Disco/ 80's/ new wave/ and other grooves from the SWANA. 

Playlist:
Karim Shukry- Take Me Back To Cairo
Amr Diab- Omal Eh
Cheb Khaled- La Camel
Chris& Cosey- He's an Arabian
Etty Ankri- Chebba
Simon- Mabsouta
Stalos- Fige Fige (Gal Kadan Edit)
Dissidenten- Telephone Arab
Ahmed Fakroun- Soleil, Soleil
Guldummu Kara Tren (Ziggy Funk Disco Edit)
Airto Moreira- Peasant Dance
Ihsan Al Munzer- Jamileh
Abdul Hassan Orchestra- Disco Arab
Sahara Band- Habibi
Acid Arab- Radio Morocco
אתניקס וזהבה בן- קטורנה מסאלה
The Egyptian Lover- And My Beat Goes Boom
Foreign Affair- Sandanya
אלון אולארצ'יק- שני חלקים בתוך השלם
Carte De Sejour- R'amsa
Cheb Kader- Sel Dem Drai

Selection 1.0- Oldies, Disco & New Wave from the boiling Middle East

We are excited to present Weird-Ass Cult B-Movies Mixtape by Angel Dust Dealers (https://soundcloud.com/angeldustdealers) — a unique mix of excerpts from exciting scores (mostly unreleased) for cult B-movies from the 80’s, transferred directly from VHS tapes with deliciously lo-fi quality sound. The full tracklist below complete with cue-times will help you to jump to your favorite track immediately, although the thorough listening experience is highly recommended for maximum mind-submerging effect. Erase & Rewind!

[00:00 — 00:14] Bob Mithoff — Troma Logo Leader
[00:12 — 00:30] Nicholas Pike — A Nightmare On Elm Street The Series (1989)
[00:28 — 03:00] Jon McCallum — Terror Eyes (1989)
[02:40 — 06:05] John Ross — Hide And Go Shriek (1987)
[06:00 — 06:37] Ted Shapiro — Toxic Zombies aka Bloodeaters (1980)
[06:06 — 06:37] Opening Narration From 'The Toxic Avenger' (1984)
[06:38 — 08:33] Simon Boswell — Delirium: Photo Of Gioia (1987)
[08:26 — 11:27] Marc David Becker — Psycho Cop Returns (1992)
[11:11 — 13:50] Paul Zaza — The Dark (1988)
[13:44 — 15:55] Michael Silversher & Janice Hubbard — Dangerous Seductress (1992)
[15:50 — 17:18] Bob Summers — One Dark Night (1983)
[17:17 — 19:09] Marc Fredrick — Demon Queen (1986)
[18:50 — 20:35] Al Festa — After Death (1988)
[20:30 — 21:40] Fruer — Underworld (1987)
[21:33 — 23:33] Vince Tempera — The House Of Clocks (1989)
[23:28 — 24:04] David George & Barrie Guard — The Howling IV (1988)
[23:55 — 25:20] Adriano Maria Vitali — Evil Clutch (1988)
[25:11 — 27:00] Kevin Bassinson — Chains (1989)
[26:55 — 34:48] David Spear — Exterminator II (1984)
[34:40 — 35:44] Claudio Simonetti — The Washing Machine (1992)
[35:40 — 36:55] Carlo Maria Cordio — Endgame (1983)
[36:37 — 38:38] Rick Vartian — Escape From The Insane Asylum (1986)
[38:10 — 38:40] 'Summer Camp Nightmare' Original Trailer (1987)
[38:38 — 40:42] Guido & Maurizio De Angelis — 2019: After The Fall Of New York (1983)
[40:25 — 42:40] Guido & Maurizio De Angelis — The Raiders Of Atlantis (1983)
[42:24 — 43:44] Roger Bellon — The Unholy (1987)
[43:46 — 46:15] Jonathon Newton — Unhinged (1982)
[45:50 — 48:25] Tom Milano & Don Great — Breeders (1986)
[48:22 — 49:30] John Hodian — Girls School Screamers (1984)
[49:20 — 51:40] George Robertson — Intruder (1988)
[51:05 — 54:54] William Kueker — Satanwar (1979)
[54:30 — 56:00] Claudio Simonetti — Hands Of Steel (1986)
[55:55 — 1:00:00] Rod Slane — Revenge (1986)

Angel Dust Dealers — Weird-Ass VHS Cult B-Movies Mixtape

Gone

Release date: March 31st, 2017

http://www.bureau-b.de/con-struct.php


Who is Conrad Schnitzler?
Conrad Schnitzler (1937–2011), composer and concept artist, is one of the most important representatives of Germany’s electronic music avant-garde. A student of Joseph Beuys, he founded Berlin’s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums.

Who is Pole?
The Düsseldorf-native musician, producer, remixer and mastering engineer Stefan Betke looks back on a steady two decade career in abstract electronic club music. Together with Barbara Preisinger he created the label „scape Records” and his own mastering studio „scape-mastering”. 

What is the concept of the Con-Struct series?
Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When Jens Strüver, the producer of the Con-Struct series, was granted access to this audio library at the outset of the 2010 decade, he came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler’s unique world of sound.

A few words from Pole on his con-structions
To be honest, in earlier times I never quite warmed to Conrad Schnitzler's work. Back then, in the middle of the 80s, we were still occupied with traditional band projects. We played hip-hop, jazz, avant-garde, but with guitars, drums, etc. We still asked ourselves the question: "How can we actually get away from these instruments and structures?" They seemed so outmoded. Then came my first contact with Conrad's productions: a Tangerine Dream album that he co-produced and on which he played violin, synthesizer and typewriter. It wasn't a good start. I didn't much like the album. Nevertheless, something had happened. I made a unilateral decision for the band, brought a TR-808 and a Minimoog to rehearsal and announced: "We're going electronic." After that, everything happened all by itself. I found out more about this Schnitzler from Berlin who always impressed me with his complexity, his humorous nature and almost absurd variety. So years later, when I was asked if I would participate in the Con-Struct series, there was no way I could refuse. His influence had since become too important for me. Contrary to the original Con-Struct concept, however, it was my idea to do it half and half: 50 percent sounds from Conrad and 50 percent from me. The collaboration went according to the following rules: I myself use four things – a modified old rhythm machine, two old synthesizers, and my modular system. From Schnitzler come four complex sounds, which are always run through a modular patch. Coincidence should play an important role. Then I sent everything through my mixer – for dubbing. It worked almost automatically. His sounds led and I joined in. It felt a little bit like we could understand each other. The two of us. I would have liked to have met him.

tamao koike - automne dans un miroir remix

Ted