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GROWING BIN

Under the tree – In The Cave – At The Water, there’s where you’ll find Eleventeen Eston; savouring the shade since his 2014 debut LP ‘Delta Horizon’ turned the spotlight his way. Taking shelter in the subterranean, the Perth musician has found a sound saturated with entheogenic splendour, growing something gorgeous from the grotesque. Finding a natural home on Hamburg’s Growing Bin, Eston emerges into the daylight with a dreamy LP.

The vision quest begins with 'C in Sympathy', a freefall into the perverse beauty of the Domus Aurea, brought to life with E2-E4 electronics, chorus pedal shimmer and muted bass. Leaving the grasslands we dip a toe in the water with the hypnotic ripples of '2 d'Or (Cab Chassis)', a Carl-Craig-goes-New-Age number which fuses the electronic and acoustic to perfection. Delicate piano, crystalline synth tones and tape-saturated emotion lend their cinematic charm to 'East Perth Stories (Closing Titles)' before the propulsive bass and soft focus groove of 'The Four Fountains' hits you with the heat haze. Eston takes another tapey diversion on the sci-fi synthscape 'I Remember', while the coastal cool of 'Thread & Truth' picks up the wavy white funk baton from Spike.

The B-side brings more beauty as the drifting and dreamy ambience of 'I Float, I Am Free' gives way to the Windham Hill guitar licks, snaking bass and billowing textures of 'A Squall, 1988', offering a welcome echo of the wonder of Wilson Tanner. 'Where There Is Rain' sees Eston tune the Ute radio to 96FM Perth, marrying cascading keys, evocative vocal samples and lush guitar with a solid 80s pop beat, before he slows the pace for 'Sand Man' a skewed and stoned bit of beach funk that's perfect for seduction. We part ways with the panoramic 'Dory On Swan', a serene soundtrack to lapping waves and magic caves. Always in season, Growing Bin do it again.

STAFF COMMENTS

Patrick says: Currently causing the calmest stir on the Piccadilly stereo, the long awaited follow up to "Delta Horizons" sees Eleventeen Eston AKA John Tanner (of Wilson Tanner) treats us to warm white funk, hazy ambient and dreamy pop.

Following the freak beat festival of Wolf and Wandt’s ‘Instrumentalmusik’ comes a release that’s been in the pipeline since the organic imprint first took root; the first reissue of the beautiful ’Señora’. Beguiling and brilliant, this private press princess makes you want to dance, dream and do cartwheels, then breaks your heart when you realise you’ll never meet her - a rare beauty indeed. So it’s time to let Basso play cupid and introduce you to the love of your life.

Eagle eyed associates might recognise the sleeve as Basso’s everyday avatar, chosen in tribute to his favourite jazz-funk record of all time. Originally released in limited quantities back in 1981, the self titled ‘Señora’ was the sole release from a quartet of German groove greats, coming together in one ecstatic union of rhythmic precision, smooth riffing and melodic mastery.
Take opener ‘Paul’ for example; a continent away from the West End, this sublime slice of raw guitar, silken keys and gliding bass could have made Mel Cheren proud. From there we’re taken on a journey through the syncopated slide of the jazzy ‘My Way, Your Way’, the samba sway of the mild and mellow ‘Easy Going’ and the poetic piano of ‘Pearl’, a triumphantly esoteric tone poem to close the A-side. ‘Señora’ ups the tempo on the flipside, galloping through tight triplets, fusion guitar and mind expanding synth play. The B2 brings a strolling bassline and tender tonality, executed with all the ease of the Sunday morning which dawns on the extended and expansive cooler which brings the LP to its final emotional release.

Light a candle, change the linen and put the rosé on chill, you’re about to fall in love with Señora.

STAFF COMMENTS

Patrick says: Gorgeous, glorious and groovy, 'Señora' is the German jazz-funk holy grail, long lusted after but only rarely spotted. Now, thanks to Hamburg's Growing Bin, you can finally put this masterpiece of rhythmic precision, melodic magic and soothing samba on your turntable and in your ears.

