Presales Week -274

Tracklist

A1 – At A. Gallop
A2 – Head Gap Width
B1 – Winding To The Side
B2 – Coffee Computer

Release Info:
After appearing on Acid Test’s 10 Year Anniversary compilation Patricia, aka Max Ravitz, debuts an EP on the label with Less Than 7, a collection of tracks that sits squarely in the club-focused end of the label’s output. Ravitz grew up in Chicago and has family roots in Detroit; these cities cultivated his affinity for mid-western dance music, with early Trax Records being a standout favorite. Years later, while living in New York, collaborator Alexis Georgopoulos introduced Ravitz to Tin Man’s Neo Neo Acid LP (released on Acid Test in 2012). This album struck a particular chord, impacting his creative vision for the Patricia project and setting him on the path towards a fruitful collaboration with Tin Man as Ociya (also released on Acid Test).

After 2021's IDM-leaning Blue Ridge LP, the Less Than 7 EP marks Patricia's return to the dance floor. Here, Ravitz explores four dimensions of acid music, each track deploying that classic squelch to differing effect. Both tracks on the A side pack a gut punch. The almost industrial beat on ‘At A. Gallop’ stomps along under moody pads and dripping acid lines until, midway, new harmonies reveal fresh vistas. ‘Head Gap Width’ is the EP’s most direct statement, a bolt of dubby techno energy with gurgling acid bass and rhythmic Detroit stabs. The B side then shifts things to a more emotive plane. ‘Winding To The Side’ uses its 9 minutes to fully explore the harmonic interplay between its buoyant braindance acid lines, which are engineered to suspend the late morning dance floor in time. ‘Coffee Computer’ closes things out, with its detuned pads, walking acid bassline and child-like piano lending it a wistful air that falls between house and IDM.

Less Than 7 was recorded at Ravitz’s home studio in Asheville, NC, and mastered by close friend Josh Bonati.






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Territory: WW -FR

LP + insert 4p

Tracklist:
A1. Ghjuvan Petru Graziani & Rinatu Coti - 1729 / 1979
B1. Ghjuvan Petru Graziani & Rinatu Coti - Corsica : Umana è Ribella


Release Info:
This first reference (ATE001) is a reissue of Corsica Ribella, which is the second album by Ghjuvan Petru Graziani (GP.G) in collaboration with the poet Rinatu Coti.
Limited to 300 copies, the reissue includes the restoration of the cover as well as an 8-page booklet containing sketches, poems and exclusive interviews with the artists translated into three languages (French/English/Corsican).
Below a bit more about the artist Ghjuvan Petru Graziani (GP.G) :
Born in Corsica, with a childhood in Toulon, then planer and toolmaker at the Renault Billancourt factory, GP.G created the Groupe Culturel Renault which had an impact in the political strike of 1971.
Multi-faceted artist, GP.G is known among other things for his activist music label Les Disques Vendémiaire with which he produced a few big names in free jazz such as JEF Gilson, François Tusques, Cossi Anatz and ByardLancaster.
Corsica Ribella record is born in 1984 when G.P.G was back in Corsica. He was at this time highly committed to the Corsican National Liberation Front (FLNC). Corsica Ribella is then the first Corsican electronic disc ; a clever mix of electronics, poetry and field recording. Jazz-funk influenced, the LP is a cosmic ballad oscillating between ambient and leftfield with large instrumental parts against backdrop of nationalist demands, an ode to freedom.








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Format Notes: Newly commissioned music, mastered for vinyl under the supervision of Frank Maston

Territories: Worldwide no restrictions

Track List:

A1 : First Class (1:58)
A2 : Easy Money (2:24)
A3 : Storm (2:19)
A4 : You Shouldn’t Have (2:28)
A5 : Fling (2:09)
A6 : Fool Moon (2:32)

B1 : Medusa (2:33)
B2 : Morning Paper (1:57)
B3 : Scenic (2:18)
B4 : Adieu (2:43)
B5 : Hydra (2:02)
B6 : Jet Lag (2:21)

Release Notes:

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.

In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."

Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.

Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."

Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.

Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.

The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.

Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.

"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.

Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."

Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.

Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".


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Format Notes: 2022 re-issue, 140g vinyl, mastered for vinyl with audio from the original tapes

Territories: Worldwide no restrictions

Track List:

A1 : Wide Open Space Motion (2:19)
A2 : Incessant Efforts (2:28)
A3 : Pink Sails (2:09)
A4 : Relaxed Mood (4:18)
A5 : Transiency (1:14)
A6 : Driving Sequences (3:26)
A7 : Action And Suspense (2:06)

B1 : Southern Mentality (2:43)
B2 : Hovering (2:13)
B3 : Bows (4:30)
B4 : Outset (1:39)
B5 : Constellation (1:38)
B6 : Changing Directions (2:39)
B7 : Neutral Position (1:49)
B8 : Departure For Universe (2:10)

Release Notes:

They say: "Contemporary synthesizer sounds illustrating wide open space activities, environment and research."

We say: Panoramic proto-techno underwater-electro library dynamite.

One of the hardest pulls on the seminal Coloursound, Open Space Motion (Underscores) isn't just regarded as one of the best releases from library-funk overlord Klaus Weiss. It's one of the very best library records ever.

As cult as it gets when it comes to library music, the Klaus Weiss sound was built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums. AND YET! Open Space Motion departs from his drum-heavy approach by being completely...BEATLESS! That's right, the virtuoso beat smith, Mr "drumcrazy of Deutschland", a man known for snapping necks at will, crafted one of the most horizontally sumptuous, elegantly sweeping electronic masterpieces, sans-drums, a good decade before chill-out rooms became a thing. It features organic instruments married to pulsing synth bass atop brilliantly subdued yet irresistibly funky percussion. Possessing a very special vibe, that's at once futuristic yet cinematic, it overflows with atmosphere.

