ce titre et genial je l avais achert a ça sortie et je l adore comme à ça premiere ecoute

Sounds like something Puff Daddy  would say at his freak off parties 🥰

some unique too good Electronic Songs (selected by Christophe DENICOURT)

INFRAVISION - Illegal Future [F022]

Cat-No: F//022

The Illegal Future LP by INFRAVISION is the soundtrack to a (not so) imaginary future constructed with clear cyberpunk aesthetics, inspired by films like Strange Days, Blade Runner or Akira and of course by the current disturbing era.

Through their titles, lyrics and sonic palette Kendal & Pablo Bozzi channel a dystopian narrative on themes of virtual reality, police brutality, ultra-authoritarian leadership, illegal nocturnal activities, border controls, ecological crises and space colonisation.

It is their ambition to imbue the italo, EBM, early trance and breakbeat sounds of the 80s and 90s with an undeniably modern touch, making claim to their very own distinctive and powerful sound : Italo Body Music from another reality.

All tracks written, produced and mixed by Kendal Mulla & Pablo Bozzi
Vocals and lyrics on Wasteland written and performed by Alison Lewis
Mastered by Conor Dalton @ Glowcast Mastering
Artwork by Antoine La Fay - Studio Malevitch

Crossing Borders

Le Dormeur Doit Se Reveiller

Your Last Everything (Alen Skanner Remix) [feat. Marie Davidson]

French producer https://soundcloud.com/austhermusic delivering a quality remix

Featuring the Queen of New York City https://soundcloud.com/andi80s

The Future of Truth

Flesh Style Feat Andi (Austher Remix) [Surface Reality]

DO IT AGAIN LOW DEEP T RMX

Betoko - Raining Again (Vintage Culture & Dashdot Remix)

SKY NEWMAN-HAIRDRESSER (BEAR-DNB BOOTLEG)

Stylin', Smilin' And Profilin'  Extended Dance Mix Djloops (1982)

http://mannequinrecords.bigcartel.com/product/mnq-094-techno-bert-neue-dimensionen-12

Originally released in 1990 on Doremix Records, Techno Bert was the studio project of Robert Passera and Stefano Cundari, co-owner of Memory Records and mastermind behind some italo disco classic names like Hipnosis, Koto, Faxe. Stefano Cundari unfortunately died of cancer on the same year of the release.

"Neue Dimensionen" was developed on Siouxsie & The Banshees's well-known guitar riff of 'Happy House', in a techno crescendo, where the duo would have enjoyed inserting as many samples as possible by stopping only when the capacity of the sampler Akai S1000 memory would be full. While Cundari cared for the sounds from the 48-channel analogue bench and assigned modular effects to the tracks, in studio there was also the musician Stefano Carrara who piloted the keyboards and the Notator installed on the Atari computer. The couple started the work by sampling the Human League "Being Boiled" groove, and built on harmony and melody inspired by Siouxsie & The Banshees with a Jupiter synth to which they added a low reinforcement obtained with a Roland TB-303. The drum set was based on Roland Tr-909 samples. The sample of the voice comes from "Herrmann Hiess Er" by Nina Hagen, cutting and pasting vocal fragments all around the track, from which they got the name 'Neue Dimensionen'. 

Even though it was distributed by Flying Records, only the most attentive clubs talked about Techno Bert single. Many discovered it the following year through the Belgian press on Target that circulated in almost all of Europe, or through the Spanish version of Spitfire.Even without big sales numbers and without any radio passage, the song continue to survive by virtue of a subtly underground connotation.

Limited edition of 500 copies

Tracklist

A1 Intro
A2 Neue Dimensionen
B Neue Dimensionen (Instrumental)

Mastering by Rude 66.
Graphic design by Alessandro Adriani.

Neue Dimensionen

Techno Bert - Neue Dimensionen

Liaison D Faces Of Horror

Although it may seem that the lyrics of Raining Again speak about the London weather, they actually don't. Raining Again relates to some unpleasant event that occurs to you very often... and it's inspired by my best friend been woken up every morning by his neighbors children running just above his bedroom... how do you think it makes him feel? :(

Betoko -  Raining Again (Diynamic) Low Q mp3

VA - Velvet Dream EP [RF001]
Out july 3rd exclusively on bandcamp.
ritmofatale.bandcamp.com/album/velvet-dream-ep

Also available on Spotify, Apple Music & Deezer : fanlink.to/ritmofatale1

Artwork : Brandon Connolly
Mastering : Charles Accarisi

After releasing EPs on David Vunk’s Moustache Records and Jennifer Cardini’s Dischi Autunno, Kendal is now launching with Paul Guglielmi his own imprint proudly based in Toulouse : Ritmo Fatale.

This first installment ‘Velvet Dream’ clearly sets the ideas & aesthetics behind the label. From italo disco to EBM, new beat to trance, expect a variety of these 80s and 90s sounds with a current & futuristic twist, all of it highly influenced by Darios Argento alienated nightmares and Dickians dystopias.

David Carretta & Kendal - No Future
Having the godfather of electroclash himself as the guest of honor of the very first Ritmo Fatale party was already a blessing for us. Having him on board for our first release was almost unthinkable, but here we are.

No Future is a brutal clash between EBM electro and techno in its rawest form, this ruthless collab between David Carretta & Kendal leaves no prisoners. Judgement Day is upon us, this is what Skynet’s drones will be blasting in the empty streets in a near future.