Wolf Müller & Niklas Wandt

Instrumentalmusik Von Der Mitte Der World

Growing Bin burst into 2018 with a bang, crash and symbol splash, uniting a premier pair of percussion obsessives for a supernatural mission into the heart of the rhythm.
Dressed in the pitch black of Dusseldorf stands Wolf Mueller, master of the tropical drums and seven time Salon Des Amateur breakdance champion. Repping Cologne and Berlin is Niklas Wandt, Germany’s funkiest drummer and a mixed musical artist as adept in experimental jazz as demented Eurodance. Standing toe to toe in a no holds barred, no drum unstruck groove contest, these two titans will make you swing your pants like a Crash Bandicoot victory dance... so stretch out and step into "Instrumentalmusik von der Mitte der World".
Taking to their task with the joyful abandon of two big kids getting creative with the Kindergarten music tray, Müller & Wandt marry dripping electronics, Froesean pads and rubber-limbed basslines with tribal polyrhythms, C2 claps and Indonesian shakers - and that‘s only on the A1. Comprising of three trance-inducing epics, a handful of medium-sized movers and a couple of freeform interludes, this dynamic double pack could almost pass as a lost Library masterpiece; but our mind guides go Furthur, fusing esoteric funk and free-jazz freak-out a truly transportive experience. Prepare to enter a world of techno totems and neon skulls, shades of Yello and excellent birds. Within these grooves lies a transdimensional pathway between the Temple of Doom, the Twilight Zone and De Palma‘s Paradise, brought to life in a shamanic rite.

Forget the healing frequencies of Growing Bin‘s ambient outings, this time we‘re dancing for mental health.


STAFF COMMENTS

Patrick says: Growing Bin continue to smash it with this MASSIVE double LP from Dusseldorf disco king Wolf Muller and percussion freak Niklas Wandt. Packed with all manner of tropical drums, kosmische tones and infectious grooves, this is retro-futurist dancefloor exotica like you've never heard it before.

Mainpoint

Alaska Wartet / Frisbee

When the Growing Bin first bloomed from blog and record store to label it was originally intended to be a reissue imprint. If you’ve kept your ear to the ground and head in the Bin, you’ll know that isn’t exactly how it went down. But for this release we are going back to the scheme a young Basso dreamed up in his adolescent years: bring back the rare, unknown and unfindable.

So here is Mainpoint‘s ‘Alaska Wartet’ - a stunning private pressed 7” entirely unknown to the wider world. Its original 1980 press was less than extensive, and the few copies which did appear were sold exclusively at concerts and local record shops – kudos to all twenty five people who got a copy! Mainpoint started out as a Jazz-Rock outfit in 1978 but as the years rolled on, these guys fell for the funk. Finding a 4/4 in a world of syncopation, Mainpoint fell foul of their elbow-patched pals, being labelled Tanz-Jazz since their audiences actually danced (in contrast to the serious silence of their contemporaries’ concerts).
‘Alaska Wartet’ made it from Side 2 on the 1980 press to Side 1.This incredibly tight Boogie jam bounds out the speakers with a synth line from heaven and fusion moves galore – it’s sure to put a smile on dancer‘s faces worldwide. ‘Frisbee’ flies of the flipside, inviting dancers to forget about gravity and go for broke.Soaring skywards from this off , this uplifting masterpiece is perfectly topped by that screwdriver hook sung by Ika Hussmann!

Time for some Tanz-Jazz, folks!

STAFF COMMENTS

Patrick says: After the sweet Balearic sound of the Brenda Und Basso 7" last month (B-B-Booglaoo), the Growing Bin groundsman serves up another small format winner with this fine reissue of a German jazz-funk rarity. Oozing grooves and full of fat synths, this is a proper dance floor destroyer with not an elbow patch in sight. Ace!

You could be forgiven for thinking Basso‘s been hitting the plant food of late. Last time out we took a trip with Trance, and now our esoteric expert nods his head, rolls his shoulders and drops a h-h-h-house record on our unexpecting asses. That‘s right folks, roll up the rug, push the sofa back and enjoy some ‚Personal Growth‘ from James Booth.
Operating a million miles away from the kick and hiss of the trendy lo-fi folks, the Berlin based producer favours subtle rhythms, delicate textures and tender melodies - turning out a string of sophisticated dance floor winners for 100% Silk, Church and No Bad Days. Now he brings his organic house stylings to the Growing Bin with a fresh five-tracker packed with all the warmth of a Tempelhof picnic on a balmy July afternoon.
Emerging from the watery depths of the Drexciyan ocean, opener "Mood" strides calmly through the morning dew, stretching those loose limbs and seeking out Hardcastle‘s rainforest. Drifting freely through immersive, aquatic pads and soft focus melodies, the track takes in a little R&R before snapping electro percussion, cascading synthlines and a rolling rhythm up the intensity. The deepness continues on the A2 as "Dream Precipitation" offers a medicated vision of Debussy doing P-Bar while Lynch rolls the cameras. Syncopated hi-hats, jazzy keys and star-gazing sine waves wrap themselves around your cerebellum, expanding your mind as a steady kick moves your body into the pleasure zone. Booth takes a Derren Brown tip on the flip, imbuing "You" with the kind of mesmeric rhythm that can make the staunchest wallflower pull a Pink Panther on a packed dance floor. The exotic tumble of woody percussion and hissing castanets keep up a fascinating rhythm, driving the titular mantra and snaking synth melody through bursts of slapped bass and subtle 4/4. "Dhoop Stick" stays on board with the boogie hypnotism, weaving its way through celestial melodies, squelching bass and toasty Rhodes before "The Chorus" brings down the curtain with wailing FM vox, military snares and the dreamy synth pop charm of a lost Sheffield classic. Warm, woody and entirely organic, this is the birth of Green House...you heard it here first!

