REPRESS!This first album on Kode9’s deeply-respected Hyperdub label comes from the mysterious Burial, who carves out a sound which sends the dormant slinky syncopations of UK garage, via radio interference, into a padded cell of cushioned, muffled bass, passing through clouds of Pole’s dense crackle dub en route. 'Burial' - the album - explores a tangential, parallel dimension of the growing dubstep ouevre, using sounds set in a near-future South London submerged underwater. You can never tell if the crackle is the burning static off pirate radio transmissions, or the tropical downpour of the city outside, taking its loud quiet aesthetic neither from the latest digital glitch software nor a mere nostalgia for vinyl’s intrinsic physicality. In their sometimes suffocating melancholy, most of these tracks seem to yearn for drowned lovers, as haunted echoed voices breeze in and out, on roads to and from other times. The smouldering desire of ‘Distant Lights’ is cooled only by the percussive ice sharp slicing of blades and jets of hot air blowing from the bass. Listen also for a fleeting appearance from Hyperdub’s resident vocalist, The Spaceape, unravelling his cryptobiography. 'Burial' is a renegade signal from other frequencies, a tidal wave of seductive low-impact noise submerging all but the crispest syncopations, and is well on course to be universally welcomed as the standard-bearer for creative vision built upon the grime and dubstep blueprint.


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New Burial 12" on XL.

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180g vinyl. The sublime three-track EP 'Streetlands' is the follow up to 2022's 'ANTIDAWN'. The EP incorporates 35 minutes of transcendent music in three new pieces.

TRACKLIST
1. HOSPITAL CHAPEL
2. STREETLANDS
3. EXOKIND

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‘Chemz’ is hooky, rushy and loved-up - both an unhinged premonition of unleashed post-pandemic joy, and a demonic flashback to past ecstasies in a hardcore style perfected in the UK. ‘Chemz’ is a 12 minute rave monster that has ingested several tracks and incorporated them into its distended body. At the other end of the Burial bi-polar spectrum, ‘Dolphinz’ is a desolate oceanic love letter to
our underwater friends.

Tracklist:
A. Chemz [12:31]
B. Dolphinz [09:03]


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Burial releases 2 new tracks on Nonplus, out in October!!



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Two new tracks by Burial, rendered in his singular ambient style. Total running time of seventeen minutes and thirteen seconds.



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So, here’s the information for Burial’s new single. Two new pieces named ‘Young Death’ and ‘Nightmarket’, just over 13 minutes total running time on 180g 12” vinyl, catalogue number HDB100, dealer price £4.99, barcode number 5055300386526, release date 30/11/2016. And right now, that’s a secret (but no longer) There won’t be any advance publicity for this release, no teaser announcement, no audio “leaks”, no nuthin'



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Hyperdub will release an EP by Burial on December 16th 2013. Comprised of three new pieces with a total running time of 28 minutes, it will be available on 180g 12" vinyl, jewel-case CD, and digital download. Titles and artwork will be announced on www.hyperdub.net at the time of release.







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December 17th 2012 will see the publication of a new single by Burial. The release is comprised of two pieces of music, with a combined duration of 25 minutes 32 seconds. It will be available in physical formats on 180 gramme vinyl, and CD.



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REPRESS!This first album on Kode9’s deeply-respected Hyperdub label comes from the mysterious Burial, who carves out a sound which sends the dormant slinky syncopations of UK garage, via radio interference, into a padded cell of cushioned, muffled bass, passing through clouds of Pole’s dense crackle dub en route. 'Burial' - the album - explores a tangential, parallel dimension of the growing dubstep ouevre, using sounds set in a near-future South London submerged underwater. You can never tell if the crackle is the burning static off pirate radio transmissions, or the tropical downpour of the city outside, taking its loud quiet aesthetic neither from the latest digital glitch software nor a mere nostalgia for vinyl’s intrinsic physicality. In their sometimes suffocating melancholy, most of these tracks seem to yearn for drowned lovers, as haunted echoed voices breeze in and out, on roads to and from other times. The smouldering desire of ‘Distant Lights’ is cooled only by the percussive ice sharp slicing of blades and jets of hot air blowing from the bass. Listen also for a fleeting appearance from Hyperdub’s resident vocalist, The Spaceape, unravelling his cryptobiography. 'Burial' is a renegade signal from other frequencies, a tidal wave of seductive low-impact noise submerging all but the crispest syncopations, and is well on course to be universally welcomed as the standard-bearer for creative vision built upon the grime and dubstep blueprint.


