Cat-No:MMDS25002LP
Release-Date:25.04.2025
Configuration:LP Excl
Cat-No:MMDS25002LP
Release-Date:25.04.2025
Configuration:LP Excl
1
Ayane Shino - the backstroke
2
Ayane Shino - first period
3
Ayane Shino - long time
4
Ayane Shino - joy
5
Ayane Shino - umi1
6
Ayane Shino - red curb
7
Ayane Shino - last night
8
Ayane Shino - sayounara
9
Ayane Shino - umi2
10
Ayane Shino - river
Territories: WORLDWIDE
Transparent Blue Curacao Vinyl, Gatefold Sleeve, Limited Edition of 500
Side A
1. the backstroke
2. first period
3. long time
4. joy
Side B
1. umi1
2. red curb
3. last night
4. sayounara
5. umi2
6. river
SHORT INFO:
Liner Notes by Martyn Pepperell
A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light. River: The Timbre of Guitar #2 Rei Harakami signals a new level of awareness and understanding of both Rei Harakami’s significance and Ayane Shino’s undeniable talent.
VITAL SALES POINTS:
In 1996 Tokyo-based label Sublime Records received a cassette demo from Rei Harakami, a 26-year-old Japanese experimental filmmaker, and musician. Within one year Harakami’s debut LP ‘Unrest’ was released. As the 21st century dawned, Harakami was becoming a critically acclaimed figure, and there was a feeling in Japan that Harakami would be an inevitable successor to such luminaries as Haruomi Hosono and Ryuichi Sakamoto. Sadly Harakami passed away at age 40 in 2011, leaving behind a musical legacy that seemed to deserve more recognition. A fitting tribute now comes from the incredibly gifted classical guitarist Ayane Shino. Continuing her album series ‘The Timbre of Guitar’ (the inaugural release of which was ‘Sakura’ - a cover album of Susumu Yokota's seminal album, released through the Swiss label, Mental Groove Records in 2021), she now presents ‘River ???? : The Timbre of Guitar #2 Rei Harakami’. Ayane has reworked some of Harakami’s standout tracks into an album of tranquil yet complex compositions helping to build a new level of awareness and understanding of Rei Harakami’s significance. A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light.
In the years that followed Harakami’s untimely passing, Sublime Records continued to sign and support new artists emerging from Japan’s rich and fertile electronic music scene. This eventually led to a meeting with gifted classical guitarist Ayane Shino in 2020. Although a new name within electronica, Shino’s classical resume is impeccable. She has performed with a range of prestigious orchestras in concert halls and at music festivals across Japan, Europe, and South America while playing classical guitar for numerous animations, movies and television commercials and holding various educational roles. These days, she also hosts the Tokyo Harmonics radio show, which is syndicated through Hyogo prefecture’s Ashiya Radio and TJS Radio in Los Angeles.
During her time completing a masters at Tokyo’s University of the Arts, Shino became fascinated by Brian Eno, Aphex Twin, Oneohtrix Point Never, Steve Reich, and, closer to home, Harakami and Susumu Yokota. ”I found myself in an environment where I was surrounded by fellow students who produced computer music, live electronics, and installations,” she explains. Following her meeting with Sublime, Hideoki Amano, the producer and owner of Musicmine, the parent company of the label, asked Shino if she would be open to transcribing and recording an album of covers of the late, great composer, producer and DJ Susumu Yokota’s music in incorporate into then-upcoming events commemorating the 5th anniversary of his death and reissues of his past works. “Yokota made music with the Roland TB-303 bass synthesizer and samplers, not in a way like a conventional instrumentalist, so I was aware it might be more of a challenge for her,” Amano explains. Fittingly, Shino was up for his suggestion, leading to ‘Sakura: The Timbre Of Guitars #1 Susumu Yokota’. Song by song, Sakura highlighted Shino’s free-flowing playing and prowess at translating electronic music into classical guitar shapes.
After considering Harakami’s background as an instrumentalist, Amano felt revisiting his catalogue should be the next step for Shino. Well-versed in how often classical versions of electronic music tend to fall flat, he asked her to examine Harakami’s songs closely, select the musical phrases suitable for guitar and create arrangements that would sound interesting to music listeners with a deep engagement with ambient, techno and electronica. In Harakami’s discography, Shino discovered “a sense of simplicity, warmth, moisture and a floating sensation.” “I was gripped by his songs, which had an array of sounds that gave me a sense of mystery but also coexisted with a sense of familiarity,” she explained. Moving beyond his official releases, Shino began digging through YouTube to find live recordings, radio appearances and obscure outtakes. Within her mind’s eye, imagining playing his songs on guitar was effortless. On her approach to the album, Ayane explains: “For this album, I succeeded in spinning some exquisite, silk thread like delicate tones, interwoven with human warmth, gentleness and simplicity. And I was also able to rework Rei Harakami's distinctive sound with a floating feel to it and transform it into a very classical guitar sound. I hope many people will be able to receive this group of sounds that I created in this album that I played with all my heart.” A record of limitless innate beauty, ‘River ???? : The Timbre of Guitar #2 Rei Harakami’ is a delicate and thoughtful body of work. A true masterclass in deconstruction and subsequent rebuilding, and an eternal lesson in how the art that we leave behind can outlive us all.
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
Transparent Blue Curacao Vinyl, Gatefold Sleeve, Limited Edition of 500
Side A
1. the backstroke
2. first period
3. long time
4. joy
Side B
1. umi1
2. red curb
3. last night
4. sayounara
5. umi2
6. river
SHORT INFO:
Liner Notes by Martyn Pepperell
A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light. River: The Timbre of Guitar #2 Rei Harakami signals a new level of awareness and understanding of both Rei Harakami’s significance and Ayane Shino’s undeniable talent.
VITAL SALES POINTS:
In 1996 Tokyo-based label Sublime Records received a cassette demo from Rei Harakami, a 26-year-old Japanese experimental filmmaker, and musician. Within one year Harakami’s debut LP ‘Unrest’ was released. As the 21st century dawned, Harakami was becoming a critically acclaimed figure, and there was a feeling in Japan that Harakami would be an inevitable successor to such luminaries as Haruomi Hosono and Ryuichi Sakamoto. Sadly Harakami passed away at age 40 in 2011, leaving behind a musical legacy that seemed to deserve more recognition. A fitting tribute now comes from the incredibly gifted classical guitarist Ayane Shino. Continuing her album series ‘The Timbre of Guitar’ (the inaugural release of which was ‘Sakura’ - a cover album of Susumu Yokota's seminal album, released through the Swiss label, Mental Groove Records in 2021), she now presents ‘River ???? : The Timbre of Guitar #2 Rei Harakami’. Ayane has reworked some of Harakami’s standout tracks into an album of tranquil yet complex compositions helping to build a new level of awareness and understanding of Rei Harakami’s significance. A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami’s hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light.
In the years that followed Harakami’s untimely passing, Sublime Records continued to sign and support new artists emerging from Japan’s rich and fertile electronic music scene. This eventually led to a meeting with gifted classical guitarist Ayane Shino in 2020. Although a new name within electronica, Shino’s classical resume is impeccable. She has performed with a range of prestigious orchestras in concert halls and at music festivals across Japan, Europe, and South America while playing classical guitar for numerous animations, movies and television commercials and holding various educational roles. These days, she also hosts the Tokyo Harmonics radio show, which is syndicated through Hyogo prefecture’s Ashiya Radio and TJS Radio in Los Angeles.
During her time completing a masters at Tokyo’s University of the Arts, Shino became fascinated by Brian Eno, Aphex Twin, Oneohtrix Point Never, Steve Reich, and, closer to home, Harakami and Susumu Yokota. ”I found myself in an environment where I was surrounded by fellow students who produced computer music, live electronics, and installations,” she explains. Following her meeting with Sublime, Hideoki Amano, the producer and owner of Musicmine, the parent company of the label, asked Shino if she would be open to transcribing and recording an album of covers of the late, great composer, producer and DJ Susumu Yokota’s music in incorporate into then-upcoming events commemorating the 5th anniversary of his death and reissues of his past works. “Yokota made music with the Roland TB-303 bass synthesizer and samplers, not in a way like a conventional instrumentalist, so I was aware it might be more of a challenge for her,” Amano explains. Fittingly, Shino was up for his suggestion, leading to ‘Sakura: The Timbre Of Guitars #1 Susumu Yokota’. Song by song, Sakura highlighted Shino’s free-flowing playing and prowess at translating electronic music into classical guitar shapes.
After considering Harakami’s background as an instrumentalist, Amano felt revisiting his catalogue should be the next step for Shino. Well-versed in how often classical versions of electronic music tend to fall flat, he asked her to examine Harakami’s songs closely, select the musical phrases suitable for guitar and create arrangements that would sound interesting to music listeners with a deep engagement with ambient, techno and electronica. In Harakami’s discography, Shino discovered “a sense of simplicity, warmth, moisture and a floating sensation.” “I was gripped by his songs, which had an array of sounds that gave me a sense of mystery but also coexisted with a sense of familiarity,” she explained. Moving beyond his official releases, Shino began digging through YouTube to find live recordings, radio appearances and obscure outtakes. Within her mind’s eye, imagining playing his songs on guitar was effortless. On her approach to the album, Ayane explains: “For this album, I succeeded in spinning some exquisite, silk thread like delicate tones, interwoven with human warmth, gentleness and simplicity. And I was also able to rework Rei Harakami's distinctive sound with a floating feel to it and transform it into a very classical guitar sound. I hope many people will be able to receive this group of sounds that I created in this album that I played with all my heart.” A record of limitless innate beauty, ‘River ???? : The Timbre of Guitar #2 Rei Harakami’ is a delicate and thoughtful body of work. A true masterclass in deconstruction and subsequent rebuilding, and an eternal lesson in how the art that we leave behind can outlive us all.