After going beatless around the bush with Wilson Tanner’s stunning ’69’, Growing Bin leave the Swan River behind for their sixth release, heading east from their Hamburg home to sample the coastal calm of Krynica Morska. And who better to show them the sights and sounds of idyllic Poland than Ptaki co-pilot The Phantom a.k.a. Bartosz Kruczyński, flying solo here with a sumptuous score for long sunsets and lapping waves. Taking his cue from well worn IC releases and the Berlin School, Bartosz dedicates the whole of the A-side to ‚Baltic Beat’, twenty stunning minutes of swelling, swirling beauty full of motion and purpose. Chiming guitar pierces the deep like sun-light, leading us out of the oceanic intro and onto the soft sand where shimmering marimba and considered piano lull us into a Tangerine Dream. Before long the clouds roll in and the crashing surf gives way to Metheny guitars, rhythmic keys, minimalist woodwind and the dramatic bassline which carries us downstream into the run out groove. The B-side opens with the rolling waves and overwound watches of ‘Post Tenebras Lux’, a feather- light daydream which builds with West Coast guitar and a crisp snare before fading into the bird-song of ‘Parco Degli Acquedotti’. The stunning offspring of ‘Wicked Game’ and ‘Moments In Love’, this is just about as Balearic as it gets, The Phantom breezing over the frets as the wind works its way through his hair. All that remains is to savour the fading sunset to the sound of ‘Supplement 1‘ and ‘2’, elegant odes to nature which hold delicate piano, cor anglais and guitar in perfect balance. With summer on the way, it’s time to slip your moorings and drift away with Bartosz Kruczyński and Growing Bin, partners in calm.

STAFF COMMENTS

Patrick says: Ptaki man The Phantom leaves behind the aliases for this stunning long player on the blossoming Growing Bin. Taking cues from well worn IC releases, the A-side is one long voyage from the sea to the shore, while the B-side offers a quartet of hazy, drifting compositions. Another essential release from Growing Bin!

If you’ve kept a keen ear to the underground, you may have noticed a trance revival creeping into the dance floors and darkrooms of late; a post ironic return to the 64 bar breakdowns and peak time key changes of your serotonin drenched youth.....

So what’s this then? Has Growing Bin gone from groundbreaker to copycat? Dig a little deeper folks, for the Trance is question is Jürgen Petersen, a forgotten cosmic kingpin in tune with true electronic excellence. When Danielle Baldelli wanted to show off his eclectic tastes, which record did he reach for? Petersen’s 1980 LP, ‘Here And Now’ of course. And when John Schaefer put together his essential exploration of New Sounds, who did he describe as Germany’s answer to Eno? Trance, damn right! After blessing the world with a trio of essential electronic LPs between 1979 and 1983, Petersen moved out of the limelight and lived off the grid, collecting his mind expanding music on a series of self-recorded, self-released cassettes, known only to the inner circle of elite European diggers. The sounds found within were unusual, experimental and ecstatic.

Fusing the organic tones of piano, 12 string guitar and sitar with soothing sine waves and hypnotic synthesis, Petersen harnessed the healing frequencies out there in the cosmos and transfixed the listener with pure otherworldly beauty - ambient music for a new age… Unravelling these rare cassettes for music lovers everywhere, Growing Bin treats us to ‘Tapes’, a five track vision quest for the horizontal travellers and fourth world nomads. Sven can keep his cocoon, we’re off in search of the butterflies...

STAFF COMMENTS

Patrick says: My favourite German (sorry Mine), digs his green fingers into his micro-press cassette collection to treat us to the first retrospective of kosmische wizard Trance. Spanning the bucolic and galactic, the majestic music of Jürgen Petersen spans space-time to deliver cosmic clarity one sublime note at a time.

