert, throwing snow, the physics house band, nuage, floex, nostalgia 77, wrongtom und skalpel. erhältlich als 2lp mit silbernem prägefolientitel und bedruckten innenhüllen, downloadcode inklusive. das cover-artwork stammt von dem gefeierten künstler und druckgrafiker norman ackroyd.

alan abrahams aka portable aka bodycode is an artist very much defined by his past and his journey from south africa to paris via berlin and lisbon has seen him develop into a critically acclaimed producer, singer and video artist working with some of the biggest players in house and techno. part of his constant drive to evolve and challenge himself, this autumn abrahams launches new project ranger, teaming up with london label waella s choice for the debut release. the five tracks on portable presents ranger are a delicate mélange of jazz , soul and electronic and one of abraham s most explicit nods to his south african roots. on the a-side, the ep makes a steady start with bazokonwaba accompanied by a lullaby from south african a capella group korus, hailing from the small township of mbekweni in the western cape. they also feature heavily on the ep s most exuberant moment in nomaliso - already a favourite in esa s recent boiler room - and the more languid b-side opener indaba with a choir of cowbells all harmonizing in unison. reset and vessel provide a self-reflective conclusion to the ep, holding their own as instrumentals with cameroonian bass player stan on bass and parisian saxophonist chisneg lending a hand on the latter. early support from tama sumo, lakuti, gilles peterson, rinse fm, esa, stamp the wax, dimensions recordings

lion and the mean ecstasy of “you’ve got a woman”, the b-side to their sole release comprise a rare burst of psychedelic western soul from two names best known for dutch progressive rock and new wave. drummer peter de leeuwe, departing from the symphonic leanings of dutch prog-fixtures ekseption, penned it in 1975, layering syncopated explosions of hand-claps, vibraslap and slick drumwork with neutron-star density, with super-producer hans van hemert nearly bursting glenn robles vocals through the fore. the shoes subtle edit provides exactly that, gently teasing the organ- and requintohinted contours of the track to better suit the treasure within. chicago-based septet whitney have brought some attention to youve got a woman with a recent cover, and the faith with which they recreate much of the original instrumentation proves the extent of lions accomplishment.

sleep-deprived, breakbeat-driven vignettes of unclear authorship, from somewhere west of lake lagoda, near the russia-finland border.sekundenschlaf has significant points of correspondence with contemporary european electronic music, as well as the golden age of (early) jungle and ambient techno. but its response to tradition, and to the zeitgeist, is idiosyncratic to say the least – with an atmosphere and psychogeography rooted in the tranquility and majesty of western russian nature, and the anxiety and distress of the country s post-soviet working class. pastoral calm meets dissonance and unease. the music has a loose, improvised feel, but its arrangements are intricate, its melodies iridescent: cascading arpeggios that stir a sense of optimism and renewal, sighing string-pads that evoke the deepest melancholy. rhythms simultaneously hyped-up and burned-out, collapsing in on themselves as they race to destinations unknown. all bound together with field recordings of eavesdropped conversations, blurred into abstraction, a droning subliminal menace.trust me, you ll be fine

kin-ben label that is one of japanese techno label in ehime, western japan releases brand new 12 vinyl by ann who is a dj / producer in saijo, ehime. a side is a deep techno tune with his gradually amplifying tension and the gentle bass-line’s reiteration sympathizing with metallic sounds like as sharpening a katana. and b side is the remix by hironori takahashi, who is still a worldwide dj / producer in japan and has released from many awesome label as informa records and arts.

perth, capital of western australia, sits where the swan river meets the southwest coast. sandy beaches line its suburbs giving purpose to hot summer days, but after sundown, the city is where its at, if you know where to look. its possible that this double-life is what inspired the deep, melodic, futuristic sounds of one of australia s most mysterious electronic dance music labels of the 90s - red ember records.