The highlights - unsurprisingly - are many. The very first track - the unstoppable "Wide Open Space Motion" - is a sinister, string-fried electro bomb that rides an unrelenting bass loop. "Incessant Efforts" is more reflective, with pastoral yet probing flutes atop strutting synth chords and head-nod percussion that really swings. The heavenly, uber-kosmiche "Pink Sails" hovers over swirling neon-synthy-strings and yet more unobtrusive percussion. The beautiful "Transiency" is a dramatic piano-led underscore, its creeping unease created by patient strings, unhurried percussion and some wonderfully strident keys. "Driving Sequences" is perhaps the key tune here, and if the Detroit crew weren't listening to this staggering piece then, well, imagine if they *were*.

The bubbling rhythms of "Southern Mentality", at first ominous, give way to a more optimistic vibe as the movement progresses. The lush, gorgeous "Bows" is deep-sea slow-motion magic whilst the bright-eyed "Outset" feels as fresh as the dawn, and no less beautiful. How these tracks haven't been gobbled up by sample-driven producers is beyond us. Equally calming is the sweeping majesty of "Constellation", again conjuring images of being at one with and fully beguiled by the wonders of nature, of space, of underwater worlds. "Changing Directions" is another fidgety, propulsive non-Detroit beatless bomb.

As with all our library music re-issues, the audio for Open Space Motion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.


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Originally Re Eff (pronounced Ri Èf) was a bunch of texts. One hundred and fifty pages that Julien Gasc wrote by trying his hand at the art of cut-up: a literary and political act of counter-fiction based on William Burroughs's method. It was also Julien Gasc's response to the isolation of 2020, while he was seeking refuge in the Southwest of France, with time as far as the eye could see, and a piano.
For a long while, it hadn't been about songs, but about expressing the indescribable by cutting randomly from books and his own notes, attempting to fleetingly strike a balance, find a beauty, a happy accident. Incidentally, it was almost by accident, while recycling a piece that he'd composed for steel guitar pedal, that Julien Gasc sketched the first draft of "Ce soir les bouteilles dansent" ("Tonight the Bottles Are Dancing"). This was combined with a version of "Rosario Bléfari", recorded on an inexpensive Casio synthesizer. These were Re Eff's baby steps.
While everything was at a standstill, in stasis, Julien Gasc wanted to send a group message to some friends, to his family, a message from a confinee to those who weren't answering, friend or foe, imaginary or otherwise. It was this collective recipient that he nicknamed Re Eff. The name comes from "re" (re-) and "effacer" (erase), words found during a cut-up and transformed into ri èf for added euphony, like a facetious grief (grievance, reproach in French) without the "g".
Like its title, a kind of serious joke, the album is one long interplay between humour and gravitas, sense and nonsense, shadow and light, aiming to fully describe feelings in terms of their ambiguous and contradictory elements.
Through a return to regular piano practice, calm recovered at a holiday resort town, and literary experimentations, to which he added transcribed dreams, as in "La scie de la vision modern" ("The Saw of Modern Vision"), Julien Gasc composed ten demos on his computer. These demos were then rerecorded at Syd Kemp's Haha Sound studio in London, in December 2021. The mix was completed there again, in February 2022, by Syd and Julian.
Play to play and write to write, those are the keywords of Re Eff, in which memories are freely combined ("À travers le regard de l'indienne" / "Through the Amazon's Eyes"), the theme of enclosure and passion ("Amour velours" / "Velvet Love"), melodrama ("Délivrance"), and romantic novella ("Tout ne peut pas nécessairement donner quelque chose" / "Not Everything Leads to Something"). Music resolutely oriented towards the piano, towards bold and filmic harmonic movements that make a successful form of lyrical poetry possible. Because all in all, by singing about current events - his own and those of the world - in an elegiac tone, like bards, Julien Gasc was gradually transformed from pop singer into poet.
------
Tracklist:
A1. La scie de la vision moderne
A2. La Voyance
A3. Je viens déposer à tes pieds
A4. Amours Velours
A5. Rosario Bléfari
B1. A travers le regard de l'indienne
B2. Re Eff
B3. Tout ne peut pas nécessairement donner quelque chose
B4. Délivrance
B5. Ce soir les bouteilles dansent




































Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Germany
Contact: [email protected]More