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
More records from Ayane Shino
1
AYANE SHINO - A1. SAKU
2
AYANE SHINO - A2. TOBIUME
3
AYANE SHINO - A3. HAGOROMO
4
AYANE SHINO - B1. GENSHI
5
AYANE SHINO - B2. KODOMOTACHI
6
AYANE SHINO - B3. SHINSEN
LP, half speed mastering
350GSM SLEEVE, INSIDE OUT CARDBOARD, LIMITED TO 500, HALF SPEED MASTERING
GENRE/S: CLASSICAL, AMBIENT
TRACKLISTS:
A1 SAKU
A2 TOBIUME
A3 HAGOROMO
B1 GENSHI
B2 KODOMOTACHI
B3 SHINSEN
SHORT INFO:
This is a love-filled tribute to the late japanese techno and ambient pioneer SUSUMU YOKOTA. In 2021, talented classical guitarist AYANE SHINO discovered his impressive works and recorded cover version of tracks from his acclaimed SAKURA album. Those new contemporary musical pieces will please his ever growing fanbase as well as listeners beyond the electronic music scene.
www.youtube.com/watch?v=2BQlmpNBW9o
VITAL SALES POINTS:
First in a serie (The Timbre Of Guitars) of classical cover versions by japanese guitarist Ayane Shino
For fans of ambient, new classical, electronica japan and Susumu Yokota
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
350GSM SLEEVE, INSIDE OUT CARDBOARD, LIMITED TO 500, HALF SPEED MASTERING
GENRE/S: CLASSICAL, AMBIENT
TRACKLISTS:
A1 SAKU
A2 TOBIUME
A3 HAGOROMO
B1 GENSHI
B2 KODOMOTACHI
B3 SHINSEN
SHORT INFO:
This is a love-filled tribute to the late japanese techno and ambient pioneer SUSUMU YOKOTA. In 2021, talented classical guitarist AYANE SHINO discovered his impressive works and recorded cover version of tracks from his acclaimed SAKURA album. Those new contemporary musical pieces will please his ever growing fanbase as well as listeners beyond the electronic music scene.
www.youtube.com/watch?v=2BQlmpNBW9o
VITAL SALES POINTS:
First in a serie (The Timbre Of Guitars) of classical cover versions by japanese guitarist Ayane Shino
For fans of ambient, new classical, electronica japan and Susumu Yokota
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
More records from Musicmine/ Sublime Records
1
Ken Ishii - A1. Into The Inside (2024 Remaster)
2
Ken Ishii - A2. Fading Sky (2024 Remaster)
3
Ken Ishii - A3. Non Essential (2024 Remaster)
4
Ken Ishii - B1. Finite Time (2024 Remaster)
5
Ken Ishii - B2. Interjection (2024 Remaster)
6
Ken Ishii - B3. Scene One (2024 Remaster)
LP 180g Heavyweight vinyl, Remastered, with original track-list available on vinyl for the first time
"Ken Ishii has risen to be one of techno's biggest names" Bandcamp Daily
"A pivotal moment in the history of techno, ambient and electronic music from Japan. An important milestone in a journey to explore the endless possibilities of music and a precious result of our passion and adventure at the time" Manabu Yamazaki (Sublime Records)
GENRE: Techno, Ambient
Tracklist:
1. Into The Inside (2024 Remaster)
2. Fading Sky (2024 Remaster)
3. Non Essential (2024 Remaster)
Side B
1. Finite Time (2024 Remaster)
2. Interjection (2024 Remaster)
3. Scene One (2024 Remaster)
New liner notes by Martyn Pepperell
The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today.
Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.
Born 1970 in Sapporo, Ishii was introduced to electronic music at a young age through arcade games, and Japanese and German pioneers like Yellow Magic Orchestra, Isao Tomita and Kraftwerk. During his teens, he absorbed new wave, synth-pop, EBM and industrial, before making a life-changing discovery of Detroit techno in the late 80s.
As the 1990s dawned, so did his introduction to Black Dog Productions and Warp Records' Artificial Intelligence compilations. Blown away by the emerging British and American IDM, braindance, and ambient techno movements, he quickly folded their influence into his still-developing but cultivated aesthetic.
A futuristic confluence of unplaceable ambient atmospheres, space age techno, IDM and minimalist composition, 'Reference To Difference' unfolds as an effortless series of exercises in pristine synth textures, robust man/machine rhythm and understated melodies. It teleports the listener back to a golden moment in the mid-1990s, when a dedicated generation rose out of Tokyo's storied clubs and took the innovation, energy, and creativity of Japan's unique techno culture to the world.
Opened in 1993, Maniac Love was a new nightclub where Manabu Yamazaki aka DJ Yama promoted the Sublime parties, which soon became a crucial hub within the burgeoning Tokyo underground. It was here where Yamazaki rubbed shoulders with peers including Ishii and Susumu Yokota, and the trio's future became intertwined.
Much like Ishii, the late Susumu Yokota began his musical career by reaching out to Europe. Not long before Ishii released his debut longplayer 'Garden On The Palm' through Belgium's R&S, Yokota released his debut LP 'The Frankfurt-Tokyo Connection' through Harthouse, the German label co-founded by Sven Väth. In the wake of both records' overseas success, Ishii and Yokota set a benchmark for techno in Japan.
By 1993, as they both became in-demand producers and DJs, it felt like their dreams were coming true. Through talking with Ishii and Yokota, Yamazaki became emboldened to transform Sublime into a record label.
Soon after, Yamazaki partnered with Hideoki Amano, who was on the verge of founding Musicmine, a now respected and longstanding independent Japanese music company. As Yamazaki tells it, Amano helped him turn his dream into a reality: Sublime Records.
For Musicmine and Sublime Records' inaugural album releases, Yamazaki and Amano approached both Ishii and Yokota, resulting in the simultaneous drop of 'Reference To Difference' and 'Acid Mt. Fuji' respectively, on June 29th 1994.
Yamazaki remembered 'Reference To Difference' being well received by DJs, listeners, record store buyers and journalists, stating "people were excited by this new wave of music coming out of Japan, and had high praise for its unique sound."
With the pair of LPs further stamping Japan on the contemporary musical globe, the scene was beginning to boom at home too. Specialist record stores, and club music magazines like Ele-King and Loud spread the word, and in the wake of Maniac Love's impact, new nightclubs like the legendary Liquid Room were opening up, bringing a steady stream of world-famous DJs to the Japanese capital.
"Without a doubt, I think the arrival of Ken Ishii was a major turning point for the Japanese music industry in the 1990s," Amano reflected. "Nowadays, the Western club music scene is rediscovering Japanese techno from the 1990s, and digging our music is a common sight, but before Ken Ishii, no Japanese DJ was in sync with the global club music scene. He was the catalyst."
"Looking back, I can tell it was meaningful that this was one of the first techno albums by a Japanese artist that was released on a Japanese label," Ishii reflects. "Maybe I did something that bridged between old school Japanese electronic music and 'new school' techno in line with the Detroit sound with this record" he adds, in modest understatement.
The new liner notes were written Martyn Pepperell, a well-regarded music journalist who has covered Susumu Yokota for Wax Poetics and Midori Takada for Dazed, amongst numerous other articles.
Ken Ishi DJ dates:
Fri 14 June Tokyo, Japan : MUSICMINE 30th Anniversary @ WWW
Sat 15 June Nagano Pref, Japan : Re:birth Festival 2024 @ Kurumayama-Kogen Skypark Resort
Sat 22 June Tbilisi, Georgia : Tbilisi Open Air (Khidi Stage) @ Lisi Wonderland
Fri 12 July Tokyo, Japan : TECHNOH LAB. @ Suigian (*Non+techno performance with Manjiro Tatsumi)
Fri 12 July Tokyo, Japan : @ Vent
Fri 26 July Tokyo, Japan : @ Shinjuku Loft
Sun 28 July Naeba, Japan : @ Fuji Rock Festival
Sat 31 August Amsterdam, The Netherlands : Wooferland 2024 @ Houtrak Halfweg
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
"Ken Ishii has risen to be one of techno's biggest names" Bandcamp Daily
"A pivotal moment in the history of techno, ambient and electronic music from Japan. An important milestone in a journey to explore the endless possibilities of music and a precious result of our passion and adventure at the time" Manabu Yamazaki (Sublime Records)
GENRE: Techno, Ambient
Tracklist:
1. Into The Inside (2024 Remaster)
2. Fading Sky (2024 Remaster)
3. Non Essential (2024 Remaster)
Side B
1. Finite Time (2024 Remaster)
2. Interjection (2024 Remaster)
3. Scene One (2024 Remaster)
New liner notes by Martyn Pepperell
The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today.
Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.
Born 1970 in Sapporo, Ishii was introduced to electronic music at a young age through arcade games, and Japanese and German pioneers like Yellow Magic Orchestra, Isao Tomita and Kraftwerk. During his teens, he absorbed new wave, synth-pop, EBM and industrial, before making a life-changing discovery of Detroit techno in the late 80s.
As the 1990s dawned, so did his introduction to Black Dog Productions and Warp Records' Artificial Intelligence compilations. Blown away by the emerging British and American IDM, braindance, and ambient techno movements, he quickly folded their influence into his still-developing but cultivated aesthetic.
A futuristic confluence of unplaceable ambient atmospheres, space age techno, IDM and minimalist composition, 'Reference To Difference' unfolds as an effortless series of exercises in pristine synth textures, robust man/machine rhythm and understated melodies. It teleports the listener back to a golden moment in the mid-1990s, when a dedicated generation rose out of Tokyo's storied clubs and took the innovation, energy, and creativity of Japan's unique techno culture to the world.
Opened in 1993, Maniac Love was a new nightclub where Manabu Yamazaki aka DJ Yama promoted the Sublime parties, which soon became a crucial hub within the burgeoning Tokyo underground. It was here where Yamazaki rubbed shoulders with peers including Ishii and Susumu Yokota, and the trio's future became intertwined.
Much like Ishii, the late Susumu Yokota began his musical career by reaching out to Europe. Not long before Ishii released his debut longplayer 'Garden On The Palm' through Belgium's R&S, Yokota released his debut LP 'The Frankfurt-Tokyo Connection' through Harthouse, the German label co-founded by Sven Väth. In the wake of both records' overseas success, Ishii and Yokota set a benchmark for techno in Japan.