with jungle, grime (forthcoming), 90s rnb (forthcoming) and even red snapper’s ‘96 classic prince blimey all getting the skrs redux recently, runcometest ep is a time-capsule. 8-bit basslines echo from distant battles with space invaders while sure-footed dub samples glare at sound system history through vaseline smeared lenses. returning to more grounded dubwise sensibilities (by their standards), runcometest builds a bridge between the collective’s 2014 nocorner cassette (rootprinciple) and the recently re-surfaced sci-fi/western clash dancehallshowdown (self-released on ics library recordings last year).

ltd 50% deal , last copies left ... italian production duo, mushrooms project, make their debut on jansen jardin with the wonderful >galattica<. releases for labels like under the shade and is it balearic? and remixes for the likes of tirk, lipservice and nang have introduced their blissed-out, mediterranean sound to fans around the world. galattica is 11 minutes and 45 seconds of high plains drifting, dream disco for late night drives and sunset sessions. a lush combination of euro disco arpeggios and west coast guitars spill out across a landscape of live percussion, bass and dub acrobatics. this is the soundtrack to a spaghetti western set in ibiza. a fistful of cervezas. the remix comes courtesy of the mighty chicago damn who has been responsible for some extraordinary music from his debut on mark es merc label to releases on claremont 56 and his own eponymous imprint. here he re-imagines the original track in the image of model 500, stripping away the music to a raw machine groove. dark, atmospheric and undeniably aimed at the floor.

7inch ep / sleeve has a central hole only on back cover, so that the b-side label completes the artwork. after the release of their first album born under saturn in 2012, and its follow up in 2015, musical adventurers django django went on to unchart new sounds and announce the release of marble skies, their new album, on january 26th 2018. tic tac toe is the first extract of this forthcoming album, and gets an exclusive 7inch, ep release. the track is a dancing, psychedelic uptempo and terribly catchy rock title, and will fulfill every django djangos rockabilly influence fan’s expectations. actually, the track is inspired from the very same improvisation that wor and shake & tremble recorded for born under saturn. the music video was directed by john maclean, brother of david (drummer and producer of django django), and director of the atypical western slow west.

after some succesful releases by struktur, the time has come to step into the world of the vinyl medium. struktur has something special for its first vinyl release. schuw is an enigmatic duo from amsterdam focussed on shaky techno and hip-dislocating meta dance. after releasing tracks on tape and cd, schuw complete the physical trinity with the vinyl release of the rasza vega ep. the a-side features title track rasza vega - one of their most precious and well-known gems known for its harsh drums and colourful chords. it is accompanied by purple knives, which provides a fresh and eclectic take on contemporary techno, reflecting their ever-growing synthesis and endless inner divergence. the b-side consists of the highly explosive blacksmith, inspired by traditional japanese drum patterns and western industrialism. grieche delivers a formidable remix of blacksmith, contributing a minimalized and hypnotizing contrast to complete the already heavily divers selection.

along with his rival, cornell campbell, johnny clarke was one of the most esteemed singers of the roots reggae era. having grown up next door to a popular sound system on waltham park road in western kingston, clarke s early fascination with music led him to hang out at studio one with jacob miller while still at school. he then made the rounds of talent shows with barry brown, sugar minott and the diamonds, which led to a debut recording in 1973, for the pianist glen stair, which remains unreleased. an early effort for clancy eccles, ‘god made the sea and sun,’ was not promoted properly, though ‘everyday wondering,’ for rupie edwards, impacted in britain, ‘golden snake’ for stamma houghton and a cover of smokey robinson’s ‘you really got a hold on me’ for glen brown were also false starts. the breakthrough finally came in 1975 when clarke linked with bunny lee, who had him voice the rastafari landmark ‘none shall escape the judgement’ (written by earl zero, who failed to muster a credible take), which kick-started the ‘flying cymbal’ craze. clarke’s resultant debut album, enter into his gates with praise, mixed hard-hitting rastafari devotional material with sympathetic cover versions of classics by the likes of the paragons, slim smith and delroy wilson, along with a few reggae renditions of some vintage american r&b.