Originally Re Eff (pronounced Ri Èf) was a bunch of texts. One hundred and fifty pages that Julien Gasc wrote by trying his hand at the art of cut-up: a literary and political act of counter-fiction based on William Burroughs's method. It was also Julien Gasc's response to the isolation of 2020, while he was seeking refuge in the Southwest of France, with time as far as the eye could see, and a piano.
For a long while, it hadn't been about songs, but about expressing the indescribable by cutting randomly from books and his own notes, attempting to fleetingly strike a balance, find a beauty, a happy accident. Incidentally, it was almost by accident, while recycling a piece that he'd composed for steel guitar pedal, that Julien Gasc sketched the first draft of "Ce soir les bouteilles dansent" ("Tonight the Bottles Are Dancing"). This was combined with a version of "Rosario Bléfari", recorded on an inexpensive Casio synthesizer. These were Re Eff's baby steps.
While everything was at a standstill, in stasis, Julien Gasc wanted to send a group message to some friends, to his family, a message from a confinee to those who weren't answering, friend or foe, imaginary or otherwise. It was this collective recipient that he nicknamed Re Eff. The name comes from "re" (re-) and "effacer" (erase), words found during a cut-up and transformed into ri èf for added euphony, like a facetious grief (grievance, reproach in French) without the "g".
Like its title, a kind of serious joke, the album is one long interplay between humour and gravitas, sense and nonsense, shadow and light, aiming to fully describe feelings in terms of their ambiguous and contradictory elements.
Through a return to regular piano practice, calm recovered at a holiday resort town, and literary experimentations, to which he added transcribed dreams, as in "La scie de la vision modern" ("The Saw of Modern Vision"), Julien Gasc composed ten demos on his computer. These demos were then rerecorded at Syd Kemp's Haha Sound studio in London, in December 2021. The mix was completed there again, in February 2022, by Syd and Julian.
Play to play and write to write, those are the keywords of Re Eff, in which memories are freely combined ("À travers le regard de l'indienne" / "Through the Amazon's Eyes"), the theme of enclosure and passion ("Amour velours" / "Velvet Love"), melodrama ("Délivrance"), and romantic novella ("Tout ne peut pas nécessairement donner quelque chose" / "Not Everything Leads to Something"). Music resolutely oriented towards the piano, towards bold and filmic harmonic movements that make a successful form of lyrical poetry possible. Because all in all, by singing about current events - his own and those of the world - in an elegiac tone, like bards, Julien Gasc was gradually transformed from pop singer into poet.
------
Tracklist:
A1. La scie de la vision moderne
A2. La Voyance
A3. Je viens déposer à tes pieds
A4. Amours Velours
A5. Rosario Bléfari
B1. A travers le regard de l'indienne
B2. Re Eff
B3. Tout ne peut pas nécessairement donner quelque chose
B4. Délivrance
B5. Ce soir les bouteilles dansent

Originally Re Eff (pronounced Ri Èf) was a bunch of texts. One hundred and fifty
pages that Julien Gasc wrote by trying his hand at the art of cut-up: a literary and
political act of counter-fiction based on William Burroughs’s method. It was also
Julien Gasc’s response to the isolation of 2020, while he was seeking refuge in the
Southwest of France, with time as far as the eye could see, and a piano.
For a long while, it hadn’t been about songs, but about expressing the indescribable by
cutting randomly from books and his own notes, attempting to fleetingly strike a
balance, find a beauty, a happy accident. Incidentally, it was almost by accident, while
recycling a piece that he’d composed for steel guitar pedal, that Julien Gasc sketched
the first draft of “Ce soir les bouteilles dansent” (“Tonight the Bottles Are Dancing”).
This was combined with a version of “Rosario Bléfari”, recorded on an inexpensive
Casio synthesizer. These were Re Eff’s baby steps.
While everything was at a standstill, in stasis, Julien Gasc wanted to send a group
message to some friends, to his family, a message from a confinee to those who
weren’t answering, friend or foe, imaginary or otherwise. It was this collective
recipient that he nicknamed Re Eff. The name comes from “re” (re-) and “effacer”
(erase), words found during a cut-up and transformed into ri èf for added euphony, like
a facetious grief (grievance, reproach in French) without the “g”.
Like its title, a kind of serious joke, the album is one long interplay between humour
and gravitas, sense and nonsense, shadow and light, aiming to fully describe feelings in
terms of their ambiguous and contradictory elements.
Through a return to regular piano practice, calm recovered at a holiday resort town,
and literary experimentations, to which he added transcribed dreams, as in “La scie de
la vision modern” (“The Saw of Modern Vision”), Julien Gasc composed ten demos on
his computer. These demos were then rerecorded at Syd Kemp’s Haha Sound studio in
London, in December 2021. The mix was completed there again, in February 2022, by
Syd and Julian.
Play to play and write to write, those are the keywords of Re Eff, in which memories
are freely combined (“À travers le regard de l’indienne” / “Through the Amazon’s
Eyes”), the theme of enclosure and passion (“Amour velours” / “Velvet Love”),
melodrama ("Délivrance"), and romantic novella (“Tout ne peut pas nécessairement
donner quelque chose” / “Not Everything Leads to Something”). Music resolutely
oriented towards the piano, towards bold and filmic harmonic movements that make a
successful form of lyrical poetry possible. Because all in all, by singing about current
events – his own and those of the world – in an elegiac tone, like bards, Julien Gasc
was gradually transformed from pop singer into poet.



































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Germany
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GENRE/S: House, Deep House

TRACKLIST:

A1 Module One - Movement 05:53
written & produced by Victor Kiktenko

A2 Rising Sun - Say Yes 05:55
written & produced by Steffen Laschinski

B1 Chuck Boris - Put A Mask On Your Face 03:09
written & produced by Boris Mezga

B2 Soela - The Thing For Him 06:27
written & produced by Elina Shorokhova


SHORT INFO:
Freude am Tanzen is back for a very special occasion. In 2022, three Various Artists EPs will bereleased, celebrating the 24th anniversary of the label from Thuringia. Whilst occasions like this would normally be celebrated on the quarter century, this release makes sense not only on the mathematical level. 3 compilations with 4 tracks provide the half of 24.
The release however also makes sense in terms of history. Freude am Tanzen is showcasing a broad range of electronic music, never neglecting their history but also looking into the future.

Chapter 001, as the first of three, comes with four deep house tracks.
The A-Side comes with a focus on broken beats and versatile arrangements. Module One delivers a dreamy ride containing a stunning vocal sample. Rising Sun has provided a superb collection of samples that have emerged into a track, that’ll light up moods everywhere its played.
On the flip side in contrast, Chuck Boris has contributed the catchy house roller „Put A Mask On Your Face“. Soela rounds of the first edition off with a very emotional yet forward thinking production, making it a gem your record bag should not miss.


