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MULE MUSIQ

Lawrence

Yoyogi Park Remixed

    After an excellent new album “Yoyogi Park”,our favorite German producers made great remix package.

    one of the most respectable label giegling artist kettenkraussell made two version.one is dark deep house and one more is electronica style which reminds us jan janelik.
    our hero roman flugel remix is more uplifting and trippy,this is simply nice for the club.
    lake people remix is old school electro style but sounds very modern and playful.
    enjoy!


    Frankey & Sandrino

    Alya

      We are very proud frankey & sandrino are back.

      Two first class hypnotic dance floor weapons.


      Debut release on Mule Musiq by Italian DJ & producer Toto Chiavetta who's previously graced MCR's Something In The Water label (ran by Irfan Rainy and Yoruba.

      The EP begins with the floor-killing, tropical tek-house of “Higher Than A Bird”. Decorated wonderfully with synth-mallets and a plethora of biotic fx it's one of those festival-friendly bangers that'll have hordes of peoplle gyrating manically to its futuristic buzz.

      Over on B-side,“Magnus” is a pitch black, lazer guided, late night excerise in modern tribalism while "First Day Without Her" is more dark techno for the big rooms with some lush musical embellishments. Mega this!




      STAFF COMMENTS

      Matt says: First two tracks are fair to good (IMO), but it's that last track, "First Day Without Her" that I'll be reaching to every time to melt people's faces off.

      Kuniyuki & Fumio Itabashi

      Once Again / River

      Mule Musiq take us back to the end of the noughites here with a welcome 12" edition of a couple of jazzy bombs from Kuniyuki and legendary Japanese pianist Fumio Itabashi. Previously out of reach for the vinyl purist, these two cuts were found on Kuniyuki's CD only album "Walking In The Naked City", though club kids may have grabbed the hypnotic and groovy house version of "Once Again" Kuniyuki and Henrik slayed way back when. Here we find that killer composition in full jazz mode, a triumph of tonal keys, slick guitar riffs and stunning syncopation. Over on the flip, "River", a personal favourite of Kuniyuki and Itabashi delivers drama, melody and magic in a totally dynamic arrangement. Two stunning cuts for anyone doing their thing on a jazz tip.

      Wareika

      Water, Sky, Sun, Wood

      Wareika return to Tokyo's Mule Musiq. Florian Schirmacher, Henrik Raabe and Jakob Seidensticker's tro have flirted with the label previously on remix duties but this is their first full length proper. Known for multi-textured, minimalist electronic music, on this release Wareika edit down what began as an unplanned four hour jam session. Electric piano, guitar, conga, MFB Tanzbär, MFB Dominion 1, OB-6, Jupiter 6 and Manikin Mellotron synthsizer are all used in the composition yet with this advanced array of instrumentation there's an air of simplicity and minimalism that sweeps through the album. Serene, meditative and mesmerizing in equal measure, there's just enough thrust to carry these tracks through into a club environment also. Tracks take on shimmering, multidimensional forms, propelled by a steady 4/4 and peppered with an assortment of analogue fx. It's a beautifully executed piece, edited cleanly and concisely so you get all the energy and pleasure of that initial four hour jam session condensed into a handy one hour package. Excellent! 


      STAFF COMMENTS

      Sil says: Without a doubt and by a mile my favourite record so far this year. This feels as good as taking a swim in the Pacific watching a waterfall meander its way to the sea. This is a mesmerizing journey. Buy on sight. An absolute diamond this album is.

      Kuniyuki Takahashi

      New Wave Project

      It was in February 2015 when Japanese producer and sound designer Kuniyuki Takahashi, sometimes known as Koss, releases with the EP “Newwave Project ‘2” a record, that tapped some roots of his musical education: new wave, German electro punk from bands like a DAF, EBM from acts like Front 242 as well as industrial music.