alessandro alessandroni is one of the legendary composers and musicians that shaped the characteristic sound of italian soundtrack of the 60s and 70s.
this ep contains unreleased music composed and produced by alessandro alessandroni in the 70s, taken from a dusty tape found in his vault.
the maestro is best known as “the most famous whistle in the history of cinema” (it was him on the theme of the famous spaghetti western “a fistful of dollars”) and as the voice of piero umiliani’s classic “mah-na&#768,,,, mah-na&#768,,,,”.
afro discoteca strikes immediately for its modernity and rich textures, sounding unbelievably contemporary.

after unleashing the enigmatic middle eastern funk bonanza the nile files earlier this year the fossils crew return to western shores with a new ep from uv & nen , revealing long forgotten newly interpreted disco funk nuggets that are bound to become classics in their own right. with newly recorded synths, vocals and nasty bass-lines thrown in the mix, the bump s anthemic qualities are evident from the minute the chorus kicks in and will most likely stick in your head and keep you humming for days... trust us - this bad boy has been tested on dancefloors from new york to tel aviv to london s boiler room until finally finding its way to the pressing plant. love makin is a horny (no horns here), psychedelic disco affair, seasoned with sexy moans lifted by abnormal synth activities and followed by beatcoin , a steady slow stomper that will get booties shaken & shaking across the dance floor. as with the previous fossils release, these are all killers and true crate essentials for the seasoned djs.

on latino body music vol ii sano continues to explore his musical heritage connecting the dots between tradition and news. for this record he picks up the champeta style that had its origin in the streets of colombia. the mix of repetitive rhythm patterns and chants performed by local legends like hernando hernandez is an integral part of the huge soundsytem culture that takes place in the streets of cartagena. by adding small hints to contemporary western club culture like a classic house piano, or an acid baseline sano reinterprets the tracks for our dancefloors without loosing any of the original hypnotic flavour. the early champeta dances were called therapy and seen as distraction from everyday problems. lets move!

this record, and the full 2xlp that will follow it, are dedicated to and inspired by events in 2015 & 2016, which saw the spectre of global crisis come knocking at europes doorstep. during this time, more than a million migrants and refugees fled their homes in the middle east, northern africa, sub-saharan africa and other conflict ravaged areas in search of a better life. for many, hopes of a future for themselves and their families lay in continental europe. while the reasons for such displacement, on a scale unseen in almost a century, are many, so are the reasons for europe being seen as the ideal destination. the relative peace and calm of the continent and the prospect of building prosperous lives in western europe was enough to mobilize multitudes to embark on the treacherous journey to europe. one of the most well-trodden paths on this journey was the balkan route, a trail leading through turkey, greece, and the former yugoslavia. this route was not without its dangers, and the dreams of many were dashed by impassible security fences and discordant eu politics, as one by one they were turned away at borders, or worse, forcibly returned to their countries of origin.

europa is the first single that represents the seed of discontent, from which the 2xlp grew. it was recorded during long jam sessions in belgrade as the media spotlight started to dim. the city became the purgatorial destination for a large number of migrants, whose journeys had been cut short and this record reflects the atmosphere of disillusionment and uncertainty about the future, which descended on the serbian capital.

summers here! ransom note records continue their search for the finest dance music from planet earth with a carnival-ready curveball of a new release the sleazy, playful ghanaian afro-ghetto-techno-pop that is brytes word-of-mouth classic i like your girlfriend. originally surfacing on a couple of youtube dance videos, the shitty quality video rip of brytes bizarro lyrics leaping over gafaccis impeccable grime-meets-afrohouse beat has been a much-loved secret weapon in the sets of djs that know for a minute now - bok bok, mixpak and gang fatale have all supported heavily. coming from accras booming azonto dance scene, where tracks are knocked out in makeshift home-built studios then swapped through social media apps on smartphones, a proper release of i like your girlfriend has long remained a holy grail. now, after months of searching, several western union transfers, hundreds of whatsapp messages and no lack of determination, ransom note have finally managed to legitimately sign the track, and are all set to give a modern classic the 12inch release it deserves making history with what is quite possibly the first azonto track to be released on vinyl. alongside brytes crazy vocal version, the release features the original beat from producer gafacci its bouncing techy minimalism carving a unique path between techno, house and uk funky that defies genre with glee. vinyl buyers get a special bonus brytes acapella, coming in at 128 bpm, is the perfect mixing tool