Minds expanded and bodies soothed by Krakatau’s deep spiritual eruptions, Growing Bin take us back to the beginning with three impressionistic jazz landscapes from the magical Merge. Inspired by childhood memories of an Iranian oasis, Jo Lienen let his fingers breeze over the keys like a warm shamal, leading him back through dusty streets and covered markets to his long forgotten Kashan. As the needle nestles into the well pressed groove we gaze through Lienen‘s eyes upon an ancient beauty, the sapphire skies and tan sands which surround the endless domes and lush gardens of his childhood home. Focusing on the bustling market in the morning sun, ‚Part I‘ races down the narrow alleys to a bright bossa rhythm, weaving past the crowds with a swaying bassline and lithe guitar. The soothing air carries the faint heat of spice and the voices of the bazaar, while the delicate piano falls like a warm desert rain. As afternoon prayer leads the crowds to mosque, ‚Part II‘ strolls through the empty streets, following mystical melodies to a moment of trascendent beauty. Hissing snare rolls leap above subtle percussion, carrying the earthy bass and airy piano as emotive guitar drifts through the city like smoke in the wind. A dervish solo erupts with spiritual fervour and the crowds flood back through the streets bringing Kashan back to life once again.
‚Part III‘ finds us at sunset, drinking spiced tea with red dust underfoot. Taking a slower, more sedate pace, this bass led beauty rolls on restrained but rhythmic percussion, flooding the senses with synth harp and dreamy guitar. The music might stop and the mirage may disappear, but thanks to Growing Bin we can visit any time we want.

STAFF COMMENTS

Patrick says: Basso rounds off a spectacular year of Growing Bin goodness with some brand new material from German jazz troupe Merge. Swapping coastal breeze for the heat of Iran, the desert jazz of 'Kashan' is as warm, refreshing and intoxicating as an afternoon aperitif.

Hamburg's deepest head, Herr Basso gives the people what they want and delivers a limited repress of his first Growing Bin release. A lost album from studio project Merge, "Long Distance" is a wonderfully textured, calm and coastal LP, perfect for long summer days or warm autumn nights. I'll leave it to Basso to give you the details.

"Some years ago I discovered some copies of an unusal jazz fusion album called "Exchange" recorded in 1989 by the studio project Merge - released on the private Dorato Musikverlag. The bunch of copies I had were quickly spread over the globe and when a friend asked me if I still had one for him they were all gone. So I got into contact with Merge's mastermind and producer, Jo Lienen, who magically moved to my hometown Hamburg recently. Fortunately he still had a handful of copies left. (Saved from the distributioner who failed to do his job and finally recycled the remaining copies...) While we were chatting about life and music Jo told me about a second Merge LP that he and his friend Harald Karla recorded within just a few weeks in studio off-time in 1994. An album never released, because both of them were very busy in production / studio jobs and forgot about it a while after... Jo kindly provided me with a CD of the 1994 recordings and when I listened to it I got struck by lightning. This mix of jazz and ambient is EXACTLY what I'm after and I know there's a bunch of you guys out there who feel the same : ) Thanks to Jo and Harald for these wonderful tunes!!"

STAFF COMMENTS

Patrick says: It's fair to say that German digger, dealer and GZA fan Basso knows a thing or two about tunes, and whenever there's a new Growing Bin release the heads out there get very excited. Going back to the start, GBR001 treats us to a previously unreleased nineties Balearic/jazz-fusion opus complete with lush synth washes, tinkling ivories, gentle percussion, bird song and lapping waves... Leave your preconceptions at the door!

Whether you’re floating free to antipodean ambience or toasting the sunset with a Baltic beauty, you can always count on Growing Bin to take you someplace new for a while. Swapping bucolic Poland for the buzz of the Big Apple, the Hamburg imprint reaches a magnificent seven in the company of synth-pop dreamer Shy Layers (JD Walsh to his mum) and his sublime self titled debut.