      Styles, about Kuniyuki claims that they are his “favourite music”. Now, nearly two years after his first newwave project EP, he drops an album that is leaning towards his musical love from the past. Compared to his former work, that was rooted in worlds of classic, jazz, house, ambient, and electronic song-writing, his new tunes are full of melodic drifts and rhythmical shifts.

      As usual all is loaded with tones and rhythms straight from the heart that filter and modulate human emotions without losing their natural source. to get a sound that is fresh but still leaning to the 1980ees, he used some old synthesisers like a Roland Jupiter 8, a Juno 60, a Korg MS 20, an old tape echo machine but also new instruments like the Roland Aira. Furthermore, his modular synthesizers talk too.

      Instead of having a masterplan, Kuniyuki just made sound, drifted on his machines and moved into a territory, that his far away from his former sound. also the use sampled voices and other alienated sound sources of unknown origin inject his new tunes otherworldly atmospheres.

      His skills as a fine instrumentalist is evidence as Kuniyuki also played the piano, percussions or flute, if he felt their warm sound is needed for his freely grooving tracks. some dance in a house or techno outfits.

      Other slam like a mix of funk and ebm. tunes like “puzzle” or “body signal” are twisted treasures that bemuse deeply. In-between you hear the echoes of cosmic spheres, the darkness of the cold war days and some bewitching tribal jungle vibes. a new, moving, unorthodox and yet catchy side of Kuniyuki Takahashi.

      It is not totally novel to him, as he already released some industrial, EBM and electronic with the pro-ject drp in 1990 on the Belgium label body records. but for his listeners, that know him for detailed house, jazz and classic or that love him as a man of collaborations who already worked together with artists like innervisions jazz house heavyweight Henrik Schwarz, the famous Japanese pianist Fumio Itabashi or the British synth-pop protest spoken word icon Anne Clark, the “newwave project” sheds a light on a different artistic side of Kuniyuki Takahashi.

      It is diversified, has many rhythmical and atmospheric turns but stays stirring and compelling in all twelve tracks. a true new wave, formed, played in and envisioned with a view on the past that was filtered through the now while feeling the future. the cover art work comes from the Swiss artist Augustin Rebetez - a man who also loves to generate unknown poetic universes in his drawings, sculptures, videos and installations.


      Framed by two spoken word samples and wrapped in house and techno emotions, that know about electro and 90’s electronica too: the new, second album of the Leipzig and berlin based producer and live artist Martin Enke aka lake people moves in a fresh way.


      This time he shifts towards a focus on the essentials of electronic club music: sounds and groove, rough and playful interweaved with the aesthetic particles of techno. With his “point ep”, released on the berlin based imprint Krakatau records in late 2012, his creative life as a producer for melancholic driven club tunes took off.

      Several top notch DJs played the tune “point in time”, lake people started to tour world-wide with his mesmerizing live set and produced countless remixes for colleagues from all around the globe.

      In 2015 he finally released his first album “purposely uncertain field” on the Munich based label permanent Vacation and delivered eleven tracks at the interface of techno, ambient, experimental and electronic, that bewitch with hymnal chords, yearningly melodies, detailed production, elaborate sound design and an overall introspective, emotive feeling.

      Now, just shortly after he published a fresh ep on the Dresden based imprint uncanny valley, lake people drops “phase transition”, a new album consisting of ten haunting tracks full of dance suspense.

      He recorded all between 2016 and early 2017 on various vintage analog synthesizers, uad and other creative interfaces. To find out if his latest pure slamming tracks work deep, he tried them out during his live shows in order to catch some new ideas directly from the dance floor.

      Later he refitted the tested material, so that all ten tunes dance together as a compact album, which at times still sounds melancholic and vulnerable, but comes around at large in a more self-assured guise.

      You also experience in any tone, rhythmic twist or melody, that his latest music came naturally out of the soul of a producer, who constantly is doing music: at home or on the road. During this continual work flow, he created sparser, direct kicking spheres, that also still bring some drama to the party.