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Time moves in spirals. It took 20 years for Hyperdub to release a jungle album, finally converging with the most important sound of its prehistory. South East London's Tim Reaper, and Kloke from Victoria, Australia are two big guns from the new wave of junglists. On Reaper's relentlessly hyperactive label Future Retro, a torrent of releases have helped provide the ammunition to rejuvenate that most precious of pirate radio and sound system styles, Jungle from the period 1993-95, that abstracted elements from dub reggae through to techno, riveted onto a finely chopped and accelerated breakbeat undercarriage. `In Full Effect' is the intention and the title. It's energetic, exciting and extremely fun. Its 8 tracks provide a window onto some of the duo's recent collaborations that precision-tool and mix up the best ideas from the period for a new generation of ravers. For those there the first time around, this album is flush with moments of deja vu.

Tracklist
1.1CONTINUITIES
1.2BLOOD PRESSURE
1.3JUICE
1.4ALIENATION
2.1ROOTS & REALITY
2.2IMPASSE
2.3HAVOC
2.4WILDSTYLE

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Kode9's most ambitious work yet as a multi-disciplinary artist, `Escapology' is the soundtrack album to the sonic fiction `Astro-Darien', itself soon to be released on Hyperdub sub-label Flatlines. Already available as a special edition CD and digital album, we now offer a 1000 piece limited pressing on lucent orange vinyl, in spot-gloss sleeve with additional artwork by Optigram. `Escapology' reconfigures `Astro-Darien's tense, off-world atmospheres into slices of high definition, asymmetric club rhythms, woven through thrilling sound design and vertiginous sonics. "A record brimming with ideas and novel sounds, departing from genre exercises to offer something genuinely different." - Album of the Month -DJ Mag "[Kode9's] most dextrous and intuitive club music yet, full of mind-bending rhythmic nuggets. He's still the brilliant master behind the scenes, quietly one-upping everyone else." - Resident Advisor "The 15 tracks become proper dancefloor scorchers _ `Escapology' builds a futuristic jumble of aesthetics and sound design." - The Wire

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180g vinyl. The sublime three-track EP 'Streetlands' is the follow up to 2022's 'ANTIDAWN'. The EP incorporates 35 minutes of transcendent music in three new pieces.

TRACKLIST
1. HOSPITAL CHAPEL
2. STREETLANDS
3. EXOKIND

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‘Chemz’ is hooky, rushy and loved-up - both an unhinged premonition of unleashed post-pandemic joy, and a demonic flashback to past ecstasies in a hardcore style perfected in the UK. ‘Chemz’ is a 12 minute rave monster that has ingested several tracks and incorporated them into its distended body. At the other end of the Burial bi-polar spectrum, ‘Dolphinz’ is a desolate oceanic love letter to
our underwater friends.

Tracklist:
A. Chemz [12:31]
B. Dolphinz [09:03]


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TRACKLIST

01. AROUND ME
02. COME
03. DESTROY ME
04. BLOOD
05. IN 2 U
06. LEVITATING

#2:
01. FOREVER
02. BLUE TO BLACK
03. TAKE
04. NO RETURN
05. YOU
06. END IN BLUE

The Bug aka Kevin Martin, and producer/vocalist Dis Fig aka Felicia Chen, refer to their style on `In Blue' as "Tunnel Sound"; a foggy, melancholic meltdown of narco-dancehall-soul and dread-drenched, electronic dub. The 2018 prototype rhythms for this album were a continuation of Martin's ongoing quest for a futuristic dancehall mutation, but more sci-fi, aquatic and smokey than before. An obsessive search for the right sultry 2AM voice to ride his syncopated walls of sub, fuzzed out white noise and infinite echoes eventually led him to Dis Fig's torched soul-jazz glow, and 20 months of subsequent lab exchanges have resulted in the deeply sensual pulsations and lyrical long shadows of `In Blue' - an album that shares shades of King Midas Sound's wrecked lovers rock, alongside the bass immersion that The Bug has become infamously known for. Just as Martin took a stylistic swerve on `In Blue', so did Chen. Previously known for experimental noise onslaughts and emotional exorcisms, she opts here for threatening intimacy and hushed confessionals, concentrating on bittersweet vocals and seductive surprises that are all the more potent for their inferred narratives and delicate delivery. Mixed during lockdown, the sense of claustrofear, escapism and tension throughout is palpable. With the bewitching croon of Dis Fig directing the flow, carnality and violence merge under the turbulent, cinematic surface of an hypnotically addictive album.


