Produced by Nile Rodgers & Bernard Edwards of Chic, this song was featured on the 1982 Soup For One movie soundtrack album. Includes an 8-minute 12” version, instrumental, and radio version. Pressed on opaque olive green vinyl with white detail.
Kaymany & Asestar hail from Rome, a city where many musicians spend most of their days producing sounds for the television industry and even shopping malls. That’s part of the reason the country has such a reparation for great jazz-funk sounds and now adding to that cannon are Kaymany & Asestar. ‘Effimera’ is glossy and feel good disco with retro future chords, while ‘Digressione’ has a Bob James style energy to it with its high speed funky bass and incidental chords. ‘Capao’ closes in Latin fashion with manic keys and more plucked and funky bass slaps making you shake every limb.
Keith Farrugia aka Sound Synthesis returns to his home and he has done it again. After his now deleted work on Electric Eclectics, you will have a second chance with this new EP. Very limited units on colored vinyl, packed in a really nice way as we have come to know by the Fundamental crew.
Exzakt teams up with fellow Electro Breaks legend, BFX and the output is very strong. Originally produced for submission to an Egyptian Lover compilation, Nasty girl is laced with vocoder vocals as well as a female voice over hard hitting bass beats and deep baselines. This is a tune tailored for the club however retains its depth like many Exzakt & BFX tunes usually do. With Nasty Beats is the instrumental. As if Side A comes just as strong. Starting with BFX, Jelly offers his signature melodic sound along with low end frequencies all culminating into a solid Electro tune. Finally a deep cut from Exzakt, Taking Over The System is a perfect end to this future classic vinyl.
It’s been 25 years since the anthem ‘Freak O Holic’ by Los Angeles electro legend Egyptian Lover was first released. His label Egyptian Empire Records serves up a repress for all the fans out there, featuring an extended version of the track, presented here as the super sleazy Alternate Universe mix on the first side, followed up on the flip with ‘2 The Extreme’ (long version) taken from the seminal album of the same year – the 1986 LP. A true pioneer, Egyptian Lover’s (real name Greg Broussard) earliest material is name checked by producers such as as Autechre and I-F as influential.
Marguerite Records announced its first release scheduled for 2021: ‘MRG010’, a Various Artist compilation celebrating the label’s tenth output. A side opens up with ‘My unknown friend’ by the charming Diana Berti, a blue starry-eyed minimal synth jam, followed up by Mayo’s slo-mo acid affair ‘SloMos’. A3 is ‘Miss your stupid face’, a crunchy, metallic downbeat cut by SYNTETYK boss Dzuma, and what a better way to follow such delight than a snake charming rollercoaster by Exhausted Modern? Closing up the first side is ‘Same shit fail (shame)’, a mesmerizing slow tempo deep track by Lyon’s Big Science head honcho Warzou. Flip side is unwrapped by ‘Weaklink’ a Lliasons Dangerousesque floorfiller from Lost Soul Enterprises boss R Gamble, while ‘Alpha’ on B2 marks the return of Bianco Negativo on their label with a dreamy minimal synth // ambient techno hybrid. Sitting on B3 is the high tension cinematic EBM roller ‘Duty-bound majority’ by Colombian artist Filmmaker; B4 switches the vibe and turns full speed with a mutant electro excursion by LIES affiliated Chupacabras. Madmoizel’s ‘Culture 19’, a powerful yet playful raw post punk gem, brings the compilation to its final chapter.
Baroque brings his first release on Soil Records, E.B.M focused and industrial textures on the background make a really strong release.
Oz Echoes peels away another layer of Australia’s ‘80s DIY hive mind. The Oz Waves successor exposes a deeper circuit of micro-run cassettes, community radio archives and irrationally abandoned studio sessions, as Steele Bonus sequences a 10-track compendium of drone pop, psyche-electronics and agitated tape cut-ups. From the Sydney cassette network, The Horse He’s Sick returns with an industrial car crash, alongside Wrong Kind of Stone Age’s pagan cacophony and primal riddims. M Squared dynamo Patrick Gibson appears in both Height/Dismay and Mr Knott, his respective studio-as-an-instrument collaborations with Dru Jones (Scattered Order) and ex-Slugfucker Gordon Renouf – the former’s worn out apparition hails from an instantly deleted 1981 7”, while Mr Knott entrust one of the compilation’s five previously unreleased tracks. Matt Mawson represents Brisbane music media-printed matter collective ZIP, as Adelaide’s Three D Radio grants access to their vaults of live-to-air recordings and aspiring demo submissions, rescuing the slap-happy punk-funk of The Frenzied Bricks and Jandy Rainbow’s prodigious beginnings in Les Trois Etrangers and Aeroplane Footsteps. Synchronously in Melbourne, Ash Wednesday (Karen Marks, The Metronomes) leads Modern Jazz’ improvised proto-techno and EBM pioneers Shanghai Au Go-Go home record their sardonic synth-wave. A cherry-picked cast of unusual suspects, Oz Echoes’ unfamed artist and non-band narratives are detailed by track-by-track liner notes with rarely published archival visions and artwork from Video Synth, prompting further rabbit hole ventures into this golden era of creative risk-taking and instant action.