By 1993, as they both became in-demand producers and DJs, it felt like their dreams were coming true. Through talking with Ishii and Yokota, Yamazaki became emboldened to transform Sublime into a record label.
Soon after, Yamazaki partnered with Hideoki Amano, who was on the verge of founding Musicmine, a now respected and longstanding independent Japanese music company. As Yamazaki tells it, Amano helped him turn his dream into a reality: Sublime Records.
For Musicmine and Sublime Records' inaugural album releases, Yamazaki and Amano approached both Ishii and Yokota, resulting in the simultaneous drop of 'Reference To Difference' and 'Acid Mt. Fuji' respectively, on June 29th 1994.
Yamazaki remembered 'Reference To Difference' being well received by DJs, listeners, record store buyers and journalists, stating "people were excited by this new wave of music coming out of Japan, and had high praise for its unique sound."
With the pair of LPs further stamping Japan on the contemporary musical globe, the scene was beginning to boom at home too. Specialist record stores, and club music magazines like Ele-King and Loud spread the word, and in the wake of Maniac Love's impact, new nightclubs like the legendary Liquid Room were opening up, bringing a steady stream of world-famous DJs to the Japanese capital.
"Without a doubt, I think the arrival of Ken Ishii was a major turning point for the Japanese music industry in the 1990s," Amano reflected. "Nowadays, the Western club music scene is rediscovering Japanese techno from the 1990s, and digging our music is a common sight, but before Ken Ishii, no Japanese DJ was in sync with the global club music scene. He was the catalyst."
"Looking back, I can tell it was meaningful that this was one of the first techno albums by a Japanese artist that was released on a Japanese label," Ishii reflects. "Maybe I did something that bridged between old school Japanese electronic music and 'new school' techno in line with the Detroit sound with this record" he adds, in modest understatement.
The new liner notes were written Martyn Pepperell, a well-regarded music journalist who has covered Susumu Yokota for Wax Poetics and Midori Takada for Dazed, amongst numerous other articles.
Ken Ishi DJ dates:
Fri 14 June Tokyo, Japan : MUSICMINE 30th Anniversary @ WWW
Sat 15 June Nagano Pref, Japan : Re:birth Festival 2024 @ Kurumayama-Kogen Skypark Resort
Sat 22 June Tbilisi, Georgia : Tbilisi Open Air (Khidi Stage) @ Lisi Wonderland
Fri 12 July Tokyo, Japan : TECHNOH LAB. @ Suigian (*Non+techno performance with Manjiro Tatsumi)
Fri 12 July Tokyo, Japan : @ Vent
Fri 26 July Tokyo, Japan : @ Shinjuku Loft
Sun 28 July Naeba, Japan : @ Fuji Rock Festival
Sat 31 August Amsterdam, The Netherlands : Wooferland 2024 @ Houtrak Halfweg
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
1
Susumu Yokota - A1. Zenmai (2024 Remaster)
2
Susumu Yokota - A2. Kinoko (2024 Remaster)
3
Susumu Yokota - A3. Meijijingu (2024 Remaster)
4
Susumu Yokota - B1. Saboten (2024 Remaster)
5
Susumu Yokota - B2. Oh My God (2024 Remaster)
6
Susumu Yokota - B3. Tambarin (2024 Remaster)
7
Susumu Yokota - C1. Oponchi (2024 Remaster)
8
Susumu Yokota - C2. Ao-oni (2024 Remaster)
9
Susumu Yokota - C3.3. Akafuji (2024 Remaster)
10
Susumu Yokota - D1. Alphaville (2024 Remaster)
11
Susumu Yokota - D2. Tanuki (2024 Remaster)
12
Susumu Yokota - E1. Floating G (2024 Remaster)**
13
Susumu Yokota - E2. H (2024 Remaster)**
14
Susumu Yokota - E3. B (2024 Remaster)**
15
Susumu Yokota - F1. F (2024 Remaster)**
16
Susumu Yokota - F2. 2 H (2024 Remaster)**
Triple gatefold heavyweight 180g vinyl, Remastered original LP , Incl. 5 unreleased tracks released for the 1st time on vinyl`see tracklist below for details!
"A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music" Electronic Beats
"A mountainous Masterpiece. A powerful testament to rave culture's establishment and the birth of a new scene in Japan emerging in the mid '90s. One of Yokota's most celebrated work that merges Japanese new age and minimal techno"
Alex From Tokyo (Japan Vibrations, world famous, Paris)
GENRE/S: Techno, Acid, Ambient
New liner notes by Alex From Tokyo
On July 26th Susumu Yokota's venerated 1994 classic 'Acid Mt. Fuji' is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan's Musicmine - specifically it's electronic subsidiary Sublime Records - released the album on June 29th 1994, simultaneously with Ken Ishii's 'Reference To Difference', as their inaugural joint offering.
'Acid Mt. Fuji' is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized - proffering a unique blend of early 90s western styles and the essence of his home country.
Yokota originally planned an ambient record, but 'Acid Mt. Fuji' evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results.
The longplayer found its muse in the famed 18th-19th century artist Hokusai's red rendition of Mt. Fuji, known as 'Red Fuji' or 'Akafuji'. Part of the painter's renowned 'Thirty Six Views of Mt. Fuji' series from the 1830s, 'Red Fuji' depicts the iconic sacred mountain aglow in red at dawn, symbolizing spirituality and creativity. With references to Japanese folklore, nature and shrines, tracks like 'Kinoko' and 'Meijijingu' invite the listener to immerse themselves in the album's spiritual depths.
Yokota's own homage-to-Hokusai drawing graces the record's cover, and was inspired by the concept of wa (harmony) - highlighting his diverse skills not only as a musician, but an artist and designer too.
'Acid Mt. Fuji' is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures.
He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan.
Yokota was a solitary figure, an artist who expressed his life through the continuous creation of music. For those seeking something different; mystical, soothing, pristinely ergonomic and uniquely Japanese, this record stands as iconic as Mt. Fuji itself.
-
This triple vinyl Deluxe Edition includes the original album's eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 Deluxe Edition CD.
There are also two digital-only bonus tracks. One is a live performance by Yokota, titled 'Live at Shibuya Beam Hall', which was recorded at Sublime Records' label launch party, held in September 1994. It was previously only released on the aforementioned 2016 Japanese CD edition. This event, titled 'Sublime Records Presents New Style of Electronic Ambient Party' featured performances by Susumu Yokota, Ken Ishii, Yoshihiro Sawasaki, Speedy J and DJ Wada. This ten minute long, rare live recording captures Yokota playing a dynamic, fast paced acid house live jam, using two TB-303s and a drum machine. The other digital only bonus track is an alternative version of 'H', which was discovered recently whilst excavating a DAT.
The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the 90s Tokyo club scene first-hand as an insider. His compilation 'Japan Vibrations Vol. 1' captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe) and more.
3LP Vinyl
Catalogue no: MMDS24004LP
Side A
1. Zenmai (2024 Remaster)
2. Kinoko (2024 Remaster)
3. Meijijingu (2024 Remaster)
Side B
1. Saboten (2024 Remaster)
2. Oh My God (2024 Remaster)
3. Tambarin (2024 Remaster)
Side C
1. Oponchi (2024 Remaster)
2. Ao-oni (2024 Remaster)
3. Akafuji (2024 Remaster)
Side D
1. Alphaville (2024 Remaster)
2. Tanuki (2024 Remaster)
Side E
1. Floating G (2024 Remaster)**
2. H (2024 Remaster)**
3. B (2024 Remaster)**
Side F
1. F (2024 Remaster)**
2. 2 H (2024 Remaster)**
**= 5 unreleased tracks released for the 1st time on vinyl.
New liner notes by Martyn Pepperell
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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"A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music" Electronic Beats
"A mountainous Masterpiece. A powerful testament to rave culture's establishment and the birth of a new scene in Japan emerging in the mid '90s. One of Yokota's most celebrated work that merges Japanese new age and minimal techno"
Alex From Tokyo (Japan Vibrations, world famous, Paris)
GENRE/S: Techno, Acid, Ambient
New liner notes by Alex From Tokyo
On July 26th Susumu Yokota's venerated 1994 classic 'Acid Mt. Fuji' is reissued in expanded, deluxe fashion, as part of the 30th anniversary celebrations of the label that originally presented it. Japan's Musicmine - specifically it's electronic subsidiary Sublime Records - released the album on June 29th 1994, simultaneously with Ken Ishii's 'Reference To Difference', as their inaugural joint offering.
'Acid Mt. Fuji' is an enchanting mix of mystical ambient acid and futurist minimal techno, taking the listeners on a psychedelic pilgrimage, where 303, synths and electronic percussion are scented with reverb, echo and forest recordings. Merging Japanese new age and sparse electronica, the recording is free, organic, and energized - proffering a unique blend of early 90s western styles and the essence of his home country.
Yokota originally planned an ambient record, but 'Acid Mt. Fuji' evolved into a concept work featuring the Roland TB-303, which he recorded live at home alongside a sampler, yielding experimental and innovative results.
The longplayer found its muse in the famed 18th-19th century artist Hokusai's red rendition of Mt. Fuji, known as 'Red Fuji' or 'Akafuji'. Part of the painter's renowned 'Thirty Six Views of Mt. Fuji' series from the 1830s, 'Red Fuji' depicts the iconic sacred mountain aglow in red at dawn, symbolizing spirituality and creativity. With references to Japanese folklore, nature and shrines, tracks like 'Kinoko' and 'Meijijingu' invite the listener to immerse themselves in the album's spiritual depths.
Yokota's own homage-to-Hokusai drawing graces the record's cover, and was inspired by the concept of wa (harmony) - highlighting his diverse skills not only as a musician, but an artist and designer too.
'Acid Mt. Fuji' is a powerful testament to the establishment of rave culture in Japan, which rapidly developed within just two years, from 1992 to 1994. Largely due to praise for the breathtaking originality of the LP, within this burgeoning national techno scene, Yokota rose to prominence as one of its key figures.