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Incienso is hyped to announce the next release of 2022 from one of the UK’s most interesting and distinctive producers, Shiken Hanzo.

While known primarily for his hybrid halftime d&b and techno sound, Shiken switches it up with new diversions in tempo and rhythm throughout Eternity of Echoes, all the while maintaining his idiosyncratic blend of dystopian soundscapes, industrial drums, and pulsating, deep basslines.

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Tracklist:

A1. Bon Trip
A2. Bon Trip – Krystal Klear Remix
B1. Run Run Run featuring Duddha
B2. Run Run Run featuring Duddha – Red Axes Remix

Carlita’s meteoric rise through the electronic music space continues with her impressive new ‘Bon Trip’ EP and also marks her first-ever vinyl release.

The EP kicks off with the title track, a spacey slice of progressive house drenched with a classic-era piano line - it’s exactly what you want to be listening to when the sun rises and sets at your favorite outdoor party. Next, ‘Run Run Run’ immediately kicks into high gear with an irresistible bassline that offsets Duddha’s spiritual, leftfield vocals which help make the track quite the trip. The package is rounded out by two remixes - Krystal Klear offers a punchy, electro-interpretation of the title track while Red Axes dips ‘Run Run Run’ into a vat of acid for their 303-inspired version of the song.

The “Bon Trip EP” comes on the heels of Carlita and DJ Tennis’ incredible remix of Diplo feat. Jungle “Don’t Be Afraid”.




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Germany
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Territorial Rights: Rights: World excluding France & UK

Format: 1 x 140 G Black Vinyl, 1 x black sleeve 3mm spine, 1 x black inner sleeve. White sticker

TOPLINE

* Blancmange return with their 16th studio album ‘Private View’
* The band returns to London Records some 40 years later after their first album ‘Happy Families’ (1982)
* Album features vocalist Neil Arthur with producer, keyboardist and programmer Ben Edwards (John Grant, Stephen Mallinder, John Foxx) and guitarist David Rhodes (Kate Bush, Peter Gabriel, Scott Walker)
* With 7 Top 40 UK hits and 70 weeks in the UK Official Charts, Blancmange’s influence on the global electronic and pop music scenes cannot be understated

BIOG
Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.

On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).

Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”

Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.


TRACKLIST

LP

FACE A
1. What’s Your Name
2. Some Times These
3. Reduced Voltage
4. Here We Go Go
5. Chairs

FACE B
1. Who Am I
2. Everything is Connected
3. I Tried To Be You
4. Private View
5. Take Me

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Germany
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Territorial Rights: Rights: World excluding France & UK

Format: 1 x CD Gatefold, 1 x black inner sleeve. White sticker

TOPLINE

* Blancmange return with their 16th studio album ‘Private View’
* The band returns to London Records some 40 years later after their first album ‘Happy Families’ (1982)
* Album features vocalist Neil Arthur with producer, keyboardist and programmer Ben Edwards (John Grant, Stephen Mallinder, John Foxx) and guitarist David Rhodes (Kate Bush, Peter Gabriel, Scott Walker)
* With 7 Top 40 UK hits and 70 weeks in the UK Official Charts, Blancmange’s influence on the global electronic and pop music scenes cannot be understated

BIOG
Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.

On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).

Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”

Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.


TRACKLIST

CD
1. What’s Your Name
2. Some Times These
3. Reduced Voltage
4. Here We Go Go
5. Chairs
6. Who Am I
7. Everything is Connected
8. I Tried To Be You
9. Private View
10. Take Me

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- NO SALES TO JAPAN

Vinyl: Gold Vinyl - Limited Edition, 350gsm, Sleeve With Logo by Shintaro Kago Printed Inside, Sticker

Tracklisting
A1. Golden Dog
A2. Wandering Days
A3. Cesca's Emergency
A4. Injured Love
A5. Being Chased
A6. Angel's Tombstone (Instrumental)
B1. A Challenge to Lie
B2. Love Does Not Return
B3. The Great Solitude
B4. Eyes in the Dark
B5. Beyond the Twilight
B6. Angel's Tombstone



Info

Presented by Mitsuko & Svetlana Records, distributed by WRWTFWW Records.

Archival reissue of highly sought-after 1979 soundtrack from funky maestro Yuji Ohno, the genius jazz player/composer behind the music of Lupin III (?????) and Capitaine Future (?????·??????) and much much more. Big grooves, irresistible basslines, horns for days, funk for-ever. This superb piece of music from the legendary Toho Records catalogue is a MUST HAVE for fans of Japanese gems.

It’s the original soundtrack of Shigeyuki Amane’s excellent TV movie Golden Dog (Ôgon No Inu). With a secret agent dog carrying secret documents. Last appearance by the one and only Reiko Ike!

Highly recommended to everyone who loves good dogs and good music.



Points of interests

- For fans of funk, jazz, Japanese music, rare groove, boogie, 70s soundtracks, rare gems, WRWTFWW Records, Lupin III, library music, and beautiful dogs.

- Rare gem reissued on vinyl for the first time since 1979.

