We are thrilled to announce the first new music from Hendrik Weber – a.k.a Pantha Du Prince - since his 2013 collaboration with The Bell Laboratory, and the first proper Pantha Du Prince release in six years. Pantha Du Prince’s 2010 masterpiece, long-player Black Noise, is well acknowledged to have expanded both the sonic and emotional possibilities of minimal techno; the songs’ warmth, intricacy, and creative boundary-pushing, have earned him a seat in the Pantheon of modern electronic music, alongside contemporaries like Burial, Four Tet, or The Field. With his wildly-anticipated new music, Weber expands his scope: the crystalline delicacy of “The Winter Hymn” is deeply evocative of the track’s namesake season; “Post human palisades” finds him merging electronic and organic instrumentation into a delicate narrative of alienation and other, bolstered by a pulsing dance floor heartbeat; and “Dream Yourself Awake” is filmic and transfixing.
Nocturnally contains 10 songs, and comes on red wax. Limited to 300 copies!
‘Glück unter Palmen’ (Fortunately Under Palm Trees) is a musical time document that reflects my journey in the beautiful city of Valencia musically. All samples, noises, snatches of conversation or subway announcements were there either recorded in Valencia’s record stores or recorded with my mobile Tascam mic live. Sets on the needle and comes with on a little journey.
The Fantasy Touch EP by Midnight Runners delves deep into the sounds of Modern Funk, Disco, Boogie, and Electro, and features vocals by Megan Doherty (of Social Lovers) on the tracks "Disco Is A Dirty Word" and "Fantasy Touch"
Our second vinyl-only release from Godspeed contains two long songs, and sets the bar for the sprawling compositions that would characterise the group in the years to follow. Side A is cut at 45rpm and features “Moya”, a broiling cascade of upward scales that repeatedly explodes beyond its own threshold. “BBF3” on Side B clocks in at 18 minutes, and was the band’s most lyrical, multi-movement music to date — more elaborated melodic figures wind around an angry spoken-word field recording (infamously culminating in the recital of the speaker’s poem — verses lifted straight from Iron Maiden). Both songs were recorded with Dale Morningstar at the old Gas Station studio in Toronto.
The future of music is emerging as neither entirely dystopian, nor entirely optimistic - the new avant-garde are collapsing these divergent outlooks into something that hopes to bridge the opposite poles of the organic and the fabricated, the physical and the mental, the vague past and the aggressive future. As if to speak directly to this duality, there are elements of Lafawndah's ritual club music that are both inherently trance-like and intuitively tangible. It is rhythm as melody and voice as rhythm and it surfs a broken 4G signal from the meditative fusion of Geinoh Yamashirogumi and Jon Hassell's 'Fourth World' music to the ballistic battle cries of dancehall and devotional musics.Lafawndah exists at a unique crossroads between vocalist and producer, conceptualist and performer - a disciple of hyperlinked global sonics and steadfastly urban attitude. Like her acclaimed 2014 debut EP, the recording of Tan began on an island with the same minimal studio set-up. This time, with collaborators Nick Weiss and Tamer Fahri, it was Fire Island off the South Shore of New York rather than the Caribbean island of Guadalupe. Soon enough proceedings hopped to the totemic island of Manhattan, where she embodied the role of executive producer by folding the like-minded ADR and L-Vis 1990 into her process to help realize a warped vision of esoteric industrial rhythms fused to an aggressive palate of nomadic atmospherics that brings to mind Muslimgauze and the twisted pop orchestrations of Leila without sounding remotely like either. Friends first and collaborators second, the unique group operated more as an orchestrated band - not 'producing', but working cohesively to accelerate Lafawndah's momentum.The songs on Tan are married to the sound and vice-versa, they are confrontationally playful, determined compositions and each track exists as a kind of suite with such a degree of narrative and musical morphing that Lafawndah seems to channel fragments of Grace Jones, Lady Saw, Psychic TV, Kate Bush and Missy Elliot into a theatrical soundclash that arrives at something entirely her own.In the now, everything exists as a fusion. It is the meaningfulness within these myriad connections that proves so difficult to find. Lafawndah presents an alternative, a metallic idea of sensuality and defiance that is fluid, unsentimental and assertive. Just in time.