He then became one of the most renowned artists to emerge from his homeland and enter the global electronic pantheon. He inspired a new wave of Japanese producers and DJs, contributing significantly to the growth of the techno movement in Japan.
Yokota was a solitary figure, an artist who expressed his life through the continuous creation of music. For those seeking something different; mystical, soothing, pristinely ergonomic and uniquely Japanese, this record stands as iconic as Mt. Fuji itself.
-
This triple vinyl Deluxe Edition includes the original album's eleven tracks alongside five raw and jacking rare gems, available on wax for the first time, which were previously included only in the Japanese 2016 Deluxe Edition CD.
There are also two digital-only bonus tracks. One is a live performance by Yokota, titled 'Live at Shibuya Beam Hall', which was recorded at Sublime Records' label launch party, held in September 1994. It was previously only released on the aforementioned 2016 Japanese CD edition. This event, titled 'Sublime Records Presents New Style of Electronic Ambient Party' featured performances by Susumu Yokota, Ken Ishii, Yoshihiro Sawasaki, Speedy J and DJ Wada. This ten minute long, rare live recording captures Yokota playing a dynamic, fast paced acid house live jam, using two TB-303s and a drum machine. The other digital only bonus track is an alternative version of 'H', which was discovered recently whilst excavating a DAT.
The liner notes are written by DJ/producer Alex From Tokyo, who was a good friend of Yokota, and experienced the 90s Tokyo club scene first-hand as an insider. His compilation 'Japan Vibrations Vol. 1' captures this golden era, and features music by Prism (Susumu Yokota), Ryuichi Sakamoto, Haruomi Hosono, Yasuaki Shimizu, Quadra (Hiroshi Watanabe) and more.
3LP Vinyl
Catalogue no: MMDS24004LP
Side A
1. Zenmai (2024 Remaster)
2. Kinoko (2024 Remaster)
3. Meijijingu (2024 Remaster)
Side B
1. Saboten (2024 Remaster)
2. Oh My God (2024 Remaster)
3. Tambarin (2024 Remaster)
Side C
1. Oponchi (2024 Remaster)
2. Ao-oni (2024 Remaster)
3. Akafuji (2024 Remaster)
Side D
1. Alphaville (2024 Remaster)
2. Tanuki (2024 Remaster)
Side E
1. Floating G (2024 Remaster)**
2. H (2024 Remaster)**
3. B (2024 Remaster)**
Side F
1. F (2024 Remaster)**
2. 2 H (2024 Remaster)**
**= 5 unreleased tracks released for the 1st time on vinyl.
New liner notes by Martyn Pepperell
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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To celebrate the 20th anniversary of the album Tales Of The Forgotten Melodies, Wax Tailor unveils a 2LP Gatefold reissue of his iconic album Tales Of The Forgotten Melodies. A true must-have for all fans of the artist and vinyl enthusiasts!
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A3. Ungodly Fruit
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D3. How I Feel
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Liebigstrasse 2-20
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To celebrate the 20th anniversary of the album Tales Of The Forgotten Melodies, Wax Tailor unveils a 2LP Gatefold reissue of his iconic album Tales Of The Forgotten Melodies. A true must-have for all fans of the artist and vinyl enthusiasts!
Tracklist
A1. Behind the Curtain (opening)
A2. Que Sera
A3. Ungodly Fruit
A4. Between Fellows
A5. Hypnosis Theme (feat. Marina Quaisse)
B1. Damn that Music Made my Day
B2. Where my Heart's at (feat. The Others)
B3. Birth of a Struggle
B4. Am I Free
C1. Ringing Score
C2. I Don't Know
C3. Our Dance (feat. Charlotte Savary)
C4. Stay Tuned
C5. Walk the Line (feat. The Others)
D1. A Woman's Voice
D2. Don't You Remember
D3. How I Feel
D4. Behind the Disguise "Closing" (feat. Marina Quaisse)
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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1
Hollis P. Monroe - I'm Lonely (Original Mix)
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OFFICIAL 2024 REMASTERED REISSUE
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
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Germany
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1
DJ Psychiatre - Moving Into Jazz
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Territory: Worldwide
Tracklist:
A1 / Moving Into Jazz
A2 / Those DJs
B1 / Iced Lemon
B2 / A Trance To Remember
Info
Last Year at Marienbad proudly welcomes French producer DJ Psychiatre, aka Sylvain Creton, known for his dynamic and evolving approach to house music. His style blends acid-infused grooves, soft rhythmic atmospheres, and disco-driven energy, earning him releases on renowned labels like Whyte Numbers, Lost Palms, and Shall Not Fade.
His latest EP, Moving Into Jazz, showcases his signature sound with four diverse tracks. The title track starts with delicate keys before building into a rich, atmospheric house piece with acid elements. Those DJs follows with a stepping drum pattern, deep bass, and sweeping chords, reinforcing his intricate rhythmic focus.
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This EP highlights DJ Psychiatre’s ability to craft immersive, melodically rich music that resonates beyond the dancefloor. Last Year at Marienbad is thrilled to share this release from a true master of the genre.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Tracklist:
A1 / Moving Into Jazz
A2 / Those DJs
B1 / Iced Lemon
B2 / A Trance To Remember
Info
Last Year at Marienbad proudly welcomes French producer DJ Psychiatre, aka Sylvain Creton, known for his dynamic and evolving approach to house music. His style blends acid-infused grooves, soft rhythmic atmospheres, and disco-driven energy, earning him releases on renowned labels like Whyte Numbers, Lost Palms, and Shall Not Fade.
His latest EP, Moving Into Jazz, showcases his signature sound with four diverse tracks. The title track starts with delicate keys before building into a rich, atmospheric house piece with acid elements. Those DJs follows with a stepping drum pattern, deep bass, and sweeping chords, reinforcing his intricate rhythmic focus.
On the B-side, Iced Lemon introduces clean arpeggios and euphoric pads, culminating in a powerful progression. Closing the EP, A Trance to Remember delivers an uplifting, energetic groove with a deep bassline and engaging vocal snippets.
This EP highlights DJ Psychiatre’s ability to craft immersive, melodically rich music that resonates beyond the dancefloor. Last Year at Marienbad is thrilled to share this release from a true master of the genre.
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
Label:Be With Records
Cat-No:BEWITH174LP
Release-Date:20.06.2025
Genre:Electronic, Electronica
Configuration:2LP Excl
Label:Be With Records
Cat-No:BEWITH174LP
Release-Date:20.06.2025
Genre:Electronic, Electronica
Configuration:2LP Excl
1
Mark de Clive-Lowe - Roundtrip (7:21)
2
Mark de Clive-Lowe - La Zorra (5:25)
3
Mark de Clive-Lowe - Melodious Funk (6:55)
4
Mark de Clive-Lowe - El Día Perfecto (6:24)
5
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6
Mark de Clive-Lowe - Day By Day (5:03)
7
Mark de Clive-Lowe - Restless (5:19)
8
Mark de Clive-Lowe - Mindscape (7:14)
9
Mark de Clive-Lowe - Control (4:27)
10
Mark de Clive-Lowe - Por La Mañana (4:26)
11
Mark de Clive-Lowe - Motherland (4:29)
12
Mark de Clive-Lowe - El Día Perfecto (Reprise) (6:24)
Territories: Worldwide no restrictions
Format Notes: 25th Anniversary vinyl reissue, 140g double vinyl, remastered audio with restored artwork and fresh liners, LIMITED TO JUST 400 COPIES!
Track List:
A1 Roundtrip 7:21
A2 La Zorra 5:25
A3 Melodious Funk 6:55
B1 El Día Perfecto 6:24
B2 Cosmic Echoes 6:17
B3 Day By Day 5:03
C1 Restless 5:19
C2 Mindscape 7:14
C3 Control 4:27
D1 Por La Mañana 4:26
D2 Motherland 4:29
D3 El Día Perfecto (Reprise) 6:24
Release Notes:
YES! Originally released in 2000, Mark de Clive-Lowe's Six Degrees captures the early essence of what would later be known as broken beat, club-jazz and future soul; bridging the sounds of 70s jazz-fusion, jungle, hip-hop, house and Afro-Cuban rhythms. With fender rhodes, synths and an MPC2000 at the core of his production, de Clive-Lowe blended live musicianship with beat-driven sensibilities in a way that was ahead of its time.
Originally released in New Zealand via Kog Transmissions, the album found its way onto the global stage when Universal Jazz UK picked it up. Now, 25 years later, Be With is proud to present a special anniversary vinyl reissue, celebrating a landmark album that laid the foundation for an international career spanning continents, collaborations, and countless musical evolutions. Limited to just 400 copies for the world, these are gonna fly.
In 1998, a 23-year-old Mark de Clive-Lowe set off on a year-long journey that would shape his career and musical identity. Fuelled by an insatiable curiosity and a grant from New Zealand supporting emerging artists, he traveled across the globe — digging through record stores in San Francisco, immersing himself in the rhythms of Havana, collaborating in London’s underground studios and experiencing the jazz legacy of New York. Along the way, he crossed paths with pioneers, mentors and kindred spirits who would deeply influence his sound.
Six Degrees is the sonic diary of that transformative year — a musical world tour distilled into one groundbreaking album. It's both a snapshot of a pivotal moment in de Clive-Lowe’s life and a timeless statement of creative exploration.
The jazzy jungle vibes of "Roundtrip" opens proceedings, inspired by de Clive-Lowe's deep love of drum & bass. It kicks off with a rhythm pattern picked up in Havana, combined with Lonnie Liston Smith-style Rhodes textures and a rolling jungle breakbeat. Sublime. Up next, "La Zorra" is a moving tribute to the folkloric 6/8 rhythms he was surrounded by in Cuba. Afro-Cuban music had a huge impact on his sound and this track reflects those deep grooves brilliantly. Hip-hop has also been a major influence since de Clive-Lowe's teenage years and Manuel Bundy’s scratches bring an essential turntable element to "Melodious Funk", giving it that raw boom-bap edge.
