We're happy to welcome Munich's digger-extraordinaire and Schatzi Musik head honcho: Le Discoboulet. He's taking us on a two hour trip through his record collection for Bordello Radio: Camp Cosmic Fever Part 7. Enjoy!

https://soundcloud.com/le_discoboulet
https://soundcloud.com/schatzimusikrecords

Camp Cosmic Fever Part VII

Bordello Radio #80 - Le Discoboulet (Camp Cosmic Fever Part 7)

Unknown Mortal Orchestra - “Multi-Love” from THE ALBUM ‘Multi-Love’ out May 26th, 2015 on Jagjaguwar

SCD/direct: http://smarturl.it/umo?iQid=sc // Amazon: http://smarturl.it/umo_amazon?iQid=sc // iTunes: http://smarturl.it/umo_itunes?iQid=sc // Indies: http://smarturl.it/umo_indies?iQid=sc

Unknown Mortal Orchestra
Artist Page http://www.jagjaguwar.com/artist.php?name=umo
Website http://unknownmortalorchestra.com/
Facebook https://www.facebook.com/unknownmortalorchestra
Twitter https://twitter.com/UMO
Instagram http://instagram.com/unknownmortalorchestra

Unknown Mortal Orchestra - “Multi-Love” from ‘Multi-Love’ out May 26th, 2015 on Jagjaguwar

Multi-Love

Pre-order on iTunes

Unknown Mortal Orchestra - "Multi-Love"

Mountain's "Parallel One"

Just remebering "Carmelo Bene"

Some words about him : http://articles.latimes.com/2002/mar/19/local/me-passings19.2

Carmelo Bene, 64; Provocative, Influential Italian Actor-Director
Obituaries | PASSINGS

March 19, 2002|From Times Staff and Wire Reports
Carmelo Bene, 64, a provocative actor and director who invigorated Italian theater with experimental techniques influenced by the European avant-garde, died Saturday at his home in Rome. He had suffered from serious heart problems.

Born in the southern town of Campi Salentina in 1937, Bene made his stage debut in Rome in 1959 in "Caligula" by French writer Albert Camus.


Bene directed himself in many plays, often reinterpreting classics, such as Shakespeare's "Hamlet." While working in film in the 1960s and '70s, he appeared in director Pier Paolo Pasolini's "Oedipus Rex" in 1967. The next year, Bene's own film, "Our Lady of the Turks," won a prize at the Venice Film Festival.

He returned to the stage in the mid-1970s and later directed performances in which he read poems to classical music.

In a letter to Bene's family, Italian President Carlo Azeglio Ciampi called the actor an "extraordinary dramatic talent" who was "provocative and constantly searching for new modes of expression."

Carmelo Bene Ci Sono Cretini che hanno visto la Madonna

Latex Dreams

'Human Energy' Out Now - 
Ninjashop / Stream / Download: http://machinedrum.lnk.to/heSo

Taken from 'Human Energy' released 30th September 2016 via Ninja Tune. 

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Angel Speak

❤ HYPE MACHINE ❤

Angel Speak (ft. MeLo-X)

song by  J. Davis, R. Ramirez, and J. Sherman

Lover Man

From the album The Kid out October 6, 2017 on Western Vinyl

Pre-Order The Kid
BLEEP https://bleep.com/release/86790-kaitlyn-aurelia-smith-the-kid
Norman Records https://www.normanrecords.com/records/166212
Bandcamp https://kaitlynaureliasmith.bandcamp.com/album/the-kid
iTunes hyperurl.co/8n4qa5
WV http://westernvinyl.com/shop/wv170

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized processes in producing music.  Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment.  Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized sound are born from deep reverence of the natural world.  Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.  The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.

The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana.  Smith’s music has always woven a youthful thread befitting of the aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,” which serves not only as a soaring spire on The Kid, but on her entire output.  There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith’s watermark.  The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness.  The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s ambition to broach subtler and deeper subjects than the average composer.  This side offers up another highlight in the form of “In The World But Not Of The World” which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill.  This side ends with the exploratory album cut “Who I Am & Why I Am Where I Am” recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself.  This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life.  On “To Feel Your Best” this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving.

Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly.  The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.  As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.

Kaitlyn Aurelia Smith - "To Follow and Lead"

The Walking Bones -Sunset

date: 10 July 2018

Written and performed by Victor Aurelio e Francisco Disco

Sunset

Masses

There are a great deal of things you can say about Dan Snaith. His list of achievements would burnish any CV: a doctorate in mathematics under one arm, and some of the 21st century’s most celebrated electronica albums under the other. He manages to juggle festival headline slots across the world with the live iteration of Caribou, while slipping out timeless dancefloor burners and one of the last ever FabricLive CDs as Daphni. Oh, and he’s a super friendly guy too.

That experience – and crowd-charming magnetism – can be heard all over today’s Dekmantel Podcast, a three-hour tour de force of Daphni in peak-time mode at the peak of summer. Recorded on Sunday of Dekmantel Festival 2018, in the middle of a humble-superstar-sandwich of Jamie XX / Floating Points, Snaith glides between rave stabs, strutting funk, stirring soul, global grooves and everything else under the (very warm) sun. Here’s to the next decade of Dan’s dominance!

Dekmantel Festival 2018

Dekmantel Podcast 210 - Daphni

MONOWATT is a combination of sound experimentation and visual-graphic art.
Hypnosis, cyclic texture, time stretch, vocal shredding, are like some kind of rituals, wich evoke the common-colours-emotions-landscapes to the listener.