Mike Huckaby
Harmonie Park Classics Volume 1

Channeling her innermost depths, Oshana reveals her widest body of work to date, “Disciples of Dystopia;” a multi-faceted expression of the emotions, influences, and sounds that have guided her on her musical journey. The album aptly marks the fourth release on her very own, Psionic label, and is the first double 12” in the catalogue.

A variety of ambient and experimental cuts to be found here. A re-release of sorts, all original tracks were done by Enitokwa (Takashi Hasegawa) as rehearsal for a live performance at Tokyo - Batofar Festival in Paris in 2001 and were released on a limited CDR "promo." in 2002. All 8 tracks were recorded and mixed live in one sitting, and have been remastered, given names and pressed on heavy vinyl with a beautiful cover design by Berlin artist Nik Patrick.The sample sources were largely inspired by records that Takashi listened to in High School - and feature two hugely well known British hands (one of whom have just reformed and have a new album out…), some old Jazz, Bossa Nova and Hawaiian records, as well as samples from ambient legends Deep Forest and Brian Eno. The result is an earthly nostalgic feel with deep moods to match the times we are living in. The first track ‘Pop’ bursts into life with an etherial presence. ‘Ssab’ and ‘Chinese Girl Goes to Hawaiii’ have a rather filmic quality to them, whilst ‘Resonating’ seems to float over the wreckage of human activity, a post apocalyptic vision of Planet Earth. ‘Liquid Sky’ is a minimal groove which could be a sonic report from an eerie space station, which is itself a remix of Dub Sonic aka Takehito Nakazeto’s ‘Donigma Dub’. ‘Hope on Hop’ will appeal to today’s generation with its Techno and D’n’B influences, and features voices taken from Wim Wender’s ‘Paris Texas’. Track 7, ‘Mingos’ turns Gal Costa’s voice into a soaring atmospheric haze of digital memory, and the track ‘Holy Spiral’ is a combination of this one and ‘Resonating’, an ascendent 12 minute march to the release’s final close. Takashi Hasegawa is a respected DJ, producer and live performer who plays live electronic and DJ sets regularly today in venues and festivals across Japan. He has been producing house, techno, experimental and ambient music since the 90’s - spending some of that time in the United States, including working in the music scene in the New York, before returning to Japan working as a sound engineer, A&R and producer for the famous Tokyo-based record label Club Yellow. Now based in Osaka-Fukuoka, Takashi’s music is still resonating with fellow music lovers around the world. Now, 20 years on from its creation, this music is rediscovered and given a wider audience. The sound on ’Re-Promo’ interestingly gives an insight into the music Enitokwa is currently working on - reflecting the cyclical nature of creative output - and represents a slight departure from the swirling delicate ambient textures that you can hear in o.n.s.a and on the intricate and more musical 2069, released in 2017 and 2016 respectively. Each track has a video accompaniment to be released in various media outlets, the label head Tom Ransom having partnered with diverse artists in Colombia, Denmark, Japan, Poland, France, Britain and China to create a wide range of visual outputs. The release also sees two digital only remixes, one coming from London and Wigan’s enigmatic Isherwood (Edward Regan), and the other from Mat Fink - a unique DJ and up and coming producer raised in Pittsburgh and Berlin. Watch out for these… Machines used: Yamaha SU700 Sequential Circuits Pro OneRoland TR909Roland TR808, TC Electric D-TwoMAM RS3 Pedals Remastering and additional audio treatment by Kabamix (LMD) on Dec.4.2017.Dedicated to Takehito Nakazato (SONIC PLATE)P Future Friend 2021C non-entertainment-research

Marco Shuttle's third album, Cobalt Desert Oasis, features a varied collection of music recorded across a two year period. Often traveling to remote destinations, Marco would come back to Berlin with field recordings, images, and other inspirations to process in his studio and turn into sound.The theme of the journey turns into a something more abstract than a travel diary, where environmental sounds blend in with modular synthesis, drum machines, effects and analog oscillators resulting in a cinematic listening experience where psychedelia, ritualism, and mysticism weave together in a sort of alien soundscape - that as the title of the album suggests, is reminiscent of a parallel utopian world.The album is rich in complex rhythmics, and more than in any of his previous work, has strong acoustic elements. Amongst other percussion instruments, Marco used the Tombak, a traditional Persian hand drum capable of reaching a very wide range of frequencies - from deep round subby toms, to high pitched sharp rimshots, throughout the record.Marco Shuttle is certainly not new to these sort of elements, but in Cobalt Desert Oasis he brings the environmental element of his sound into the forefront in a way that takes the listener into a hazy expanse where it is sometimes difficult to distinguish the machine elements from the natural - and where the music almost becomes a visual experience, which relates to Marco's own photography used throughout the cover and insert images.

DJ Spider: “This record is dedicated to my good friend Mike Huckaby. He planned on remixing "Incineration of Years and Truth" back when I originally made it in 2011, but we never got around to actually making that happen. I'm also honored to have my other close friend Phil Moffa on remix duties. There were many sessions in Phil's studio (Butcha Sound Studio, NYC) where we used to jam with Mike whenever he would come to New York to DJ or hang out. We used to play with synthesizers for hours. We were all good friends and it was perfect to have Phil on this record aswell! Mike taught and inspired us to have fun with making music and push ourselves to be the best that we can be. We will love him forever.”Rob Hampton, better known to most as DJ Spider, has been releasing his twisted take on Techno and experimentalelectronica for over a decade on the likes of The Trilogy Tapes, REKIDS, Vanguard Sound! and Berceuse Heroique as well as his and Dakini’s own Plan B Recordings and its sub labels BTU and Sublevel Sounds. Here he joins the roster of Spinning Plates, the London-based label that’s established itself as a go to purveyor for leftfield leaning Techno, Electro and more.Title-cut ‘Hyperspace Wardance’ leads and employs DJ Spider’s typically dynamic, brooding and robust style via clattering percussion, eerie pads, murky bass stabs and tension building atmospherics. Phil Moffa’s take on ‘Hyperspace Wardance’ follows, adding a lighter touch to things, bringing the pads to the forefront alongside a shuffled drum groove, snaking bass line and resonant synth licks.Opening the flip-side is ‘Space Aggressor Squadron’, a six minute workout fuelled by squelchy acid lines, swelling pads and crunchy, distorted rhythms before ‘Incineration Of Years And Truth’ completes the EP, edging things into a dubby territory courtesy of smooth chord sequences, spiralling echoes and bumpy, reduced drums.

Sublabel of Undersound Recordings devoted to electronic music on 10" format.The tracks are inspired by the artist's childhood memories of walks on green hills many years ago. While they are produced with different approaches, both from the digital and hardware world, they paint a personal picture of the artist's personality.

Following his debut Third Ear release, the Shonky ep in 2018, Third Ear follow up with 8 more Shonky dance floor bombs. Shonky has a signature hypnotic, hard grooving sound, characterised by punishing beats laced with detailed polyrhythms and elusive motifs. On The Run is Shonky's second album.