lange hat uns der wiener elektronikmusiker klaus waldeck – zuletzt bekannt durch sein legendäres album »ballroom stories« (2007) – warten lassen. die vorfreude ist groß und waldeck hat auch gleich eine Überraschung für uns parat: sämtliche titel wurden auf italienisch eingesungen - und zwar von der fantastischen neuentdeckung, der wiener sängerin heidi moussa-benammar (»la heidi«).
waldeck selbst möchte gran paradiso als eine »spaghetti & western« produktion bezeichnet wissen: »gran paradiso, das ist einerseits hommage an den legendären sound des italo-westerns – andererseits spürt es auch den sentimentalen klängen des italienischen canzone nach - jedoch stets mit der nötigen ironischen distanz.« »italienisch... schon die sprache klingt nach musik«
der sound des albums trägt waldecks unverkennbare handschrift. gelegentliche einsprengsel von tango, dub und reggae runden dieses abwechslungsreiche sommeralbum ab.
alles in allem: ein entspanntes sommerliches album, das man auch gerne im herbst und winter hört, um sich daran zu erwärmen.

a year after danger, their debut ep on blank mind, durban-based crew audioboyz join forces with hypermedium to deliver another instalment in the growing chronicles of gqom, the darker deviant that grew out of south-african house and whose shockwave is still resonating across western dance floors.

you take a trio of the finest traditional griot musicians from mali and put them in the studio with a revolutionary western string quartet - and the outcome is one of the most unusual and rewarding musical collaborations you are ever likely to encounter.

prisma - so lautet der vielversprechende titel von rea garveys drittem solo-album. und das nicht ohne grund. eroberte der charismatische ire bislang durch emotionale aussagen die herzen der nation, widmet er sich nun einem thema, das ihm ebenso wichtig ist: dem hinsehen, wachwerden und aufstehen.

musically and emotionally, superpitcher’s third full-length studio album, the golden ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally. and full-length it is: the golden ravedays is an epic album of 24 tracks that was released in january 2017 and is stretching over 12 respective chapter albums during a one-year period.
the eighth piece of the golden ravedays puzzle will be released on hippie dance in august 2017. number 8 of the series introduces two tracks that will take you to the far side of somewhere you’ve never been before. they are both reminiscent of outer space blues playing spooky games in a dust bowl.

side a features tuesday paris texas a tastefully arranged track with vintage sounds passing nonchalantly through a wild western aural landscape. the music is announced like a cowboy movie dual complete with bar doors swinging on rusty nails in slow motion. mournful guitar strings swirl over a steady horseback galloping beat, expanding into a full-on-fire dance track. halfway through a woman’s haunted voice appears and disappears like an eerie siren, a gunshot is fired (was that a gunshot?), a man whispers “what!?” tuesday paris texas is in no hurry to give an answer.

side b features mirage a desert sound collage glued to a steady pulse that rolls and rolls, circumventing any destination. mirage is a contour map of no surprising peaks just undulating valleys of wistful cathodic sound creeks, sometimes veering off to plains in full view of the moon, in earshot of solitary wolf cries. like tuesday paris texas, mirage is testament of superpitcher’s versatile prospecting beyond the elemental sound tools of the electronic music trade.

plaza’s first physical release features 4 tracks from an all local lineup of atripat, consulate, lanngman and mike midnight. this one comes from a special place, a place where raw electronic excursions go head to head with heavy machine fuelled jams. conceived in the north western coast and commemorated from the depths of the city.

