byetone s new record symeta opens with a combined track - a transit - since topas and telegramm could be seen as one single piece. both tracks convey the atmosphere of a live session rather than the character of a studio production. the tracks are quite long and deal with repetition, layers of sounds, density and energy, more than melodic and engineering finesse. the whole album follows this approach, as it was fashioned within the context of live performances during the last two years. neuschnee Ð the third track Ð has an obviously reduced tempo, creating a wide landscape of sound with an intimate aura, which works as a counter draft to the other tracks of the record. with opal, the tempo speeds up again, a polyrhythmic phrase whirls around a straight beat, filters are turned, all that evokes the impression of early-90s minimal techno. byetone is basically interested in remembering, in a way to preserve, in citing rock/pop styles, without getting stuck in the past, whereas non of the tracks really fit into a specific genre. seen from this perspective, helix opens the final, more rocky block of the album. here, the tracks are offensive and rude and sound like a band in a rehearsal room. this part peaks with black peace in a high speed heavy metal session. finally, golden elegy closes symeta and a band-like situation occurs. the track ends with a wired lament, presented by jan kummer in the tenor of chemnitz, hometown of both artists. in former gdr-times, they started their musical activity with the brilliant-dilettantish ag geige, together with frank bretschneider (komet). symeta , the title of the album, appears mysterious. this synthetic word arouses associations with symmetry, synthesis or (meta-)structures. it doesn t stand for a definite object, there isn t any solution, and that is the reason why the title has been chosen. byetone s music tries to create such associations without really fulfilling these expectations. in this sense, symeta consequently follows death of a typographer (r-n92), the well received predecessor.

the embassy are far too often overlooked in the uk. they more or less engineered the goeteborg scene, and have been hugely important in shaping the swedish independent music landscape over the past 10 years. their influence is second to none. so, to help those who havent been paying attention to catch up, fredrik lindson and torbjoern hŒkansson have announced a retrospective release, life in the trenches, the other side of 2001-2011. the album compiles a bunch of rarities from the duos career, among them b-sides and previously unreleased tracks.

raise the curtain once more on a very special orchestral performance. how could highgrade records better celebrate its 100th release than with twelve tracks from the highgrade disharmonic orchestra? the creative combo featuring both label bosses tom clark and todd bodine, alongside philip bader, daniel dreier and dale, began over a year ago with the intention of celebrating the tenth birthday of the berlin label. and the resulting gift: a musical experiment. the five artists have bundled their creativity together into a symphony unparalleled in the techno scene. every performance is like a jam session: all five laptops are interconnected, so each of the artists has the opportunity to react to the others and modify each track as desired. thus, new arrangements are created and constantly re-interpreted. drum machines and synthesizers are also in play, to further stretch the improvisational possibilities. no wonder then, that the 100th release follows in this creative vein. the highgrade disharmonic orchestra, with multilayer, kiddnaps us away into vastly different musical worlds: from deep influences and custom recorded vocals to an array of technoid sounds and effects. then back to groovy, swinging beats reminiscent of a balmy summer evening on the beach. therefore the record is something of a rollercoaster ride, where we never know what might be waiting behind the next curve. typically highgrade

good price for good music! these words are in the deepest part of douglass greed and the approach to his debut album. he allows his heart to lead, the better to look where it goes. therein he s distributing straight dope, however, in the sense of emotional impact Ð dance floor dictation it is not. greed crafts music that serves up euphoria for your mind on the terrace, mas- sage table, train or car trip and so on. a timeless effect stretches along the borders... an enduring touch, and to remain in the mind for seasons to come is his concern with this album. this is more weeping or laughing in the mirror rather than admiring the physical. douglas discusses not the luxurious but rather simplicity, in order to serve a sophisticated author-future-popfor the club under the bedspread. his fondness for other forms of musical self-realization shimmers on all of his releases up to now. on his own album, he expresses this passion to the fullest. the inclination for sensible beauty in the dark plays as the greed signature, a central role. featuring musician friends such as mooryc (poznan /polen), pascal bideau (a frenchman in london), kemo (a ger- man-hawaiian in new york), ian simmonds (uk) and delhia (jena), greed casts twelve expressive pulse beats of pure greed cosmos