Taken from the Drive original motion picture soundtrack. Since the film's release, the YouTube video for "Nightcall" has climbed to over 11 million views, and has been on repeat across an expanse of playlists, always fueling the after-after party with the slow burn of glossed synth echoes. Now Kavinksy emerges from this late-night haze with the helping of friends, bearing a collection of covers, remixes, and second takes for yet another drive through the midnight hours. Remixes from Dustin N'Guyen and Jackson. The song was features Lovefoxxx from CSS on vocals, and was produced by Guy-Manuel de Homem-Christo of Justice and mixed by SebastiAn.
Boy 8-Bit returns with an exclusive four track, limited edition vinyl release of new and previously unreleased material. The straight up dance floor oriented house shuffle of ‘Jungle Gym’ sits on the A-Side, with its modulated FM bass, descending harps and the repeated call to “Move”. On the B side he returns to his more melodic and progressive side with ‘Timeworks’. The arpeggiator is left to run, providing both the bass and the top line, over a bed of vintage synth strings and a 120bpm groove.
Inside of the bay area’s sweater funk crew is k-maxx, one of modern funk’s most prolific voices and producers to emerge over the last half dozen years. K-maxx lets it be known on ‘For The Record’ that he is in a lane of his own. As soon as you hear the game within the sexy dialog and his infectious voice that hypnotizes you over his masterful arrangements, there is no doubt he’ll have you coming back for more. Only someone who baptizes his whole city every week with the gospel of the funk can write like he does, let alone transcend the vibe of every dude in the city moving through ladies they can’t let go. That’s real life transcended on ‘For The Record’, K-Maxx has walked through the darkness with the torch of his music, lifting the experience of his record to a plateau where we doubt he’ll be a underground secret for much longer. K-Maxx’s production wizardry is just as masterful as the wind through the pipes, as he clowns the lyrical boundaries of love songs with stuffin for your muffin, then lights it up on the one with masterful 808 breakdowns just for fun, forever cementing his place in modern funk for the record.
FIRST TOUCH presents a six song EP “KNOCKOUT”, a highly anticipated release for this duo out of Germany who is clearly operating on all cylinders as far as modern funk dance music is concerned, carving out a lane all of their own a long time ago! KNOCKOUT blasts the dance floor striking first with the BEWEG DEIN KÖPER, moving that body with a sophisticated level of uptempo modern funk built upon hard basslines and masterful synth arrangements. DO IT TO IT won’t let you leave the dance floor with bouncing bass and infectious chord arrangements, displaying the master craftsmanship of groove control this duo brings to modern funk music. Love songs don’t have to be slow jams as revealed on IT MUST BE LOVE, this jam will have lovers dancing close to the silky rhythm and juicy chords that sweet talk listeners with dialogue of a Hardcastle lead! ITS LIKE PARADISE WHEN YOU’RE WITH ME electrifies that notion with a refreshing poolside melody that pulls you in closer with its bubbling bass that won’t let you escape as it electrifies with vocoders and hypnotizes with an infectious breakdown. JUST A GROOVE is one to glide the streets to, this tuff baseline carries the rhythm on skates with its slick simplicity highlighting masterful synth arrangements that go back and for between this duo steady riding the groove. Closing out the EP with a jam that is a pure funk anthem that will take over dance floors as FIRST TOUCH gives you the KNOCKOUT!
Rammellzee passed away in 2010, but before he left us he recorded his magnum opus, Cosmic Flush, with producer Jonah Mociun. Gamma Proforma continues its commemorative 12" series of the Cosmic Flush tracks with Fight My Fire, the fourth release in the series. This collection of breakcore and speed metal-influenced rap tracks fully realizes Rammellzee's complex philosophy and unique vision of futuristic hip hop, apocalyptic science fiction, and extreme sonic exploration. Here, "Fight My Fire" has been visually interpreted by Doze Green, a friend and contemporary of Rammellzee's, and remixed by Edan, who cites Rammellzee as a major influence.
