paradise city breakers are welcome back on discarded gems with solid ep, ready to serve the dance floor at each need, from the peak to the morning lights.

for the 7th installment we welcome ukrainian producer lenzyak, with an ep full of dreamy and progressive digressions, that drives us from the deepest atmospheres to the brightest vibe supported by a blend of breaky, trancey and techno grooves.

house / techno ep

views is in charge for the fifth chapter of discarded gems. the talented producer drive us into his musical scenario made of layers of progy and ethereal melodies, building up a crescendo of intensity and deepness from the beginning to the end to this ep, all well soaked of rooted bass lines and snappy drum grooves

repress! italian trio called paradise city breakers

presented for the record store day 2019, now officially in the stores. first collaboration on wax for superluminal & discarded gems. most likely an ensign which perfectly merge what an experience has been so far in berlin at the superluminal x discarded gems event series. it evolves radically with four different takes, exploring through idm, breakbeat, deep house approaches, giving justice to the old and modern sound.

ancut approaches different shades of house music. breaky percussions ride over dark and pulsing basslines, while progy melodies interweave deep chords into a waving and unconditional movement.

the analogue cops are back with their minimalistic project ocp. stripped down drums interlace with synthetic lines, pitched samples and moving pad, to develop an expandin groove. the atmosphere changes through each track, giving four different view of a common concept.

discarded gems is a series aimed to the discovery of rejected musical gems, buried in live sessions, noisy tapes, old digital system, and reserve them a dignified space on a plastic disc. the first release is a man-driven machines excursion in multiple shades of house music. riding acid basslines, rooted rhythms, crackling samples and inherent chords progressions are the foundations of this ep.

for fand ogf m halsall & gondwana orchestra, repress

limited edition of 500 copies.

lp with digital download card. selected by sky girl co-conspirer julien dechery, le raccourci culls 15 tracks from ganderas extensive cassette discography, discarded dat recordings, and split cd with lyon toy music project klimperei. while ganderas nostalgic melodies incidentally parallel with the piano key manoeuvres of pascal comelade, robert haigh and dominique lawalrée, le raccourci could only stem from the escapist desires of one eric morin.

12 inch with printed full colour sleeve and obi general purpose brings you len’s latest offering, initials. an electronic experimentation in forward-thinking balearic music. originally written between 2014 and 2015, these discarded, lost ideas persisted enough to require further investigation. taking a pause between his dub explorations, initials is the result of this inquiry.

originally released in 1984, identical-twin-brother duo aleem’s release yourself gets a timely repress. this is an early electro masterpiece that goes a long way in showing what subsequent trends have inherited (vocal sample re-pitch, reverence for drum machines, etc.) and what, for better or for worse, they’ve largely discarded (infectious, funky positivity). they don’t make it like this anymore. comes with free titular advice to any artists struggling for label deals.

ltd repress !! sloboda reissue of this rare gem from the heydays of adelaide techno. originally released as a one-sided vinyl in 1999, the record fell into obscurity largely due to a great number of damaged copies being discarded. recovered from the original dat recording, outer rim has been carefully re-mastered and cut inside-out with reference to the original pressing.

a pivotal moment in 20th century politics, history and culture the november 22nd 1963 assassination of president john f. kennedy (in dallas, texas) produced a mountainous range of forgotten, discarded and ghostly vinyl artifacts. country songs, private-press lamentations, mournful poetry and violent political diatribes were rushed onto rough-hewn 45s and marginal lps that vied to be heard above the noise and confusion.

congratulations you have successfully unlocked your fire chakra! ekranoplan with bluntman round the corner, the wicked mistress of the sea rears her head with the lowest subs heard in the depths of the caspian sea, we present to you, ekranoplan. just as the scotch fear the loch ness monster, the coastal folk of the caspian have long lived in the shadow of this great colossus. a mythical aircraft of gargantuan proportions, the ekranoplan now lies at rest amid the discarded rubble of the soviet dream. this ep paints a more gentle, playful picture of the monster and its mysterious aeronauts

amr prepares its 28th release, -our ways- by birmingham, uk producers laak (of austere recordings). the release features four deep, melodic house tracks for your listening pleasure.

wild oats is proud to present the kmfh debut album the boat party. after a year of collaborative releases, kyle hall, under the alias kmfh, has produced a debut album, a fusion of original work, sample tracks, and raw edits. the boat party album artwork pokes fun at european summer boat parties and juxtaposes the destitute state of detroit and its recent proneness to discarded luxury in financial crises. mainly, the inability to leave and the sometimes pleasant isolation of a boat party is what the album exudes. the listener has a certain commitment to the material which definitely has its place on the dance floor. you can find tracks that have soulful, funky, and organic feels, while others have a more abstract, mechanical, and robotic sentiments. the boat party was carefully constructed which makes the album a cohesive mix of soulful etherealness and roughly raw sounds, kmfhs cueing into the true aspects of detroit.

“kind of blue” is probably the best-selling jazz record of all time. we precede the familiar stereo version with the legendary “kind of blue” mono mix - legendary because columbia records claimed that the tapes had been discarded long ago. the avaxhome audiophile website approved of the new perspective mono offers on a time-honoured classic, saying: “if you’re only used to hearing it in stereo, this will be a different experience. it sounds kind of “forward”, particularly the saxes. overall it has a nice timbre, especially in the midrange.”
vinyl 1: mono version (cl 1355)
vinyl 2: stereo version (cs 8163)

new sub label from membrane recordings, blues + acid! in a human world, even the machines get the blues. discarded debris turning backs on the dusty strewn mess of cables and circuits in the corners time passes with calloused wind. random ghosts from the mississippi delta to chicago seem to find their way into the dusty boxes. a temporary home to let loose and vent.

this compilation spanning a period of 37 years features burnt friedmanÕs releases and edits thereof from vinyl-only labels (latency (fr), marionette (ca), dekmantel (nl) amongst others) plus 4 hitherto unreleased tracks, making them available on digital formats. friedmanÕs music from 1980 to 2017 covers a broad spectrum of played and programmed rhythmic styles that traverse not only club music from techno, electro and dub, but, above all, trace friedmanÕs own artistic development. a trajectory that owes a lot to his long-standing collaboration with can drummer jaki liebezeit, who died at the age of 79 in 2017. like liebezeit, friedman already explored even and uneven rhythms back in the late 1980s. this selection of 17 tracks documents this pursuit while bringing rough or discarded tracks to light, which did not fit onto any album or were intended for the nonplace label. the compilation runs the entire gamut of his work on percussion, keyboard, samplers and toys of all kinds using various production methods (tape, atari, midi, sampler, hard disk recording, digital audio tape). studio work (instant-composition, programming and recording) underwent major technological changes and revolutions in the 1980s and 1990s, but friedmanÕs distinctive signature style prevails throughout. surprisingly danceable tracks, interrupted by alien atmospheric periods, defy any genre.