- Fifth release from Mitsuko & Svetlana Records (Bells of Koyto, Masahiko Sato - Kayobi No Onna, Piero Milesi - The Nuclear Observatory of Mr. Nanof, Sora - Re.sort), distributed by friends WRWTFWW Records (Midori Takada’s Through The Looking Glass, Lunar Cruise and MWKAJU en-semble’s projects, Kenji Kawai’s Ghost in the Shell Original Soundtrack, Yasuaki Shimizu’s Kakas-hi, John Carpenter’s Dark Star Soundtrack, Piero Umiliani’s Tra Scienza e Fantascienza and Il Mon-do Dei Romani, Bernard Parmegiani soundtracks, Colored Music’s self-titled album, EP-4’s Lingua Franca-1, Normal Brain’s Lady Maid…), label founded and curated by Olivier Ducret of Mental Groove and Musique Pour La Danse (Miss Kittin, Orbe, Donato Dozzy, Imperial Tiger Orchestra...) and Stephan Armleder of Villa Magica Records (Genesis Breyer P-Orridge, Christian Marclay, Ste-phan Eicher & Rainier Lericolais, John Armleder, Sylvie Fleury…)



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Release Info:
Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing 10-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work’s debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards.

Album art designed by Carsten Nicolai
Mastering by Bo @ Calyx


Tracklisting
---------------------------------------------------------
Medium: 1 // Side: // Track: 1

Artist: Alva Noto; Ryuichi Sakamoto
Title: Attack/Transition
Playtime: 00:07:24
Explicit Lyrics: No
ISRC: UK6821719505
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: // Track: 2

Artist: Alva Noto; Ryuichi Sakamoto
Title: Grains
Playtime: 00:06:24
Explicit Lyrics: No
ISRC: UK6821719506
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: // Track: 3

Artist: Alva Noto; Ryuichi Sakamoto
Title: Particle 1
Playtime: 00:06:40
Explicit Lyrics: No
ISRC: UK6821719507
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: // Track: 4

Artist: Alva Noto; Ryuichi Sakamoto
Title: Transition
Playtime: 00:03:31
Explicit Lyrics: No
ISRC: UK6821719508
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: // Track: 5

Artist: Alva Noto; Ryuichi Sakamoto
Title: Broken Line 1
Playtime: 00:06:32
Explicit Lyrics: No
ISRC: UK6821719509
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: // Track: 6

Artist: Alva Noto; Ryuichi Sakamoto
Title: Plateaux 1
Playtime: 00:08:07
Explicit Lyrics: No
ISRC: UK6821719510
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: // Track: 7

Artist: Alva Noto; Ryuichi Sakamoto
Title: Silence
Playtime: 00:06:50
Explicit Lyrics: No
ISRC: UK6821719511
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: // Track: 8

Artist: Alva Noto; Ryuichi Sakamoto
Title: Particle 2
Playtime: 00:07:00
Explicit Lyrics: No
ISRC: UK6821719512
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: // Track: 9

Artist: Alva Noto; Ryuichi Sakamoto
Title: Broken Line 2
Playtime: 00:06:25
Explicit Lyrics: No
ISRC: UK6821719513
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: // Track: 10

Artist: Alva Noto; Ryuichi Sakamoto
Title: Plateaux 2/End
Playtime: 00:13:10
Explicit Lyrics: No
ISRC: UK6821719514
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Release Info:
Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing 10-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work’s debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards.

Album art designed by Carsten Nicolai
Mastering by Bo @ Calyx


Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto; Ryuichi Sakamoto
Title: Attack/Transition
Playtime: 00:07:24
Explicit Lyrics: No
ISRC: UK6821719505
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1

Artist: Alva Noto; Ryuichi Sakamoto
Title: Particle 1
Playtime: 00:06:40
Explicit Lyrics: No
ISRC: UK6821719507
(P): 2022 NOTON
Country: Germany

---------------------------------------------------------
Composer: Carsten Nicolai, Ryuichi Sakamoto
Medium: 1 // Side: A // Track: 2

Artist: Alva Noto; Ryuichi Sakamoto
Title: Grains
Playtime: 00:06:24
Explicit Lyrics: No
ISRC: UK6821719506
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto

---------------------------------------------------------
Medium: 1 // Side: B // Track: 2

Artist: Alva Noto; Ryuichi Sakamoto
Title: Transition
Playtime: 00:03:31
Explicit Lyrics: No
ISRC: UK6821719508
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------

Medium: 1 // Side: B // Track: 3

Artist: Alva Noto; Ryuichi Sakamoto
Title: Broken Line 1
Playtime: 00:06:32
Explicit Lyrics: No
ISRC: UK6821719509
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto

---------------------------------------------------------
Medium: 2 // Side: C // Track: 1

Artist: Alva Noto; Ryuichi Sakamoto
Title: Plateaux 1
Playtime: 00:08:07
Explicit Lyrics: No
ISRC: UK6821719510
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------

Medium: 2 // Side: D // Track: 1

Artist: Alva Noto; Ryuichi Sakamoto
Title: Broken Line 2
Playtime: 00:06:25
Explicit Lyrics: No
ISRC: UK6821719513
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto

---------------------------------------------------------
Medium: 2 // Side: C // Track: 2

Artist: Alva Noto; Ryuichi Sakamoto
Title: Silence
Playtime: 00:06:50
Explicit Lyrics: No
ISRC: UK6821719511
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 2

Artist: Alva Noto; Ryuichi Sakamoto
Title: Plateaux 2/End
Playtime: 00:13:10
Explicit Lyrics: No
ISRC: UK6821719514
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 3

Artist: Alva Noto; Ryuichi Sakamoto
Title: Particle 2
Playtime: 00:07:00
Explicit Lyrics: No
ISRC: UK6821719512
(P): 2022 NOTON
Country: Germany

Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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LP [Limited Edition Vinyl]
GENRE/S: Alternative / Electronic / Noise