boom bip was one of the canniest underground beat producers around before he hooked up with gruff rhys of super furry animals to create the fascinating neon neon project, which took as its focus automaker john delorean and what his car (and charisma) meant to the 80s. bbs return to the solo realm finally came on 2011s zig zaj, which has more in common with neon neon than with his early solo joints. (features for cate le bon and franz ferdinands alex kapranos, among others, certainly fit in.) as always, its impeccably produced - hollon has only gained in proficiency and maturity as a producer. but compared to seed to sun or blue eyed in the red room, whose fascination with sound was positively contagious, zig zaj sounds like an overly safe record, the type that most producers would avoid if they wanted to keep innovating. heavily influenced by rock and 80s new wave, similar to neon neons stainless style, its impressions are largely textural, and as talented a producer as boom bip has become, zig zaj sounds more like a rehash than the entirely new recipe that music fans are undoubtedly looking for.

2011 release. their first new album in more than three years, hysterical marks a major milestone in the continuing evolution of clap your hands say yeah. born out of an intensely collaborative process in which songs were constructed, dismantled, and then rebuilt anew, the album finds the band their most confident and creative, expertly expanding upon its already distinctive sound. from the chrome-plated licks of maniac and the title track to the sheets of eddying synths and emotive motorik pulsebeats of into your alien arms and ketamine and ecstasy, the band delivers up sonically provocative pop music that is simultaneously jubilant, mesmeric, and altogether infectious. hysterical reveals clap your hands say yeah to be a wholly developed band in full command of their unique artistic gifts. this long play version pressed on 180 gram vinyl also includes a download card.

tripper, the fifth fruit bats full-length, was recorded at wacs studio in los angeles with thom monahan. for the first week of recording, fruit bats leader eric d. johnson brought in a full band to capture some of the live excitement of 2009s the ruminant band. however, having recently worked alone on soundtracks for an extended period, johnson knew that he wanted tripper to be more of a solitary pursuit than his previous album. the resulting album, a bittersweet meditation on hitting the road, leaving the familiar behind and reinventing yourself, is a reinvention itself.

after two re-releases of conrad schnitzler classics, (zug & ballet statique) now m=minimal releases a completely new work from the pioneer of electronic music. conrad schnitzler is a sound explorer. for many years, he has been on expeditions, journeys through his collection of electronic synthesizers almost every day. sounds he liked has been conserved on tape and stored in his sound library. the result is a huge library of audio files, he calls them >solen<. >borngrŠber & struever< have got the chance to examine that library and started to con-struct new pieces out of the hidden gems. these are not remixes but new compositions. none of the sound combinations were thought or heard before. the 8 tracks form an album independent of any trend and therefore it becomes a real acoustic environment for everyone. the album was produced at studio.wannsee. to give the album more authenticity, the complete audio processing was done using analog equipment. they not only used many classics among the finest synthesizers and outboard equipment, but also custom built tube gear. the icing on the cake are the tubes used from the 60s, which bought christian borngrŠber on a trip through the atacama desert in a small radio repair business in the city of calama. thanks to the desert climate even the packaging of the tubes looked as new