With an Arturo Micro brute synthesizer put through psychedelic effects, Modern Ruin keeps the flame of Andrew Weatherall and Suicide burning through times of isolation and disarray. This Synth Wave/New Wave experience of an album, released on LP on Höga Nord Rekords, sums up 2020 with its dark and cold sound. The title speaks for itself: “Unemployment Disco Line” reflects the desperation in the sound and the reverb-drenched vocals in the back of the soundscape comes from deep within the Covid hole. Drawing influences from masters like the legends above, Rowland S. Howard, Johan Balance + Peter Christopherson et cetera, this debut album by Modern Ruin sums up four decades of underground club music and no matter how long this pandemic goes on we are in “Nothing Blues” until the dance floors open again.
Profondo Nero narrates a storyline that goes beyond the borders of Italy’s musical legacy. Cutting across the face of Italo disco’s leftfield musicians between the early and late ‘80s, Profondo Nero champions a multi-faceted sound that nods to the blueprint of Italo disco but tries to dig deeper. The music is unmistakably Italo disco but moves away from the familiar classic sound. Amsterdam based collector Cinema Royale stitches together eleven tracks from 1983 – 1989, celebrating a sound he fittingly describes as ‘leftfield Italo’. The compilation connects the dots between soulful disco (Louise Freeman – Mirage), synth-pop (Mark – Dreamland), electro-rap (Loukas Thanos – Jazzburger), breaks (Santoro – Lover Message), 80s dub disco (Jet Set – Love Break), Balearic (Isamar & Compañia - No Estas), boogie (Tom Hooker – Talk With Your Body) and proto-house (International Music System – An English ’93).
ADSX / Hanoben jump from Berlin to Rimini sul train degli Acidio. “Sina’s Freund” is all fidanzato v 303 303 303. “Werner’s Spiel” acido bumbles, taglia and incolla. “Elvira’s Katzenfisch” inno elettronico Krautrock. Synth anthem. Infine, Mund. Punk slap. Basso. All join hands with…ACEEIID!!
Italian weirdologist Bottin strikes again with another private pressing for Artifact Records. Side A starts off with an edit of a super rare italo-electro utterance, perfect for your breakdancing. A2 is Italian new wave, replete with passionate lyrics and funk guitars. B1 is a collab with balearic legend Leo Mas: Italian freestyle with a hint of new beat, isn’t it? The closing cut is the weirdest of the bunch: trippy strings and & arps, throat singing & ecstatic chanting all around. Hot, hot, hot and limited as a night train on a holiday weekend.
Ratsnake aka Gesloten Cirkel presents “Just A Genesis” on the Place No Blame label. An conscious, meditative presentation of single take recordings from recent years. A sequence showcasing the development of techniques and styles that have been touched on and explored through other projects and releases. For the artist and label, this collection of songs represent a timeline of actions and reactions, transforming dusty old memories into perceptible realities in their own right. At its core, this album explores the confines between society and alchemy, and they form part of an ongoing research into the science of idea generation and external reflection.
With inspiration taken from Dario Argento’s iconic 1970s horror film “Suspiria” and his surrounding works, Aura Nox expands on the supernatural canon with her first Vinyl EP release, Levana’s Tears. Each track drawing from the occult elements embodied by the story, dark electronica melodies transcend over rhythmic EBM grooves, striking an intimate balance between horror and beauty. Remixes from Black Merlin & Trenton Chase.
Hiber-nation EP was Recorded at Siesta Delfauno, Buenos Aires, Argentina in December 2019. A place steeped in history and that has seen artists like Carl Craig , DJ Hell and Rob Acid grace its halls. Ara-u worked alongside engineer and member of Argentinian electronic band Klauss Pablo Gil, while getting lost in red wine and deep into the jam amongst a mix of analogue machines.
By the late 1960s, drummer Roy Porter had already worked with some of jazz’s true greats (Charlie Parker and Dizzy Gillespie included), spent time in prison and weened himself off heavy drugs. It was at this point that he founded Roy Porter Sound Machine, a heavyweight jazz-funk combo with a penchant for raw rhythm and blues. The band’s 1971 debut LP, Jessica, is one of the most magnificent sets in his vast discography. Featuring sweaty, floor-ready rhythms from Porter, beefy bass, wild electric piano licks, fuzzy guitars and some fine brass arrangements, the album is as good a collection of jazz-funk/funk fusion tracks as you’re ever likely to hear.
A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and other international roots artists. “It’s Time” blends Afro-jazz groove, free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.
Italo Moderni brings Modernation Vol. 3 it’s third digital compilation. “We have edits from the likes of Marcello Giordani. Hysteric, Les Yeux Orange , Flemming Dalum, Adrian Marth etc. All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco to today’s dancefloors! in this bad situation we will adapt the edits to Name your price so everyone can buy music for free in this difficult times.”
Finally available again as a 12 “maxi single! From the legendary film music of John Carpenter’s box office hit “Assault On Precinct 13” from 1976, including the “John Anthony Scratch Mix” and the “Remix” of The End.