Underground favourite "El Día Perfecto" came about by de Clive-Lowe wanting to write something as catchy as Incognito’s "Colibri", combined with his deep love for Lonnie Liston Smith. Effortless as it sounds, it pretty much wrote itself, seemingly. "Cosmic Echoes" is a nod to house music, but on the chiller side. Named after Lonnie Liston Smith’s band, with bouncy bass, a steady 4/4 groove and chopped tabla percussion, the mood this track conjures up is special. The deeply soulful "Day By Day" became the biggest track from the album, partly thanks to DJ Spinna’s remix and Café del Mar featuring it on their compilation. Cherie Mathieson’s vocals shine here. The lyric came to de Clive-Lowe while hanging out at Cause Célèbre in Auckland: “Day by day, side by side, hand in hand, no turning back.”
"Restless" is a jazz-funk jam built on a classic drum break, heavily influenced by Roy Ayers and the Mizell Brothers. Named in homage to Phil Asher’s Restless Soul moniker, his impact on de Clive-Lowe's journey can’t be overstated. Following on, "Mindscape" is a darker, rawer drum & bass track. The chopped-up drum break and moody synths channel everything he loved about the deeper, more atmospheric side of the genre. "Control" continues the jungle influence — this one’s all about the heavy grooves and deep bass, inspired by nights out listening to Jumping Jack Frost and Grooverider in packed basement clubs.
"Por La Mañana" is a musical snapshot of walking the Malecón in Havana in the morning sun. The city had such a profound impact on de Clive-Lowe and this track captures some of that energy and movement. Penultimate gem "Motherland" is a nod to his Japanese heritage. The melody draws from Japanese scales, shifting between moody introspection and uplifting harmony. Built on a chopped live drum break he recorded in Tokyo years earlier. We end with "El Día Perfecto (Reprise)", a stripped-down reprise featuring percussion, vocoder, Rhodes and synths — leaving the listener with a warm, uplifting final moment.
Speaking to Be With, de Clive Lowe explained just how much celebrating the 25-year anniversary of this album means to him: "Since then, I’ve released so much more music, but Six Degrees still resonates — it captures a really special moment in my life. A turning point, a fork in the road that ultimately changed everything. It’s amazing to reflect on where this journey has taken me, and I’m incredibly grateful for it. I still remember the night I finished "El Día Perfecto". I took a minidisc of it to my friend Cian’s DJ set at Galatos in Auckland. He plugged it in, and I watched the dancefloor move to something I’d just created hours earlier — it was a magical moment.
When Six Degrees was first released, the internet was still in its early days. There was no YouTube, no streaming, no instant global access to new sounds. The album was my way of bringing together all the music and places I had experienced over that year, blending them into something uniquely mine. It introduced me to listeners around the world and opened the doors to a career that would take me to more countries, collaborations and experiences than I ever imagined.
25 years later, I’m so grateful for everything this record set in motion. It’s a document of a moment in time, but it still feels alive — and I’m thrilled to share it again in this special anniversary edition."
Mastering for this 25 year vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life by de Clive-Lowe himself, with updated liner notes written specially for this landmark reissue.
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
Format Notes: 25th Anniversary vinyl reissue, 140g double vinyl, remastered audio with restored artwork and fresh liners, LIMITED TO JUST 400 COPIES!
Track List:
A1 Roundtrip 7:21
A2 La Zorra 5:25
A3 Melodious Funk 6:55
B1 El Día Perfecto 6:24
B2 Cosmic Echoes 6:17
B3 Day By Day 5:03
C1 Restless 5:19
C2 Mindscape 7:14
C3 Control 4:27
D1 Por La Mañana 4:26
D2 Motherland 4:29
D3 El Día Perfecto (Reprise) 6:24
Release Notes:
YES! Originally released in 2000, Mark de Clive-Lowe's Six Degrees captures the early essence of what would later be known as broken beat, club-jazz and future soul; bridging the sounds of 70s jazz-fusion, jungle, hip-hop, house and Afro-Cuban rhythms. With fender rhodes, synths and an MPC2000 at the core of his production, de Clive-Lowe blended live musicianship with beat-driven sensibilities in a way that was ahead of its time.
Originally released in New Zealand via Kog Transmissions, the album found its way onto the global stage when Universal Jazz UK picked it up. Now, 25 years later, Be With is proud to present a special anniversary vinyl reissue, celebrating a landmark album that laid the foundation for an international career spanning continents, collaborations, and countless musical evolutions. Limited to just 400 copies for the world, these are gonna fly.
In 1998, a 23-year-old Mark de Clive-Lowe set off on a year-long journey that would shape his career and musical identity. Fuelled by an insatiable curiosity and a grant from New Zealand supporting emerging artists, he traveled across the globe — digging through record stores in San Francisco, immersing himself in the rhythms of Havana, collaborating in London’s underground studios and experiencing the jazz legacy of New York. Along the way, he crossed paths with pioneers, mentors and kindred spirits who would deeply influence his sound.
Six Degrees is the sonic diary of that transformative year — a musical world tour distilled into one groundbreaking album. It's both a snapshot of a pivotal moment in de Clive-Lowe’s life and a timeless statement of creative exploration.
The jazzy jungle vibes of "Roundtrip" opens proceedings, inspired by de Clive-Lowe's deep love of drum & bass. It kicks off with a rhythm pattern picked up in Havana, combined with Lonnie Liston Smith-style Rhodes textures and a rolling jungle breakbeat. Sublime. Up next, "La Zorra" is a moving tribute to the folkloric 6/8 rhythms he was surrounded by in Cuba. Afro-Cuban music had a huge impact on his sound and this track reflects those deep grooves brilliantly. Hip-hop has also been a major influence since de Clive-Lowe's teenage years and Manuel Bundy’s scratches bring an essential turntable element to "Melodious Funk", giving it that raw boom-bap edge.
Underground favourite "El Día Perfecto" came about by de Clive-Lowe wanting to write something as catchy as Incognito’s "Colibri", combined with his deep love for Lonnie Liston Smith. Effortless as it sounds, it pretty much wrote itself, seemingly. "Cosmic Echoes" is a nod to house music, but on the chiller side. Named after Lonnie Liston Smith’s band, with bouncy bass, a steady 4/4 groove and chopped tabla percussion, the mood this track conjures up is special. The deeply soulful "Day By Day" became the biggest track from the album, partly thanks to DJ Spinna’s remix and Café del Mar featuring it on their compilation. Cherie Mathieson’s vocals shine here. The lyric came to de Clive-Lowe while hanging out at Cause Célèbre in Auckland: “Day by day, side by side, hand in hand, no turning back.”
"Restless" is a jazz-funk jam built on a classic drum break, heavily influenced by Roy Ayers and the Mizell Brothers. Named in homage to Phil Asher’s Restless Soul moniker, his impact on de Clive-Lowe's journey can’t be overstated. Following on, "Mindscape" is a darker, rawer drum & bass track. The chopped-up drum break and moody synths channel everything he loved about the deeper, more atmospheric side of the genre. "Control" continues the jungle influence — this one’s all about the heavy grooves and deep bass, inspired by nights out listening to Jumping Jack Frost and Grooverider in packed basement clubs.
"Por La Mañana" is a musical snapshot of walking the Malecón in Havana in the morning sun. The city had such a profound impact on de Clive-Lowe and this track captures some of that energy and movement. Penultimate gem "Motherland" is a nod to his Japanese heritage. The melody draws from Japanese scales, shifting between moody introspection and uplifting harmony. Built on a chopped live drum break he recorded in Tokyo years earlier. We end with "El Día Perfecto (Reprise)", a stripped-down reprise featuring percussion, vocoder, Rhodes and synths — leaving the listener with a warm, uplifting final moment.
Speaking to Be With, de Clive Lowe explained just how much celebrating the 25-year anniversary of this album means to him: "Since then, I’ve released so much more music, but Six Degrees still resonates — it captures a really special moment in my life. A turning point, a fork in the road that ultimately changed everything. It’s amazing to reflect on where this journey has taken me, and I’m incredibly grateful for it. I still remember the night I finished "El Día Perfecto". I took a minidisc of it to my friend Cian’s DJ set at Galatos in Auckland. He plugged it in, and I watched the dancefloor move to something I’d just created hours earlier — it was a magical moment.
When Six Degrees was first released, the internet was still in its early days. There was no YouTube, no streaming, no instant global access to new sounds. The album was my way of bringing together all the music and places I had experienced over that year, blending them into something uniquely mine. It introduced me to listeners around the world and opened the doors to a career that would take me to more countries, collaborations and experiences than I ever imagined.
25 years later, I’m so grateful for everything this record set in motion. It’s a document of a moment in time, but it still feels alive — and I’m thrilled to share it again in this special anniversary edition."
Mastering for this 25 year vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life by de Clive-Lowe himself, with updated liner notes written specially for this landmark reissue.
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
A cosmic fusion of deep funk, interstellar jazz, and avant-garde soundscapes, On Jupiter stands as one of Sun Ra’s most iconic releases. Recorded in 1979 during a prolific period at Variety Arts Studios in New York, this album captures the Arkestra at the height of their creative powers, blending futuristic improvisation with infectious rhythms and otherworldly textures.
Listen: listen.k7.com/78f6879e-8431-498c-b3fb-4fa6cea8b2e7
Track list:
A1. On Jupiter (03:58)
A2. UFO (08:30)
B1. Seductive Fantasy (17:08)
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Listen: listen.k7.com/78f6879e-8431-498c-b3fb-4fa6cea8b2e7
Track list:
A1. On Jupiter (03:58)
A2. UFO (08:30)
B1. Seductive Fantasy (17:08)
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
Label:Because Music
Cat-No:BEC5610537
Release-Date:26.08.2022
Genre:Indie Rock/Alternative
Configuration:3LP Excl
Label:Because Music
Cat-No:BEC5610537
Release-Date:26.08.2022
Genre:Indie Rock/Alternative
Configuration:3LP Excl
Territorial Rights: World excluding France, UK & US
3x Orange Vinyl, Gatefold Sleeve with 2 wallets, 2 x Black Inner Sleeve, 4 page printed 30cmx30cm Booklet, sticker
SHORT INFORMATION/ SHORT BIOG
The garage -psychedelic French duo The Liminanas straddles since 2009 the boundary between psychedelic ,shoegaze,garage & French yé-yé up to cool vocals . Quintessentially French but first known at the start in the US before hitting homeland France. 7 studio albums so far, 2 rare tracks compilations, many Eps,some OST, collabs such as L’Epée with Anton Newcombe & Emmanuelle Seigner : time for a first time Best of, and actually more than a Best of : Double Cd , Ltd Triple Vinyl& Digital editions offer 12 exclusive bonus tracks -new songs + rare songs when they called themselves les Bellas, before The Liminanas-.
