"Into The Abyss", the new album by Joel Holmes (former band leader of Carl Craig's synthesizer ensemble and member of Grammy-nominated cult band Roy Hargrove) is a perfect capturing of Berlin's new jazz and electronic scene.
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More records from Joel Holmes
1
Joel Holmes - A1) It Feels Good (4:26)
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Joel Holmes - A2) Playing With My Mind (5:06)
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Joel Holmes - B1) Pose (4:27)
4
Joel Holmes - B2) Got To Survive (4:31)
Tracklist 12":
A1) It Feels Good (4:26)
A2) Playing With My Mind (5:06)
B1) Pose (4:27)
B2) Got To Survive (4:31)
Joel Holmes is a phenomenon that fits perfectly into the musical scenario of the next years. 35-year-old american jazz pianist and 4 times Grammy nominated. He was the musical director of Carl Craig’s Synthesizer ensemble as well as the keyboarder in legendary Grammy wining band of Roy Hargrove (the IT jazz artist from the late 1990ies, who later died.)
Holmes is always hunting for the new, so he moved to Berlin a few years ago. Being interested in what’s happening in that new dance world. Similar to Jazzers from the 1970ies like Herbie Hancock and Quincy Jones who turned into disco stars Joel, the jazzer wanted to connect with the new Berlin electronic scene. He succeeded, teamed up with upcoming London house kid Cody Currie and the Toy Tonics crew who is working on new sounds in Berlin that connect the organic and jazz musicians scene with the dance and house world. Developing a new style of Jazz-House… (that has nothing to do with sampled jazzy‘ house! If you know what we mean).
Joel and Cody Currie released 2 EPs that had a good buzz mainly in the UK and USA. Big support from the Worldwide FM and BBC Radio world as well from tastemaker DJs such as Bradley Zero, Gilles Peterson and Masters at Work.
While working on these EPs Joel created a kind of new jazz-dance universe around him in Berlin. He curates a bi-monthly jam session in an underground location where the crème de la crème of the international ex-pad -musician scene meet up. Joel became THE MAN to hang out when American musicians come to Berlin. Like when Erykah Badu was doing her Berlin gig in Berlin in 2019, after the show all the band moved to Joel's place to have a legendary jam session. Yes, there is a lot of happening in the new Berlin Jazz meets Electronic scene. And Joel Holmes is in the center now.
So it’s time for a Joel Holmes Solo EP. The EP was recorded in a couple of jam sessions. Later reworked and co-produced by Kapote and Sam Ruffillo and mixed by Justin Vanderfolgen from DFA in New York.
It’s a big step for Joel Holmes. He started to sing in a very smooth, deep way. He wanted to make dance tracks that have a song structure and should not be too static, but still be playable in good DJ sets. And that's what you get: A Lot of Soul. Deep House vibes in a New York style and Joel's skills as a keyboarder.
Joel Holmes is a phenomenon, for sure. And this EP could be a manifesto for what he is doing in Berlin now.
More
A1) It Feels Good (4:26)
A2) Playing With My Mind (5:06)
B1) Pose (4:27)
B2) Got To Survive (4:31)
Joel Holmes is a phenomenon that fits perfectly into the musical scenario of the next years. 35-year-old american jazz pianist and 4 times Grammy nominated. He was the musical director of Carl Craig’s Synthesizer ensemble as well as the keyboarder in legendary Grammy wining band of Roy Hargrove (the IT jazz artist from the late 1990ies, who later died.)
Holmes is always hunting for the new, so he moved to Berlin a few years ago. Being interested in what’s happening in that new dance world. Similar to Jazzers from the 1970ies like Herbie Hancock and Quincy Jones who turned into disco stars Joel, the jazzer wanted to connect with the new Berlin electronic scene. He succeeded, teamed up with upcoming London house kid Cody Currie and the Toy Tonics crew who is working on new sounds in Berlin that connect the organic and jazz musicians scene with the dance and house world. Developing a new style of Jazz-House… (that has nothing to do with sampled jazzy‘ house! If you know what we mean).
Joel and Cody Currie released 2 EPs that had a good buzz mainly in the UK and USA. Big support from the Worldwide FM and BBC Radio world as well from tastemaker DJs such as Bradley Zero, Gilles Peterson and Masters at Work.
While working on these EPs Joel created a kind of new jazz-dance universe around him in Berlin. He curates a bi-monthly jam session in an underground location where the crème de la crème of the international ex-pad -musician scene meet up. Joel became THE MAN to hang out when American musicians come to Berlin. Like when Erykah Badu was doing her Berlin gig in Berlin in 2019, after the show all the band moved to Joel's place to have a legendary jam session. Yes, there is a lot of happening in the new Berlin Jazz meets Electronic scene. And Joel Holmes is in the center now.
So it’s time for a Joel Holmes Solo EP. The EP was recorded in a couple of jam sessions. Later reworked and co-produced by Kapote and Sam Ruffillo and mixed by Justin Vanderfolgen from DFA in New York.
It’s a big step for Joel Holmes. He started to sing in a very smooth, deep way. He wanted to make dance tracks that have a song structure and should not be too static, but still be playable in good DJ sets. And that's what you get: A Lot of Soul. Deep House vibes in a New York style and Joel's skills as a keyboarder.
Joel Holmes is a phenomenon, for sure. And this EP could be a manifesto for what he is doing in Berlin now.
More
More records from Kryptox
Toy Tonics sublabel Kryptox comes with a new album by Greekharpist SISSI RADA. "Demeter in Aexone" is a 45" pure soloimprovisation on harp. Using no post production techniques and nooverdubs, the album was recorded one afternoon in her studio inVoula, Athens, overlooking the ancient demos of "Aexone". It is atribute to the ancient myth of Persephone, the daughter of thegoddess Demeter, to whom the Eleusinian Mysteries were dedicated.
Listening link: https://listen.k7.com/1d7c275d-df9b-4ab7-8986-0d1ac75d810c
Tracklist
1.1Demeter
1.2One Thousand Years
1.3Plutoneum
1.4The Abduction of Persephone
1.5Nysian Fields
1.6A Safe and Certain Death
1.7Kykeon on the Rocks Please
1.8Forgot Where I Was Born
1.9Pax Kogx More
Listening link: https://listen.k7.com/1d7c275d-df9b-4ab7-8986-0d1ac75d810c
Tracklist
1.1Demeter
1.2One Thousand Years
1.3Plutoneum
1.4The Abduction of Persephone
1.5Nysian Fields
1.6A Safe and Certain Death
1.7Kykeon on the Rocks Please
1.8Forgot Where I Was Born
1.9Pax Kogx More
Zeitgeist Freedom Energy Exchange is a collective that brings together UK jazz funk vibes with the energy of Berlin's electronic DJ music. "Sci-Fi Jazz Directions" epitomises the Zeitgeist of the time, the crucial meeting point of our organic selves with our technology.
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Sissi Rada is a wonderfully ambiguous personality and one of the best harpists for contemporary classical music in Europe and at the same time producer of beautiful abstract electronica songs.
