After a fine first EP on the label in 2105, Dutch duo Artefakt are back on Delsin with The Mental Universe. This four track EP again finds Robin Koek and Nick Lapien showcasing their knack for spellbinding grooves of voodoo techno, absorbing ambient and frictionless drum programming after other outings on the likes of Prologue and Field Records.
Thanks to some inspired detective work by Art Yard Records, an intimate trio performance by Sun Ra in Rome in 1977, ‘In Some Far Place’, is receiving its first release. Recorded from the sound desk and mastered from original reels, the album features Sun Ra on piano and Moog, drummer Luqman Ali and occasional Arkestra vocalist Thomas Thaddeus in fine form, exploring Ra staples and revisiting some of the traditional jazz pieces from his early Chicago days. Tracks include the reflective ‘Trying To Put The Blame On Me,’ ‘Spontaneous Simplicity’ and the first Sun Ra version of ‘I Cover The Waterfront’ to ever be officially released. New sleeve notes come courtesy of the Arkestra’s Knoel Scott with cover design by Lewis Heriz.
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In 1979 Sorry produced his third LP for the Paris based Sonafric group. Long out of print Africa Seven is pleased to be re-issuing the LP with the authorization of the newly reformed Sonafric group. The re-issue benefits from extensive restoration and re-mastering to a spectral analysis level, bringing and polishing long lost and distorted sounds. The six track masterpiece opens with ”Mayel”. It blends Afro-space grooves, cowbell and swirling organ with psych guitar and punchy horns. ”Kanaga 78” was named after his band of the time. Sounding as fresh (if not more so) in 2016 as it did in 1979 the hypnotic bass, expansive drums, twisting organ and snakelike fuzz-guitar all combine to create a masterpiece of African psychedelia. ”Bayadjourou” closes off Side A of the LP with its pulsating, incessant organ hook-line and driving tom drums while adding in layers of Malian vocal from a female chorus and Sorry himself. Side B opens up with ”Tjamantie Kolo” which is powered by driving conga and drums layered with traditional vocals and distorted picked electric guitar lines. ”N’Nebakaidi” focuses on the song writing skill and delivery of Sorry who delivers a masterful vocal over grooves which somehow manage to sound melancholy but somehow also forlornly uplifting at the same time. The LP closes with ”Nani Nani” which is a brass driven wall of African sound.
The latest vinyl slice from Fly by Night Music sees us head to the depths of central Africa via Paris to track down a feast of rare seventies afro funky jams from Cameroonian master musician EKO. We’ve brought FBNM favourite Riccio along for the journey too, who has provided us with a fantastic Rerub coaxing out some modern dancefloor sensibilities and production sparkle. Eko Roosevelt Louis has had a music career spanning over forty years, born the grandson of a Kribi tribal chief, his musical persuasion beginning humbly with his village’s local church before his formal education at the Senegal conservatoire and Paris’ École Normale de Musique. EKO made a number of jazz funk and disco records in the mid seventies during a stint recording and touring in and around France before returning to Cameroon to take over his grandfather’s tribal chieftaincy, a role he still holds today! Alongside this position of office EKO has continued to work with music, performing, teaching and even leading Cameroon’s national orchestra! The tracks we have selected for reissue are all taken from EKO’s third album, Funky Disco Music which was recorded in Paris and released on his own Dragon Phenix imprint. Sung in a combination of English and EKO’s native tongue we’ve lined up a real excursion in feel good afro-jazz, funk and soul made purely for dancing feet and boogying butts.
The third release of Male Records features “The Order” a studio and live group that shares with “The True Underground Sound Of Rome” the same city and sound. A powerful mix of electronic detroit sounds together with melodic and balearic ambient atmospheres. Still comes as collector’s Album edition of 475 copies only containing the original songs from the rare “The Order EP” from 92 plus two unreleased strong songs: “Quasar” and “Way Back” recorded in the same year and performed only live during the big house event “Night Of Male 92” back in the days. This LP features also Stefano Di Carlo for additional percussions on Long Waves and Leo Young on the mix.
Another solid EP compiled by Jordan Fields. Check the fresh grooves of K-Starke’s man of the moment Jeremy Williams, Detroit’s Gari Romalis, Serie Limitee’s Monsieur Cedric, Japan’s 99Letters and another special one from Giles Dickerson.
The Feel Music reboot continues with two new tracks from label boss John Daly. Continuing to push his tempo faster, while at the same time producing some of his deepest work yet. “Paradise” has been a live staple for a while, and it has definitely earned its spot on the label, rocking floors all over the place for some time now. “Crystal Visions” on the other side is the kind of deep trip you only get on Feel Music.
Berlin’s Nat Fowler renders his meticulous Novoline project to Not Waving’s Ecstatic with an inimitable marriage of automated electronic process and live improvisation on his 2nd album, Movements, continuing a lifelong quest for esoteric knowledge and a love of archaic computer hardware. Modelled with mis-used software, run on two separate Atari ST’s using only era-consistent hardware Yamaha FM synthesis via MIDI, pitch tuned to a pure 3:2 ratio Pythagorean scale centred on 432hz, Movements is the compelling, awkward result of obtuse production techniques and painstaking trial and error; basically experimentation at the service of discovering a sound he is genuinely warranted to call his own.