dj diamond is 24 year old karlis griffin from the west side of chicago. he has been producing music since the age of 13 and djing since 20, heading the -flight muzik- clique of footwork producers. you might recall his two tracks from our -bangs & works vol.1- footwork compilation of last year. in addition hes also released several mix cds in chicago, but this, his first international album showcases his unique style of footwork music. dj diamond is a unique producer with his own distinct style and an unusual ear for unexpected sonic and rhythmic combinations within the footwork template. often he thoroughly edits samples into tiny trance-inducing, techno-like stabs. combining this with a penchant for neon synths and loose, broken drums (that are often more effect-laden and freeform than those of of his peers) and you have a sound which has an intriguing, deeper, dreamlike feel. the breadth and quality of his production is clear when you listen to this album. take opener -rep yo clique-s woozy drawling synths and tribal tom patterns next to -speakerz n tonguez- with it-s snapping snares, minimal, repetitive voice samples and martial, detailed drum work. then a track like -torture rack- which is like grime in outer space: a minimal bassline and some samples from a computer game, while a bass kick stumbles at half time, swarms of percussive detail giving it drama. its a brilliant exercise in wonky tension. the extraordinary -decoded- comes across like a kind of amalgam of trance and prog rock bombast at 160bpm while -wreckageÕs- high pitch saw noise is like a strange metallic bird-call, over light cymbals, gabba-like kicks and metallic claps. -digimons- harmonic microedits could even be an snd track transported to chicago. finally the albums closer -i choose you- rolls out over a heavily edited and processed soul sample, its drums rolling off at odd angles to almost seasick effect.

brilliant indie dance / electropop ... check

the darkside of hardcore is back, even more heavy, even more experimental! this time the curse is casted by meccano twins and the subtitle confirm it: the wrath of god! dont expect cheap melodies or mainstream tracks, the sound is fat, extreme, harder than ever. many unreleased tracks from top producers like tommyknocker, tieum, meccano twins, promo, armageddon project, nosferatu, angel of darkness and many others. darkside: hardcore to his exteme level!

gil scott-heron is one of the most influential and important singer/songwriters to have come out of america in the second half of the last century. much can be said about why this gil s lyrics are so original and powerful but ,it is important not to overlook his utterly singular voice which is so distinctive and rough and tender. it is a voice of experience. a new record from gil scott-heron, forty years after his first solo album, is a cause for major celebration and something that the world needs now more than ever.

have you ever been >motorcitysouled<? matthias vogt and christian >c-rock< rindermann form the deephouse syndicate motorcitysoul. after their debut (did you expect it? / infracom 2004), their mix-cd (back up / infracom 2007), and their last studio album (technique / simple 2008) the two djs and producers present their first selection of remixes that have been released between 2004 and 2010. the >remix< is one of their favourite dishes so its no wonder that more than 30 artists or labels have asked for a motorcitysoul remix treatment since the duo joined forces in 2004. all of their remixes have been regarded as high quality by the media and djs worldwide. so far artists like chez damier, ian pooley, abdullah ibrahim, brett johnson, solomun & stimming, and johannes heil have ordered the extra motorcitysoul polish. motorcitysoul remixes have found their way to labels like cocoon, dessous, freerange, liebedetail and junior boys own/defected. creating a remix is a versatile production practice built around various philosophies - what is the remix meant for? how should it sound? should it be an addition for the club heads or a musical adventure that takes the listener on a journey? every motorcitysoul remix has its own vibe and is meant to respect the idea behind the original track. motorcitysoul merge their trademark sounds and styles with the original track. vogt and rindermann communicate in a musical way with the original artist.

nice price deal !!! four years since osunlade has graced us with an original full length house album. his next release and self-proclaimed last house release is nearing the gate. pyrography is an evolution incorporating the signature yoruba soul sound, bridging organic and electronic. braced with more vocal songs than any of osunlades previous house offerings, he has created an innovative endeavour. tracks including idiocyncracy, the infectious envision, and the yoruba chant of ser al santisimo showcase the wonderful palette of the musical diversity encompassed here. in addition to the album itself, osunlade has teamed up with the amazing talent of pyrography artist scott marr to create an original art experience harking back to the days when these two art forms were one and showcasing the synergy between them. the result is a very special selection of >fire paintings< created for each track making up the artwork for pyrography.