“Electrified” also includes 23 classics songs , with featurings such as Peter Hook, Anton Newcombe and French pionners Laurent Garnier, Etienne Daho & Pascal Comelade.
Features liner notes written by Iggy Pop, Peter Hook & Keith Streng (Fleshtones) : because it’s only rock’n’roll.
TRACKLIST - TRIPLE VINYL:
A SIDE
1. Migas 2000 2. I'm Dead 3. Je ne suis pas très drogue 4. Down Underground 5. Je suis une Gogo Girl 6. La fille de la ligne 15
B SIDE
1. Je m'en vais 2. Salvation 3. Votre côté yeye m'emmerde 4. Cold Was the Ground 5. My Black Sabbath 6. Carnival of Souls feat. Pascal Comelade)
C SIDE
1. El Beach 2. Prisunic 3. Dahlia rouge 4. Garden of Love (feat. Peter Hook) 5. Istanbul Is Sleepy (feat. Anton Newcombe) 6. The Gift (feat. Peter Hook)
D SIDE
1. Shadow People 2. Dimanche (feat. Bertrand Belin) 3. One Blood Circle (feat. Etienne Daho) 4. Calentita 5. Saul (feat. Laurent Garnier)
E SIDE
1. USA Motorbike (feat. David Menke) 2. La musique (feat. Areski Belkacem) 3. Les Hommes et les ombres 4. Domino (feat. Golden Bug) 5. Pulsing (feat. David Menke)
F SIDE
1. Hey I'm Going Down 2. She's on My Track 3. A Dream That Slips 4. Electrified 5. You Got My Soul 6. Drown 7. Belladelic
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
3x Orange Vinyl, Gatefold Sleeve with 2 wallets, 2 x Black Inner Sleeve, 4 page printed 30cmx30cm Booklet, sticker
SHORT INFORMATION/ SHORT BIOG
The garage -psychedelic French duo The Liminanas straddles since 2009 the boundary between psychedelic ,shoegaze,garage & French yé-yé up to cool vocals . Quintessentially French but first known at the start in the US before hitting homeland France. 7 studio albums so far, 2 rare tracks compilations, many Eps,some OST, collabs such as L’Epée with Anton Newcombe & Emmanuelle Seigner : time for a first time Best of, and actually more than a Best of : Double Cd , Ltd Triple Vinyl& Digital editions offer 12 exclusive bonus tracks -new songs + rare songs when they called themselves les Bellas, before The Liminanas-.
“Electrified” also includes 23 classics songs , with featurings such as Peter Hook, Anton Newcombe and French pionners Laurent Garnier, Etienne Daho & Pascal Comelade.
Features liner notes written by Iggy Pop, Peter Hook & Keith Streng (Fleshtones) : because it’s only rock’n’roll.
TRACKLIST - TRIPLE VINYL:
A SIDE
1. Migas 2000 2. I'm Dead 3. Je ne suis pas très drogue 4. Down Underground 5. Je suis une Gogo Girl 6. La fille de la ligne 15
B SIDE
1. Je m'en vais 2. Salvation 3. Votre côté yeye m'emmerde 4. Cold Was the Ground 5. My Black Sabbath 6. Carnival of Souls feat. Pascal Comelade)
C SIDE
1. El Beach 2. Prisunic 3. Dahlia rouge 4. Garden of Love (feat. Peter Hook) 5. Istanbul Is Sleepy (feat. Anton Newcombe) 6. The Gift (feat. Peter Hook)
D SIDE
1. Shadow People 2. Dimanche (feat. Bertrand Belin) 3. One Blood Circle (feat. Etienne Daho) 4. Calentita 5. Saul (feat. Laurent Garnier)
E SIDE
1. USA Motorbike (feat. David Menke) 2. La musique (feat. Areski Belkacem) 3. Les Hommes et les ombres 4. Domino (feat. Golden Bug) 5. Pulsing (feat. David Menke)
F SIDE
1. Hey I'm Going Down 2. She's on My Track 3. A Dream That Slips 4. Electrified 5. You Got My Soul 6. Drown 7. Belladelic
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
1
Frank & Tony - Olympia (with Eliana Glass)
2
Frank & Tony - Ethos (with DaRand Land)
3
Frank & Tony - Too Poor For Movies, Too Tired For Love (with Lawrence)
4
Frank & Tony - Nobody Present Ever Stood So Still
5
Frank & Tony - By The End They Will
6
Frank & Tony - Cecile (with Eliana Glass)
7
Frank & Tony - Drift (with DJ Aakmael)
8
Frank & Tony - From Life Ahead
9
Frank & Tony - Continuity
Double-LP, Gatefold sleeve
GENRE/S: House, Deep House, Lo-Fi House, Electronica
TRACKLISTS:
A1. Olympia (with Eliana Glass)
A2. Ethos (with DaRand Land)
B1. Too Poor For Movies, Too Tired For Love (with Lawrence)
B2. Nobody Present Ever Stood So Still
C1. By The End They Will
C2. Cecile (with Eliana Glass)
D1. Drift (with DJ Aakmael)
D2. From Life Ahead
D3. Continuity
SHORT INFO:
More about the world has changed than not in the decade since dance production dyad Frank & Tony released their last full-length record, 2014’s You Go Girl. Despite, or perhaps in spite of, this shifting landscape, house music has managed to stay fundamentally reliable (either a bug or its greatest feature, depending on who you ask). Where previously, Frank & Tony have been celebrated for their contemplative, studious approach to the genre, with 2024’s Ethos, the Brooklyn/Biarritz-based duo return amidst metastatic cultural upheaval to prove out those scholarly credentials — with an album that serves to remind listeners why dancefloors and liberatory politics consistently share the language of movements and revolutions.
Undoubtedly, Ethos is tremendously influenced by the multitude of projects originating from, and supported by, the duo and their label in the decade since You Go Girl– releasing records from a vast diversity of artists (including Nadia Khan, Gry, Villete, Darand Land, Alex Albrecht, DJ Sprinkles and CCL), and Harris becoming curatorial voice of Brooklyn’s premiere venue for audiophiles, Public Records, where he continues to amplify work across a global diaspora (and where the duo maintain a residency of wide praise).
It is this bright energy and focus on the necessity of community and relationships that animates the aptly-titled Ethos. If past Frank & Tony releases have been lauded as ‘a coloring book in which someone has exclusively drawn inside the lines… with extreme precision,’ Ethos deviates by inviting friends in for a game of exquisite corpse. From singer and pianist Eliana Glass, whose androgynous, double-reeded voice freestyles across album opener Olympia, to distinct track features from fellow house masterminds DaRand Land, DJ Aakmael and Lawrence over half of the album’s nine tracks highlight artists in the larger Scissor & Thread circle.
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
GENRE/S: House, Deep House, Lo-Fi House, Electronica
TRACKLISTS:
A1. Olympia (with Eliana Glass)
A2. Ethos (with DaRand Land)
B1. Too Poor For Movies, Too Tired For Love (with Lawrence)
B2. Nobody Present Ever Stood So Still
C1. By The End They Will
C2. Cecile (with Eliana Glass)
D1. Drift (with DJ Aakmael)
D2. From Life Ahead
D3. Continuity
SHORT INFO:
More about the world has changed than not in the decade since dance production dyad Frank & Tony released their last full-length record, 2014’s You Go Girl. Despite, or perhaps in spite of, this shifting landscape, house music has managed to stay fundamentally reliable (either a bug or its greatest feature, depending on who you ask). Where previously, Frank & Tony have been celebrated for their contemplative, studious approach to the genre, with 2024’s Ethos, the Brooklyn/Biarritz-based duo return amidst metastatic cultural upheaval to prove out those scholarly credentials — with an album that serves to remind listeners why dancefloors and liberatory politics consistently share the language of movements and revolutions.
Undoubtedly, Ethos is tremendously influenced by the multitude of projects originating from, and supported by, the duo and their label in the decade since You Go Girl– releasing records from a vast diversity of artists (including Nadia Khan, Gry, Villete, Darand Land, Alex Albrecht, DJ Sprinkles and CCL), and Harris becoming curatorial voice of Brooklyn’s premiere venue for audiophiles, Public Records, where he continues to amplify work across a global diaspora (and where the duo maintain a residency of wide praise).
It is this bright energy and focus on the necessity of community and relationships that animates the aptly-titled Ethos. If past Frank & Tony releases have been lauded as ‘a coloring book in which someone has exclusively drawn inside the lines… with extreme precision,’ Ethos deviates by inviting friends in for a game of exquisite corpse. From singer and pianist Eliana Glass, whose androgynous, double-reeded voice freestyles across album opener Olympia, to distinct track features from fellow house masterminds DaRand Land, DJ Aakmael and Lawrence over half of the album’s nine tracks highlight artists in the larger Scissor & Thread circle.