the systems that maintain the total spreading and keeps the western civilisation enslaved under the foot of capitalism are destroyed. the analogue reality reaches you unfiltered and seven billion screens show white noise. the fax network is the only thing working...
hoga nord rekords proudly present ultra satan! a body that have lent blood from other acts on the label, such as spr, tentakel, fontan and the exorcist gbg, are releasing their first 7inch. ultra satan displays with the two tracks usa and usb, an almost unprecedented unrestrained creative force, stemmed from the ambition to destroy and rebuild. rebuild something free and unexplored.

cementing his reputation as the star toaster with the small but popular el paso sound system, based in the waltham park area, dennis alcapone was one of the first deejays to rise to prominence following u roy’s breakthrough in the late 1960s. born dennis smith in the rural district of culloden, he became immersed in sound system culture after settling in western kingston. once el paso became big on the sound system circuit, dental technician-turned-producer keith hudson brought him into the studio for his debut recordings, which led to a debut album for studio one and hit material for duke reid, some cut in concert with his deejay sparring partner, lizzy. alcapones longstanding links with bunny lee yielded the excellent guns don’t argue album, first issued in 1972, on which the toaster raps with style over some of lees all-time greatest rhythms, including delroy wilsons better must come, john holts left with a broken heart and slim smiths rendition of the temptations soul classic ain’t too proud to beg.

following the meeting between masomenos, vadim svoboda and m hamed el menjira, abdessamad boussahfa and sanhaji, cosmo records is once more exploring the crossover between western electronic music producers and traditional african instrumentalists. this time around the casablanca-based label is welcoming a new artist to the fold. cesar merveille has been active in the european house and techno scene for many years, releasing on labels such as cadenza and visionquest while always pursuing his own unique creative agenda inside and outside the conjines of club music. cesar s recent adventures have found him launching roche madame, a label for his most personal and expressive work. in the spirit of this exciting new phase in his career, this release for cosmo jinds him working with the captivating tones of senegalese vocalist malik diop across a range of tracks that capture the crosscultural spirit of cosmo. -kosmos- is a thoroughly delicate production, using intricate threads of percussion that fall in intriguing, fractured patterns behind the layers of malik s voice. the melodic content follows this hypnotic format, drifting in and out of earshot in a playful key that speaks to west african traditions even as it transmits through contemporary synthesis.

producer mad zach finds himself comfortably nestled in the hip-hop, dub and glitch-tipped zone of electronic music, and his latest productions have done nothing but further that fact.

mad zach debuts his newest ep, fortress, on march 10th via plasma audio. the five-track compilation serves as a follow up to quantum shock, which was released in 2015 including collaborations from g jones and sayer. fortress features zach’s brooding and rhythmic single, “robovox.” mixmag premiered the tune last month. mad zach will be heading out across the western us and canada this june to bring fortress to life.

fusing tantric sexual spirituality and speech with the energy of pounding beats and a functional driving acid baseline. according to thee j johanz its inspired by an incidental visit at love temple (arambol, india).fusing tantric sexual spirituality and speech with the energy of pounding beats and a functional driving acid baseline. according to thee j johanz it’s inspired by an incidental visit at love temple (arambol, india). tantric temple stirs and elevates the floor, making all ‘feel as one’ through a unifying vocal climax. the tantric bricastic version channels basic raw and dance energy, stripped down and nice in the mix. last track once upon a time, a co-production with nathan homan, explores the outer zone with some dubby acid disco tech with a tasty spaghetti western touch. sleeve art by david homan.