TRACKLISTS:

1. At The Opposite Pole of Architectural Virtue
2. In One Corner The Male Relatives
3. Serene Company
4. Tiles of The Façade
5. Chafing Dish
6. Such Gardens There Are
7. Capping Verse
8. Overdose Ferocious
9. Patience Of A Traitor
10. Bareekullah Picnic
11. In Thrall

SHORT INFO:

Tehran-born, NY based brothers Mohammad and Mehdi collaborate with Ian McDonnell, a.k.a. Eomac on a new record entitled "Patience of a Traitor". Inspired by the traditional bath houses in their native Tehran, the brothers say: "This record speaks to preserving the things that are timeless, through revisiting the past. The traditional Persian bath house - its architecture, the role it played in keeping, building community, the bathing rituals - served as our ultimate symbol. Now we drink from one cup, and fill the jar with the other."



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Tracklist:

A1) Percussion Heaven 07:48 min
B1) Draft 06:37 min
B2) Bang For The Buchla 09:14 min


Short info:

Talk to plants on the edge of a garden. Spiritual tribal House/Techno from the woods of Sweden brought to you by Nicolai Zellmani. Have you touched someone today?



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GENRE/S:
Deep House, Organic House, Electronica

TRACKLISTS:
A1. Elea feat. Bob Moses
A2. Holding On feat. Bob Moses
B1. Holy For Her feat. Bob Moses
B2. Marigold feat. Bob Moses

SHORT INFO:
Finally getting a vinyl re-release is Frank & Tony’s seminal work with breakout duo Bob Moses. Back in 2012 Francis Harris and Anthony Collins (Frank & Tony) worked with their fellow New Yorkers before they went on to sign to Domino and blow up globally.
The four track EP kicks off with Elea - a deep and thoughtful collaboration utilizing Frank & Tony’s slick production with understated vocals. Next up on the A side is Holding On, featuring iconically Bob Moses vocals atop of a low-key bumping groove. There’s also washes of brass that add a new dimension to the track. Flipping over to the B side, Holy for Her (which also appeared back in 2012), is a densely wound, hypnotic rhythm, providing the basis for Tom Howie and Jim Vallance to do their special thing. Winding things up, Marigold is another early classic from the same period - a dubbed-out groove with sharp percussion and a killer, signature vocal. An essential release capturing a vital period in both outfits' development.









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House Deep, Nu Disco, Vinyl Only

By Andrej Laseech
Sound Exhibitions Records 2021

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House Deep, Disco

TRACKLIST
A1: A Little Miracle 7 12
A2: Scent Of A Woman Feat Don Swing (Di Saronno On The Rocks) 6 00
B1: Undress Me Now 5 43
B2: Message In The Music 5 09


Producer - Mindbuster Producer - Frank Di Saronno Programmed, Arranged & Mixed by Francesco Ferraro @ Di Saronno Studio - Milan, Italy Additional Production by Michael Ohanian aka Don Swing (track A2 - Scent Of A Woman) Dedicated to Anto, Patty and every women.

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Tracklist:

A1 Love Notes To Brooklyn
A2 The Deepness
B That Feeling!

Amir Alexander's unique production style and his musical output has been an inspiration for a long time. His record were always special ones and we were loving the fresh vibes outta Chicago a lot. In 2012, we were happy to host Amir to play his first-ever DJ-gig in Germany at our Smallville night at Golden Pudel Club in Hamburg, as part of his first EU tour ever. The night remains a memorable one and so we are very happy to close the circles now and to release this special 12“ by Amir. Full cover artwork by Stefan Marx.
The tracks were made in loving memory of Nathaniel Jay. Rest in peace and all the love to you.


All Tracks are written, produced and mixed by Amir Alexander
Mastering by Helmut Erler
Vinyl Cut by Dubplates+Mastering
Artwork and Typography by Stefan Marx
Distributed by Wordandsound

Smallville, 2022


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One Sided Limited Etched Vinyl

GENRE/S: Techno/Melodic House & Techno

TRACKLIST:
A1) Atlas (Shall Ocin & ARTBAT Remix)
B1) Etched Vinyl

SHORT INFO:
A monster hit track meets two monster remixer parties! Stephan Bodzin and Marc Romboy´s biggest track ever
remixed by Ukraine´s hottest export ARTBAT plus man of the moment, Ellum´s posterboy Shall Ocin. The special
vinyl is one sided plus an etched side for collectors


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Tracklist:
A1 CHLLNGR 1.1
B1 CHLLNGR 1.2

Release Date:

Dubfire - CHLLNGR
CHLLNGR is the last single before Dubfire’s debut album ‘EVOLV’ drops.
An 11-track visionary into the mind of Dubfire to be released on his long-standing label SCI+TEC.
EVOLV’s concept? The journey of the ‘hybrid’ being and its evolution since its first appearance in 2015,
as part of his two-year World tour following the release of his retrospective release ‘A Decade Of Dubfire’.
With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless
drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy
award (2001) winning duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A
career filled with timeless tracks include his early works ‘Ribcage’, ‘Emissions, ‘Roadkill’ and the highly
acclaimed ‘Exit’ with Kiss Kitten. Collaborative work highlights include Luke Slater, Moscoman, Oliver
Huntemann, Chris Liebing, Tiga and co-producing two tracks on the legendary Underworld’s ‘Barking’
album.
Sonically, the journey so far has been like a dystopian landscape, but ‘Decent’ brings a kaleidoscope of
colour and sound before dropping into the ‘CHALLNGR’ duo. ‘CHALLNGR 1.1’ is perhaps the most
contemporary track on the album. Dubfire picks up the rhythm for a full-on dancefloor focused track. It’s
no-nonsense techno at its best, with heaps of pure energy. Two versions appear on the album,
‘CHALLNGR’.