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TRACKLIST

01. AROUND ME
02. COME
03. DESTROY ME
04. BLOOD
05. IN 2 U
06. LEVITATING

2:
01. FOREVER
02. BLUE TO BLACK
03. TAKE
04. NO RETURN
05. YOU
06. END IN BLUE




The Bug aka Kevin Martin, and producer/vocalist Dis Fig aka Felicia Chen, refer to their style on `In Blue' as "Tunnel Sound"; a foggy, melancholic meltdown of narco-dancehall-soul and dread-drenched, electronic dub. The 2018 prototype rhythms for this album were a continuation of Martin's ongoing quest for a futuristic dancehall mutation, but more sci-fi, aquatic and smokey than before. An obsessive search for the right sultry 2AM voice to ride his syncopated walls of sub, fuzzed out white noise and infinite echoes eventually led him to Dis Fig's torched soul-jazz glow, and 20 months of subsequent lab exchanges have resulted in the deeply sensual pulsations and lyrical long shadows of `In Blue' - an album that shares shades of King Midas Sound's wrecked lovers rock, alongside the bass immersion that The Bug has become infamously known for. Just as Martin took a stylistic swerve on `In Blue', so did Chen. Previously known for experimental noise onslaughts and emotional exorcisms, she opts here for threatening intimacy and hushed confessionals, concentrating on bittersweet vocals and seductive surprises that are all the more potent for their inferred narratives and delicate delivery. Mixed during lockdown, the sense of claustrofear, escapism and tension throughout is palpable. With the bewitching croon of Dis Fig directing the flow, carnality and violence merge under the turbulent, cinematic surface of an hypnotically addictive album.


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Two new tracks by Burial, rendered in his singular ambient style. Total running time of seventeen minutes and thirteen seconds.



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So, here’s the information for Burial’s new single. Two new pieces named ‘Young Death’ and ‘Nightmarket’, just over 13 minutes total running time on 180g 12” vinyl, catalogue number HDB100, dealer price £4.99, barcode number 5055300386526, release date 30/11/2016. And right now, that’s a secret (but no longer) There won’t be any advance publicity for this release, no teaser announcement, no audio “leaks”, no nuthin'



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Zomby's new album is his most focussed to date. His ultra-modern music has a unique character, and 'Ultra' really displays his ability to create varied and detailed mutations. On 'Ultra' he warps discordant Eski grime (‘Burst’, ‘Freeze’, ’Yeti’), creates dreamlike blooms on ’Her’ and ‘Thaw’, and builds crystalline music box takes on house and 2step on ‘Glass’ and ‘I’. Zomby also collaborates on the album with Darkstar, Rezzett, Banshee, Burial and HKE. These all throw up unpredictable fusions and immaculate fissions. Housed in red metallic mirriboard with debossed graphics, while the vinyl is additionally enclosed in spot-varnished hi-gloss card inner bags., designed by Ben Drury, reflecting the glow of Zomby's music. TRACKLIST : A1. Reflection A2. Burst A3. Fly 2 [ Zomby & Banshee ] B1. E.S.P. B2. I B3. Glass C1. Sweetz [ Zomby & Burial ] C2. Her C3. Quandary [ Zomby & Darkstar ] D1. Freeze D2. Yeti D3. S.D.Y.F. [ Zomby & Rezzett ] D4. Thaw