brand new 2017 recut finally available on vinyl for the first time. 2xlp+mp3 in full original coverart. the legendary movie soundstrack based out of kingston, jamaica in april 2008, telling the story of the original vocalists and musicians involved. the sixteenth release on the moll-selekta label shares its title with a wonderful film, a heartwarming homage to the golden age of rocksteady. it documents the recordings being made for this very album at the tuff gong studios, kingston, jamaica in april 2008, telling the story of the original vocalists and musicians involved. excerpts from an all star reunion concert staged in kingston and older archive material complete the picture. never before in the history of jamaica, which already occupies a unique place on the world map of song, its sound embraced by western popular music, has such an illustrious collection of singers and players been assembled. the album showcases 15 rocksteady classics in sparkling, deeply inspired new versions, recorded in the studio which also played host to album sessions of a certain bob marley. under the musical direction of ernest ranglin, a guitarist of considerable renown not only on the reggae circuit, but also on the jazz scene, mixed by legendary engineer errol brown in duke reids employ at the treasure isle studio in the sixties - and freshly arranged by lynn taitt

what started as an idea 5 years ago now becomes reality with the release of saigon supersound vol.1, compiled by jan hagenkötter. a compilation about the story of a musical era in vietnam that was almost lost, made of tracks from 1965 to 1975, the so-called golden music period in the south of vietnam, where under difficult circumstances – a lively pop culture had developed. this period is characterized by the fusion of vietnamese music with western pop music. the compilation includes some tunes reissued for the very first time since they ve been released originally.

“horse follows darkness” is the second record by delia gonzalez, her follow up to the album “in remembrance”.
the title is taken from a werewolf genre film her 8 year old son wolfgang had created. horse follows darkness is essentially a modern electronic soundtrack for the revisionist western.
even the idea for the record cover is inspired by one of the most well known modern westerns, robert altman’s mccabe & mrs miller.
the vinyl release includes a download code.

limited edition of 500 hand numbered copies on 180 grams black vinyl.
the label is called spettro (the word has two meanings in italian, it means spectrum but also ghost) and the releases will be split in two series: spettro library and spettro soundtrack - this is spettro library!

* nan kolé, producer, dj and head of influential label on-the-rise, gqom oh!, returns to black acre for his debut proper with ‘bayefal’, after first collaborating with nervous horizon’s wallwork on his ‘facts / fyah’ 12” at the back end of 2016. * originally from rome, although now a resident of london, nan kolé has been a major player in the expansion of durban’s gqom sound after discovering it in early 2015. through his label, gqom oh!, he honed in on a network of south african producers operating out of durban, unlocking the keys to a world of music largely untapped by audiences outside of southern and western africa. * ‘bayefal’, he explains, was made while still living in rome and was inspired by a group he formed called pepesoup, which consisted of an italo-liberian singer, karima 2g, and senegalese percussionist and singer, moustapha mbengue. “for me, he (mbengue) was a mentor and taught me a lot spiritually but also mentally”, kolé explains, “and without his hard work i wouldn’t be here for sure. this track is dedicated to him, as he s a muslim bayefal.” a joyous, steadfast drum workout made in the carnival spirit, ‘bayefal’ also serves as an ode to his love for both west african rhythms and more specifically, the gqom sound. * on the flip, ‘malumz’ — backed up with two dark, brooding remixes by durban’s citizen boy and crew, formation boyz — is another track rooted in personal experience. “malumz is a tribute to my gqom oh! family”, kolé explains. “they call me malumz, which in zulu means ‘uncle’. the first time citizen boy called me ‘malumz’, it was overwhelming — i felt a change in my relationship with all the guys, because they started to treat me more as a family member, which meant a lot.” * the original mix, a stark, pulsing drum-track dotted with playful whistles and bleepy sampling again celebrates kolé’s fascination with the gqom sound, while first citizen boy and then formation boyz flip ‘malumz’ with harsher, grittier tones and crunching, industrial textures.

were happy to welcome back harry wolfman for a full record after his fine collaborative square lane ep with loz goddard last year. here he delves into the leftfield side of house, this dreamy 5-tracker. torontos jesse futerman joins us for the remix fresh from his debut releases on church and omena.fermi brings the tropically tinged deep house heat, wavering pads and buoyant bass paint us a mirage of sweltering summer days ahead. ice thin starts as a melancholic mover, it steadily builds through dusty samples, shaken percussion and smokey moods elevating the energy into something euphoric. things get gritty as we flip to the b-side. downstream is a dark and grainy outing, edgy arps work in and out of tough drums and frenzied synths. jesses superb rework of ice thin features distant horns and vocals that ring out over a warbling rhodes and rumbling bass, then comes the lick of a slide guitar reminiscent of some kind of twisted western. wrapping up this beautiful and somewhat nostalgic journey we turn to outro version a funk laden work out. rich strings and woodwinds fill out the lush landscape that swells and soars across the steady, bottom heavy, dance inducing