Rammellzee passed away in 2010, but before he left us he recorded his magnum opus, Cosmic Flush, with producer Jonah Mociun. Gamma Proforma continues its commemorative 12" series of the Cosmic Flush tracks, released here for the first time, with Crayzay, the third release in the series. This collection of breakcore and speed metal-influenced rap tracks fully realizes Rammellzee's complex philosophy and unique vision of futuristic hip hop, apocalyptic science fiction, and extreme sonic exploration. Here, "Crayzay" has been visually interpreted by pioneering European artist Delta and remixed by Mike Ladd, who cites Rammellzee as one of his major influences.
Over the past few years, a musical admiration between Chet Faker and Marcus Marr has grown, which culminated in a four-day sojourn in Marr’s South London studio last year. Over the four-day recording session, four songs were written, as the two discovered that Marr’s powerful, punchy dance production perfectly balanced Faker’s soulful vocals. South London-based DJ Marcus Marr has been releasing acclaimed records via DFA Records over the last few years, including “Brown Sauce,” named in Pitchfork’s Tracks earlier this year, and “The Music,” named one of the “Best Dance Tracks of 2013” by SPIN. A regular at Berlin’s notorious nightclub Berghain/Panorama Bar, the lifelong music obsessive’s first encounters with dance music were acid house records that augmented his vinyl collection of rock and soul, and attending all night parties under Brixton’s St Matthews Church. Traveling to the south of England to watch DJ Harvey play a lengthy set, he saw the kind of power a DJ can wield over a willing crowd.
Rammellzee, the legendary visual, graffiti, and hip-hop artist, passed away in 2010, but before he left us he recorded his magnum opus, Cosmic Flush, with producer Jonah Mociun. The album has remained unreleased since, but now, Gamma Proforma celebrates the life of one of hip-hop's great minds by releasing Cosmic Flush as a commemorative series of limited-edition 12" records -- just 500 of each. The collection of breakcore and speed metal-influenced rap tracks stands as a futuristic relic. This 12" includes a remix and instrumental by Divine Styler.
Produced slowly and meticulously, these seven tracks by Manchester's Andy Stott take influence from an array of seemingly incoherent noises, from the indefinable and unforgettable mind-tricks of Arthur Russell to the slow house of Kassem Mosse, from the alternate VHS realities of James Ferraro and Jamal Moss to the LinnDrum classics of the vintage Prince era. These seven tracks create their own pace and agenda, largely shying away from the dancefloor in favor of something more complex and hard to define. Following on from the tribal malfunctions of opening intro "Signature," "New Ground" heads into a chasm of layered loops, creating a decimated and re-wired funk template colored in with frayed percussion and dislodged vocal samples. "North To South" starts off from similar ground but adds a shuffling vibe at a deceptively intoxicated 110 bpm. "Intermittent" is something altogether different, taking perfectly formed boogie templates and screwing with them until nothing quite fits, brittle elements floating in and out of time yet somehow keeping it together, before "Dark " delivers the most dancefloor compatible six-minute stretch of the set, all clanging stabs and dense percussion, somewhere between Shackleton and Bam Bam. "Execution" and "Passed Me By" end things off on a slowed-down tip, the former deploying an anaesthetized and padded 4/4 template sunk deeper into the abyss by deformed, time-stretched vocals, the latter ending off proceedings with a more delicate palette, letting go of all that pent-up emotion with nothing but that rumbling low-end and some strings for company.
Sons of the Morning is the long-awaited collaboration of Prefuse 73 and Teebs, two of electronic music's most genre defying (and creating) artists. Speak Soon Volume One finds Sons of the Morning navigating the deftly programmed hallmarks that we've come to know from both collaborators, though framing these aspects in an incredibly organic and textural backdrop. The first installment of Yellow Year Records' Speak Soon series, Sons of the Morning look to once again defy all expectation across electronic, beat, and experimental genres. Yellow Year is just the latest creative chapter in Herren's massively prolific career, encompassing forty individual releases spread across eight production monikers and eight record labels over the course of a scant ten years, jumpstarted by the groundbreaking and critically acclaimed release of One Word Extinguisher on Warp in 2003.
