200 copies vinyl only!

vinyl only

eine weitere starke zusammenarbeit für stately records, die ihr drittes release zusammen mit dem schweizer dub techno zauberer alessandro crimi feiern. alessandro produziert bereits seit über 20 jahren musik von seinem hauptquartier in baden, schweiz aus und spielt eine große rolle in der entwicklung des schönen sounds von dub techno.

new fresh label.. say hello!

remastered double vinyl reissue of the 1984 circus underwater album, including 6 unreleased tracks.

kammer musik releases #09, 12 & 13 all bundled up for one special price!

currently fizzing up summer crowds on his european tour, the argentinian renaissance man is testing his wares, as he prepares to unveil his third artist album at the turn of 2019. set for release on the martinez brothers perennial cuttin headz imprint, it will herald a fresh jacking chapter for the artist who famously refuses to sit still. an instant statement of intent, ‘so dope’, the first taster from the forthcoming long-player, lives up to its name with a thumping nyc swing, loose twanging slap-bass pops, trippy vox overlays, springy rhythmic elements and all essential conga rolls. with its concrete-thick groove, ‘so dope’ commands an equally robust remixer rollcall. which is exactly what the martinez brothers have recruited... the bossmen themselves get elbow deep with a warped and twisted bassline that snakes around the stately jacking beat, gradually becoming more warped and wonderful as the track progresses. djebali follows with a precision contrast as the vocal shots wrap themselves tightly around a timeless 909 beat and subtle tracks of venomous acid while heartthrob flips it into an all-out rolling techno experience. dope ain’t the word.

last spotted tomfooling as tryck & ton with edvin edvinsson, and prior to that as tiedye on mike simonettis italians do it better imprint, subversive swede anton klint makes his debut on simonettis latest label 2mr with two more vitally trippy, heavily dub-informed originals. ‘mun chugs at a stately 107. rippling in places, squiggling in others, theres an unabashed fx weirdness bubbling and popping over the insistent shimmering dubwise groove. tweaking, freaking but running at such a smooth temper theres space between the chaos, anton is balancing some heavily hypnotic alchemy here. ‘strupe takes things even lower and slower. a dusty bluesy chugger, unhurried-yet-relentlessly building with a great sense of cosmic drama, listen and marvel as more elements are precision introduced throughout the seven minute trip. a masterclass in modern day honkytonk. remix-wise were thrusted into the later hours with a technoid twist from andre laos. maintaining antons originals trippy charm and measured pace but re-amping it with grittier foundation, teasing risers and an insurgent synth strike, its the perfect complement to one of 2mrs most singular releases to date. open wide.

a leftfield haven, happy at home on the fringe where boundaries blur and textures intertwine. it was only a matter of time before jennifer cardini and noura labbanis dischi autunno imprint featured the bewitching sounds of mehmet aslan. following outstanding documents from dollkraut and the magic ray, berlin-based swiss-turk mehmet makes his label debut with four singular works of art. alysha takes the lead 22nd century desert funk with sand storm atmospheres, mushroom clouds of slide guitar and a hefty dose of blues, it sets us perfectly for the rest of the ep. elsewhere were sucked deep inside the dream machine in slo-mo as beasts lollops and thumps with warped insistency, we have the stately swampy cosmic stomps and trippy breakdown surprise of exotica before a collaboration with uk kindred spirit jonny rock closes the show with a sense-blurring psychedelic tagine of interlaced hooks and the tangiest riff this side of istanbul. beguiling business as always from dischi autunno.

the shadows is the new album from leeds-based six-piece tomorrow we sail. building on their debut release for those who caught the sun in flight (gizeh, 2014) over the course of three years, this new work combines perfectly the soaring atmospherics, gorgeously intertwined vocal harmonies and dramatic shifts in tone and dynamics that have come to characterise tomorrow we sail’s sound. yet, there is a new sense of urgency here. very much an album of its time, the shadows draws upon the same sense of connection to both past and present that defined its precursor but features storytelling that’s even more defiant and deeply personal.

like its predecessor, the record features seven songs but from the chiming guitars of opening track side by side it is clear that the stately pace of for those who caught the sun in flight has made way for a far more dynamic and driving energy, perhaps best captured in the righteous anger of the ghost of john maynard keynes. tomorrow we sail still invoke a keen sense of measured grace in their songwriting - from the sweeping, elegiac title track, through to the sparse, restrained, yet haunting beauty of winifred and to sleep. urgent, yet assured, the shadows demands your attention.