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Zomby's new album is his most focussed to date. His ultra-modern music has a unique character, and 'Ultra' really displays his ability to create varied and detailed mutations. On 'Ultra' he warps discordant Eski grime (‘Burst’, ‘Freeze’, ’Yeti’), creates dreamlike blooms on ’Her’ and ‘Thaw’, and builds crystalline music box takes on house and 2step on ‘Glass’ and ‘I’. Zomby also collaborates on the album with Darkstar, Rezzett, Banshee, Burial and HKE. These all throw up unpredictable fusions and immaculate fissions. Housed in red metallic mirriboard with debossed graphics, while the vinyl is additionally enclosed in spot-varnished hi-gloss card inner bags., designed by Ben Drury, reflecting the glow of Zomby's music. TRACKLIST : A1. Reflection A2. Burst A3. Fly 2 [ Zomby & Banshee ] B1. E.S.P. B2. I B3. Glass C1. Sweetz [ Zomby & Burial ] C2. Her C3. Quandary [ Zomby & Darkstar ] D1. Freeze D2. Yeti D3. S.D.Y.F. [ Zomby & Rezzett ] D4. Thaw



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Long time mutual admirers, Zomby and Burial get together for this one-sided white label taken from Zomby’s forthcoming album 'Ultra’, with probably the most toxic track from either of their back catalogues to date. Limited to 5000 copies of which we have 3000 for the UK.



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Her first release since last year's ‘Wait Til’ Night' album, which featured synths and live instruments meshed with Cooly's vocals, this EP by contrast presents five tracks of house music, the Cooly G way : stripped down to the essentials, dark, and built for maximum soundsystem impact. These tunes have a steely grid more common to techno, but at house's slower pace. Kicking off is the moody 'Trippin B', with a spiralling three note bassline and a quick dubbed out sample of Cooly's voice, over tough rolling drums, finessing the art of keeping it simple and effective. ‘Booboo’ is all shivery male / female vocal samples and slip-sliding drum patterns that subtly warp and transition. 'Flange City' runs a see-sawing acidic five note scale over shaky, spacious claps, a rolling drum pattern and a deep sub bass kick. ‘Waybay’ featuring Marc Perrineau is the most straight-up track here, a spooky dive into scratchy, scissoring rhythms, with a subtle panning melody over dubby bass. 'Horrors In The Dance' is a wild workout, with strange shapes thrown across bouncing drums that stop and start, build and drop with dub sirens thrown into the deep spaces in between. ‘Armz House’ is powerful and direct return to the dancefloor for Cooly G. A1. Trippin B A2. Booboo B1. Flange City B2. Waybay ft Marc Perrineau B3. Horrors In The Dance



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Hyperdub will release an EP by Burial on December 16th 2013. Comprised of three new pieces with a total running time of 28 minutes, it will be available on 180g 12" vinyl, jewel-case CD, and digital download. Titles and artwork will be announced on www.hyperdub.net at the time of release.







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December 17th 2012 will see the publication of a new single by Burial. The release is comprised of two pieces of music, with a combined duration of 25 minutes 32 seconds. It will be available in physical formats on 180 gramme vinyl, and CD.



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Greg Foat and Forest Law (Brownwood, Bongo Joe)collaborate on an epic concept album about Life, Death, painting and Surfing. Inspired by the art and life of a local Isle of Wight artist and surfing legend Dave Gray. The album philosophically chronicles the many aspects of surfing and surf communities. This is the first album by Greg Foat to feature vocals throughout. Forest Law's lyrics are evocative and ethereal. Reminiscent of David Sylvian and Early Peter Gabriel. The Album features Moses Boyd - drums, Idris Rahman - Tenor Saxophone, Tom Herbert - Bass, Greg Foat - Grand Piano, Fender Rhodes and Synthesisers, Forest Law - Vocals
1000 Limited Edition Vinyl LPs

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Sabor de Amor is the fourth album from Brazilian soulman Hyldon, singer and instrumentalist, who formed, alongside Tim Maia and Cassiano, the legendary triad of Brazilian soul music in the 1970s. Sabor de Amor (Continental, 1981) is perhaps his most consistent work. On it, Hyldon is back once again by his trusted buddies Azymuth with a stellar lineup of musicians, including Alexandre Malheiros (bass), Ivan "Mamao" Conti (drums), Sérgio Carvalho (Hammond organ and Fender piano), Zé Roberto Bertrami (synthesizers), Antonio Adolfo (Yamaha piano), Marcio Montarroyos (flugelhorn), Renato Piau (guitar), Mario Monteiro "Picolé" (drums) and the Grupo Alma Brasileira (percussion).