“cuidado madame”, arto lindsay’s first full-length album of new material since 2004’s salt. the album is titled after an infamous 1970 julio bressane film about oppressed housemaids revolting against and brutally murdering their mistresses. the literal translation is “careful, madame.”
the album is produced by lindsay. it features melvin gibbs, paul wilson, kassa overall, patrick higgins, ryu takahashi and thiago nassif.
candomblé (spiritual rhythms revolving around possession and trance) served as the foundation for the record. the process began with recordings of atabaques in brazil. lindsay wrote melodies and lyrics over the rhythms in the studio in brooklyn.
the album is an exploration of the cultural nexus of afro-brazilian spirituality and western modernity.

history freely dilates and collapses on valgeir sigurðsson’s dissonance, his first solo release since 2012. its three large-scale works are haunted by the old western tradition, infused with the ethereal workings of electronics and sound manipulation.
dissonance treads elegantly along a fine line between traditional symphonic organicism and the fissures of the faltering structures of reality. it takes forward sigurðsson’s typically expansive, panoramic writing, and elevates it to a perpetual construction and deconstruction of time and space.
these are hardly his first experiments with the archaic technology of classical instruments, but here the distance between past and present is precisely what the music itself is designed to explore, and to distort.

first release on drafts, a platform created by an anonymous collective of artists from western catalonia (spain) with a common vision of the electronic music scene as well as a common taste for different kinds of techno. with anonymity they defend the power of music to speak for itself without tags or any commercial sales arguments. 3-tracker both for mind and the dancefloor.

sydney’s outer time inner space move from record store to record label in 2017 and they’re keeping it local with the first release. in 2016, thomas mcalister aka cop envy, turned in a stunning ep for uk label opal tapes. a percussive excursion through 3am mind melters, thom proved his ability to craft seemingly effortless, yet undeniably entrancing club tools. under new alias sean thomas, thom extends his reach into deeper, harmonic textures. heady melodic inflections float atop peak-time, rolling rhythmic beds in what feels like an ode to the late 90s, limited-capacity club excursions of western australias red ember records, patrice scotts sistrum recordings or the uks phono label early support from: plo man, ben fester, simon caldwell, adi toohey and a load of other selectors that are keeping it deep in twenty seventeen

a bona-fide nigerian prince and probably the only musician to have ever played with fela kuti, miles davis and bob marley, eji oyewole combined african highlife with western jazz to create a hybrid so that was as smooth as it was funky. his first album, charity begins at home was an angry tirade against corruption in nigeria. me & you is his ‘relationship’ album, a brighter and happier set of songs that sees eji all loved up, presumably with the mysterious ‘cameleon’ featured on the cover. eji’s flute is no longer a strident voice raised in anger. instead, on ‘me & you’ and ‘i’m a dancer’ it is a playful line of seduction. on the wonky and woozy ‘eniafelamo’ his sax is a post-coital salutation. even the one political track, ‘long live nigeria’, is a loved up call for peace, progress and trust. chilled, assured and dexterious, me & you is a sophisticated showcase of eji oyewole’s chops. ‘this is the beginning of an atomic musical evolution,’ he declares on the cover. ‘brothers and sisters, stay cool.’
(peter moore)

perth, capital of western australia, sits where the swan river meets the southwest coast. sandy beaches line its suburbs giving purpose to hot summer days, but after sundown, the city is where its at if you know where to look. its possible that this double-life is what inspired the deep, melodic, futuristic sounds of one of australia s most mysterious electronic dance music labels of the 90s - red ember records.

the hoodna orchestra is a 12 members orchestra who studies and investigates the african origins of western popular music. the orchestra formed in 2012 in the south side of tel aviv, by a group of musicians, and it functions as a collective and a record label.

the second album by underwater chess is a statement against western world uniformity. a meltdown of rock relics, electro acoustic dialogues and punk dust. from epic and orchestral grandiose chunks of instrumental themes into spiritual vocal outbursts, micro rhythms and edgy overtones underwater chess reach into the inner spheres of psyche urging for the awakening of human existence. a psychoactive substance that should be taken at ones own responsibility.