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
1
Moullinex & Peaches - Maniac
2
Munk - Disco Clown (Midnight Mike Version)
3
Whomadewho - Flat Beat
4
Golden Bug - Bisco
5
Headman - It Rough (Chicken Lips Remix)
6
Baldelli - Atlantide
7
Trans Mania - Boing Boom Jack (Robotnick Remix)
8
Leroy Hanghofer - Bathroomboogie
9
Severino Horse Meat Disco - Bounce
10
Rodion - Atala Ride
11
Munk - Androgyn
2 x 12"
Tracklist:
A1) Moullinex & Peaches – Maniac
A2) Munk - Disco Clown (Midnight Mike Version)
A3) Whomadewho - Flat Beat
B1) Golden Bug - Bisco
B2) Headman - It Rough (Chicken Lips Remix)
C1) Baldelli - Atlantide
C2) Trans Mania - Boing Boom Jack (Robotnick Remix)
C3) Leroy Hanghofer - Bathroomboogie
D1) Severino Horse Meat Disco - Bounce
D2) Rodion - Atala Ride
D3) Munk – Androgyn
Info:
Toy Tonics presents GOMMA DANCEFLOOR GEMS VOL.1
It’s all about Y2K, Punkfunk and Indie Disco
Toy Tonics record brings a collection of tracks originally released on the German GOMMA RECORDS label between 2001 and 2010. Gomma was one of the key labels of the Y2K indie dance wave along with labels like James Murphy’s DFA and Trevor Jackson’s OUTPUT Records. And as the 90ies revival that dominated the last years in fashion and electronic music reached its peak (Techno and Electronica is pure 90s revival music) the Toy Tonics gang thought it’s a good moment to re-mind some of these early 2000’s tracks that connected a more raw, indie disco and punky funk vibe. It was another energy in those party days. Gomma was happening in Berlin off-location clubs like SCALA and RIO, London’s TRASH or 333 partys and Paris ‚Kill The DJ‘ and Paris Paris clubs.
Those Y2K clubs and the Gomma label brought together 80ies inspired Indie rock artists like NickMcCarthy of Franz Ferdinand (who’s was producing records on Gomma before getting world-famous) and Electro punk princess Peaches (who did a whole Disco album on Gomma records and is featured on this compilation with a cover of „Maniac“ from the Flashdance movie soundtrack). Italian disco legends like Baldelli or Robotnick were poppping up in those times after years of silence (before getting hype again later) as well as Gomma’s own discoveries like WhoMadeWho (their first 2 albums where quite punk funky and produced by Gomma’s head honcho Mathias Modica), Italian disco punkster Rodion, Parisian nasty funk dude Golden Bug, London’s mysterious prince of new wave prince Midnight Mike (who started in Gomma and later ended up on Ed Banger records) and Gomma’s main act Munk. And yes there is even DJ Severino who did an proto house remix for the label in the early Horse Meat Disco days.
That raw and nasty Gomma sound that mixed up many genres and made its own sexy, in your face music melange that was very in demand in those days from 2000 - 2010 and inspired many artists. Not just music people like James Murphy, who did music with Gomma before starting his own LCD Soundsystem or bands like Chromeo, New Young Pony Club or Soulwax who started later with a similar vibe, but also art, graphic and fashion people took inspiration from the Gomma world: Gomma’s edgy album cover designs, their poster fanzine, their colourful t-shirt designs and the whole style that the bands, DJs and people at their worldwide parties were rocking became a MUST all over the world. In the early 2000’s it was just art students from London’s Central St. Martins or Berlin’s UDK school that played that sound on their parties, later magazine like VICE or i - D invited Munk and the Gomma acts to their parties and later it was fashion brands like Prada, Margiela, Karl Lagerfeld and Hedi Slimane who used Gomma artists to make music at their fashion shows or events.
Gomma then in 2015 fnally closed. When a lot of new labels popped up copying the Gomma attitude and styles (till these days).
Gomma’s head honcho and main inventor Mathias Modica stopped the whole thing, changed the name and started something new: Toy Tonics records. Yes!
Toy Toy Tonics came out of Gomma and that’s why now it’s time to remember the old inspirational days.
(Gomma’s other very important part was the graphic designer Mirko Borsche who created the whole Gomma look with Modica and Jonas Imbery the other Gomma member. Mirko Borsche since than made an exceptional career doing designs for fashion labels like Supreme and Balenciaga and being the creative director of magazines like ZEIT, Spike or Kaleidopskope.)
Mathias Modica aka Munk aka Kapote himself now is busy with Toy Tonics, which basically is bigger than Gomma ever was: Spreading a very own sound of organic house and disco funk. With party happenings all over Europe every weekend and a very young audience.
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
Tracklist:
A1) Moullinex & Peaches – Maniac
A2) Munk - Disco Clown (Midnight Mike Version)
A3) Whomadewho - Flat Beat
B1) Golden Bug - Bisco
B2) Headman - It Rough (Chicken Lips Remix)
C1) Baldelli - Atlantide
C2) Trans Mania - Boing Boom Jack (Robotnick Remix)
C3) Leroy Hanghofer - Bathroomboogie
D1) Severino Horse Meat Disco - Bounce
D2) Rodion - Atala Ride
D3) Munk – Androgyn
Info:
Toy Tonics presents GOMMA DANCEFLOOR GEMS VOL.1
It’s all about Y2K, Punkfunk and Indie Disco
Toy Tonics record brings a collection of tracks originally released on the German GOMMA RECORDS label between 2001 and 2010. Gomma was one of the key labels of the Y2K indie dance wave along with labels like James Murphy’s DFA and Trevor Jackson’s OUTPUT Records. And as the 90ies revival that dominated the last years in fashion and electronic music reached its peak (Techno and Electronica is pure 90s revival music) the Toy Tonics gang thought it’s a good moment to re-mind some of these early 2000’s tracks that connected a more raw, indie disco and punky funk vibe. It was another energy in those party days. Gomma was happening in Berlin off-location clubs like SCALA and RIO, London’s TRASH or 333 partys and Paris ‚Kill The DJ‘ and Paris Paris clubs.
Those Y2K clubs and the Gomma label brought together 80ies inspired Indie rock artists like NickMcCarthy of Franz Ferdinand (who’s was producing records on Gomma before getting world-famous) and Electro punk princess Peaches (who did a whole Disco album on Gomma records and is featured on this compilation with a cover of „Maniac“ from the Flashdance movie soundtrack). Italian disco legends like Baldelli or Robotnick were poppping up in those times after years of silence (before getting hype again later) as well as Gomma’s own discoveries like WhoMadeWho (their first 2 albums where quite punk funky and produced by Gomma’s head honcho Mathias Modica), Italian disco punkster Rodion, Parisian nasty funk dude Golden Bug, London’s mysterious prince of new wave prince Midnight Mike (who started in Gomma and later ended up on Ed Banger records) and Gomma’s main act Munk. And yes there is even DJ Severino who did an proto house remix for the label in the early Horse Meat Disco days.
That raw and nasty Gomma sound that mixed up many genres and made its own sexy, in your face music melange that was very in demand in those days from 2000 - 2010 and inspired many artists. Not just music people like James Murphy, who did music with Gomma before starting his own LCD Soundsystem or bands like Chromeo, New Young Pony Club or Soulwax who started later with a similar vibe, but also art, graphic and fashion people took inspiration from the Gomma world: Gomma’s edgy album cover designs, their poster fanzine, their colourful t-shirt designs and the whole style that the bands, DJs and people at their worldwide parties were rocking became a MUST all over the world. In the early 2000’s it was just art students from London’s Central St. Martins or Berlin’s UDK school that played that sound on their parties, later magazine like VICE or i - D invited Munk and the Gomma acts to their parties and later it was fashion brands like Prada, Margiela, Karl Lagerfeld and Hedi Slimane who used Gomma artists to make music at their fashion shows or events.
Gomma then in 2015 fnally closed. When a lot of new labels popped up copying the Gomma attitude and styles (till these days).
Gomma’s head honcho and main inventor Mathias Modica stopped the whole thing, changed the name and started something new: Toy Tonics records. Yes!
Toy Toy Tonics came out of Gomma and that’s why now it’s time to remember the old inspirational days.
(Gomma’s other very important part was the graphic designer Mirko Borsche who created the whole Gomma look with Modica and Jonas Imbery the other Gomma member. Mirko Borsche since than made an exceptional career doing designs for fashion labels like Supreme and Balenciaga and being the creative director of magazines like ZEIT, Spike or Kaleidopskope.)
Mathias Modica aka Munk aka Kapote himself now is busy with Toy Tonics, which basically is bigger than Gomma ever was: Spreading a very own sound of organic house and disco funk. With party happenings all over Europe every weekend and a very young audience.
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
1
SL Jung - It Permeates It All
2
SL Jung - Subliminal Forces
3
SL Jung - The Hidden House
Hidden Worlds are everywhere around us. Some may emerge,
materialize in waveforms.... and let you look a little deeper. 3
Ambient and Dub influenced Deep House and Electronica
tracks.
Mastering and Cut at Dubplates & Mastering, Berlin.
TRACKLISTS:
A: It Permeates It All
B1: Subliminal Forces
B2: The Hidden House
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
materialize in waveforms.... and let you look a little deeper. 3
Ambient and Dub influenced Deep House and Electronica
tracks.
Mastering and Cut at Dubplates & Mastering, Berlin.
TRACKLISTS:
A: It Permeates It All
B1: Subliminal Forces
B2: The Hidden House
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
1
Black Sites - C4
2
Black Sites - BOXX
3
Black Sites - BLOKK
4
Black Sites - FLIKK
5
Black Sites - 3D
6
Black Sites - 707
7
Black Sites - II
8
Black Sites - SKKETCH
9
Black Sites - UURWERK
10
Black Sites - MOTHERJAM
TERRITORIES: WORLD minus UK
FORMAT 2 x 140g black vinyl, full printed pantone color sleeve, dl card
TRACKLIST:
01. / A1 C4 04:48
02. / A2 BOXX 04:33
03. / A3 BLOKK 06:05
04. / B1 FLIKK 06:47
05. / B2 3D 06:16
06. / C1 707 07:07
07. / C2 II 05:28
08. / C3 SKKETCH 01:55
09. / D1 UURWERK 04:08
10. / D2 MOTHERJAM 08:55
On June 27, 2025, a long-dormant signal reactivates from Hamburg’s hidden places: Helena Hauff and F#X return as Black Sites with R4 on Tresor Records—their first full-length album and the first release under the moniker since 2014. Like a hieroglyphic recently discovered and translated, R4 feels more like a long-awaited resumption than a comeback.