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collection of all the instrumental versions of BMD-2. An essential dub album!
Tracklist
01. Cornel Campbell - King In My Empire
02. Jennifer Lara - Queen In My Empire
03. Paul St. Hilaire - Jah Rule
04. Shalom - We Been Troddin
05. The Chosen Brothers - Mash Down Babylon
06. Jah Batta - Music Hit You
07. Love Joy - Best Friend
08. The Chosen Brothers - Making History

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“‘A La Sala,’ I used to scream it around my house when I was a little girl, to get everybody in the living room; to get my family together. That’s kind of what recording the new album felt like. Emotionally there was a desire to get back to square-one between the three of us, to where we came from–in sonics and in feeling. Let’s get back there.” - Laura Lee Ochoa

The title makes it clear. A La Sala (“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, A La Sala is the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. A La Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.

It is also a response to the unique moment Khruangbin finds itself in now: following a decade spent cultivating extraordinary music paths, beginning a year when they'll perform for more people, in more iconic spaces, staging a live show that pushes a creative envelope peculiar to them alone. (Look for the band at major festivals and venues near you.) 2024 feels like both marker and pivot, cementing Khruangbin’s stature as a commercially and critically successful group that continues to be guided by creative possibilities.

Such crossroads are familiar for iconic artists throughout the rock era — your Dylans, Stevies and Bowies, up thru turn-of-the-century Radiohead, all have navigated these straits. On A La Sala, Khruangbin also pulls exploration inward, spurning the din of the crowd’s expectations, mapping a personal direction home. The trio’s collective musical DNA and the years spent constructing it in Houston’s local-meets-global cultural stew ensure the band carries on sounding like no one but itself. A La Sala may in fact be Khruangbin’s purest distillation. A cascade of crisp melodies still emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place.

Where prior album-by-album growth seemed to point the narratives towards music’s polyglot edges, such inquiries now sound like known intimacies. What once seemed like sonic invocations — spaghetti-western film scores, found-sounds, dancing moments more living room than rooftop disco — are ingrained characteristics. This is who they are! And there’s a freshness to the instrumental interactivity on A La Sala that’s less concerned with getting further out than going deeper in. That depth is not about therapeutic self-reflection, but a profound desire to celebrate the world’s external wonders.
A La Sala invites intimate intercontinental partying. The first single is, after all, called “A Love International.” “Pon Pón” holds the band’s table at the West African discotheque; yet the joy now moves to the corner left of the dancefloor, where the back-and-forth between Laura Lee’s bass, DJ’s hi-hat, and Marko’s tuneful rhythm scratches, is a marvel of knowing head-nods. There’s “Hold Me Up (Thank You),” a familial sweetness in its spare lyrics, feeding off the rhythm section’s sturdy funk shuffle, and a chorus on which Marko’s guitar evokes both sides of the Atlantic in confident unshowy rhythms. They’re on “Todavía Viva” too, next to DJ’s noir-soul rim-shots, synth strings and a pregnant pause that is Laura Lee’s favorite moment on the album, the mood kin to the band’s glorious live interpretations of G-funk fantasias. And the rocked-up miniature, “Juegos y Nubes,” demonstrates Khruangbin’s Houston-born superpower to culture-mix, a dancing mood less concerned with worldly glamor than communal grooving.

“I read something long ago, attributed to Miles Davis. He said, ‘When they play fast, you play slow. When they play slow, you play fast.’ And it's definitely how I've approached looking at music: Don't follow the trends. And if the trend is this, then do something else.” - Marko

From the get-go, Khruangbin’s journey has been emphatically its own: a sound and visual representation with few precedents, ignoring pop expectations, relying only on internal inspirations, and a multitude of visions. It’s a mindset of penetrating the self, connecting to the surrounding world, modeling your own life experiences. This ethos is threaded throughout A La Sala, audible in the album’s form and function. (It’s even visible in the vinyl version’s physical package, which will be released as a set of seven distinctive covers and color-sets — more on which in a sec.)