      A fine moody you-don’t-stop grooving record that follows a heartfelt syuzhet, which is full of temperament, devotional, partly Larry-Heardish and straight like a bullet, carrying the audience from joy and whimsy too melancholy and sugared desolation. Dance this mess around!


      STAFF COMMENTS

      Barry says: Swirling dub atmospherics and a skittering percussive backbone weave together into a dancefloor-ready cacophony of funk and rhythm. Brilliantly hefty but skilfully nuanced and varied. Brilliant stuff.

      NYC producer Marcos Cabral coming correct with three choice weapons from his private arsenal. On the A-side we have "Pest Control", the title track and EPs dark, techy opus. Cabral's industrialized rhythms permeate through the entirity of the track, vast machines driven into frazzled intensity through repetitive processes and a monster workload. "In The Red" features fellow noise maker Entro Senestre and draws indesipherable vox backwards through an engine room flanger before rearranging with skeletal beats and glitching synth bleeps. Final track, "Standing On The Corner" sees Cabral capably explore the realms of blissed out, late night deep house; tipping his hat to the THC-soaked sounds of Vancouver along the way. Ace!



      Together with the German / Swiss producer Dieter Moebius Roedelius has been Cluster for over three decades - a band that is, beside Kraftwerk, Neu!, Can, Tangerine Dream, and Faust, a key figure of the German Krautrock movement in the 1970s.

      The starting point of his career was the "The Zodiak Free Arts Lab“, a short-lived but highly influential experimental live music venue, founded in West Berlin in late 1967 by Roedelius and the German artist Conrad Schnitzler. Here he met his former partner in crime Dieter Moebius for the first time while listening to free jazz, psychedelic rock, and avant-garde sounds played by artists such as Tangerine Dream or Ash Ra Temple.

      With Tangerine Dream member Conrad Schnitzler they formed Kluster and recorded three albums, which feature guitars, percussion, organ, cello with an abundance of sound processing devices to create extraordinary electronic music - gloomy, industrial, and nightmarishly unnerving.

      After Schnitzler left the trio they both continue to work under the moniker Cluster in order to invent relaxed, minimal electronic music that later get world-famous under the term ambient. Beside the work as Cluster they also recorded with the former Kraftwerk member Michael Rother under the alias Harmonia, that later included British ambient music artist Brain Eno.

      In 1976 the trio Harmonia disbanded but Cluster never stopped their creativ output till their official split in November 2010. Beside making music with others like recently with the Düsseldorf based producer Stefan Schneider for the album "Stunden“, Roedelius recorded countless of solo albums like "Durch die Wüste“, "Selbstporträt“, or "Wenn Der Südwind Weht“. Many of them are moody new classic and ambient strokes of a genuis who got a real unique music style: melodic piano and other acoustic instruments played with a sharp tinge of electronics.

      Mule Musiq now proudly presents eleven unreleased compositions by Roedelius produced between 1990 and 2001. All of them are pearls of electronic deepness that show another side of the man that lives in the little Lower Austrian town Baden. His famouse ultra sweet piano melodies can be heard - but they are not the centre of the productions. Instead a more electronic side of his genius call the tune. With a minimalistic approach he let synth melodies highfly while some droney, melancholic atmospheres enlarge in the background.

      Sometimes even slow moving grooves hex the senses and his tracks get percussiv in a more avant-garde way. All his eleven arrangements are poetically and work like unreal sound fairytales that leave much space for the listeners own imagination.

      Everywhere melodies are balancing and drift with no end or beginning in a cloud of synthetic sounds that sound so modern that it is hard to believe that their creator is already 78 years old. But age does not matter if you listen to your heart. Hans-Joachim Roedelius always did and his musical notions seem to reflect not only his unconscious soul - also the soul of the time he been living in. Between 1971 and 2001 it must have been a introverted meditative one in which he dived deep into his electronic machines to pump out of them some timeless music that stays contemporary even if the times are changing.


      FORMAT INFORMATION

      Vinyl comes with CD version of the album enclosed.


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