Recorded to tape with minimal editing or post-production the record is a classic example of the symbiotic relationship that can come from the interaction of human and machine. This punk ethos isn’t invoked through distortion alone, but through method; in the album’s breaking from the received wisdom of hardness tethered to speed as most of the tougher pieces are lower BPM and vice versa (with one notable exception in the mind-melting stomp of BLOKK).
Across ten tracks, Black Sites traverse a landscape where genre dissolves into intention. It migrates through electro’s danceability, acid house’s corrosion, and into the liminal realm of machine funk—a genre coined by Andrew Weatherall, which sounds like the results of technology dreaming of soul where the emphasis is on live execution, on immediacy over perfection—a sound forged in the act of creating, not polishing.
In a 2013 interview, around the time of the first Black Sites EP, Hauff was quoted as saying that she wants “things to fit together properly, but on another level, I really want them to make sense together.” That principle animates R4: The album’s form reveals itself in time, with each movement echoing and amplifying the others to create a synergistic whole.
From the opening crawl of C4 (a name that like the music foreshadows the explosions to come) to the end-of-the-night bliss of MOTHERJAM via the intense peaks of BLOKK, 707, and classic acid track 3D it’s clear that R4 is a work made with serious intent; a refutation of a world where streaming has made the two-minute single the dominant musical form again. R4 demands immersion, not just attention. It is not a collection of tracks, but a singular, recursive experience: a mirror in which sound and listener repeatedly rediscover one another.
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
FORMAT 2 x 140g black vinyl, full printed pantone color sleeve, dl card
TRACKLIST:
01. / A1 C4 04:48
02. / A2 BOXX 04:33
03. / A3 BLOKK 06:05
04. / B1 FLIKK 06:47
05. / B2 3D 06:16
06. / C1 707 07:07
07. / C2 II 05:28
08. / C3 SKKETCH 01:55
09. / D1 UURWERK 04:08
10. / D2 MOTHERJAM 08:55
On June 27, 2025, a long-dormant signal reactivates from Hamburg’s hidden places: Helena Hauff and F#X return as Black Sites with R4 on Tresor Records—their first full-length album and the first release under the moniker since 2014. Like a hieroglyphic recently discovered and translated, R4 feels more like a long-awaited resumption than a comeback.
Recorded to tape with minimal editing or post-production the record is a classic example of the symbiotic relationship that can come from the interaction of human and machine. This punk ethos isn’t invoked through distortion alone, but through method; in the album’s breaking from the received wisdom of hardness tethered to speed as most of the tougher pieces are lower BPM and vice versa (with one notable exception in the mind-melting stomp of BLOKK).
Across ten tracks, Black Sites traverse a landscape where genre dissolves into intention. It migrates through electro’s danceability, acid house’s corrosion, and into the liminal realm of machine funk—a genre coined by Andrew Weatherall, which sounds like the results of technology dreaming of soul where the emphasis is on live execution, on immediacy over perfection—a sound forged in the act of creating, not polishing.
In a 2013 interview, around the time of the first Black Sites EP, Hauff was quoted as saying that she wants “things to fit together properly, but on another level, I really want them to make sense together.” That principle animates R4: The album’s form reveals itself in time, with each movement echoing and amplifying the others to create a synergistic whole.
From the opening crawl of C4 (a name that like the music foreshadows the explosions to come) to the end-of-the-night bliss of MOTHERJAM via the intense peaks of BLOKK, 707, and classic acid track 3D it’s clear that R4 is a work made with serious intent; a refutation of a world where streaming has made the two-minute single the dominant musical form again. R4 demands immersion, not just attention. It is not a collection of tracks, but a singular, recursive experience: a mirror in which sound and listener repeatedly rediscover one another.
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
1
Dana Santi - Rain ( Charles Webster Dub Mix)
2
Dana Santi - Rain ( Charles Webster Mix)
3
Dana Santi - Rain ( Dj Jauche Rework)
4
Dana Santi - Rain ( Original Mix)
The new release on Flaneurecordings by Dana Shanti with her song 'Rain' promises an exciting sound experience. Dana Shanti is known for her remarkable musical talent and her ability to combine different instruments to create a unique sound. The remixes by Charles Webster, known for his deep and atmospheric soundscapes, add a special flavour to Dana's voice. Especially the 'Charles Webster Dub' is a highlight and perfect for the dancefloor.
A remix by Oliver Marquardt, also known as DJ Jauche, enriches the release. A representative and avant-garde of the early Berlin club scene, he brings his own creative influences to the track. With this combination of talented artists and innovative remixes, 'Rain' is sure to win the hearts of music lovers and clubbers alike.
A1. Dana Shanti - Rain ( Charles Webster Dub Mix - 07.43 min )
A2. Dana Shanti - Rain ( Charles Webster Mix 04.47 min )
B1. Dana Shanti - Rain ( Dj Jauche Rework 06.50 min)
B2. Dana Shanti - Rain ( Original Mix 04.22 min)
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
A remix by Oliver Marquardt, also known as DJ Jauche, enriches the release. A representative and avant-garde of the early Berlin club scene, he brings his own creative influences to the track. With this combination of talented artists and innovative remixes, 'Rain' is sure to win the hearts of music lovers and clubbers alike.
A1. Dana Shanti - Rain ( Charles Webster Dub Mix - 07.43 min )
A2. Dana Shanti - Rain ( Charles Webster Mix 04.47 min )
B1. Dana Shanti - Rain ( Dj Jauche Rework 06.50 min)
B2. Dana Shanti - Rain ( Original Mix 04.22 min)
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
1
Dam Swindle - The Last Time
2
Dam Swindle - Come Back
3
Dam Swindle - The Last Time (K-LONE 2-Step Mix)
4
Dam Swindle - Come Back (Chloe´ Robinson & DJ ADHD Remix)
Track list:
A1. The Last Time
A2. Come Back
B1. The Last Time (K-LONE 2-Step Mix)
B2. Come Back (Chloe´ Robinson & DJ ADHD Remix)
Dutch duo Dam Swindle appear on Aus Music's 200 series and two new house originals come with remixes from K-Lone and Chloe Robinson & DJ ADHD
Dam Swindle have been helping to define the underground house sound for a decade, not least with their Heist label. The pair deal in timeless, fad-free sounds that are rich with dance floor dynamics and hint at a love of everything from disco to tech and plenty in between. They are notorious crate diggers who have played the world's most cultured clubs, their recent track Allright (Just A Tribute) on Phonica’s 20 year celebration has received widespread love by DJ’s this summer on the festival circuit and now they offer up two more of their studio gems for their 3rd full release on Aus.
This EP is the second in a series of four releases from different artists to mark the 200th outing of Will Saul's influential Aus Music. It is an era-defining label that has platformed some of the scene's brightest stars way before they broke out. Since launching in 2006, the label has remained dedicated to releasing club-ready music with a cultured edge from deep and melodic house to the earliest bass- driven post-dubstep fusions.
This EP kicks off with 'The Last Time', a blissed-out deep house sound with impassioned vocal cries tugging at the heartstrings. Mellifluous synth daubs percolate through the mix to a captivating, feel- good effect. Next is 'Come Back,' an infectious house bubbler with gloopy synths and something of a garage shuffle in the kicks. It's fresh and packed with neon colour that brims with soul.
New school house and garage tastemaker and core Aus Music family member K-LONE steps up with a remix hot on the heels of his two-part EP series on the label. His version of 'The Last Time' is typically deft as soft focus chords swirl around prickly garage house beats. The distant vocal, the cavernous bass and the wistful feel all make it another classic.
Last but not least, Chloe´ Robinson & DJ ADHD are frequent collaborators on labels like Fabric Originals as well as Chloe´’s Pretty Weird imprint where they serve up potent, bass-heavy sounds. Their version of 'Come Back' is expertly stripped back. It teases and pleases with a blend of filthy low- end oscillations, slinky drums and tooting chord hooks that are effortlessly fun and effective.
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
A1. The Last Time
A2. Come Back
B1. The Last Time (K-LONE 2-Step Mix)
B2. Come Back (Chloe´ Robinson & DJ ADHD Remix)
Dutch duo Dam Swindle appear on Aus Music's 200 series and two new house originals come with remixes from K-Lone and Chloe Robinson & DJ ADHD
Dam Swindle have been helping to define the underground house sound for a decade, not least with their Heist label. The pair deal in timeless, fad-free sounds that are rich with dance floor dynamics and hint at a love of everything from disco to tech and plenty in between. They are notorious crate diggers who have played the world's most cultured clubs, their recent track Allright (Just A Tribute) on Phonica’s 20 year celebration has received widespread love by DJ’s this summer on the festival circuit and now they offer up two more of their studio gems for their 3rd full release on Aus.
This EP is the second in a series of four releases from different artists to mark the 200th outing of Will Saul's influential Aus Music. It is an era-defining label that has platformed some of the scene's brightest stars way before they broke out. Since launching in 2006, the label has remained dedicated to releasing club-ready music with a cultured edge from deep and melodic house to the earliest bass- driven post-dubstep fusions.
This EP kicks off with 'The Last Time', a blissed-out deep house sound with impassioned vocal cries tugging at the heartstrings. Mellifluous synth daubs percolate through the mix to a captivating, feel- good effect. Next is 'Come Back,' an infectious house bubbler with gloopy synths and something of a garage shuffle in the kicks. It's fresh and packed with neon colour that brims with soul.
New school house and garage tastemaker and core Aus Music family member K-LONE steps up with a remix hot on the heels of his two-part EP series on the label. His version of 'The Last Time' is typically deft as soft focus chords swirl around prickly garage house beats. The distant vocal, the cavernous bass and the wistful feel all make it another classic.
Last but not least, Chloe´ Robinson & DJ ADHD are frequent collaborators on labels like Fabric Originals as well as Chloe´’s Pretty Weird imprint where they serve up potent, bass-heavy sounds. Their version of 'Come Back' is expertly stripped back. It teases and pleases with a blend of filthy low- end oscillations, slinky drums and tooting chord hooks that are effortlessly fun and effective.
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