he s back. discotronic doyen around7 returns to robsoul with three more pearly parisian jams that range from warm filtered soul to cheeky b-boy rave. we kick off with the woman behind me . a great mood-setter with a stately jack, it unfolds with a walking bassline and a sweetly filtered sample that opens up with wide flourishes on the peak.it s backed by the broken funk of u talkin to me . loopy, leftfield and prone to drop into sudden acid house switch, this will stop the talking and get everyone listening. finally we have philter . a certified hypnotiser with insistent rolling kicks, a swinging piano sample and wavey vocal loop, it s another instant lockdown from one of the most understated and class-a parisian groove sculptors we know. warm and bumping, just how we like it.... it s looking like 2018 could be another fine year for robsoul.

come together: re.yous younion returns with more sublime unifying forces. beats that bring us closer, feelings that break down barriers and artist partnerships whose creative connections are more than the sum of their parts. the message is clear in every directio, from the longstanding younion parties across europe to the slow-but-smouldering rise of the label, of which we are proud to present its third release tapping into the very same younion spirit that regularly shakes the walls of iconic clubs such as watergate berlin and pacha barcelona, this four track ep is an incisively curated collective ep comprising three acts who complement each other implicitly. as the dust still settles from florian busses recent younion outing, and solomun continues to hammer the labels first release from eins tiefer, the timing couldnt be better. the perennially on-point dutchman rancido takes the lead with two deep tribal odysseys that take root in the sound he’s made his signature. both >lagos< and the vinyl-only >rabat< conjure deep mystic textures around his stately, restrained and constantly developing grooves. there is a reason he is released with the mighty innervisions in the past. deeper again re.you whips up a percussive storm over palpitating synths in the form of >dao< before handing the controls over to rising german duo cosmo & kramer for an inspiring finale. a duo re.you has been championing since they warmed up for him five years ago, >dance< is a calling card for an extremely exciting future… and it more than lives up to its name. three releases deep and younions unifying forces couldnt be stronger. its time to combine.

kammer musik releases #009, 010 & 011 all bundled up for one special price!

after a first collaboration focusing on the city of angels, la legend john tejada and acid innovator tin man (johannes auvinen), this time brooding on the latters home city, and formers birthplace, vienna. the austrian capital is known as the city of music and the city of dreams, two broadly aligning concepts that go far in describing this beguiling 12-inch. the four songs were mixed down live to 2 tracks, created in the real world without a daw, or multi tracking, which has really captured the spirit of performance and improvisation. succeeding railjet, a tense drum workout, comes bim, referring to the colorful trams that run through vienna. here, auvinen sculpts his 303 into near-pizzicato form. the acid box is accompanied by stately pads making for one of the duo’s most memorable tracks yet. the next cut, danube nights, references the mighty, ancient river, the flow motion mirrored by a couple of widescreen acid lines. a pensive lead and some melancholy chords emerge, but the drums roll right along like the water- tough enough for a heaving floor with a hint of fragility for the headphones. the record concludes with the acidic prater allee, named after idyllic, sprawling park on the banks of the danube. the duos love letter to vienna is well-suited for travel, for the dance and for dreaming.

ondon-based duo jamka return with inter alia, the latest evidence of their patient, intimate relationship with their analogue machines. from the start there’s a sense of event – we encounter clear, interlaced electronic textures, powerful analogue drones and well-placed beats. the tracks aren’t soundscapes so much as fertile electronic soundfields. patemp continuously expands in an incredibly subtle but powerful way and shows that jamka’s technical skills don’t preclude an emotional touch. on the tight and minimal anazmo, the coiled energy bears traces of minimal techno and radical electronica, but it’s beyond either of these. while the album passes quickly, it’s full of detail and the thoughtfulness and craft that have gone into it are evident. dwa offers the chance to appreciate the flow and the sheen of its analogue textures – the modernist romance of the power line hum and its promise of technological-cultural progress. jamka are known for their dynamic live performances and this energy is almost tangible on derazor. the stately igora is a strong, bold close to the album, offering surprises right till the end. the sharp, metallic details ripple through the mix and an anthemic sequence shines through. inter alia makes clear that jamka are worthy inheritors of slovakia’s proud late modernist traditions of radical architecture and electronic music. this is a work of craft that demands respect and repeated listening.