2011 two cd compilation including tracks from jane monheit, stacey kent, clare teal, ranee lee, maureen mcgovern, joe coughlin, and jamie cullum. the tracklist includes classic works by master composers gershwin, antonio carlos jobim, charles trenet and bill evans amongst others, the album also includes jazz covers of popular songs from the beatles, cat stevens and joni mitchell.

listening to the bleak, cold piano and string sounds, we soaked in pain and sorrow brought by unforgettable love. trumpet and guitar casually played, performers praise the happiness of love.. jazz ballads invites you to appreciate the most delicate sound of love, presented by stacey kent, grammy award nominee, maureen mcgovern, winner of academy award for best original song, and clare teal, bbc jazz vocalist of the year in 2006. the album includes thirty everlasting and classic songs, which has been around for more than half a century: when i fall in love, the theme song of sleepless in seattle, and i love her, beatles s classic work reaching top 2 in 1964, i can t stop loving you, will you still love me tomorrow, the monologue by carole king, embraceable you, written by george gershwin, which was separately rendered by billie holiday and ella fitzgerald, james taylor s don t let me be lonely tonight, when you wish upon a star, best original song for oscar from pinocchio, bonnie raito s i can t make you love me, and dream a little dream, advertising song for ferrero rocher. with deep, touching, and elegant jazz melodies, jazz ballads will take you to savor the lingering taste of love and romance.

the glitz have made people smile more than just one time during the last years. who has seen them knows that this is their life - their passion. so it was just a question of time they would honor us with their first long player. because of many releases at ideal, material-series, voltage-musique and pocketgame it is no surprise that this is no common album. the glitz are always different, always peculiar. fabulous remixes by daniel steinberg, nick curly, mihalis safras, kombinat100 and many others on this particular album collection prove this the truth. hugh and small glitz-hits were pimped with reinterpretations. blake baxter delights with a chicago-like smasher and tiny cheerful dub-melodies by soultek alternate with nic fanciulli s technoid grooves. on remixed you find various facets of club music by the glitz. a varied journey through the dance floors of this world. and the voyage has started just now

pingipung are proud to present >unframe<, the debut album of the young russian duo wols. while self-proclaimed insiders have mainly kept their ears tuned to releases from the uk, a lively dubstep scene has been thriving for years in the russian federation. and so wols bring more to the floor than just a bass whip

the new album, liquorice, from martin stimming wasnt initially planned to be an album. there was an intrinsic need for him to express what was going on in this period of life. relationship problems led to a very punk, off-whack attitude to his producing. with seven tracks done and dusted, he figured the work was more than just a collection of weird shit, it was a whole new music experienceÉ add another 5 months of studio work, he named it liquorice. definitely hard to pigeonhole - call it minimal, stripped back, dub, experimentalÉ we think >electronic free jazz< comes the closestÉ no sign of a typical 4/4 bass drum at all and stimming has incorporated his trademark use of field recordings, from a marble run, a pizza slicer, a trashcan, a coffee machine, and an ice train shuttling past to name a few. the stimming esque percussion, which is even more radical this time, has been thrown in with all these facets in his massive melting pot, coupled with some dark emotions to create this liquorice. >this time i didnt use all the main events a groove normally has<, recalls martin

pop ambient returns. kompakts beloved series. this is our other arena of bliss, always curated and carefully compiled by label co-owner wolfgang voigt (aka gas). somber times call for more introspective sound scapes - >pop ambient 2011< continues its mission to slowly persuade its signature sound introduced over a decade ago. this year we see the series leaning towards a slightly darker complexion than its predecessors.

thirty-five precious, stinging selections from an hmv run of more than four hundred 78s, recordings made in uganda and kenya from the mid-1930s till the mid-1950s.three main types of performance are featured (not forgetting a lovely early kenyan big-band calypso, as if straight from the pen of lord kitchener).luxuriously presented, like a small hard-cover book, with full notes, including extensive translation, and haunting photographs with the recordings brilliantly restored at abbey road

soulful struts and funky stuff on 20 classy cuts from the 60s and 70s.its soul / funk time as ace djs and compilers ady croasdell and dean rudland force you to put on your dancing shoes and shake out some talc on the floor for a smooth ride into the heart of soul!

