Flippen Disks follows up their much acclaimed label-debut with an intriguing second release by Yuto Takei.
Throughout the Bells From The East EP, Yuto Takei’s first vinyl release, displays a wide array of sounds with a particular interest in rhythmic experiments and the negotiation of sonic space.

The Tokyo-based producer and DJ takes the listener onto a trip through deep spheres, percussive workouts, jammy compositions and electronic psychedelia, leaving the listener at times startled as to whether humans are manipulating machines here,
or vice-versa.

Having worked as an electronic music composer for video games such as Gran Turismo, this uncanny valley is known territory for the artist. It is, however, further explored on this four tracker, staying true to Flippen Disks paradigm of releasing club-oriented music, non-functional enough to not only be danced but also listened to.

While the title track Bells From The East is an 8 minute jam, in which the krauty psych attitude pairs up perfectly with the goofy lead melody, Eclectic Matters is an intense percussive workout, refined with a pinch of Digi-Dub.
On the flip, Karma Fuchi feels like a paraglide through a landscape of tree tops, curious winds passing and entrancing synths and percussion stabs leading the way. Mostica closes the EP beautifully and spaciously, allowing for deep dives into its detailed soundscape and waving the listener peacefully goodbye.

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Was the lesson intended?
It hangs like mist in the air
And now the throne is upended
And the lesson is the son and the heir

Was the lesson intended?
It resonates in the sky
A shockwave in the heavens
Visible to the naked eye

Was the lesson intended?

Was the lesson intended?
It has soaked into the ground
It is felt in every movement
And is audible in every sound

Was the lesson intended?
It cannot be denied
It rings loud like thunder
Leaving our poets tongue-tied

Was the lesson intended?

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Exhausted from a 3 years in the making album called Lagarius released in 2023. Gary Martin had a plan to not work in the studio this summer until he realized his Facebook keyboard playing friend named Brian Mars was a.k.a. Javonntte the writer of an exceptional good song on The Mahogany compilation released that year. Gary created the beat for The Infinite Time and Brian sent the bass line and the keys. Then, picking the exotic scale called Persian was how the creation of Zurvan started. Gary Made the beat and Brian sent the bass line and the keys and Lot’s of Teknotika studio wizardry followed to complete this concept Ep.

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This is the genesis point for Yugambeh Country (Burleigh, Queensland) based imprint 100 FOLD. Forward facing yet with a respectful, almost romantic eye tuned into the deepest echelons of electronica and dance music so desperate for a revisit. Healthy doses of deep, esoteric atmosphere and high-tech abstraction are treated with care and precision equally.

We are softly welcomed with the peaceful entrance of Development (Imposter Syndrome B Side Mix), guided by native fauna field recordings and foley. Electronic dub energies are glued together with tropical island paradise level ambience, waves of effortlessly full pads and lush bass pulses evaporate into mist. A moment of reflection and centring before a second act of chunky and bombastic beats, dancing in harmony with the soothing nature of it’s humble beginnings. Prototrek brings us a fat slice of deep space pastoralism, high functioning trip-hop from the deepest reaches of the cosmos. The soundtrack to an interstellar journey towards unknown frontiers and endless paradigm-shifting possibilities. starting off the B side is Liquid Rats (Environment Mix). True downtempo and psybient of the highest order. Tranquil, dynamic and effortless.

Finishing up on the B side is the insanely warehouse ready Beach Goth (A.D.H.D Re-work). Straight up late 90’s/early 00’s electro and big beat with genius level intellect, a “Need For Speed: High Stakes” type beat. High octane drums, nitrous infused breaks and laser accurate bleeps all riding a bassline with infinite torque. Sounds for hitting the accelerator deep in the night and not looking back. Big “Tokyo Drift” energy on the tubular bells near the end, sending this piece high into the stratosphere. Full dichotomous flip on the records finisher; Smoking With Laraaji. Digital whip-birds announce your arrival at this atmospheric finale, warm synthetics and naturalistic percussion closes this pentalogy in the only way that feels right. With a sense of triumph and optimism. Something we could all use more of in our lives.

This record is a deeply human experience, meticulously crafted by the artist and lovingly mastered by Smallville records alumni Moomin. The energy of the natural, terrestrial moments are shared effortlessly with an otherworldly, cosmic vision of a utopic rave society.

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Repress!

