Peter Kruder Private Collection [GSCD036]
Label: G-Stone Recordings / 2009

Chateau Flight - Superflight

Hidden Fees is Ivan Berko and Thomas Gluibizzi, lifelong friends and conductors on New York City’s underground dance music railroad. Travelers in multiple decades of the City’s ever-evolving time and space, the duo curate a perfect combination of grit and groove from each corner of the five boroughs and filter through the funky, spunky So What EP for Beats In Space Records.

Stricken of samples, loops and other tools typified in present day dance track crafting and screen mapping, “So What” is “organic music for the modern dance floor.” Berko and Gluibizzi depend on real humans – friends and fellow musicians – to originate proper live studio room works / workouts that breathe, smoke, snort and contort to the body clock’s unpredictable rhythm.

“So What” revels in this communal groove. The minor chord shuffle and percussion pump along rough n’ ready riffs rocketing from saxophone and guitars alike, each element stuffed in-the-pocket by a disco-indebted bassline. The spit-soaked vocals of Christopher Exits strut “So What” from the sweaty depths of a Brooklyn studio and onto the laser lit floor of a legendary night club in NYC’s disco party pioneers’ collective memory (or to the b-side of a Some Girls-era Stones single). Exits’ lyrics examine a narcotic urban codependence from the advantage of a man lost in his own sort of space, an experience we can all identify with or at least dream to believe still happens as cities sterilize.

On the flipside, Tiago touches “So What’s” humanity with acid reflex and a heavy-hitting kick over two strobe-ready remixes. “So What (Tiago’s One Good Mistress Deserves Another Mix)” dune buggies the original’s riffs into sparse terrains before introducing a rich, reverbed Rhodes melody to bring us back home. “So What (Tiago’s One Good… Dub)” embraces the house tendencies of Tiago with a little more pep in its step. The icey colorations of the original track form a slippery but solid glacial floor, while the hand-held rhythms mutate between alien and human pulses.

Each 12″ from Beats in Space Records features original artwork in considerate and serial form. Brian DeGraw of Gang Gang Dance contributes the glass-eyed tropicalia cover art for So What. The 12″ packaging constructed by Will Work For Good features a removable vinyl BIS logo cling.

Hidden Fees’ So What EP will be released on February 11, 2014 on Beats In Space as a limited edition 12” EP and digitally.

Buy the 12" or Digital

Hidden Fees "So What" BIS012

Diazépine

It's no secret that we're big fans of Henrik Schwarz explorations into the classical realm, what with bringing you his Trialogue last year.

When news of an album on Sony Classical, we were obvously keen to hear it. Titled 'Instruments' the LP' main focus is on, you guessed it, the instruments themselves. "​I wanted to see whether this music still means anything when you take away all the synthetic sounds and the beats."​ An interesting approach, considering the more formal and tested approach electronic musicians take when presented with an orchestra.

Henrik Schwarz "Leave My Head Alone Brain Seven" - Boiler Room Debuts

Roberto Sandrini -- Occhi Su Di Me ( 1984 Rare Italo Disco Collection)

Pre-order limited vinyl: bit.ly/1qrPmUF
iTunes: apple.co/206Lc0l

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14 Drops

Strange Or Be Forgotten - Jono Ma Remix Even Stranger Version

Charlotte Adigéry - 1,618

‘Okopipi’ ​is the mesmeric debut track from ​Povoa,​ a new and heady electronic project from French musician ​Jules Rosset​. It features on his debut EP 'Hiatus': http://smarturl.it/HiatusEP

The project is inspired by his discovery of a deep love for electronic music whilst studying at the American School of Jazz and Modern Music in Paris. ​

‘Okopipi’ is inspired by the rare poison dart frog of the same name. Povoa states that he wanted the song to feel like the Okopipi, ​“Liquid, tropical and menacing. It wants you to know how dangerous it is. That’s why it is so colorful.”

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Hiatus EP

Povoa - Okopipi

Taken from the excellent "Kokning" LP, out now on Smalltown Supersound. contact: emilio@shadowagency.no

Bjørn Torske - Nitten Nitti

Carmen Villain - Lifeissin (Prins Thomas remix)

Moshi Moshi Records started off as a hobby in 1998. Set up by three friends who had jobs working for major record labels. It was intended as a way of working with the bands that they loved but which didn’t fit in with the agenda of the day-job taskmasters. Early single releases from Zan Lyons, Kathryn Williams & Pedro and J Xaverre earned the label some plaudits. And sold a few records. Over the next five years Moshi Moshi slowly started to build a reputation for interesting, slightly leftfield, low-key releases. Then in 2004 things changed. For a start Moshi stopped being a hobby and became a fulltime job. Very soon after, Hot Chip and Bloc Party arrived and Moshi Moshi quickly became a name known to more than a few. Chart success followed with Yeti and The Rakes and higher-profile album releases from Architecture In Helsinki and Au Revoir Simone helped lift the label onto a new level. Then from 2006 onwards came artists such as Hot Club De Paris, Tilly And The Wall, The Wave Pictures, Slow Club, James Yuill, The Drums, Summer Camp, the list goes on.

In late 2006 the two remaining Moshi Moshi founders decided they wanted to get back to their one-off 7” release roots and the Moshi Moshi Singles Club was born. The intention was to try and release one 7” each month by a new up-and-coming artist. It would be limited to 1000 and only be available in a select group of indie stores. The artwork would be restricted to one colour and be designed by the bands themselves. Now some 40+ releases later the singles club’s roster makes an impressive list – (including) Kate Nash, Late of The Pier, Friendly Fires, Lykke Li, Florence and The Machine, Kindness, Dananananayckroyd. Disclosure. In 2011 Moshi Moshi expanded its remit by partnering up with some very talented young A&R folk to set up the imprints Tender Age, Not Even, Apricot and Dream Beach. Working under the Moshi Moshi umbrella these new labels have already yielded a clutch of exciting releases by artists from as far afield as Kenya and Seattle.

At the same time as running the record label Moshi Moshi Management has been quietly guiding the career of Metronomy and Slow Club as well as producers Ash Workman and Ollie Bayston. From 2012 this side of the business started to expand dramatically and now features a sizeable roster of emerging artists.

Looking back on the Moshi Moshi roster (particularly since the label ‘went fulltime’ in 2004) it’s a collection that bears comparison with any of its peers. For a label run by two people with no financial backing, it’s nothing short of an inspiration.

Povoa - Okopipi

moshi moshi music

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