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Tracklist 12":

A1) Invincible (David Morales Club Mix)
A2) Invincible (David Morales NYC Remix)
B1) Too Big (Atjazz Remix Extended)
B2) Fake Love (Kai Alce Remix)

Release Info:
This is a fat package of remixes. David Morales, Kai Alce, Atjazz, The Checkup. All reworked songs from the upcoming debut album of Kosmo Kint.

Toy Tonics discovered Kosmo Kint 3 years ago when looking for a singer to work with. Kosmo is a Soul vocalist raised in New York. He lives in Berlin since a few years, after studying Opera singing in Vienna and was looking for the right crew to hook up in Berlin. Toy Tonics was perfect. Now, After 4 collaborations on songs of different Toy Tonics artists (Kapote, Rhode & Brown, Mangabey, Sam Ruffilo) Kosmo is ready for an solo album. The album will come out in spring, as the music has a fresh uptempo neo soul vibe. But these 4 remixes are made to introduce the voice of Kosmo. Four fat remixes. Check out.





















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Territories: World excl. UK + North America

FORMAT 2x12” 180g vinyl, full printed sleeve

TRACKLIST
01/A1 Breathe It In 07:31
02/A2 Subterranean Caverns 06:11
03/B1 Psychic Vulture 06:19
04/B2 Caged Animal 06:15
05/C1 Buckle Up 05:58
06/C2 Corrupt Pigs 03:26
07/D1 Human Replacements 06:26
08/D2 Subliminal Messages 05:06
09/D3 When It All Ends 06:38

TRACKLIST
Tresor Records are proud to reveal the outcome of a new collaboration between two of techno music's most remarkable artists, Maedon and Adam X. The Lion & The
Ram is a unique and exciting hybrid of industrial, rave, and hypnotic techno sounds. This LP marks the full debut for both artists on Tresor Records, with Adam X
having appeared for a remix of Neil Landstrumm in 1997. Both Berlin-based, Maedon and Adam X have worked tirelessly over the forced lockdowns, finding a kindred
spirit in locating and sculpting the most badass kick. This album is undoubtedly an impressive representation of the range of kick drum synthesis, from thunderous
impacts to carefully tuned pulses.
The duo's competitiveness over kick drums has led to a masterpiece of mesmerising techno. Across the thumping drums and sparse, mechanical soundscapes,
every track on the album follows a journey into the dark and unknown.
Tracks grow with increasing power sourced from dystopian samples, such as Human Replacements, "people are being duplicated, there is something
missing". It reflects the stifled time we all spent, haunted by uncertainty, cooped up and seeking expression. Corrupt Pigs emphasises this with the
refrain, "welcome to the land of fuck". Crunching bass and rusty percussions gather as a herd, like a rallying call to signify that, at last, we may let loose. With its
unrepentant rhythms and ruthlessly brutal sound design, The Lion & The Ram discharges Maedon and Adam X into daring new terrain.

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CD

01. Biesmans & Vandesande - Away
02. Biesmans & Shubostar - Across the Universe
03. Biesmans & Kasper Bjørke - Holiday ft. Jacob Bellens
04. Biesmans & Alex Medina - Hola y Bienvenido
05. Biesmans & Zombies in Miami - Smooth Monday
06. Biesmans - March for Peace
07. Biesmans & Kid Simius - Me Gusta Acid
08. Biesmans - Macrodosing
09. Biesmans & Johannes Albert - Luft
10. Biesmans - Hipster Paradise
11. Biesmans - All Day, Every Day
12. Biesmans & Dusky - Back in the Daze
13. Biesmans & Mala Ika - Crème Brûlée
14. Biesmans & Mathew Jonson - Quantum Computing
15. Biesmans & TomTheBomb - Shock Therapy
16. Biesmans & Adana Twins - Hounds Of Hell
17. Biesmans & Joy Adegoke - Vanishing Flowers