Her album "Nanodiamond" comes out on new Berlin label Kryptox with guest vocals by Lena Platonos, co-production by Brian Eno on 81948 (2000 OM69) and Andi Toma of Mouse on Mars on Maps and Blueblack Tomb. More
Her album "Nanodiamond" comes out on new Berlin label Kryptox with guest vocals by Lena Platonos, co-production by Brian Eno on 81948 (2000 OM69) and Andi Toma of Mouse on Mars on Maps and Blueblack Tomb. More
Tracklist
A1. Abundance (4:28)
A2. Obedience (3:47)
A3. Zeit (2:52)
B1. Humility (4:44)
B2. Gratitude (4:36)
B3. Forgiveness (3:19)
Key Selling Points
Kryptox records was born to show what's happening in the new scene in germany. And David Nesselhauf is the next upcoming artist. Kryptox will release his 6 track EP.?Nesselhauf is a multi-talented artists: bass player, composer, bandleader and man of very original ideas. He was already featured on the Kryptox' Kraut Jazz Futurism compilation vol 1 (2019) and now delivers his first solo EP for the label.
This EP is a follow up in a longer musical evolution that the Hamburg born talent has been making over the past years. A journey that's basically a style he is building that he calls afro-kraut. Before joining Kryptox he already released 2 albums under the Afrokraut title on his own (Bandcamp) before meeting Mathias Modica (head of Kryptox) and they decided to work together.
So on the "Rituals EP“ Nesselhauf salutes his personal pantheon of musical gods once again, leading the listener through his musical Jungle encompassing Krautrock, Downbeat, Drone, Electronica, Afrobeat, Lo-Fi, Shoegaze, Funk and Ambient textures in the blink of an eye.?The 6 new tracks share a common feel, but are colorful individuals at the same time. Some more organic, others with electronic elements.
About Nesselhaufs workflow: Four of these composition are based on quick, playful, raw jams recorded live within hours by a group of Nesselhauf's inner circle musicians. Great grooves played by a heavy rhythm section that he uses also for his live gigs. Just on a few songs Nesselhauf exchanged the human musicians with a legendary Vermona Drum Synthesizer as the main rhythm ingredient.
Guests: One more track was recorded with Julian Gutjahr, Drummer for The Drawbars. Some tracks feature guest appearances by Dennis Rux (he also mixed the EP) and Graeme Currie on guitar. Soulamadou made his way to one of the tracks just by incidentally leaving a very groovy voice message on David ´s phone ("Zeit").
The material was later bewitched into deep, organic swirls: Trippy, psychedelic somnambulistical. The rather mystical, nocturnal reworking process of the recording added even more dimension and depth, leaving the 6 Tracks ready for home listen, but also for an open minded dancefloor and an otherworldly listening experience at the same time.
The next generations of jazz are just waking up. And Davd Nesselhauf and his bunch are one of these new interesting phenomena. Working in the underground since few years, now hopefully there will be more spotlight on these great new innovators.
More
A1. Abundance (4:28)
A2. Obedience (3:47)
A3. Zeit (2:52)
B1. Humility (4:44)
B2. Gratitude (4:36)
B3. Forgiveness (3:19)
Key Selling Points
Kryptox records was born to show what's happening in the new scene in germany. And David Nesselhauf is the next upcoming artist. Kryptox will release his 6 track EP.?Nesselhauf is a multi-talented artists: bass player, composer, bandleader and man of very original ideas. He was already featured on the Kryptox' Kraut Jazz Futurism compilation vol 1 (2019) and now delivers his first solo EP for the label.
This EP is a follow up in a longer musical evolution that the Hamburg born talent has been making over the past years. A journey that's basically a style he is building that he calls afro-kraut. Before joining Kryptox he already released 2 albums under the Afrokraut title on his own (Bandcamp) before meeting Mathias Modica (head of Kryptox) and they decided to work together.
So on the "Rituals EP“ Nesselhauf salutes his personal pantheon of musical gods once again, leading the listener through his musical Jungle encompassing Krautrock, Downbeat, Drone, Electronica, Afrobeat, Lo-Fi, Shoegaze, Funk and Ambient textures in the blink of an eye.?The 6 new tracks share a common feel, but are colorful individuals at the same time. Some more organic, others with electronic elements.
About Nesselhaufs workflow: Four of these composition are based on quick, playful, raw jams recorded live within hours by a group of Nesselhauf's inner circle musicians. Great grooves played by a heavy rhythm section that he uses also for his live gigs. Just on a few songs Nesselhauf exchanged the human musicians with a legendary Vermona Drum Synthesizer as the main rhythm ingredient.
Guests: One more track was recorded with Julian Gutjahr, Drummer for The Drawbars. Some tracks feature guest appearances by Dennis Rux (he also mixed the EP) and Graeme Currie on guitar. Soulamadou made his way to one of the tracks just by incidentally leaving a very groovy voice message on David ´s phone ("Zeit").
The material was later bewitched into deep, organic swirls: Trippy, psychedelic somnambulistical. The rather mystical, nocturnal reworking process of the recording added even more dimension and depth, leaving the 6 Tracks ready for home listen, but also for an open minded dancefloor and an otherworldly listening experience at the same time.
The next generations of jazz are just waking up. And Davd Nesselhauf and his bunch are one of these new interesting phenomena. Working in the underground since few years, now hopefully there will be more spotlight on these great new innovators.
More
1
Mathias Modica - No Title
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Mathias Modica - No Title
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Mathias Modica - No Title
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Mathias Modica - No Title
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Mathias Modica - No Title
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Mathias Modica - No Title
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Mathias Modica - No Title
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Mathias Modica - No Title
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Mathias Modica - No Title
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Mathias Modica - No Title
Having previously released as Munk & Kapote, as well as founded Gomma, Toy Tonics & more recently Kryptox, Mathias Modica announces solo record "Sonic Rohstoff due May 14th on Kryptox. Expect abstract downtempo vibes, lofi jazz and futuristic electronica. Including guests: Ralph Heidel, Viktor Wolf, JJ Whitefield
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1
Ralph Heidel - A1. Haut (4:13)
2
Ralph Heidel - A2. Ahonk (5:03)
3
Ralph Heidel - A3. They still play (4:22)
4
Ralph Heidel - B1. Andalu (5:20)
5
Ralph Heidel - B2. Dark Phase I (3:28)
6
Ralph Heidel - B3. Dark Phase II (3:56)
For fans of: Portico Quartett, Floating Points, Jon Hassell, Ryuichi Sakamoto
Tracklist
A1. Haut (4:13)
A2. Ahonk (5:03)
A3. They still play (4:22)
B1. Andalu (5:20)
B2. Dark Phase I (3:28)
B3. Dark Phase II (3:56)
Key Selling Points
Ralph Heidel is one of the young musicians that represent the spirit of Berlin’s new musical ecleticism better than others. He is part of the avantgarde circles that mix modern jazz and contemporary classical music with elements of new electronica and experimental ambient music. This is the vibe of Germany's next generation.
Heidel creates a sonic universe that is unique. He takes the listener into a deep, atmospheric travel that stimulates emotions and feelings on a different level. Heidel brings together two worlds: what he learned at Musikhochschule München, Germany’s leading academy for classical music where he studied saxophon and composition and the moods happening in Germany's new electronic circles.
On „Relief“ Heidel created six songs. Except one, all of them are instrumental music. Partly composed and often improvised these sounds take the listener into Heidel's specific sonic universe. Raw beat structures, emotive horn lines, strong harmonical tensions and dramatic build ups. Heidel’s signature sound.
In fact Heidel is a multiple influenced artist with a strong personality that absorbs whats around him, connects it with his own wide artistic knowledge and fullfills it into magical musical moments.
Relief is the next step in what could become a longtime artistic career.
After a (very composed) debut album for string quartet and rhythm section for Kryptox (Moments of Resonance 2019), it was important for Heidel, to process current feelings of daily life.
Not just his cultural learnings, but also emotions connected to the hard COVID times and a lot of personal experiences.
Relief are six abstract, distorted patterns. Long deep transitions that lead into euphoric parts of sonic greatness. Heidel's sense for sound design and the soft tone of his saxophone phrases, add a personal note that is somehow alone in the current music scenario. Sampling his saxophone (reeds, keys etc.) to create very organic beats is one of the many techniques to create that special „Heidel“ sound. Also his calm and wide harmonies over disquiet, rough drums are part of his unique ambivalent, disrupted moods.
Most of this EP has been played by Heidel alone. For a few parts he was joined by musicians from the local scene. In fact besides his albums on Kryptox Ralph Heidel is very connected in Berlin’s current cultural playground: He creates music for underground performance art happenings in Neukölln as well as for new German theater (Volksbühne, Berliner Ensemble). Also German rapper Tarek from K.I.Z heard about Heidels string debut album, so they collaborated for an album, where Heidel reworked his record for stringquartet, piano, drums and bass.
More
Tracklist
A1. Haut (4:13)
A2. Ahonk (5:03)
A3. They still play (4:22)
B1. Andalu (5:20)
B2. Dark Phase I (3:28)
B3. Dark Phase II (3:56)
Key Selling Points
Ralph Heidel is one of the young musicians that represent the spirit of Berlin’s new musical ecleticism better than others. He is part of the avantgarde circles that mix modern jazz and contemporary classical music with elements of new electronica and experimental ambient music. This is the vibe of Germany's next generation.
Heidel creates a sonic universe that is unique. He takes the listener into a deep, atmospheric travel that stimulates emotions and feelings on a different level. Heidel brings together two worlds: what he learned at Musikhochschule München, Germany’s leading academy for classical music where he studied saxophon and composition and the moods happening in Germany's new electronic circles.
On „Relief“ Heidel created six songs. Except one, all of them are instrumental music. Partly composed and often improvised these sounds take the listener into Heidel's specific sonic universe. Raw beat structures, emotive horn lines, strong harmonical tensions and dramatic build ups. Heidel’s signature sound.
In fact Heidel is a multiple influenced artist with a strong personality that absorbs whats around him, connects it with his own wide artistic knowledge and fullfills it into magical musical moments.
Relief is the next step in what could become a longtime artistic career.
After a (very composed) debut album for string quartet and rhythm section for Kryptox (Moments of Resonance 2019), it was important for Heidel, to process current feelings of daily life.
Not just his cultural learnings, but also emotions connected to the hard COVID times and a lot of personal experiences.
Relief are six abstract, distorted patterns. Long deep transitions that lead into euphoric parts of sonic greatness. Heidel's sense for sound design and the soft tone of his saxophone phrases, add a personal note that is somehow alone in the current music scenario. Sampling his saxophone (reeds, keys etc.) to create very organic beats is one of the many techniques to create that special „Heidel“ sound. Also his calm and wide harmonies over disquiet, rough drums are part of his unique ambivalent, disrupted moods.
Most of this EP has been played by Heidel alone. For a few parts he was joined by musicians from the local scene. In fact besides his albums on Kryptox Ralph Heidel is very connected in Berlin’s current cultural playground: He creates music for underground performance art happenings in Neukölln as well as for new German theater (Volksbühne, Berliner Ensemble). Also German rapper Tarek from K.I.Z heard about Heidels string debut album, so they collaborated for an album, where Heidel reworked his record for stringquartet, piano, drums and bass.
More
1
Karaba - A1. Der Inder (5:13)
2
Karaba - A2. Der Kaelte (5:46)
3
Karaba - A3. Levent (4:40)
4
Karaba - B1. Spacefunk (4:24)
5
Karaba - B2. Gentrification (5:50)
6
Karaba - B3. Fiji Fiji (9:59)
Tracklist
A1. Der Inder (5:13)
A2. Der Kaelte (5:46)
A3. Levent (4:40)
B1. Spacefunk (4:24)
B2. Gentrification (5:50)
B3. Fiji Fiji (9:59)
Key Selling Points
Karaba is the new signing on Kryptox. The Berlin label founded to show what's happening in the German Jazz crossover scene. One of these bands is Karaba from Munich. The band was already featured on the Kryptox Kraut Jazz Futurism Compilation in 2019. Now they deliver their first mini album for Kryptox. Five young guys from Munich. Skilled and tight on their instruments and deeply rooted in the heritage of all kind of wild forms of jazz, krautrock and psychedelic music. The kids began to jam together when starting to study music in 2012. Being from Munich, a town where legendary Krautrock bands like Amon Düül, Guru Guru and Embryo came from, the Karaba guys are obviously influenced by these german kraut and psychedelic sounds. You can hear that in many shades of this album: the complexity of the unusual rhythmical fundaments and percussive patterns. The Prog-Rock parts, with these partly abstract unisono lines and strange melodic figures or unexpected chord changes. Karaba’s album starts with an slightly arabic feel. The repetitive groove of „Der Inder“ gets the listener immediately into a different south-eastern space. Later the music gets more animated, more structured and more uplifting. A whole universe of little influences. Shades of certain Jazz and prog-rock bands: you might think about the canterbury scene of the 1960ies and 70ies. There are textures reminding of Soft Machine, Frank Zappa, Mats and Morgan, Kraan and maybe some Passport influences. (Another band from Munich that left a huge footmark in the worldwide jazz fusion history). The whole Karaba sound has a certain 1970es feel. But not in a pure retro way. The EP sounds more like a modern psychedelic 2020 Lofi Indie Jazz thing - a sound that fits well in these wild times and finds it’s place in the actual scenario of new jazz bands worldwide.
