ROTLA
Trasmissioni

Eros’ Go For It is a fearlessly original take on Paradise Garage disco, mixed in a way that feels equally Mad Professor and Walter Gibbons. The story of Eros begins in a high school in Vauxhall, New Jersey in the mid 70s when four kids began a friendship based around their mutual love of soul, funk, rock, disco, and bands like Earth, Wind & Fire and Funkadelic. Assanouan G’Bado, Fletcher Gaines, Bobby Jones and Mike Freeman started off jamming after school, playing occasional gigs in New York and honing in on an original sound. When the group graduated, Assanouan and Bobby went off to the service and Fletcher went to university. Eros reunited in the late 70’s and began taking things more seriously, producing a set of songs with the intention of getting a deal with Motown. The morning after recording a full album’s worth of material, the group flew to Detroit hoping to sign a record deal. The legendary label was interested in the songs, but made them an offer that didn’t feel right for the group. The songs were shelved and Fletcher and Bobby moved on to new ventures. Mike and Assanouan pursued a self-released single on their own DAP records, reinterpreting two of their Motown demos with drum machines and overdubs to fill in for their two missing bandmates. Go For It was their individual take on disco, and the new 1985 remake took the AOR-oriented demo version, and transformed it into a transcendent dance floor illusion, that, in an alternate universe, would have turned dancers at the Paradise Garage upside down. Similar to Stephen Encinas’ un-classic, the song mutates deftly at the half-way point, opening up into a stripped-down and dubbed-out denouement, adorned in cascading electronics and the soaring vocals of Barbara Green. Go For It is the first of two releases from Eros on Mixed Signals, and pairs the group’s expanded electronic remake with the original Motown version, rescued from the last surviving demo cassette. Stay tuned for the unreleased demo album Motown missed out on, slated to come out later this year.

return_backspace is excited beyond measure to present to the world the music of a young marco repetto.conceived during the heydays of atari-sequencing, under his beloved moniker planet love, the bern-residing, italian producer at long last will disclose some of his earliest compositions.

14 years since it was originally released on Rephlex Records, Dopplereffekt's Calabi Yau Space (2007) finally gets a reissue on vinyl thanks to WeMe Records (following on their amazing reissue of Linear Accelerator). This album sees Dopplereffekt move even further out into their very own exploratory realm, where music and quantum physics meet. Eight tracks that when first released seemed challenging but with repeated exposure a strange almost supernatural event occurred as these new sounds and patterns gradually revealed a beauty and even simplicity about them. This is a brave album, epic in vision. An essential record for all fans of Techno in the sense that the term was originally intended.

It’s been twenty years since West London techno producer and Continual Records co-founder Tommy Gillard released his last solo record. He’s now back with a bang - and a pretty scary one at that.After spending large parts of the last decade in the studio with fellow UK techno veteran Oliver Ho (better known nowadays as Broken English Club) releasing work as Zov Zov on Ho’s Death & Leisure and the ever reliable Berceuse Heroique, Gillard now joins Interstellar Funk’s Artificial Dance roster as Curved Needle.Opening with the ominous and icey cold title track, Gillard makes it clear straight away he’s not here to make any new friends - he’s out for blood with six bone-rattling slo-mo post-electronic body music exercitions of the bleakest kind. Did anyone say ‘horrorwave’?An aggressive half-speed drum & bass-hoover (think Ed Rush & Optical anno 1997 sawn in half) underlays the dystopic yet blatantly brilliant electro nightmare that is ‘Change-Power’, before things get even more sinister on ‘Sworn in Blood’ and ‘The Blind Leading the Blind’.This may be a tad too slow and low to serve as your average dancefloor fodder, but it’s perfect torture room material. Now excuse me while I go mop up some blood. (RO)