more than a portrait: a legend!
a movie/reportage (french & english subtitled) about one of paris oldest free party tribe. can be very interesting over 2 points of view: one just because you like hardtek tribe and free parties, or because you want to discover this movement with a sociological point of view.
the movie itself is very well done and the original soundtrack for this movie just good as expected: the life of this sound system is typical of what happens with techno tribes... for the best and for the worst. an important documentary, interviews are very honest.

house music is about big names and big personalities, and none come much bigger than kenny dope gonzalez. you dont last 25 years in the industry without being short of a bit of talent, and time and time again kenny has proved that he is the man to beat. whether its his pioneering work as one half of masters at work and nuyorican soul, or his more recent endeavours with mass destruction, kennys beats take some serious beating.

its a brighter, more immediate sound than before warmer, too, with the singers voices positively glowing inside intricately woven electronic nests. but theres no lack of nuance. every track is a delicate balance of intimate delivery and cosmic sonics, underscored by a faint sense of melancholy.

permanent vacation, the record label from munich, usually more related to disco than house is bringing you these 10 tracks, mostly fresh exclusive stuff for your djing and listening pleasures.

at its heart, the album celebrates the communal ideal of dance music with spirited, percussive tracks offering a clear distillation of what could only be described as the cadenza sound. but mirko also diverges from the dance floor, ducking into shadowy corners in search of more private emotions. rather than scattering energy, that tension between moods helps bind the album into a potent, coherent whole.

phil kieran has been in the upper echelons of the electronic music game for more than a decade, but is only now releasing his debut album under his own name.

back in 2000 the herbaliser released their acclaimed doublevinyl album session 1. almost a decade later, they now want to capture this latest live chapter on record. session 2 spans more than a ten years of herbaliser live favourites, from the underground beats and breaks of their 1997 album blow your headphones to the more lush, soulful grooves of same as it never was. it is another herbaliser classic, the sound of an ever-evolving band at the peak of their powers. forget the old hollywood rule: sometimes a sequel can be just as good as the original.

after the success of the compilation french do it... better (vol.1, vol.2 and vol.3) mixed by mathieu bouthier, serial records starts a new series: serial mix, gathering tracks from the french electro label serial records. concept is simple: twice a year, an artist from the label serial records selects his favourite tracks from the labels catalogue, and mixes them into a more-than-an-hour continuous track... for the biggest pleasure of house music fans! here we go with the first edition.

more trance, more love, more fun, more sex...you can get a hint at what is coming by checking out the two first singles the ballad of tom scraw remixed by the minimal goddess chloe and worst than love with remixes from losoul and gilbert and a juicy cover of iggy pops classic nightclubbing.in the meantime junesex is testing the new album live in france to great public acclaim many tried to sum it up: pop, minimal folk, electro funk, house, rock,acid love, chic sex, bodily fluids only one label fits: junessex!

2cd compilation incl. gutterpunk, micha moor, dj discipline, gold & diaz and many more

incl. aquasky, buckfunk 3000 and bassbin twins

nice price deal !!! gomma / the 3rd compilation of germanys gomma label. clubhits, remixes & unreleased tracks from the last 2 years, previsiously mainly released on vinyl only. including stuff by headman, whomadewho, midnight mike and munk plus (vocal & remix) contributions by guest artists like the rapture, francisco, dj chloe, midnight mike and james murphy (lcd soundsystem). the cd is mixed by munk. gomma has consequently been developing an own, fresh, personal style in the past years. organic, fresh, disco inspired music - with elements both from raw psychadelic rock to german minimal electronics. its time to bring this special vibe and some of the greater current club hits on one cd. gg 3 represents the current state of the label. its a lot more than >brilliant punkfunk and modern disco< (as the nme described the last gommagang cd)