The building blocks for the album’s 12 songs were jigsaw pieces found in Khruangbin’s creative past. Having stockpiled ideas originally set down as off-the-cuff recordings (voice-memos made at sound-checks, on long voyages, as absentminded epiphanies), they began fitting those pieces together in the studio. Which parts were apt? Which could be massaged and stretched out? Which inspired new sections or rhythms or musical interactions? Once more, Khruangbin’s familial DNA kicked in. Layer-by-layer, the intimate work, rework and re-rework bore new fruit. They also brought back a strategy once foundational to their records: seeding an album with field recordings.

Some results fold directly into A La Sala’s down-home feel. “Three From Two” and “May Ninth” are wistful mid-tempo numbers, with guitar melodies that reside somewhere between Bakersfield and by-the-riverside, cues that, for all its borderless inclusivity, another core Khruangbin value is being steeped in American roots. And in the landscape that music comes from. Like all albums prior to Mordechai, Marko made sure environmental sounds — natural and man-made — appeared as textures. (At times philosophically: the group recorded while cricket chirps played in their headphones, presumably for terroir.) It’s how A La Sala achieves such interconnected set-and-setting-ness.

Other results are more metaphorical, especially in Khruangbin’s flirtation with ambient spaces. The dramatically beatless “Farolim de Felgueiras” and “Caja de la Sala” both feature only Marko’s unmistakable guitar dueting with Laura Lee’s Moog, lightly layered with sounds of shoes on stone steps, and cicadas in an open field. The closing “Les Petits Gris” more fully reduces and fleshes out the ambiance, with a piano and a simple single-note bass pattern, Marko’s plaintive spare guitar echoing the melody of a ballerina-turning music box. It feels an apt way of ending — as a passing of this particular moment, preparation for the next one, soon-come.

Even the seven different covers that adorn A La Sala’s various vinyl editions offer a throughline from the music into Khruangbin’s current frame. Designed by the band using Marko’s multitude of travelog photos, they are windows from the band’s living room onto a set of daydreams, scenes of impossible skies, external glances illuminating what is going on inside. These are also directly related to David Black’s images of DJ, Laura Lee and Marko which accompany A La Sala, and to Khruangbin’s live staging reinvention. It’s all about looking out and looking back, in order to better look ahead.

“All the little moments you capture. You don't see how impactful they are until you hear what eventually comes of them. A lot of those scraps end up being the thing — and you don't realize it until it's ‘The Thing.’” - DJ
credits
releases April 5, 2024

Produced by Mark Speer & Steve Christensen
Written, Arranged & Performed by Khruangbin
Art Direction: Tiny Frees
Mixing: Steve Christensen
Mastering: Chris Longwood

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Louie Vega and Moodymann, two of the most celebrated and iconic talents in the world of House Music, come together for this very special single “Seven Mile.” Originally released as part of Louie Vega’s universally acclaimed “Expansions In The NYC” album on Nervous Records, the song is now being released as a Double Pack, Custom Art Remix Package with an all-star collection of producers on remix duty, including Dennis Quin, Kai Alcé, Rocco Rodamaal, Alex Finkin and Charlie Soul Clap

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Repress!
We are honored to announce the next 12" in Dark Entries Editions is one of the all time Italo Disco club classics: My Mine - ‘Hypnotic Tango’. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed from the ashes of Italian New Wave group Ipnotico Tango in 1982. They shifted focus from the experimental post punk sounds towards something more commercial with which to try and enter the market, namely to make a record. At that time Carlo was studying in Bologna and he had heard about producer and arranger Mauro Malavasi famous at that time for the many hits produced for Macho, Peter Jacques Band, Change, Luther Vandross, Ritchie Family. The group handed Malavasi a demo tape and four days later they were invited to Fonoprint Studios to record their first single, “Hypnotic Tango”.

Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out. “Hypnotic Tango” was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 the legendary Frankie Knuckles remixed “Hypnotic Tango” at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the “Powerhouse Mix” paying tribute to the Windy City club atmosphere and adding his own "sighs" in the track as well. The Hypnotic Remix This reissue presents 4 mixes of “Hypnotic Tango” including the “Hypnotic Mix” only appearing together once before in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli. “Look on the floor and all is spinning round, Someone told me this was just a dance And take a chance I ain't met before..Do you think I really have a chance??"

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore