Pink & White Marbled Vinyl!

The tracks on ‘Dissonant’ were harvested from the same studio live sessions as the last release ‘Radiant’ (AUA004) and share the similar club-oriented brown-noise swagger and the sub-bass that slither low like a wet serpent.

These 2 releases complete the second album of A_A ‘Radiant-Dissonant’.

The ‘Dissonant’ vinyl is released intentionally “naked” (without the sleeve) as this serves as Disc 2 of the album.
Largely comprised of a rhythm box, a 101, and random phone recordings of what went on within and outside of the studio, the duo dives into live processing and manipulation of these limited sources through resampling and stomp box degradation, feedback loop in and out of a junk yard delay unit from a consumer electronics and tape machines.

The deep steadiness of the particular sessions disguises the excitement that permeated the studio when the two performers found themselves landing on the fine balance between the intensity of unscripted playing and the utilitarian aspect of club music. So if you listen carefully, you might hear the whimper of rapture as they twist and fold their vast range of musical influences into a deafening silent scream.

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NYC dance music legend Joey Longo has been a part of the dance music soundscape for those in the know from way back when, his first records surfacing in 1989 under a variety of monikers and on a slew of labels out of NYC. Some (Cabaret, Loop d'Loop, Foot Stompin') were his own, others (Underworld, Maxi, Minimal) not, but the they always came bearing the credit 'produced by Pal Joey'. Joey hit the heights early on, as one of his earliest records, Dance (as Earth People), went big in dance music terms. If you were raving in the early '90s chances are you will be getting flashbacks from 'Dance', as it was played across a number of scenes. A deeper 'beats' mix features on this gem of an album, his first in over 10 years, along with a perfectly selected blend of classic cuts, new versions and remixes and unreleased wonders. Mastered to perfection, but keeping his raw New York style.

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Twenty-three years on from its original release, the debut album of American artist Mike Parker stands proud as a blueprint for deep, hypnotic techno in the new millennium. Originally published as a CD-only edition on Parker’s own Geophone label, Field Records are now giving Dispatches the full vinyl release it so richly deserves - spread across six sides and reproducing Parker’s distinctive artwork at scale.

Charting the course of Parker’s career reads like the evolution of deep techno itself - moving from early collaborations with Donato Dozzy to appearances on seminal labels such as Prologue, Semantica and Spazio Disponibile. The essence of his approach was forged early on, honing techno’s propulsion into a raw essence without losing any of the weight. It’s an exercise in minimalism, but the sound is still monolithic and engulfing, crystal clear in its intention and devoted to the power of subtle pressure. When the decay on a reverb opens up a fraction, Parker’s music leaves enough space for you to notice. Incremental shifts become monumental in his hands and his commitment to subliminal layering reveals hidden depths the further you submit to his hypnotic sound.

This definitive edition of Dispatches looks at the vinyl singles which accompanied the album’s original release and creates a more complete picture of the area that Parker was exploring at the time. It’s the first time that the alternate take of icy depth charge ‘Copper Variations: CV1’ appears on wax, as goes for the pneumatic tension of ‘Reduction’ and evocative miniature sound sculpture ‘Blue Equals Black’. Expanding the album beyond its original CD form, epic rarity ‘Dissolution 99’ presides over the final side, while the standout Voiceprint release is now represented in full with the inclusion of heavyweight stepped techno workout ‘Voiceprint: Voice Two’.

Able to sustain his own creative vision without cowing to the trends or expectations of any scene or clique, Parker’s music has progressed on its own terms. What this reissue demonstrates is how fully formed his vision was - even at a relatively early stage. In an era where the deep techno scene is thriving, Dispatches feels all the more relevant, undiluted by time and still unmatched in its immersive perfection.

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Side 1
1. "Incubation" (3:14)
2. "Wilderness" (2:58)
3. "Twenty Four Hours" (4:38)
4. "The Eternal" (8:37)
5. "Heart & Soul" (5:03)
Side 2
1. "Shadowplay" (3:46)
2. "Transmission" (3:18)
3. "Disorder" (3:28)
4. "Warsaw" (2:42)
5. "Colony" (4:12)
6. "Interzone" (2:25)
7. "She's Lost Control" (4:55)

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VILLALOBOS-REMIXE
Alzheimer, die Platte, ist überall auf der Welt ein Fremder. Wo auch immer Sie sie hören, sie wird immer von woanders kommen. Das Produkt einer fremden Kultur, denn auch wenn es zwischen Januar 1997 und 9.9.99 in Caracas, Venezuela, entstanden ist und aufgenommen wurde.
Sie ist das Ergebnis des Vergessens von allem und des Zusammensetzens einer neuen Klangwelt aus den schwächsten, verschwommensten Erinnerungen an die Musikkultur. Ihr Zweck ist die Verwirrung, ihre Einzigartigkeit besteht darin, sie im Bereich der
der MUSIK; ein Zusammenprall von Instrumenten und Köpfen.
Alles, was Sie auf dieser Platte hören werden, wurde von Menschen und Insekten gespielt, von Lebewesen gesprochen und gesungen, etwa ein Jahrzehnt vor dem "Smartphone", der wahrscheinlich dümmsten, letzten Schöpfung der Menschheit. Das Alzheimer-Ensemble existiert immer noch und unterstützt diese Initiative, mit der das 24. Jahr des ersten von zwei veröffentlichten Alben auf Vinyl gefeiert wird. Der Geist unserer Gruppe wird sich niemals von roboterhafter "Intelligenz" einfangen lassen. Wir werden uns auf jede erdenkliche Art und Weise dagegen wehren, indem wir unvorhersehbare kulturelle Aktionen durchführen und die unendlichen kreativen Talente der Menschheit unter unserem Banner vereinen.
ALZHEIMER KULTURELL, CARACAS

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Tracklist

A1. Jeff Mills - Entering The Black Hole
A2. Jeff Mills - Time In The Abstract

B1. Jeff Mills feat. Jun Togawa - Contradiction (Silent Shadow Mix)
B2. Jeff Mills - Wandering

C1. Jeff Mills - When Time Stops
C2. Jeff Mills - Time Reflective

D1. Jeff Mills - Infinite Redshift
D2. Jeff Mills feat. Jun Togawa - Hole

(This double LP is cut in reverse, plays inside out) Jeff Mills Presents his new album 'The Trip', The World's First Cosmic Opera. What happens on the cosmic journey toward the black hole? What is on the other side of the black hole?Jeff Mills is set to explore these questions through a performance and an album release, that appeals to the auditory and visual senses.

An art performance focusing on being lost In space

``The Trip'' began about leaving Planet Earth and searching the cosmos for a new locations to live. Now, at 23 years later, we are entering a new chapter of the project where we encounter The Black Hole "Black Hole". A black hole is a celestial object whose gravity is so strong that no information leaks out, so it was impossible to observe it, and it was only a theoretical existence, but its location was identified for the first time in 2011. The latest research shows that it rotates on its own axis. Black holes are physically contradictory entities that are difficult to imagine, but what Jeff Mills is trying to deal with in ``The Trip'' also overlaps with singularity, which is the beginning or possible end of time and space. Displayed in 5 theoretical scenarios of what could happen after entering through the Black Hole and exiting on the other side.

Special guest: Jun Togawa

The provocative vocalist artist Jun Togawa was invited to participate by Jeff Mills as one of the highlights for this project. Among many talents such as acting and modeling, she is a trailblazing artist representing Japanese new wave, and her emotional songs have an unparalleled impact and continue to break down generational barriers. She is one of the greatest influences on Japanese avant-garde music and media, and her
career spans over 35 years.

Jeff Mills, fascinated by Jun's unique way of singingas well as a commanding stage presence, approached her through the right channels and by the evening of the same day, Jun Togawa agreed and the lyrics had been written. The recording sessions of the collaborated songs which were conducted remotely between their locations in Japan and the US, went smoothly.

Two songs are: "Contradiction" and "Hole." For both songs, Jun added the vocals to the rhythm originally composed by Jeff Mills, and the final synth pad added by Shinichi Yamaguchi was edited by Jeff Mills.
On "Contradiction" (Long Radio Mix), he wanted to include a guitar similar to the style of rock and roll legend Bo Diddley, which is masterfully played by Kazuhide Yamaji of the current Yapoos.


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Deep and hypnotic. That pretty much sums up the new Nacreous-EP by Shoal on the Dutch imprint NOWHERE. The title refers to a certain glow or color that mother-of-pearl radiates. Shoal is the alter ego of Utrecht-resident Kenny Dean Kneefel. When you have a name that sounds like a famous stuntman, you are probably prepared to take more risks. And indeed that's exactly what this producer from the lowlands does on Nacreous. Shoal's four track EP combines hallucinant grooves with delicate sound design. Like on Bygone Drums, where ominous distant sounds from a nearby factory creep between the shadows. The same can be said of the title track, a tribalistic tune with a delicate dark undertone. Never Endings is more uplifting, with its dubbed out basslines and crispy hi-hats. Dubtechno that reminds us of both Monolake and Fluxion. Closing track Morning Float is indeed that, a trip in a blue tank filled with warm water, where you are comforted by beautiful strings and sounds of nature.