More
A1. Der Inder (5:13)
A2. Der Kaelte (5:46)
A3. Levent (4:40)
B1. Spacefunk (4:24)
B2. Gentrification (5:50)
B3. Fiji Fiji (9:59)
Key Selling Points
Karaba is the new signing on Kryptox. The Berlin label founded to show what's happening in the German Jazz crossover scene. One of these bands is Karaba from Munich. The band was already featured on the Kryptox Kraut Jazz Futurism Compilation in 2019. Now they deliver their first mini album for Kryptox. Five young guys from Munich. Skilled and tight on their instruments and deeply rooted in the heritage of all kind of wild forms of jazz, krautrock and psychedelic music. The kids began to jam together when starting to study music in 2012. Being from Munich, a town where legendary Krautrock bands like Amon Düül, Guru Guru and Embryo came from, the Karaba guys are obviously influenced by these german kraut and psychedelic sounds. You can hear that in many shades of this album: the complexity of the unusual rhythmical fundaments and percussive patterns. The Prog-Rock parts, with these partly abstract unisono lines and strange melodic figures or unexpected chord changes. Karaba’s album starts with an slightly arabic feel. The repetitive groove of „Der Inder“ gets the listener immediately into a different south-eastern space. Later the music gets more animated, more structured and more uplifting. A whole universe of little influences. Shades of certain Jazz and prog-rock bands: you might think about the canterbury scene of the 1960ies and 70ies. There are textures reminding of Soft Machine, Frank Zappa, Mats and Morgan, Kraan and maybe some Passport influences. (Another band from Munich that left a huge footmark in the worldwide jazz fusion history). The whole Karaba sound has a certain 1970es feel. But not in a pure retro way. The EP sounds more like a modern psychedelic 2020 Lofi Indie Jazz thing - a sound that fits well in these wild times and finds it’s place in the actual scenario of new jazz bands worldwide.
More
1
Niklas Wandt - A1. Erdtöne
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Niklas Wandt - A2. Luftkraft (Airforce Wandt)
3
Niklas Wandt - B1. Rheinfein
4
Niklas Wandt - B2. Regenboden Tanz
Tracklist
A1. Erdtöne
A2. Luftkraft (Airforce Wandt)
B1. Rheinfein
B2. Regenboden Tanz
Key Selling Points
After he hit their sweet spot with a little 3/4 psychedelia on the ‘Kraut Jazz Futurism’ compilation, new Berlin based imprint Kryptox founded by the Gomma & Toy Tonics crew (yes, that new label dedicated to new jazz electronica phenomenas from the uprising German scene) do the sensible thing and tie down nomadic percussionist Niklas Wandt for his first ever solo EP. Anyone with a dancing shoe dipped in the underground will recognize the dungareed Berliner from collaborative outings with Bufi-body popper Wolf Muller, synth shaman Sascha Funke or his NDW dream team Neuzeitliche Bodenbeläge (whose funky bassman Timo Hein helps out here), and now he’s rolling (mostly) solo with four tracks of far out head music. Largely built around improvised drum jams recorded in Wandt’s rehearsal space in Berlin, the sounds on the EP mutated and matured before assuming their final form under the mix.
More
A1. Erdtöne
A2. Luftkraft (Airforce Wandt)
B1. Rheinfein
B2. Regenboden Tanz
Key Selling Points
After he hit their sweet spot with a little 3/4 psychedelia on the ‘Kraut Jazz Futurism’ compilation, new Berlin based imprint Kryptox founded by the Gomma & Toy Tonics crew (yes, that new label dedicated to new jazz electronica phenomenas from the uprising German scene) do the sensible thing and tie down nomadic percussionist Niklas Wandt for his first ever solo EP. Anyone with a dancing shoe dipped in the underground will recognize the dungareed Berliner from collaborative outings with Bufi-body popper Wolf Muller, synth shaman Sascha Funke or his NDW dream team Neuzeitliche Bodenbeläge (whose funky bassman Timo Hein helps out here), and now he’s rolling (mostly) solo with four tracks of far out head music. Largely built around improvised drum jams recorded in Wandt’s rehearsal space in Berlin, the sounds on the EP mutated and matured before assuming their final form under the mix.
More
German guitarist, bandleader and producer JJ Whitefield has been spearheading several musical sub-genres over the last two decades. His bands Poets of Rhythm, Whitefield Brothers and Karl Hector & The Malcouns are almost legendary to fans worldwide. He has been releasing influencial albums on Ninja Tune, Mo'Wax, Daptone, Strut, Stones Throw and Now-Again and is probably one of the most respected German undergound musicians. Now he is reaching new levels of nastiness with his Kraut-Jazz debut for Kryptox music. The new german label that has been created to show what´s happening in the growing german Neo-Jazz underground. A label collaboration between Gomma and K7 Records "Brother all alone" is Whitefield´s first album under his own name. Recorded in Berlin, Munich and Nairobi with some of the most interesting heads of the German Neo-Jazz-Kraut scene and mixed by Malcolm Catto of The Heliocentrics. Whitefield is an innovator in the experimental kraut, deep funk, neo jazz scene. An obsessed record collector since his teenage years, Whitefield´s productions aim for a timeless quality and are often regarded on par with the classics they´re influenced by.
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1
Stimming x Lambert - Intro
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Stimming x Lambert - Morsches Holz
3
Stimming x Lambert - Edelweiss
4
Stimming x Lambert - Trauerweide
5
Stimming x Lambert - Der Blaue Fels
6
Stimming x Lambert - Grande
7
Stimming x Lambert - Outro
- new label made by Mathias "Munk" Modica. The producer behind indiedance labels Gomma and Toy Tonics. (Modica produced records with people like James Murphy, WhoMadeWho, Peaches, Daniel Avery, The Rammellzee
Tracklist LP:
A1. Intro -1:47
A2. Morsches Holz - 3:46
A3. Edelweiss - 2:49
B1. Trauerweide - 3:58
B2. Der Blaue Fels -2:47
B3. Grande -2:33
B4. Outro -1:52
Short Info:
Edgy but cosy
Stimming x Lambert have done an album together: EXODUS!
This duo debut will be released on the new Berlin based Kryptox label on 9th march 2018.
Kryptox is the new label for Neo -Jazz/Kraut/Classical music my by Gomma and Toy Tonics founder Mathias Munk Modica.
Stimming is one of the main names in German advanced Techno. He first appeared to the public with cooperations with David August and Solomun on Diynamic records. Later he did orchestral Techno works and is by now one of the leading names in his genre..
Lambert is one of the rising starts of german neo-classical music. The "pianoman with the mask".
After 3 albums (some recorded with little help by Niels Frahm) he is selling out venues all over Europe.
Together Stimming x Lambert created a new approach on postmodern, romantic, krauty Electronica mixed with classical piano elements.
More
Tracklist LP:
A1. Intro -1:47
A2. Morsches Holz - 3:46
A3. Edelweiss - 2:49
B1. Trauerweide - 3:58
B2. Der Blaue Fels -2:47
B3. Grande -2:33
B4. Outro -1:52
Short Info:
Edgy but cosy
Stimming x Lambert have done an album together: EXODUS!
This duo debut will be released on the new Berlin based Kryptox label on 9th march 2018.
Kryptox is the new label for Neo -Jazz/Kraut/Classical music my by Gomma and Toy Tonics founder Mathias Munk Modica.
Stimming is one of the main names in German advanced Techno. He first appeared to the public with cooperations with David August and Solomun on Diynamic records. Later he did orchestral Techno works and is by now one of the leading names in his genre..
Lambert is one of the rising starts of german neo-classical music. The "pianoman with the mask".
After 3 albums (some recorded with little help by Niels Frahm) he is selling out venues all over Europe.
Together Stimming x Lambert created a new approach on postmodern, romantic, krauty Electronica mixed with classical piano elements.