terrific record! eight charged, intimate meditations by julie normal and olivier demeaux, playing a rickety ondes martenot and an old church harmonium. gripping, detailed, stately improvisation — a bit like the ùrlars in classical bagpipe music — which nervily mixes the sternly doom-laden with precarious, other-worldly wonderment. (the ondes martenot is an amazing twentieth-century instrument — beloved by messiaen, for example, and varese. the theme-song of star trek is a vocal forgery of its sound. ‘j’aime cette fragilité qui côtoie la capacité de te décoller le tympan sur certaines fréquences inopinément,’ says julie. ‘je tiens une bombe dans les mains. j’aime son instabilité, son humanité.’) wood, breath, blood, eggshells… on the night of a purple moon. very warmly recommended.

last spotted on ovum just over a year ago with moot point, irishman-in-berlin chymera returns with two more stately sonic workouts.

next ultraphat hypnotic minimal techno from berlin. made for full peak time pleasure again and again and again. this guys are wonderful. after their great releases in the last year, they will start a good new trip. support comes from: hot chip, ellen allien, gregor tresher, gusgus, jeff samuel, hugo, the mountain people, reynold, matt star, marcel knopf, dario zenker and many many more...

nice price deal !!! from somewhere between then and now comes the first of the thirteen black editions. dismissing the present as a mere distraction and searching the past for a way to the future. black editions a travels to the pyramids to untomb an exercise in kinetic psychedelia. black editions b is a stately & sophisticated funk excursion. no map, no compass, just the stars as a guide.. welcome to the night.

ill keep on loving you lays down a commanding piece of old fashioned electro-disco, particularly notable for its blurry, washed out vocals and stately downtempo synth-funk. next, >living without your lov< weighs in with a bassline that halfway between >another one bites the dust< and daft punks >around the world< before sublime synths, twangin guitar and vocal edits pile into the mix to round off a delightful piece of grade-a rose-tinted disco.

refreshing as a blast of warm disco breeze to the nether regions comes this sultrily intoxicating outing which sees hanna produced in paris by purple musics alfred azzetto and italys vincent valler, accompanied by a genre straddling array of mixes. the french sung tune recalls classic french disco while the backdrops are sympathetic despite their diversity: alfreds sub sub mix stretches around the incredibly catchy song as a sexy piano vamp, dj fopp & walterino take the straightahead house route, ii moods recall knuckless 90s productions with lashings of stately piano, christian hornbostel goes for minimal dub, souldynamic & fioresehome home in on the sexy vocal over a gathering acid storm to delirious effect and blacksoul uncork a thumping deep house excursion uncannily recalling late 80s chicago with bare piano and haunting textures before switching gear to new york of that period. each one is dominated by that great vocal, the sort that sounds great on whatever you place it on apart from david camerons beat box bottom. pretty essential.

split ep of dark metallic hard-fun from the human shield mixing funnel. manasyt leaves his manners at home and takes the a side by force with two solid cuts of pure industrial horror: wrist sewing leaves little to the imagination whilst his bloc 08 set opener vibro speeds up the synth suspense until your loins are sore and your mind is truly spent. overworked and underpaid north wales bedroom musician cestrian (bunker/monox) softens the blow just a bit on the reverse with his hearse giving you the perfect funeral, driving off into the near distance with dead waves and metallic shards of fluctuating hiss. the stately anti funk of rizzla teeth brings us to a conclusion with gun metal grey sneers of contempt and harrowing neg vibe downer skree. suit up and dig in!

einer der sich letztes jahr ins bewusstsein gerückt, hat präsentiert sein erstes album. sehr fein

the shadows is the new album from leeds-based six-piece tomorrow we sail. building on their debut release for those who caught the sun in flight (gizeh, 2014) over the course of three years, this new work combines perfectly the soaring atmospherics, gorgeously intertwined vocal harmonies and dramatic shifts in tone and dynamics that have come to characterise tomorrow we sailÕs sound. yet, there is a new sense of urgency here. very much an album of its time, the shadows draws upon the same sense of connection to both past and present that defined its precursor but features storytelling thatÕs even more defiant and deeply personal.
like its predecessor, the record features seven songs but from the chiming guitars of opening track side by side it is clear that the stately pace of for those who caught the sun in flight has made way for a far more dynamic and driving energy, perhaps best captured in the righteous anger of the ghost of john maynard keynes. tomorrow we sail still invoke a keen sense of measured grace in their songwriting - from the sweeping, elegiac title track, through to the sparse, restrained, yet haunting beauty of winifred and to sleep. urgent, yet assured, the shadows demands your attention.

its a thing of stately, fragmented, charred beauty....this is a stone killer from first to last beat.