It shouldn't really matter where The Mixtapers hail from. But on the other hand, their music in the midst of Future Funk (à la The Internet, Dam-Funk and James Pants) and classic hiphop reminds of the sound from LA and Toronto which is conquering the world right now. Martino Bisson and Michele Manzo come from Bologna, Italy though. And that's exactly where they assembled a forceful squad to record 100% organically (no samples, no loops or any other Ableton gimmicks) with vintage synths (with Fender Rhodes leading the way), old drum machines and proper instruments a harmonious mini album. Having yet attracted minor attention only with two cassette tapes (via Expansions Collective) within the blogosphere, now thanks to the signing by Sonar Kollektiv The Mixtapers will be introduced to a wider audience. “We So Good”, the title track of this collection, masterfully treads a tightrope between Golden Era Hiphop and the current funky friskiness of, let's say Kendrick Lamar or Chance The Rapper. No wonder, since we have the pleasure of a guest performance by the reincarnation of the legendary Yancey Boys here: Illa J and Frank Nitt celebrate the good ol' days. For “Peaces” the Italians managed to get one of the hottest and “one to watch” MCs in their studio: DistantStarr from Detroit. The combination of his delivery with the voice of singer ALO and an extra bold production results in actually the perfect springtime hit of this still juvenile year.“Fresh for 2016”, can be said as well about “Don't You Let It Go”, with Nico Menci at the keys and Danilo Mineo on percussions (both are present on all of the four tracks by the way). On the flip side, “Glorious Days” gets treated with a bonus, a club remix by fellow Bolognese but now in Berlin residing The Ivory Boy. With his rework Scott Xylo! from Leicester shoves “We So Good” into Kaytranada waters while gaining head's approval. The two instrumentals finishing this release off also make perfect sense when you have extraordinary musicians like the foursome The Mixtapers conjuring magic throughout “We So Good” and making us not getting enough of it at all. That's how we will crave for more.
FKA twigs' self-released debut EP is now available via Young Turks. An original super-limited run of 500 units was pressed back in 2012. Fans have been clamoring to get a hold of this release ever since and we can now finally satisfy demand.
It’s the first music to emerge from Camella Lobo’s project since the 2013 debut album, Restless Idylls, and features three new songs - ‘Stop Suffering’, ‘I Woke Up And The Storm Was Over’ and ‘When The Dog Bites’ – written and recorded by Lobo in LA, with additional production and mixing from Joshua Eustis (Sons of Magdalene, Telefon Tel Aviv). Lobo’s deeply romantic, fatalistic music has always luxuriated in sadness, and that isn’t about to change: themes addressed on Stop Suffering include, she tells us, “disappointing yourself and others…burning your own house down...temporary feelings with permanent consequences.” It is music steeped in pain and regret, certainly, but unlike TOC music of old, these new songs feel less about surrender: even if the title track does seem to address the S-M dynamic at the heart of any meaningful relationship (“For you the world feels so brand new / When you cut me like you do”). On the contrary, they are self-possessed and constructive, even confrontational, embodying the stark command of the EP's title. This is not a record about loss, but about what comes after: and it is mature enough to know that what comes after is no walk in the park. Lobo identifies the idea of “self-help” as being particularly pertinent to these songs, and this comes across: rebirth, redefining the borders of the self, learning to be happy again. Gone, or at least receding, is that decadent, fin-de-siècle preoccupation with decay, with the end. Stop Suffering is a new beginning. The towering, time-stopping title track is the culmination of Tropic of Cancer’s work to date, and sets the tone for the entire EP. This is music at once intimate and immense. Rarely does an arrangement so sparse exhibit such grandeur: Joshua Eustis's bravura mixing wrings spine-melting effect out of each component, and the dubwise harnessing of space and bass pressure first showcased on Restless Idylls is now a core, defining feature of the band. Lobo's