More
1
JRBB - Trust In Me
2
JRBB - The Euclidean Trip through Paintings by Escher
3
JRBB - The Euclidean Trip through Paintings by Escher (Brandt Brauer Frick Interpretati
4
JRBB - Punkt und Linie zur Flaeche
5
JRBB - Moebius Strip
- new label made by Mathias "Munk" Modica. The producer behind indiedance labels Gomma and Toy Tonics. (Modica produced records with people like James Murphy, WhoMadeWho, Peaches, Daniel Avery, The Rammellzee
- JRBB is a German 15 person big band that combines Jazz with Electronica. Additional beat production by COEO (Toy Tonics). On this EP is a rework from JRBB friends BRANDT BRAUER FRICK included.
Tracklist 12":
A1) Trust In Me 7:45
A2) The Euclidean Trip through Paintings by Escher 4:14
A3) The Euclidean Trip through Paintings by Escher (Brandt Brauer Frick Interpretation) 7:01
B1) Punkt und Linie zur Flaeche 9:59
B2) Moebius Strip 8:10
JRBB: Moebius Strip EP
(Additional beat production by COEO. Remix by Brandt Brauer Frick)
Label: Kryptox
"...surprising, individualistic, cutting-edge and irrepressibly fun" (The New York Music Daily)
JRBB is a German 15 person big band that combines Jazz with Electronica. Additional beat production by COEO (Toy Tonics). On this EP is a rework from JRBB friends BRANDT BRAUER FRICK included.
This EP is the first release on KRYPTOX: a new Berlin based label for Neo-Krautrock/JazzElectronica/Experimental music.
The new label is made by Mathias "Munk" Modica. The producer behind indiedance labels Gomma and Toy Tonics. (Modica produced records with people like James Murphy, WhoMadeWho, Peaches, Daniel Avery, The Rammellzee a.o.)
With the new label he goes a step further. Searching for new artists who experiment on a high musical level and go beyond boundaries. Far away form the traditional dance universe.
The first release on Kryptox comes from JRBB. A 15 piece Jazz group that has a very own, new way to combine Jazz with electronic elements. A New York newspaper called it ODM: Organic Dance Music. A term that fits well.
Even if it's hard to pin down JRBB's music - as it is so unique. There is no other band like this. But there is growing new scene of musicians that combine Jazz with electronic styles: Artists like The comet is coming, Kemasi Washington, Moses Boyd, Yussef Kamaal, ...
All of the JRBB's members are in their end 20ies and studied Jazz at international high profile jazz universities. Leonhard Kuhn is the composer and arranger of most of JRBBs music and trombonist Roman Sladek is the band leader and producer.
The four compositions on Moebius Strip are all based on a straight 4/4 beat pattern (that has been sound designed by Munich's upcoming house producers COEO). Over that rhythmic base JRBB expand their ostinato-horn/bass patterns that often start with simple one tone unisono lines, but slowly grow into huge, emotive, complex structured arrangements. Imitating the structures of dance tracks with breakdowns and DJ tool dynamics, but going much further. In JRBB's compositions you can hear influences from certain late 1960 Hardbob music, as well as 1970ies Jazzfunk and Modern Jazz and certain artists that came out of New York's Knitting Factory scene from the 1990ies.
In Germany there is already a buzz for JRBB's energetic live shows. Last year they played more then 90 shows. Creating huge euphoria wherever they come on stage. The buzz reached the artistic directors of Lincoln Center in New York: the holy place of Jazz in the USA. The director Meera Dugal invited JRBB. And so in August 2016 the band played there and was euphorically received by press and audience.
Lincoln Center impresario Meera Dugal talked to The New York Music Daily about the band:
"Who here has heard German techno big band jazz before? This was a first for me! And I have to say: This large scale German ensemble is surprising, considering how individualistic, cutting-edge and irrepressibly fun they are - their instrumentation follows the standard big band jazz model. Stylistically, they're all over the map. This seventeen-piece outfit validated their reputation as one of the world's most distinctive and adrenalizing dance outfits."
More
- JRBB is a German 15 person big band that combines Jazz with Electronica. Additional beat production by COEO (Toy Tonics). On this EP is a rework from JRBB friends BRANDT BRAUER FRICK included.
Tracklist 12":
A1) Trust In Me 7:45
A2) The Euclidean Trip through Paintings by Escher 4:14
A3) The Euclidean Trip through Paintings by Escher (Brandt Brauer Frick Interpretation) 7:01
B1) Punkt und Linie zur Flaeche 9:59
B2) Moebius Strip 8:10
JRBB: Moebius Strip EP
(Additional beat production by COEO. Remix by Brandt Brauer Frick)
Label: Kryptox
"...surprising, individualistic, cutting-edge and irrepressibly fun" (The New York Music Daily)
JRBB is a German 15 person big band that combines Jazz with Electronica. Additional beat production by COEO (Toy Tonics). On this EP is a rework from JRBB friends BRANDT BRAUER FRICK included.
This EP is the first release on KRYPTOX: a new Berlin based label for Neo-Krautrock/JazzElectronica/Experimental music.
The new label is made by Mathias "Munk" Modica. The producer behind indiedance labels Gomma and Toy Tonics. (Modica produced records with people like James Murphy, WhoMadeWho, Peaches, Daniel Avery, The Rammellzee a.o.)
With the new label he goes a step further. Searching for new artists who experiment on a high musical level and go beyond boundaries. Far away form the traditional dance universe.
The first release on Kryptox comes from JRBB. A 15 piece Jazz group that has a very own, new way to combine Jazz with electronic elements. A New York newspaper called it ODM: Organic Dance Music. A term that fits well.
Even if it's hard to pin down JRBB's music - as it is so unique. There is no other band like this. But there is growing new scene of musicians that combine Jazz with electronic styles: Artists like The comet is coming, Kemasi Washington, Moses Boyd, Yussef Kamaal, ...
All of the JRBB's members are in their end 20ies and studied Jazz at international high profile jazz universities. Leonhard Kuhn is the composer and arranger of most of JRBBs music and trombonist Roman Sladek is the band leader and producer.
The four compositions on Moebius Strip are all based on a straight 4/4 beat pattern (that has been sound designed by Munich's upcoming house producers COEO). Over that rhythmic base JRBB expand their ostinato-horn/bass patterns that often start with simple one tone unisono lines, but slowly grow into huge, emotive, complex structured arrangements. Imitating the structures of dance tracks with breakdowns and DJ tool dynamics, but going much further. In JRBB's compositions you can hear influences from certain late 1960 Hardbob music, as well as 1970ies Jazzfunk and Modern Jazz and certain artists that came out of New York's Knitting Factory scene from the 1990ies.
In Germany there is already a buzz for JRBB's energetic live shows. Last year they played more then 90 shows. Creating huge euphoria wherever they come on stage. The buzz reached the artistic directors of Lincoln Center in New York: the holy place of Jazz in the USA. The director Meera Dugal invited JRBB. And so in August 2016 the band played there and was euphorically received by press and audience.
Lincoln Center impresario Meera Dugal talked to The New York Music Daily about the band:
"Who here has heard German techno big band jazz before? This was a first for me! And I have to say: This large scale German ensemble is surprising, considering how individualistic, cutting-edge and irrepressibly fun they are - their instrumentation follows the standard big band jazz model. Stylistically, they're all over the map. This seventeen-piece outfit validated their reputation as one of the world's most distinctive and adrenalizing dance outfits."
