when michaela meise performed at westgermany at kottbusser tor in berlin-kreuzberg on march 20, 2015, accompanying herself on the accordion, i was perplexed. i knew her first album from 2010, which was about hymns (»preis dem todesüberwinder«, originally released on clouds hill, available as a download and stream through my label from july 2018 on), but what she was playing weren’t spiritual songs?! i wanted to put this music out on my label: the songs sounded sad, aloof and wistful but also proud, determined and unerring. the album title »i am greek« is a tribute to melina mercouri’s album »je suis grecque!«, which was released in 1971 when mercouri was deprived of citizenship by the greek military junta. mercouri lived – like mikis theodorakis and many other cultural workers – in exile. meise’s album is dedicated to the chanson scene of post-war europe, whose songs were popularly folksy, but also political. some talk about the experience of war, the shoah and labor migration.

endlich da ! die neue dial mit dem tollen >groove 100 compilation< beitrag von efdemin. darüber hinaus lässt lawrence seine chicago-liebe aufblitzen bevor michaela meise & sergej jensen die platte mit akustisch ambienter gitarrenmusik beenden

world music

following the u.s. army’s liberation of munich in may 1945, the world’s first amerikahaus was inaugurated there with a library, a magazine reading room, a children’s library, a record and lm department, and lecture and seminar rooms, together with a concert hall and exhibition space. up to 80.000 people a month utilized the offerings of amerikahaus during its early years. beginning in 1953, the united states information agency (usia), an institution founded as an instrument of the cold war, began to finance amerikahaus. in addition to representing the u.s., its principal task in west germany was to democratize and denazify the postwar population. after the beginning of the cold war, many of these re-educative measures also served as propaganda in a programmatic linking of democratic and economic principles meant to strengthen transatlantic relations against the communist bloc. in 1997, the u.s. government concluded its work at amerikahaus in munich and shipped almost all its items back to the states. however, 1.630 long-playing vinyl records from the library were left behind in cardboard boxes in the basement. when michaela melián looked through this forgotten collection, one of the first things she came across was don gillis’ 1940 tone poem »portrait of a frontier town«, whose second movement is entitled »where the west begins«. don gillis, a composer and radio producer, used the musical styles and genres of that decade to create an explicitly american program music. michaela melián’s »music from a frontier town« is fueled by the diverse sonic material of this extensive record collection once considered as an instrument of cultural education. this record has been produced in addition to melián’s twenty-four hour performative music installation »music from a frontier town« in the garage of what is now the bavarian center for transatlantic relations at karolinenplatz, munich (4-5 may 2018).

emika’s very first symphony orchestra piece “melanfonie”. featuring soprano michaela srumova and the prague metropolitan orchestra. this recording was paid for by emika’s fans via her kickstarter campaign “how to make a symphony”.

following her previous two long players, baden-baden and los angeles on monika enterprise f.s.k. bassist and visual artist michaela melian now continues the theme of geographically titled albums with monaco.

ein manifest an schönheit und leichtigkeit von techno. das ist es was michaela hier für uns gezaubert hat. heisse kanditatin für die eine platte die mit auf die insel darf..

zwei neue tracks von mira mann - und dazu 6 remixe zu titeln der letzten ep.

cassette / tape, ltd to 300

following on from successfully funding her how to make a symphony kickstarter project, emika returns with a new four-track ep that sees her chart yet more new territory.

it is with great pleasure to announce the first jet jam single, which comes in the form of a collaboration between star slinger and sound pellegrino founder teki latex. together they have created a tune you will be iding at the club in no time. featuring tekis screwed-down lyrics over slingers soca-snare-driven house production. the superb renaissance inspired artwork is by michaela selmani. one of the founders of jet jam.

volker dornhagen , bekannt vom kompakt label >auftrieb< serviert hier drei düstere knarzige minimal mono tech tracks, incl rmx von londons dub kult

when dial records started in 2000 with a bunch of friends highly inspired by deep house, detroit techno and cologne lovetunes, nobody of them ever thought about running a decent record label. the only concept david lieske, peter kersten and paul kominek had in their mind was never to be part of any proper record business, never to be controlled by any rule or trend, always to let the record label be a part of their love for music and arts. even the dial family was never intended growing that big, almost 70 percent of the artists on the first compilation are the same on >2010<, the history starting from a small label based in hamburg turned out climbing a high mountain. touching cities like detroit, tokyo, paris, berlin, buenos aires, releasing music like contemporary classic, drones and glitches, ambient, guitar pop, singer songwriter, deep house, minimal techno, discovering arts of protagonists such as michaela meise, sergej jensen, dirk stewen, hanna schwarz, anna mšller, cosima von bonin, all this fills a decade of dial records. but still the main part is the music and as we hold the 2010 compilation in our hands and listen to the tunes of phantom ghost, isolŽe, pantha du prince, carsten jost, john roberts, efdemin, lawrence, christian naujoks, dominique, rndm, pigon, kassian- we still have this enthusiastic feeling that wants to tell us: this is only the beginning