#toulouseonthemap

David Carretta & Kendal - No Future

A1 Im Kellar -  Im Your Master [Moustache Records 045]

soft crash's track 'haute surveillance' will be released on 'spritzkrieg' through @bitelabel on November 27th. More info: https://bit.ly/36GNiyv

Spritzkrieg

Soft Crash - Haute Surveillance

Konrad Black - Devastator (Original Mix)

<a href='http://gigs.gigatools.com/u/frankdw' target='_new'>Frank De Wulf's Upcoming Gigs </a>Saturday 27 July, 2013 <a href='http://www.tomorrowland.be' target='_new'>Tomorrowland 2013, Tomorrowland, Boom, Belgium</a> <a href='http://www.gigatools.com' target='_new'>Powered by GigaTools</a> Hey everyone,

When releasing new material, and especially when it has been so long as it was with Frank De Wulf …. you are kind of expected to tell a little bit about yourself. So, here you’ll find a quick overview of his career. You’ll discover how one thing led to another, without getting into too much detail.

You won’t find a list of his work here, if you are more interested in that please check out : http://www.discogs.com/artist/Frank+De+Wulf or soon the discography page on his web-site. If you are more into the insider info and personal anecdotes, you will soon find regularly updates with (sometimes) juicy stories from his days as a DJ/producer on the ‘by the way I just remembered’ page.

So here we go! Frank was born in 1968 as the youngest of three boys. Of course with 2 older brothers hanging around, he was introduced to all kinds of music, not just the mainstream tracks you heard on the radio.
He must have been about 10 when he started experimenting with tape decks, later he used his father’s 2-track recorder to make longer versions of hit records.
In high school, he got invited by one of his classmates to visit the local radio station. Impressed with their set-up, he asked if he could try mixing on their 2 ‘Technics SL1200 MK2’ turntables. It felt great! From there he got his own radio show called “Seventh Heaven Radio”. With Frank on the turntables and another guy doing the talking, they brought a whole new flavor to the dance hits of that time. By re-editing, remixing and manipulating the tracks, he wanted to create a particular atmosphere for the listeners and give them the idea that they were experiencing a live set from home.

Frank De Wulf was always into music with a strong, original sound & rhythm no matter the genre: from new wave, dance, electro European and American experimental post-punk with Kraftwerk and the Art of Noise as two of his major influences or dare he say “muses”. That fresh, energetic layered electro sound was something he aspired to bring himself, by creating his own music as well as through his work as a DJ.
After a while people started noticing his ‘work’ and around 1985, he was asked to do a show by a more ‘dance oriented’ radio station called ‘SIS’.

At the time he was regularly, DJ-ing in 2 of Ghent’s dance café’s. It was an excellent way to practice his skills and since he was still at school, these DJ gigs brought some extra money into his piggy bank … because he was also saving up to buy the Yamaha S7000 sampler and an ATARI 1024 Computer. The new beat movement had just started and he started to feel the need to create music rather than just mix other people’s work more and more. So he started to produce his own tracks and make remixes of existing tracks.
One of his first releases as musician/producer was the 12-inch Acid Rock track with his alter ego band Rhythm Device on Music Man Records. Thanks to Olivier Pieters, resident DJ at the famous night club Boccacio (one of the Belgian clubs where New Beat really took off), he could test run the track. To Frank’s surprise and great relief, the crowd loved it. The track became a big hit, and is now seen as a bit of a classic, or so he’s told.

His work as a DJ gave him the idea to make a record just for DJ’s. He wanted to create a kind of tool for mixing tracks while still keeping the familiar theme going. He started to work on several tracks, but due to a lack of time never really got to finish them. He had a series of beats, mixes and samples from international dance hits and newly created sounds that were not really fit to be released as a-side records. So still eager to release them, he decided to call them The B-Sides. The record went through the roof and he ended up releasing 4 volumes (on Music Man Records) plus remixes of them.
Due to the success of the B-sides, Frank was asked to give live performances as well as do DJ sets all over the world. He traveled around Europe, the States and Australia. It was a remarkable period, he met up with other performers and DJ’s, who where all starting their musical careers, people like Joey Beltram, Moby, Derrick May, Sven Väth. They all shared this great appreciation for each other’s work and Frank really felt that people understood his work. With each new sample or musical idea there was this immense reaction on the dance floor. He really felt that the crowd was on his side, the whole time pushing him on and inspiring him to break new boundaries. During his career, there was also Renaat, the owner of R&S records, who kept him inspired and focused. Renaats energy, drive and strong believe in the success of quality dance music had a major influence on Frank’s career.

He decided to start up his own record labels which gave him more creative freedom to release his tracks and do production work for other artists; like remixes for all kinds of artists in and outside the new beat scene like The Shamen & Erasure but also The Orb, Jam & Spoon, Orbital, Biosphere,…

At the end of the nineties Frank felt, he had reached the limits of what he could do with music at that period in time and decided to concentrate on another great love of his: the world of film and post-production.

He founded “GRID” a post-production company specialized in visual effects and motion design for commercials, video clips and films. He kept his musical career going at the back burner doing the odd remix or DJ set. 

So there you are… even though Franks work kept him quite busy and was creatively challenging, music is a part of who he is. Somewhere in the back of his mind, he always knew that this time would come. And now, he can no longer ignore this need to make music, this need to create and let the magic flow again. He hopes you will all enjoy the ride!

Liaison D Faces Of Horror

Frank De Wulf

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