Biesmans will mix the next volume of Watergate’s prestigious mix series, following in the
footsteps of Ellen Allien, Solomun, Jimi Jules and WhoMadeWho. Going above and beyond
the standard mix compilation brief, the Belgian artist has produced a work consisting
entirely of his own original productions. The project also features collaborations with a
diverse range of artists including Dusky, Mathew Jonson, Adana Twins and Kasper Bjørke,
alongside rising talent such as Shubostar and Mala Ika.
We got our most significant taste of what a special and unique artist Biesmans is last year, with
the release of ‘Trains, Planes & Automobiles’, his superb debut LP. This wasn’t any ordinary album
project, however. Rather, he set himself the task of completing three tracks per week, pairing theaudio with vintage ‘80s film and video clips, sharing the creations to his Instagram followers as he
went along.
Since this point, he’s gone on to develop a live PA, tour it to places including Exit Festival and
Fusion Festival and become a pivotal artist on the W-Agency roster, after already being a solid
member of the club’s crew having worked there as a technician for around 8 years.
His next impressive career stride is ‘Watergate 28’, a joyful neon dancefloor trip that takes in
synthwave, indie dance, nu disco and all manner of celestial tracks in the house spectrum. It’s
also the first Watergate compilation since dOP’s in 2012 to take on the mammoth challenge of
producing all original and exclusive material for the project. An unofficial album per se, with the
thrilling arc of soundtracking a hiplashing on Watergate’s iconic Main Floor.
The scene was set in Mexico in February 2022. The call came through from Watergate HQ and the
deadline was tight: deliver a volume of the club’s esteemed mix series within a three-month
window, the brief stipulating that the mix should have four originals and two collaborations.
Biesmans went sober for a three-month period so he could give everything he had to the project,
swapping the lunchtime beers for sport sessions. When he arrived back in Berlin in mid-February
ready to begin studio time, he was in the zone and immediately begun work completing a sketch
on ‘Smooth Monday’, the track that would go onto to be his luminescent collaboration with the
Permanent Vacation-backed Zombies In Miami. Two weeks into his studio time, it was clear there
was more than enough quality material to not only fulfill, but smash Watergate’s original brief.
What followed was no less than 17 original tracks and 13 collaborations – arguably the most
ambitious in Watergate’s compilation history.
Already in touch after releasing on their imprint 17 Steps in 2019, he sent three sketches to Dusky
and the nostalgia-soaked ‘Back in the Daze’ was the shimmering result. The vibes flowed like a
dream when he linked with Kid Simius for the funky nu disco gem ‘Me Gusta Acid’, even
recording Kid’s vocals in one-take. A visit to his hero Mathew Jonson’s studio for the day saw the
birth of the pumping piano-laden houser ‘Quantum Computing’, a project highlight. After bonding
over their shared love of cosmic synths in Tulum this year, Biesmans invited South Korean artist
Shubostar into his studio to create the wavy ‘80s inspired creation ‘Across the Universe’.
Biesmans likewise mined inspiration wherever he went, his track ‘March for Peace’ was created
off the back of attending a rally to support Ukraine.
Biesmans pieced together each track like a jigsaw puzzle, building up sonic moods throughout.
“Sometimes I would do three tracks in one day, or set specific moods. For example, if someone
sent me some powerful chords, then I decided to do an intro track with that. Then I started to put
some artists together like a puzzle, connecting the artist with the position in the mix.”
The resulting mix is an exhilarating technicolour journey. From the immense opener ‘Away’ with
one half of dOP’s Vandesande, to the woozy arpeggiated bliss of ‘Holiday’ with Kasper Bjørke and
the synth-drenched breakbeat euphoria of the Biesmans solo cut ‘All Day Every Day’, it’s a
highlight-heavy 78-minute ride.
“Even though this is (sort of) another album, the concept is definitely different. I've approached
this project as a DJ mix. When I record a podcast or mixtape, I like to take the listener on a
journey. Starting of beatless and moving slowly into the party/dancing mood. I also felt that I had
to step away from the album sound of last year. I don't want to keep on repeating myself, but I still
have a love for synth sounds so it was important to explore new territory with these elements. The
collaboration part made it also a super interesting project in which you already get inspired by
whoever you work with. I also think that speed played a big role in this project, the whole thing
was done in less than 3 months.” - Biesmans
Biesmans will be touring a new live PA to support the release of ‘Watergate 28’ this summer.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

12“ + DOWNLOAD

Tracklist:
A1) Biesmans & Mathew Jonson - Quantum Computing
A2) Biesmans & Mala Ika - Crème Brûlée
A3) Biesmans & TomTheBomb - Shock Therapy
B1) Biesmans & Johannes Albert - Luft
B2) Biesmans & Kid Simius - Me Gusta Acid
B3) Biesmans - Hipster Paradise

Release Info:
The final sixer from ‘Watergate 28’ LP mixed by Biesmans inside 3 months, a testament to his talent and
intense focus. Featuring collabs with Mathew Jonson, Mala Ika, TomTheBomb, Johannes Albert, Kid Simius
and another solo cut from the Belgian producer’s 17 original tracks for W28, arguably the label’s most
ambitious to date. And this EP’s a banger.


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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Territories: WORLDWIDE

LP: 350gsm Sleeve, Sticker

Tracklisting LP
A1. Shishi Odishi
A2. African Buddhist Temple
A3. Beatific Sea
A4. Peninsula Information Center
B1. Miyadaiku
B2. The Universe Above The Garden
B3. Freakout Ondo
B4. Deep Inside Of The Naiku (Jo-Ha-Kyu)


Info

WRWTFWW Records is so happy to announce Poly-Time Soundscapes / Forest Of The Shrine, a brand new release by Japanese producer Taro Nohara (Yakenohara). 8 tracks of pure environmental ambient bliss available on LP housed in a heavy 350gsm sleeve with an artwork from the artist himself.

Based in Tokyo, Taro Nohara is a producer, beatmaker, DJ, and music activist who made a mark with his electronic / ambient unit Unknown Me ( (of Not Not Fun Records fame). His new solo project, Poly-Time Soundscapes / Forest Of The Shrine, is a unique and modern take on Japanese environmental music, a free floating re-interpretation of the sub-genre made famous by Midori Takada, Hiroshi Yoshimura, or Satoshi Ashikawa (and more!) fused with subtle nuances of various origins: downtempo, hip hop, sound design, chill-out, experimental.

Conceived as a two-part adventure of contemplative peace, Taro Nohara’s organic soundscape takes you on a mind-soothing walk through time (or memories) and the beautiful mysteries of luscious forests - don’t resist, let yourself go, explore!


Points of interests

- For fans of environmental, chill-out, ambient, furniture music but also music for empty spaces, Satoshi Ashikawa, Midori Takada, Hiroshi Yoshimura, forests, parallel universes, and records made of vinyl.

- Brand new solo album by Taro Nohara aka Yakenohara, Tokyo based producer, beatmaker, DJ, and music activist from electronic / ambient unit Unknown Me ( (of Not Not Fun Records fame).





Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More