Over the course of ten emotional pop serenades, the New York musician recalls lost days sofa surfing to the lounge electronica of Air, Mellow and early Phoenix or the swooning lo-fi psychedelia of a pre-MD Simian. Shy Layers welcomes us aboard with the shimmering pads and soothing soft synths of ‘Black & White’, a drifting soundtrack to a John Hughes-directed episode of ‘In The Night Garden’. From there we swerve into the wistful synth-pop of ‘Famous Faces’, locking into the rattling Tears For Fears groove while the West Coast guitar licks and vocoder vocals float off into the distance. ‘You Won’t Find Me’ shuffles through afro-tronic keyboard lines, Beta Band breakbeats and loose funk guitar before the sweltering ‘Stabilized Waves’ dips a toe in the Med, swaying gently to the fluid bass, acoustic strumming and cascading electric guitar. Swapping continents to close the A-side, ‘Too Far Out’ finds Walsh working highlife guitars and fuzzy sanza sequences into a piece of perfect off-kilter pop. The B-side begins in glitchy fashion with the flying hats and seesaw synths of ‘Holding It Back’, before ‘Playing The Game’ offers sprinklers over summer lawns, dub fx, jangling guitars and cooing vocals. The afrobeat influence shines through once again on the rhythmic ‘Bees & Bamboo’ before ‘SEG’ sees Shy Layers don Mario’s Red Wing cap for a chip-set safari through the bright blue sky. Playing us out with the same cinematic splendour with which we began, Walsh conjures a woozy, sun-dappled mood for the sumptuous ‘1977’.


STAFF COMMENTS

Patrick says: Fusing French pop, glistening Americana, 80s AOR and afrobeat into a hazy vision of balmy mornings, long evenings and lazy days, Shy Layers has served up the soundtrack to your summer. Growing Bin is in full bloom right now.

After lighting up our lives with the superb Barthel, Bohm & Bauer retrospective last time round, Basso hooks the tape deck up to the Growing Bin lathe and delivers a vinyl edition of Moon B's "Lifeworld", previously only available on cassette via Vancouver's 1080p. Where the Atlanta producer's previous releases on PPU delivered the saturated boogie and grainy house synonymous with the label, strolling casually in step with Mood Hut or the more stoned end of the Beautiful Swimmers catalogue, "Lifeworld" sees Wes Gray don a safari suit for an exploration of the tropical undergrowth. Operating in much the same way as a hip hop mixtape, the LP sees the producer cycle through a well segued selection of sketches, motifs and moods, exploring tranquilised g-funk, subcontinental film themes and tropical interludes without letting any track outstay its welcome. The result is an intoxicating listening experience which pulls you into its distinct universe from start to finish, while sounding like a slightly heat-warped tape discovered on a Jamaican beach. Joining the dots between the psychedelia of Baldelli's cosmic scene and the dranked out slank of his hometown's chopped & screwed scene, Moon B's delivered one of the freshest albums of recent memory, typified by the horizontal oddness of bonus cut "Moments In Slank". Clear a space next to your turntable because you'll have this one on heavy rotation.


Welcome to the new age of new age and enter the 'Overworld' by A.r.t. Wilson aka Andras Fox.

Originally recorded for the contemporary dance work 'Overworld' by Sarah Aiken and Rebecca Jensen it was released on tape in very limited quantities this April. Now it‘s available in "pink lake“ vinyl from Growing Bin Records.

Peel back the leaves and discover Andras Fox, a Melbourne producer making tactile and imperfect electronic music. Inspired by primitive percussion, simple melodies and home recording, Andras combines elements of house music and ethno-groove in a distinctly antipodean way. Based around drum machine rhythms and new age synths, his original tape recordings are simultaneously contemporary in sound and difficult to carbon date, slipping comfortably between 80s library music, Chicago house and G-funk.

After sold-out solo releases, Andras teamed up with vocalist Oscar Key Sung for a collaborative LP that went back to the roots of disco and house. Receiving support and plays from the likes of Dam-Funk, it was an earnest catalogue of cassette demos recorded in the industrial district of West Melbourne. His follow up EP 'Erskine Falls' was popular with the ladies - compact tropical-synth instrumentals that felt just right.

Presenting the weekly radio show Strange Holiday on 3RRR FM in Melbourne has given him a chance to greatly expand his record collection, which currently occupies the broad territory between disco, World, library and Balearic sounds. This depth of knowledge about music‘s past informs his productions, which all give a nod and a wink to the past. Andras has supported artists including James Pants, Andres and DJ Sprinkles, as well as recently returning from an extended EU tour. In a digital, cool world full of hectic pace, Andras Fox brings warmth, relaxation and gentle grooves to your ears.

His latest work 'Overworld', recorded for dance theatre, is released under the alias that reclaims his birth name Andrew Richard Wilson (T stands for Trouble). A.r.t. Wilson is a slight detour from dance music land into the world of new-age and ambient music. It‘s a trip to the forest or the ocean after a big night out, it‘s an open window in the recording studio.


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