Following from a.s.o. 's self-titled LP, we have a set of remixes taking their trip-hop torch songs in new and different directions.
Under his Lew E moniker, Lewie Day takes 'Go On' for a trip to trance-town. Brooding minor key menace as Alia Seror-O'Neil's melancholic vocal gets twisted into strange shapes, eventually becoming an instrument of its own. Mutating from the organic to the synthetic during an adrenaline-racing breakdown. Day sounds like he's having a great deal of fun playing with and defying the conventions of the genre.
Maara explores a similar space on her re-rub of 'My Baby's Got It Out For Me'. Once again, Seror-O'Neil's voice is flexed and warped, spinning around the stereo field, as emotive as she ever sounds but more abstracted. Gossamer light with a heavyweight trance chassis - an iron fist in a lace glove.
Rising star Cousin moves in an earthier and more dubwise fashion on his remix of 'Falling Under.' His trademark shuffling, layered percussion comes with gnarly electronics and blissed-out synths. All the while, that vocal refrain leads us through the bong smoke toward the light. A work of restraint and release, the perfect fit for a.s.o.
Purelink's redo of 'Rain Down' is closer stylistically to the original. Bubbling synth-bass grooves atop a breakbeat, the vocal chopped and diced tastefully. Balearic street soul vibes, a hypnotic and heady five minutes. Beautiful business.



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LP DELUXE EDITION

180g. VINYL + HARD CARDBOARD COVER + OBI

Killer French Boogie, Jazz-Funk album by the prolific arranger/composer Christian Gaubert, feat. Some of the key musicians of the French jazz scene of the 70s.

French Soul masterpiece with the Rare Groove classic “Sweet Maryline” and “Sweet and Fool Like a Child” beautifully reissued here and remastered from the original master tapes.
_____________________________________________________
released October 9, 2023

Piano [Fender Rhodes], Piano, Synthesizer – Christian Gaubert
Arranged By – Christian Gaubert
Baritone Saxophone – Jean-Louis Chautemps, Romain Mayoral
Bass Guitar – Jannick Top
Drums – Dino Latore
Drums, Percussion – Jean Schultheis
Electric Guitar – Claude Engel, Raymond Gimenes
Percussion – Marc Chantereau
Tenor Saxophone – Alain Hatot, Jean Pierre De Barba, Patrick Bourgoin
Trombone – Christian Guizien, Hamid Belhocine, Jacques Bolognesi
Trumpet – André Lidli, Freddy Houseplan, Kako Bessot, Tony Brenes
Vocals – Last Exit

Licensed by GM Musipro

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Repress!

Basic Spirit welcomes the first out-of-house artist to the label, our dear friend Fantastic Man. A household name at this point, FM hedges the Basic Spirit catalogue into a deeper, more euphoric territory, with four tracks that quite frankly melted our hearts and minds when we heard them. It's a big heads-down record, which gets a big thumbs up from us.

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For eighteen revolutions of the sun, they have engaged in the ephemeral symphony of real-time discourse, sans pretentious airs. Two to nine illustrious ladies of Berlin, weaving through the rich tapestry of styles and narratives, have, over time, summoned forth nearly two hundred ensembles. Genre: Concept-Pep. Each performance, each musical troupe, irrevocably entangled in the prose and nomenclature of all participants, venue, and set-up. Repetition, though a rarity, has, in some instances, been grudgingly sanctioned. Yet, lo and behold, there exists now: Festplatte. A compendium.

Upon the A-side, Spassbremse, possessed of an angelic voice, yearns for the elusive essence of liberty, whilst Die Abstände in somber, pulsating offbeat, smirkingly, critique the dominion of control. Pimmelbett, with lyrical poise, and epic reverie, expounds upon the "Infinite Nature of Dreams." Subsequently, as Die supersymmetrischen Teilchen indulge in elegiac ruminations on solitude, Leh Kokott jubilantly resurrects their 2015 summer opus, "un Bouton."

On the B-side, Fräuleinschein assumes a fourfold rhythm, contemplating, in the process, the ethereal sustenance of "Kartoffelpüree", provoking an unknown ensemble to mourn their local tavern in Finnish tradition. The vigor of self-pleasure is exalted in the blues, and Puncikák, in the manner of Balkan minstrels, melodiously intones a pressing yearning through the entirety of her available vocal range. Die Flöhe and the Drunken Sinkers, therein, finalize the anarchic symphony.

In the ethereal cadence of the vocals, the very essence of each musician reveals itself, accompanied by the harmonious assembly of a classical musical ensemble, punctuated by playful ornamentations, and the enchanting resonance of that alluring cello. Festplatte - an ode to the platter of revelry. In the heart of punk, a serpentine melody entwines itself within the confines of your auditory senses.

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