FlexiWave releases debut EP by NYC duo Only Edges. Only Edges is a project by Jean Lorenzo aka Silent Em and Hellyn Teng. 6 tracks of excellent minmal synth.
Marcel Dettmann has mixed the latest edition of the highly respected DJ-Kicks compilation series. Whilst Dettmann is well-known for his incendiary sets at his residency at Berghain, his DJ-Kicks mix is crafted for listening, and displays a more reflective side of the DJ and producer. The mix explores a wide array of selections from various subgenres; ranging from the a new vocal-led Strictly Rhythm release, to rapping on Clarence G’s 1991 release ‘Cause I Said It Right’, recently reissued by Clone Records. Over the course of its 1hr 14 duration, Dettmann reveals multiple new original productions; most notably a collaboration with Levon Vincent, ‘Can You See It’. The pair have collaborated once in the past, releasing ‘Vengeance’ on Levon’s own Novel Sound label towards the end of 2015 to critical acclaim. ‘Can You See It’ sees the duo venture into darker territory; a stripped back, sub-bass laden affair, the quality of this production immediately stands out in the early stages of the mix. Dettmann also collaborates with MDR affiliate Wincent Kunth on ’Possible Step’. In addition to five brand new original Dettmann remixes and edits, there’s an unreleased remix of Marcel’s ‘Let’s Do It’ from Ostgut Ton labelmate Rolando. Designed to be enjoyed by both the critics and more casual listeners, this mix is the latest in a long series of lifetime achievements over the course of Dettmann’s career – and with so many new unreleased original Marcel Dettmann productions included, this is a landmark release for the producer.
When the duo Skudge started out in late 2009 with their first release on Alphahouse, followed by a string of underground hits on their own label Skudge Records, little did they know that they would be in the forefront of the Stockholm sound of the dawning 2010’s. The complex rhythm textures combined by a echoing audial lightness that still runs unparalleled, paired with sub intense quick basslines and swirling percussion has been the trademark. This updated take on the techno and house crossover of today got appreciated and caught the attention of a full spectrum of artists. With a tight release schedule, 2010 alone saw 6 releases from the Skudge hub. Culminating in 2011 with the release of ‘Phantom’, the full length album release on the home imprint, followed by the sub labels that releases other artists as well. Five years from that era, Skudge has reshaped into the solo work from one of the original artists. This change of production and artistry launches into the crates with the release of the limited full length ‘Balancing Point’ LP. During this time, the sound has shifted into new territory, where the entire A-side acts as the beginning of this grooving whirlpool of a record: quick and immense. The UK influences that was formed in the 90’s, gets picked up and infused through the B-side, ending off in a almost orchestral piece. The delicate subtleness of the second 12′ showcases a familiar coming-of-light type of style that we so much appreciate, firmly ending the long player and leave us sure of the future.
When the flowers bloom at the awakening of the season. With translucence shining like liquid stars decked out in glorious hues of pink, purple and blue. When the trees grow and the birds fly out. When they gently beat their wings, gliding upon the blue canvas of the sky. You get touched by the sounds and the beauty of it all. It lights that fire deep within you… Reedale Rise shows us the way of things,.. as it was then, and still is now.
DJ Stingray, Detroit’s masked man of mystery, returned to us at Dekmantel for yet more vintage electro mixed at rapid pace.
Randomly few times a year Rutherford and Eargoggle team up for some monkey business in the studio. As often the result is “Monkeyshop” a journey into the deepest, darkest forrests and landscapes of the north. Scandinavia is not known for the monkeys but they exist there especially arround Gothenburg in the mountains.. The music is a mix between electro and disco, might call it electrodisco and its all programmed and recorded in with the most easy and understandable equipment so its possible for monekys to use.
Composite Profuse, aka Valerio Lombardozzi aka Heinrich Dressel, breaks radio silence after seven years in the shadows. Cold winds curl and otherworldly atmospheres abound for Unalaska Ice Files. Arctic tundra and ice are the inspiration, frozen vistas dappled with warming light, subtle shifts and sinister shades. Teslasonic take on the title track, injecting electrical pulses and an underhanded edge. Shipwrec stalwart, Robert Witschakowski aka The Exaltics, gives his own icicle encrusted interpretation, one of stark percussion and expansive horizons.
“Chord Memory” the hymn for the widely used feature in 80s hardware synthesizers got some individual rewiring done. If ten fingers ain’t enough Hyboid uses his Galactic Memory for punchy disco purposes while Robyrt Hecht reaches for a swinging Pivot Memory to sweep and swipe your electro habits. On the other hand Milium likes the exposed wires of his Mutiny Memory to revolt whereas CCO simulates his natural Echoic Memory with floating acid sparks. Completing the mechanical rewiring the duo Nachtzug added delicate software to Execute the algorithms and installed a Memory Loss button, if you are in need of a reset.