More
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COTENIUS X - A1. Cotenius X - Intro
2
COTENIUS X - A2. Cotenius X - Oceans in Flames
3
COTENIUS X - A3. Cotenius X - Burunduk
4
COTENIUS X - B1. Cotenius X - Plastic Bag (feat. Sergey Letov)
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COTENIUS X - B2. Cotenius X - Fukushima Tuna (feat. Sergey Letov)
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COTENIUS X - B3. Cotenius X - Melting Po
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COTENIUS X - B4. Cotenius X - Udarnitsy
GENRE/S: Experimental Folk
TRACKLISTS:
A1. Cotenius X - Intro
A2. Cotenius X - Oceans in Flames
A3. Cotenius X - Burunduk
B1. Cotenius X - Plastic Bag (feat. Sergey Letov)
B2. Cotenius X - Fukushima Tuna (feat. Sergey Letov)
B3. Cotenius X - Melting Pot
B4. Cotenius X - Udarnitsy
SHORT INFO:
Cotenius X is an exploratory improvisational project of the Ukrainian sound artist Daria Redkina and the
Russian experimental vocalist Varya Pavlova aka Lisokot. Improvising together since 2017 they
incorporate folk, electronic and musique concrète elements into their spontaneous compositions. “Plastic
Bag” is a testament to collaboration - an archival reflection of the time the duo spent experimenting
together. Their theatrical performances involve impersonation or adoption of different characters and are
informed by social, political, historical, and site-specific narratives. The duo has been compared to The
Residents and see themselves carrying the psychedelic absurdity of the US group forward by giving it a
feminine twist.
More
TRACKLISTS:
A1. Cotenius X - Intro
A2. Cotenius X - Oceans in Flames
A3. Cotenius X - Burunduk
B1. Cotenius X - Plastic Bag (feat. Sergey Letov)
B2. Cotenius X - Fukushima Tuna (feat. Sergey Letov)
B3. Cotenius X - Melting Pot
B4. Cotenius X - Udarnitsy
SHORT INFO:
Cotenius X is an exploratory improvisational project of the Ukrainian sound artist Daria Redkina and the
Russian experimental vocalist Varya Pavlova aka Lisokot. Improvising together since 2017 they
incorporate folk, electronic and musique concrète elements into their spontaneous compositions. “Plastic
Bag” is a testament to collaboration - an archival reflection of the time the duo spent experimenting
together. Their theatrical performances involve impersonation or adoption of different characters and are
informed by social, political, historical, and site-specific narratives. The duo has been compared to The
Residents and see themselves carrying the psychedelic absurdity of the US group forward by giving it a
feminine twist.
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1
Fazer - A1 Woody
2
Fazer - A2 Asante
3
Fazer - A3 Akom
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Fazer - A4 Elephant Rave
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Fazer - A5 Babel
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Fazer - B1 Mara
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Fazer - B2 Glow, Glow
8
Fazer - B3 White Sedan
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Fazer - B4 Fon
2020 Repress, Orig. Art, 180g,DL. - Replaces FAZ001 wich will be discontinued!
MARA is the debutalbum of Munich-based jazz group FAZER.
Short Info:
MARA is the debutalbum of Munich-based jazz group FAZER. The young musicians combine African and Latin rhythms with dubby basslines and melancholic melodies. The unusual lineup with two drummers (Simon Popp, Sebastian Wolfgruber), bass (Martin Brugger), guitar (Paul Brändle) and trumpet (Matthias Lindermayr) leaves an open space for unfettered improvisation. Through the concept of repetition and finely measured dynamics, Fazer create a drawing energy that can be felt directly at their live shows and has been captured perfecty on this record.
Tracklist LP:
A1 Woody 07:00 min
A2 Asante 07:24 min
A3 Akom 04:12 min
A4 Elephant Rave 02:52 min
A5 Babel 04:36 min
B1 Mara 05:08 min
B2 Glow, Glow 03:51 min
B3 White Sedan 07:00 min
B4 Fon 06:24 min
More
MARA is the debutalbum of Munich-based jazz group FAZER.
Short Info:
MARA is the debutalbum of Munich-based jazz group FAZER. The young musicians combine African and Latin rhythms with dubby basslines and melancholic melodies. The unusual lineup with two drummers (Simon Popp, Sebastian Wolfgruber), bass (Martin Brugger), guitar (Paul Brändle) and trumpet (Matthias Lindermayr) leaves an open space for unfettered improvisation. Through the concept of repetition and finely measured dynamics, Fazer create a drawing energy that can be felt directly at their live shows and has been captured perfecty on this record.
Tracklist LP:
A1 Woody 07:00 min
A2 Asante 07:24 min
A3 Akom 04:12 min
A4 Elephant Rave 02:52 min
A5 Babel 04:36 min
B1 Mara 05:08 min
B2 Glow, Glow 03:51 min
B3 White Sedan 07:00 min
B4 Fon 06:24 min
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Anagrams - Birds On Clifton
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Anagrams - Blue Voices
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Anagrams - Hymn No.2
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Anagrams - Catch It
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Anagrams - Ex Uno Plures
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Anagrams - Hidden Hearts
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Anagrams - Another Cloud
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Anagrams - Song In Six
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Anagrams - Interesting Times
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Anagrams - Let Us Sing Sad Songs Together
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Anagrams - What Is Left Is Music
Balmat co-founders Philip Sherburne and Albert Salinas have been fans of Shy Layers’ lilting, Balearic pop for years, so when Shy Layers’ JD Walsh asked us to listen to a set of demos he was working up with fellow Atlanta multi-instrumentalist Jeff Crompton, we jumped at the chance. And once we heard their work in progress, the decision was almost immediate: We have to release this.
Together, Walsh and Crompton are Anagrams, and their debut album together, Blue Voices, might initially seem like a departure from Balmat’s habitually electronic terrain. It’s not ambient music, but it’s also not not ambient music, at least to listeners in the right frame of mind. The two musicians, who met when Walsh moved from Brooklyn to Atlanta in 2016 and began collaborating a few years later, see the music in similarly ambiguous terms. “I like it because it’s not jazz,” jokes Crompton, a veteran and credentialed jazz player. “And JD likes it because it’s jazz.”
Crompton is a musician (and former high-school band teacher) with deep roots in Georgia’s improvised and experimental music scenes; his credits include shows with Eugene Chadbourne, a guest appearance with Godspeed You! Black Emperor, and a collaboration with Duet for Theremin and Lap Steel’s 12-hour drone performance at Knoxville’s Big Ears. On Blue Voices he plays alto and tenor saxophone, clarinet, electric piano, and organ. Walsh has been releasing music as Shy Layers since 2015, when he started self-releasing on Bandcamp; the following year, Germany’s Growing Bin packaged his first two EPs as a self-titled album, and in 2018, Tim Sweeney’s Beats in Space label put out Shy Layers’ sophomore album, Midnight Marker. Where those records channeled Walsh’s playful harmonic instincts into wistful songwriting with tropical overtones, on Blue Voices he lets his experimental tendencies take the lead. Playing acoustic and electric guitars, electric lap steel, bass, Moog Matriarch, modular synth, and programmed drums, he concentrates his energies on richly textural layers and abstract assemblages of tone color.