melodic gift has always been strong, but the hypnotic, monochord intensity that characterised TOC’s previous records gives way here to a more concrete song-narrative - which serves only to heighten the sensation of drowned-world psychedelia. Her divine alto still swims in reverb, but the words are clearer, there’s a resolve to communicate through the aqueous haze: “I hope you’ll forgive me…” ‘I Woke Up And The Storm Was Over’, which appears here in a slightly different mix to that which opens the vinyl-only Blackest Ever Black compilation I Can’t Give You The Life You Want, is no less mesmerising, further highlighting Lobo's ever more sophisticated, painterly use of synth textures, not to mention her unmistakably plangent, otherworldly guitar work. She has spent a considerable amount of time crafting these songs, and it shows: for all that we cherish her earlier work, never has Tropic of Cancer sounded so poised, so assured, or so moving as it does today. The EP concludes with the elegiac, frozen-space ambience of ‘When The Dog Bites’; Lobo’s vocal is a radiant blur, consoling across a void of lonesome string-pads, vaporous noise and distant, tranquilized bass-drum detonations. "I've searched all the world," Lobo sings on 'I Woke Up...', "And it turns out I want all the world." With Tropic of Cancer it always comes back to longing: for the impossible, the irretrievable, the unrequitable.
Charles E. Dickerson, better known by his stage name MONO/POLY, is an electronic music producer from Bakersfield, California, and now residing in Los Angeles. MONO/POLY joined Flying Lotus’ record label Brainfeeder in 2011 and released his debut EP “Manifestations”, plus the glorious “Golden Skies” LP in Summer 2014. The much anticipated follow-up is MONO/POLY's 2016 musical offering, "Cryptic" [HNR58], a nine-track EP of sterling sound design. The dense yet dynamic 30-minute album is predominated by MONO/POLY's striking instrumental productions, with exception of the stunner "Nocturne", which features the haunting vocals of Seven Davis Jr. (and guest bass by Thundercat). MONO/POLY's "Cryptic" will be available Monday January 4th, 2016 through Los Angeles-based imprint HIT+RUN, on limited-edition marbled green 12"" vinyl (in two distinct color ways - only 200qty of each pressed!) and housed in a hand-screenprinted cardboard jacket, as well as digital downloads worldwide.
Burial's Rival Dealer is a Christmas story about love, confusion and sexuality, and the best thing he's made since Untrue. Burial might have started off sounding like nobody else, but since his breakthrough record, 2008's Untrue, he's not exactly taken risks. Sure, the tracks got longer and more soundtracky, he worked with Massive Attack, and Street Halo was a bit ravey, but generally Burial's spent his post-Untrue years feeding cat-nip to kittens and watching them start Christmas number one campaigns. Which is why it's so welcome that Rival Dealer not only sounds like a Christmas number one, but will surely be Burial's most divisive record to date. It's early days, but it might well go down as Burial's best - it's certainly his most impressive since Untrue.
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Featuring three new tracks and clocking in at over 30 minutes, the Kindred EP is an ambitious work that pushes further into the unique musical territory Burial occupies. Tracks include "Kindred," "Loner" and "Ashtray Wasp."
This is the first release from Anderson .Paak & Knxwledge as Nxworries. The EP includes the new single “Link Up,” “Suede” and “Droogs,” a Knxwledge remake of the Anderson .Paak single, along with instrumental bonus beats.
The Sprawl (Logos, Mumdance, Shapednoise) present their studio debut, the first release in a series on The Death of Rave. As their moniker suggests, The Sprawl is heavily influenced by novelist William Gibson's prescient sci-fi trilogy of the same name. "Drowning in Binary" plunges into recursive techno-chambers vacillating between white-hot distortion and arcing, weightless pads, before gliding across a tumultuous topography of chrome-burning flares and violent, body-quaking detonations in the morphing scape of "From Wetware to Software." With "Haptic Feedback" they grasp the quicksilver rush of classic Prototype and Reinforced before stranding the listener in the post-human headspace of "Personality Upload."