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Thought is the essence of where you are now.

Composed in an era where people weren't concerned with music labels but just wanted to hear fresh new sounds and go out to clubs religiously, “Digital Imagination - The Essence of Thought” is a sci-fi inspired mixture of House, full- speed Trance and Trip Hop coming from a young Ted Heinz falling in love with electronic music in the thriving early 90s Boston rave scene. Originally release by Concept Records in 1993 and with original copies now hard to get ahold of, Sunny Crypt is happy to give this record a full reissue treatment with audio restored from the original DAT tape and a new graphic design.

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In the early 1980s, a particular alchemy between new musical technologies and significant social, cultural, and political transformations in Ghana gave rise to a new style of highlife. Drum machines and synthesisers appeared alongside lilting guitar lines and punchy horns, and the emerging Ghanaian diaspora began incorporating US disco and boogie, R&B, European new wave, and Caribbean zouk and soca into their music.

This style soundtracked the birth of a new, proud Ghanaian identity and captured the idiosyncrasies of a rapidly changing postcolonial society, marked by increased migration and wider access to global sounds and modern technology.

More than 20 years after the release of the heavy funk and Afrobeat-focused Ghana Soundz compilations, and following the success of 2009’s Ghana Special: Modern Highlife, Afro Sounds & Ghanaian Blues 1968-1981, Soundway is now shining the spotlight on the multifaceted, diasporic sounds of the ‘80s on new compilation Ghana Special - Volume 2, a collection of 18 burger highlife, electronic afrobeat, and reggae tracks.

Though Ghanaian to its very core, burger highlife emerged mostly outside of Ghana and just as the sun was setting on the country’s musical golden age. In the 1960s and 1970s cities such as Accra, Tema, Takoradi, and Cape Coast were home to thriving music scenes, and the loud horn sections of the big highlife bands, or the simpler, socially conscious palm wine music ruled the dance halls, locals drinkeries, and airwaves.

Back then music represented a powerful force, and an artist’s endorsement or dissent could make or break a politician. Perhaps to curb this power, the incoming military regime-imposed curfews and substantial import taxes on musical instruments in the early 1980s. These measures, coupled with a profound economic downturn and shifting musical preferences that saw DJs replacing large live bands, served as the final blow to Ghana's once-thriving music scene.

Musicians left Ghana in droves, scattering across West Africa, Europe, and North America. Thanks in part to its more permissive migration policies Germany became the heart of this scene, and the movement in fact takes its name from “Bürger”, the German for “citizen”. Less confined by genres than back in Ghana, artists in the diaspora were quick to engage with the different styles, working disco, boogie, and funk into their highlife melodies. Access to state-of-the-art studios and modern musical technologies also gave birth to all sorts of mutations: burger highlife in fact is less defined by one particular sound, than by the experimental approach and global outlook of its artists.

Tracks such as Ernest Honny’s experimental cut “New Dance” are an example of just how far artists strayed from original highlife arrangements. Honny, who started his career as a keyboard player with Dr K Gyasi’s band The Noble Kings, had moved to Benin in the 1980s, where he experimented with synthesisers and drum machines at one of Cotonou’s top studios. Similarly, Nan Mayen’s “Mumude” is a slick, 80’s pop track which was recorded in Germany, with only a slight echo of highlife in its opening Fanti lyrics.
This generation of artists found inspiration in sounds that transcended geographical boundaries: singer and guitarist Nana Budjei, who was originally from central Ghana but had moved to the UK in the 1980s, says that his radiant, sun-drenched 1988 track “Asobrachie” is “influenced by reggae maestros Bob Marley and Alpha Blondy, and traditional Akan folklore music”; on “Jigi Jigi”, the Kumasi-born, Sweden transplant Delips Apo draws on soca, latin, and zouk influences.

Throughout the 1980s Ghanaian artists kept producing increasingly innovative and experimental hybrids, winning over new audiences abroad. Though back in Ghana the new sound was initially met with disapproval by purists, it slowly became a symbol of a new, worldly and modern Ghanaian identity. The creativity and open mindedness that characterised burger highlife have gone on to shape the evolution of Ghanaian music since, giving artists the freedom to explore new global sounds while preserving a proudly Ghanaian soul. Ghana Special - Volume 2 stands as a vibrant tribute to the lasting legacy of this groundbreaking musical era.

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