Across the album’s 11 tracks, there are faint echoes of familiar touchstones: the atmospheric twang of Daniel Lanois’ pedal steel on Apollo: Atmospheres and Soundtracks; the mercurial modal runs of Ethio- jazz; the late-summer calm of Fuubutsushi; the versatility of players and composers like Patrick Shiroishi and Sam Gendel, who are asking similar questions about where jazz ends and some other, nameless territory begins. Mostly, though, what Blue Voices captures is the quixotic sound of two restless musical imaginations making it up as they go along, two voices discovering a shared language in a hitherto unexplored shade of blue. More
Together, Walsh and Crompton are Anagrams, and their debut album together, Blue Voices, might initially seem like a departure from Balmat’s habitually electronic terrain. It’s not ambient music, but it’s also not not ambient music, at least to listeners in the right frame of mind. The two musicians, who met when Walsh moved from Brooklyn to Atlanta in 2016 and began collaborating a few years later, see the music in similarly ambiguous terms. “I like it because it’s not jazz,” jokes Crompton, a veteran and credentialed jazz player. “And JD likes it because it’s jazz.”
Crompton is a musician (and former high-school band teacher) with deep roots in Georgia’s improvised and experimental music scenes; his credits include shows with Eugene Chadbourne, a guest appearance with Godspeed You! Black Emperor, and a collaboration with Duet for Theremin and Lap Steel’s 12-hour drone performance at Knoxville’s Big Ears. On Blue Voices he plays alto and tenor saxophone, clarinet, electric piano, and organ. Walsh has been releasing music as Shy Layers since 2015, when he started self-releasing on Bandcamp; the following year, Germany’s Growing Bin packaged his first two EPs as a self-titled album, and in 2018, Tim Sweeney’s Beats in Space label put out Shy Layers’ sophomore album, Midnight Marker. Where those records channeled Walsh’s playful harmonic instincts into wistful songwriting with tropical overtones, on Blue Voices he lets his experimental tendencies take the lead. Playing acoustic and electric guitars, electric lap steel, bass, Moog Matriarch, modular synth, and programmed drums, he concentrates his energies on richly textural layers and abstract assemblages of tone color.
Across the album’s 11 tracks, there are faint echoes of familiar touchstones: the atmospheric twang of Daniel Lanois’ pedal steel on Apollo: Atmospheres and Soundtracks; the mercurial modal runs of Ethio- jazz; the late-summer calm of Fuubutsushi; the versatility of players and composers like Patrick Shiroishi and Sam Gendel, who are asking similar questions about where jazz ends and some other, nameless territory begins. Mostly, though, what Blue Voices captures is the quixotic sound of two restless musical imaginations making it up as they go along, two voices discovering a shared language in a hitherto unexplored shade of blue. More
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Cybe - Can You Hear The Rooster Crow
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Cybe - Om Swastiastu
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Cybe - Bali Pulau Bagus
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Cybe - The Moon Is Shining Above The Ricefields
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Cybe - Zen-Zai
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Cybe - The Running Water
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Cybe - Muzka Paintings Positive Movement Part 2 No. 3
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Cybe - India
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Cybe - China Town
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Cybe - Loi Krathong
Repress!
A techno-nature synthesis for an East-West confrontation / a musical travelogue from a Dutch musician searching for inspiration in the East in the early 80s. More
A techno-nature synthesis for an East-West confrontation / a musical travelogue from a Dutch musician searching for inspiration in the East in the early 80s. More
1
Hako Yamasaki - Bokyo
2
Hako Yamasaki - Sasurai
3
Hako Yamasaki - Kazaguruma
4
Hako Yamasaki - Hashi Mukou No Ie
5
Hako Yamasaki - Sayonara No Kane
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Hako Yamasaki - Taketombo
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Hako Yamasaki - Kage Ga Mienai
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Hako Yamasaki - Kibun O Kaete
9
Hako Yamasaki - Tobimasu
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Hako Yamasaki - Komori Uta
Genre: Folk, Alternative, Psychedelic
Tracklisting LP
A1. Bokyo
A2. Sasurai
A3. Kazaguruma
A4. Hashi Mukou No Ie
A5. Sayonara No Kane
B1. Taketombo
B2. Kage Ga Mienai
B3. Kibun O Kaete
B4. Tobimasu
B5. Komori Uta
Release Info:
WRWTFWW Records is proud to present the first official worldwide reissue of the debut album from fabled Japanese folk singer-songwriter/actress/writer Hako Yamasaki, Tobimasu. The limited edition 180g vinyl LP comes in a heavy sleeve with the original artwork, and the digipack CD has one bonus track. Tobimasu is also available in digital formats.
Originally released in 1975 on legendary independent label Elec Records, Tobimasu is a masterpiece of melancholy carried by one of the most beautiful, moving, melodic, and haunting voices in the history of Japanese music. An extraordinary singer and guitar player, Hako Yamasaki wrote the album at only 18 years old, showing incredible emotional maturity and music making skills, and creating, out of nowhere, a downright classic of folk music, brilliantly arranged and sequenced.
Hako Yamasaki’s folk is bluesy, psychedelic, soft, and poetic, perfectly fitting the themes of nostalgia, love, and nature she covers with heartbreaking intensity. Her songs capture sorrow ravishingly, offering glimpses of empowering hope and uplifting wisdom. A unique voice, a unique approach, and nothing less than magnificent music.
Hako Yamasaki, a pioneer in both the creative boom and the rise of feminism in 1970s Japan, went on to release over thirty albums, building an impressive discography and a fascinating career filled with ups and downs. Her work, inimitable and timeless, deserves the utmost recognition and should be celebrated. Again and again and again.
Tobimasu is released in conjunction with Hako Yamasaki’s beautiful follow-up Tsunawatari, also available on WRWTFWW Records.
Points of interests
- For fans of folk, alternative, ballads, psychedelic, poetic music, the joy of love, the sorrow of love, nostalgia, nature, life, just life life life.
- Official reissue of Hako Yamasaki’s debut album in pristine 180g vinyl.
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1
Stimming x Lambert - Intro
2
Stimming x Lambert - Morsches Holz
3
Stimming x Lambert - Edelweiss
4
Stimming x Lambert - Trauerweide
5
Stimming x Lambert - Der Blaue Fels
6
Stimming x Lambert - Grande
7
Stimming x Lambert - Outro
- new label made by Mathias "Munk" Modica. The producer behind indiedance labels Gomma and Toy Tonics. (Modica produced records with people like James Murphy, WhoMadeWho, Peaches, Daniel Avery, The Rammellzee
Tracklist LP:
A1. Intro -1:47
A2. Morsches Holz - 3:46
A3. Edelweiss - 2:49
B1. Trauerweide - 3:58
B2. Der Blaue Fels -2:47
B3. Grande -2:33
B4. Outro -1:52
Short Info:
Edgy but cosy
Stimming x Lambert have done an album together: EXODUS!