2lp heavyweight (180gr) vinyl reissue of uk’s critically acclaimed trip-hop icons portishead’s self-titled studio album from 1997.

pat thomas and ebo taylor are the jagger and richards of nigerian highlife. drawn together by a mutual love of the genre – and an equally intense desire to stop it becoming moribund and bereft of ideas – ghana’s two most progressive musicians added a western twist to this traditional form of african music and gave it relevance again.

little beat different issues is a new series focused on reissuing music from eastern european regions previously unavailable on western markets. the first release is a compilation by project orm, the moniker of czech producer team petr and pavel orm. originally formed as a disco group in the late 1970’s, pioneers of electronic dance music in former czechoslovakia, petr and pavel quickly rose to fame as the country’s eminent pop producers. working with the then icons of the communist czechoslovak scene such as karel gott and josef laufer, they stand behind countless hits from that era. however, not many knew that the duo also released their own records, whose sound and artistic direction was different to their mainstream pop productions. this compilation cherry-picks the tracks from 4 different albums released between 1979 and 1984.

between the vast flatlands of western ukraine and the pacific shores of vladivostok, a new quirky techno underground has been racking up hefty grid rhythms below the radar. initially free from the weekend routines of the established club circuit, producers from etapp kyle to stanislav tolkachev have been experimenting with the possibilities of shifting grids in their post-socialist bedroom studios.

daniel meuzard aka feater originally hails from a small mountain village in the western austrian alps. the music producer with north african roots calls vienna his home for quite some time now. for more than ten years he has been involved in electronic music and working with analog synthesizers and classic tape recording. as an owner of a studio equipment shop he was able to get his hands on a wide variety of equipment. experimenting with different instruments and recording techniques helped him to develop his own musical ideas. in 2013 he released the 7inch vinyl single digital love on paradeis garage. in february 2015 he recorded his debut album waste the time on a 8track tape recorder and finalized it together with the producer and recording engineer sam irl in the summer of 2015. as a member of the finishgermanaustrian group skymax (along with stilettiana & sam irl) he released the vinyl ep trucker trans on his own label called international major label

nearly 20 years ago, a little label started by releasing a handful of lathes containing stories of life in a sleepy city called perth in western australia. inspired by the ocean and the river during long hot summers, red ember’s humble pursuit is deep expression via the practice of analog synthesis. ewan jansen resurfaces to take the helm again on the 3rd vinyl release… an aquatic house music tale that is equally lost at sea as it is freely swimming in the ocean.

between the vast flatlands of western ukraine and the pacific shores of vladivostok, a new quirky techno underground has been racking up hefty grid rhythms below the radar. initially free from the weekend routines of the established club circuit, producers from etapp kyle to stanislav tolkachev have been experimenting with the possibilities of shifting grids in their post-socialist bedroom studios.

expect unexpected music from the 1960s and 1970s, mixing western and eastern elements, remapping your knowledge of pop music along the way. hear italian shouters, east-european freak beat, anatolian rock, kurdish spiritual pop, uzbek folk pop, pakistani soundtracks, nepalese folk beats, mongolian pop, indian bollywood scores, malaysian rock’n’roll, philippine surf pop, singaporean dream pop and many sounds more — for all lovers of the danceable, the mind-expansive, and the sure-fire hits. come on and take the trip...
with pt. 4/4 you will travel from south korea via japan, india, indonesia, malaysia, philippines to singapore. here the trip ends.