Busy Man, Mr. Vince...

Alexandre Sumi embarks on a new adventure with the band Los Hermanos del Alma. This project originated in Cuba in 2019, where he and his brother had the opportunity to forge deep bonds intertwining music and friendship. The result of this experience is both explosive and surprising.

This debut album of this new journey, titled "Oya," offers a fusion of Afro-Cuban rock, a true musical UFO with diverse influences such as Afro-beat, rock fusion, Latin jazz, and Afro-Cuban soul vocal elements.

For the creation of this album, the band surrounded themselves with a tribe of musicians, immersing themselves fully in Havana.

Enjoy !

Digital release 1 May 2024

Digital link lnk.to/perlo013

Bandcamp disquesduborddeleau.bandcamp.com
Media contact & interview promo@auborddeleau.radio
Website auborddeleau.radio/discography

Esto es un show 2024

Esto es un show (Wichy de Vedado Remix)

Stream / Pre-order

Los Hermanos Del Alma - Esto Es Un Show (Wichy De Vedado Remix)

Balearic flavoured remix of the song originally lifted from American songwriter Kurt Vile's brillant 2011-album "Smoke Ring For My Halo".

Kurt Vile - Runner Ups (Rødsten & Jesper Rummenigge Remix)

Girlfriend

Depeche Mode - Behind The Wheel (Vince Clarke Remix)

Depeche Mode - Behind The Wheel (Vince Clarke Remix) (6.12)1

https://ginsonicrecords.bandcamp.com/album/spirit-fizz-volume-2

@renva_drb
@ro_bbiee_fr
@ginsonic_records

Premiere : Renva & Robbiee - Dans Les Yeux (GSRD002)

Habibi Crush (Short Play)

Buy on bandcamp

Dj Hakma - Habibi Crush (Short Play)

Movin' Too Fast (Version III)

From Griefjoy's second album 'Godspeed', out on April 22nd.


Lights On

Dubfire + Miss Kittin’s 'Ride' gets the remix treatment.

Solomun, Audion, Djedjotronic + Depeche Mode’s Vince Clarke provide reworks.

Dubfire and Miss Kittin have scored another big hit in the form of their second collaboration Ride, the follow-up to the much-loved anthem Exit. Now, many destroyed dancefloors later and they’re unleashing a big pack of remixes to sit alongside their two original versions.

Solomun may best known for big melodies and hooks, but his remix boldly displays his affinity for heads down techno. A beast of a track, it centers around ticking percussion and pulsating synth delays with a throbbing low end. Minimal in approach, maximal in aesthetic, it’s a no-nonsense groove. Matthew Dear dons his Audion guise to remind us how instrumental he was in formulating that oddball techno sound a decade ago, making good use of the vocals in the heady breakdowns and matching them with unsettlingly wavering synth sirens and an almost tribal bass stomp. It’s full of atmospheric touches and pulls off a big room feel without resorting to cliches.

Depeche Mode, Erasure and Yazoo legend Vince Clarke is a personal hero of Dubfire’s, making his appearance on this package all the more of a special, rare treat. His chunky house groove is decked out with rolling congas, electro arpeggios and a yearning, bluesy guitar lick. French star Djedjotronic has himself remixed Depeche Mode, and his version rounds off the package with throbbing low end, harrowing synths, techy percussion and brooding Reese bass swells.

With four very different mixes to choose from, this is an immense package that is set to cause havoc on dancefloors worldwide for some time to come.

Dubfire & Kittin - Ride [Vince Clarke Remix]

Simple Minds - Homosapien (Vince Clarke Remix)

The Wolfgang Press - Angel

Sparks - When Do I Get To Sing 'My Way' (Vince Clarke Remix)

Released by:
Impossible Object of Desire
New album - Flashback 
Buy it on 12" limited edition red vinyl or CD at: 
fujiyamiyagi.bandcamp.com/album/flashback

Follow Fujiya & Miyagi: 
YouTube: www.youtube.com/user/fujiyaan...
Website: www.fujiya-miyagi.co.uk/
Facebook: www.facebook.com/FujiyaMiyagi
Twitter: twitter.com/FujiyaAndMiyagi
Instagram: www.instagram.com/fujiyaandmi...
Spotify: open.spotify.com/artist/0j2Mw...

F&M Live dates:

Jul 18th (USA) WASHINGTON, DC9 Nightclub www.facebook.com/events/22796...

Jul 19th (USA) NEW YORK, Elsewhere www.facebook.com/events/22383...

Jul 20th (USA) BOSTON, Red Room @ Cafe 939 www.facebook.com/events/33966...

Jul 21st (USA) PHILADELPHIA, Johnny Brenda www.facebook.com/events/73754...

Fear Of Missing Out (Vince Clarke Remix)

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Fear Of Missing Out (Vince Clarke Remix)

Fujiya&Miyagi

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