This duo debut will be released on the new Berlin based Kryptox label on 9th march 2018.
Kryptox is the new label for Neo -Jazz/Kraut/Classical music my by Gomma and Toy Tonics founder Mathias Munk Modica.
Stimming is one of the main names in German advanced Techno. He first appeared to the public with cooperations with David August and Solomun on Diynamic records. Later he did orchestral Techno works and is by now one of the leading names in his genre..
Lambert is one of the rising starts of german neo-classical music. The "pianoman with the mask".
After 3 albums (some recorded with little help by Niels Frahm) he is selling out venues all over Europe.
Together Stimming x Lambert created a new approach on postmodern, romantic, krauty Electronica mixed with classical piano elements.
More
Tracklist LP:
A1. Intro -1:47
A2. Morsches Holz - 3:46
A3. Edelweiss - 2:49
B1. Trauerweide - 3:58
B2. Der Blaue Fels -2:47
B3. Grande -2:33
B4. Outro -1:52
Short Info:
Edgy but cosy
Stimming x Lambert have done an album together: EXODUS!
This duo debut will be released on the new Berlin based Kryptox label on 9th march 2018.
Kryptox is the new label for Neo -Jazz/Kraut/Classical music my by Gomma and Toy Tonics founder Mathias Munk Modica.
Stimming is one of the main names in German advanced Techno. He first appeared to the public with cooperations with David August and Solomun on Diynamic records. Later he did orchestral Techno works and is by now one of the leading names in his genre..
Lambert is one of the rising starts of german neo-classical music. The "pianoman with the mask".
After 3 albums (some recorded with little help by Niels Frahm) he is selling out venues all over Europe.
Together Stimming x Lambert created a new approach on postmodern, romantic, krauty Electronica mixed with classical piano elements.
More
1
Stevia / Susumu Yokota - Maverick
2
Stevia / Susumu Yokota - Fruits Of The Planet
3
Stevia / Susumu Yokota - Little Comets
4
Stevia / Susumu Yokota - Flying Sheep
5
Stevia / Susumu Yokota - Some Questions
6
Stevia / Susumu Yokota - Paint It
7
Stevia / Susumu Yokota - Penguin On Desert
8
Stevia / Susumu Yokota - Sensitive Plant
9
Stevia / Susumu Yokota - Sunny Side
10
Stevia / Susumu Yokota - Zebra Tone
11
Stevia / Susumu Yokota - The Way
2023 Repress!
In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan.
This year, Glossy Mistakes are proud to present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius.
When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san’s social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac and William S. Burroughs electrified the air.
By 1996, the moment, brilliant and blinding as it was, was over. “We all felt that the rave scene fizzled out,” DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. “At the time, we saw eye-to-eye, with an implicit understanding of each other,” he explains. “Even now, twenty-five years later, I am confident it was like that.” More
In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan.
This year, Glossy Mistakes are proud to present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius.
When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san’s social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac and William S. Burroughs electrified the air.
By 1996, the moment, brilliant and blinding as it was, was over. “We all felt that the rave scene fizzled out,” DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. “At the time, we saw eye-to-eye, with an implicit understanding of each other,” he explains. “Even now, twenty-five years later, I am confident it was like that.” More
1
Dam Swindle - That’s Right
2
Dam Swindle - Minor Fools
3
Dam Swindle - Soul’s Lament
Format : Vinyl 12” (180 gr., Limited Full Cover)
Track list:
A That’s Right
B1 Minor Fools
B2 Soul’s Lament
Release Info:
“Pumping, vibrant, and packed with energy”: Iconic duo Dam Swindle deliver once again with their ‘Minor fools’ EP.
Last year, Dam Swindle celebrated their 10 year anniversary with the ‘Keep on Swindling’ series. The hard-hitters ‘All I want’, ‘Good woman’, and ‘You’ showed various sides of that much loved Swindle sound as well as some steps into a more leftfield electronic area. Now, they’re back on Heist with a 3-track club EP full of that recognizable upbeat energy.
‘That’s Right’ has Dam Swindle in full live mode, not unlike their timeless classic “Call of the Wild feat. Jungle by Night”. Live keys, bass, percussion, and horns (the latter by the Jungle by Night’s trumpet guru Bo Floor) give you the feeling like you’re on stage with a full band, hearing them give their all to record this heartwarming piece of music. Over the course of its 7 minutes, the duo takes you on an electrifying feel-good trip through the Swindle sonic universe.
On The EP title track ‘Minor fools’, Dam Swindle go into classic US house mode. Shuffling hats, a bouncy bass and male vocal chops lay the foundation for some crunchy jazz chords (think Underground Resistance with a Swindle touch). The track builds tension with haunting organs, looped vocals and smart modulation in the keys. Add to that the bouncy synth section at the heart of the track and you’ve got a jam that slaps hard in the best way imaginable.
The EP ends with the dreamy & contemplative ‘Soul’s lament’; A slow burner that builds and builds on a relentless rhythm of bells and skipping hi-hats. Slowly, a massive string section takes control of the track, after which, an acid line takes over that gives the track its driving electronic touch. It’s a welcome deep note to an EP that shows you exactly why Dam Swindle are such well respected and versatile producers.
Grab this record while you can and dance, dance, dance!
Heist Recordings.
More
Track list:
A That’s Right
B1 Minor Fools
B2 Soul’s Lament
Release Info:
“Pumping, vibrant, and packed with energy”: Iconic duo Dam Swindle deliver once again with their ‘Minor fools’ EP.
Last year, Dam Swindle celebrated their 10 year anniversary with the ‘Keep on Swindling’ series. The hard-hitters ‘All I want’, ‘Good woman’, and ‘You’ showed various sides of that much loved Swindle sound as well as some steps into a more leftfield electronic area. Now, they’re back on Heist with a 3-track club EP full of that recognizable upbeat energy.
‘That’s Right’ has Dam Swindle in full live mode, not unlike their timeless classic “Call of the Wild feat. Jungle by Night”. Live keys, bass, percussion, and horns (the latter by the Jungle by Night’s trumpet guru Bo Floor) give you the feeling like you’re on stage with a full band, hearing them give their all to record this heartwarming piece of music. Over the course of its 7 minutes, the duo takes you on an electrifying feel-good trip through the Swindle sonic universe.
On The EP title track ‘Minor fools’, Dam Swindle go into classic US house mode. Shuffling hats, a bouncy bass and male vocal chops lay the foundation for some crunchy jazz chords (think Underground Resistance with a Swindle touch). The track builds tension with haunting organs, looped vocals and smart modulation in the keys. Add to that the bouncy synth section at the heart of the track and you’ve got a jam that slaps hard in the best way imaginable.
The EP ends with the dreamy & contemplative ‘Soul’s lament’; A slow burner that builds and builds on a relentless rhythm of bells and skipping hi-hats. Slowly, a massive string section takes control of the track, after which, an acid line takes over that gives the track its driving electronic touch. It’s a welcome deep note to an EP that shows you exactly why Dam Swindle are such well respected and versatile producers.
Grab this record while you can and dance, dance, dance!
Heist Recordings.
More