 |
 |
IN FLAGRANTI INFO:
Bio - Images - Links |
EMAIL: info@codek.com |
CODEK RECORDS, PO.BOX 1494, NEW YORK, NY 10013,
USA CODEK RECORDS EUROPE, PO.BOX 230, 4005 BASEL, SWITZERLAND |
|
|
|||
 |
1. NOBIE DEMOTT
- Spanjian |
|
||||
 Desde New York, nos llega la nueva referencia del dúo In Fagranti, un original y cada vez mas valorado combo, integrado por el sueco Sasha Crnobrnja y el neoyorquino Alex Gloor que se han movido siempre entre el rock electrónico, el sonido post disco y el funk desenfadado, en la línea de formaciones como Hercules & The Love Affair o The Juan McLean. Tras su divertido Ex Ex Ex, este inclasificable dúo, ha decidido mostrarnos su cara más seria con otro maxi fabricado en las entrañas del label que ellos mismos gobiernan desde la Gran Manzana, el sello Codek Records, pero que no verá la luz hasta el próximo mes de Junio, pero que ya queremos recomendar fehacientemente, desde Mixside. Se trata de Throught A Rabbit Hole (obvia decir a que famoso y lisérgico cuento hace referencia), un corte donde acuden a la ayuda de la vocalista Natalie Smash, para ofrecernos una delicia de electrónica melódica y glamurosa, con alusiones al sonido post disco y al high energy; homenajeando a grandes estrellas como Patrick Cowley o Bobby Orlando. Ritmos electrónicos, plagados de groove sintético y un aire electro clash, que se adereza con puntazos de disco vintage a lo Chic, conforman una delicia sonora lista para hacernos vibrar en los dancefloors más exigentes. La primera de las remezclas viene firmada por el cada vez más solicitado Matt Waites, que firma esta revisión con el nombre de Moscow, y se decide por conservar la esencia high energy del corte, aunque esta vez tirando hacía un lado más sideral y desenfadado, en una línea que recuerda a Giorgio Moroder o al propio Bobby Orlando. La elegancia sigue presente, aunque esta vez la esencia disco es más impactante con esos toques de sintetizador espacial y un increíble juego de reverberaciones y atmósferas lisérgicas. El proyecto italiano Clap Rules, es el encargado de la siguiente revisión, bajando el tempo del tema original, para acercarlo al dub atmosférico y al disco lounge psicodélico; todo ello con un toque de electro bizarro sumamente eficaz e infeccioso. Y sin movernos de Italia, por algo el italo disco no es sino la máxima expresión del high energy y del post disco, la siguiente remezcla viene firmada por Daniele Balgelli y Dionigi, que deciden por darle un toque electro tech ochentero al tema, tirando de ritmos vintage y loops electrónicos, para configurar una curiosa y entretenida pieza, que guarda un curioso aire otaku. La ultima remezcla es la que ha efectuado el dj y productor Justin Robertson que, bajo el nombre de Deadstock 33, se ha encargado de mover el tema hacía la electrónica más avanzada, recordándonos a los primeros años del electro y del house, convirtiendo el corte en una amalgama de sonidos que parecen obra de adalides de los estilos primigenios como Coldcut o The KLF, e incluso se atisban ciertos aires post industriales a lo Front 242. La elegancia y el baile sin paliativos están asegurados con este nuevo y sorprendente maxi del combo norteamericano. Seguro que los paladares más selectos no quedarán defraudados tras su escucha. - mixside.com |
The smut disco niche is a hole that's been well filled (ba-boom!) by In Flagranti; even as they have gradually done away with their hardened electro-disco edge for more edit-based fare, their good time intentions have always been proudly on display. "Through The Rabbit Hole," then, marks a slight change of coordinates on the disco landscape for the duo, as they give the T&A raunch a night off. Vocalist Natalie Smash, last seen delivering spoken-word sass on previous single "Ex Ex Ex," here slips into the guise of a wide-eyed Sally Shapiro in Wonderland, for a looking-glass interpretation of slow and surreal cosmic disco. The original mix never exceeds 85BPM, but despite the Balearic pace it contains zero trace of pastoral sweetness, as a plotted synth melody with one misfired note, plus distended trails and handclaps, establish its wonky otherworldliness. In combination with squealing horn-like stabs, and Smash-who sounds like a disturbed child singing quietly to herself-the result is deliberately and deliciously unreal. The original is probably malleable enough to withstand pitching up into DJ territory, but it's the remixes that will help this find a home amongst disco heads at both ends of the spectrum. Erring on the side of caution, newcomer Moscow throws plays a full hand of nu-disco accessibility, toning down the quirk, quickening the pace, and filling the gaps with layer upon layer of melody. Likewise, Italo godfather Daniele Baldelli in concert with Dionigi opt for a danceable setting, but with so much emphasis on multi-tracking Smash's thin vocals, and so little on its modest analog beat, it ends up in an unsatisfying place between cold wave and early house. Clap Rules embrace the absurdity, warming up the arrangement with shimmering clouds of colour, bass-dwelling synth noodling, live keys and chirping birds for a trip into cosmic soul, while Justin Robertson under his Deadstock 33's guise opts for a wacky gothic take, replete with ghostly vaporized vocals and thundering drum breaks. Overall, these are smart moves
for In Flagranti's Codek imprint, allowing them to explore their
experimental side and still cater for their fans who want a bit
of dance floor rough and tumble. - residentadvisor.net Soft porn disco kings In Flagranti have returned to give us a taster of some new material. Some of you will know them from their infamously suggestive covers, others from smoky club PA's in the early morning, yet they consistently supply us with their own unique brand of addictive glam disco. 2010 has already seen three new single singles from the pair, with Ex Ex Ex the more notable released in February, including remixes courtesy of Riton, Headman and Botin. Now, the duo made up of Sasha Crnobrnja and Alex Goor will prep another single, Through a Rabbit Hole, out in June on their own label, Codek - with vocals courtesy of the sultry newcomer Natalie Smash and remixes by Clap Rules, Moskow, Baldelli & Dionigi and Deadstock 33. These guys make videos for every single they put out. So, if you have some free time head over to their Codek label page and check some of them out. No word on their new long player, yet. -electronicbeats.net |
|
|||
  |
if you enjoyed the
intro of this video with ARA GALLANT check this: http://www.damianieditore.it/catalogo.php?IDlibro=461&LANG=en He was born Ira Gallantz in 1932 in the Bronx, but later changed his name to the more exotic-sounding Ara Gallant-and the life he led was indeed an exotic one. Gallant began his professional career in fashion as a hairdresser, working at Bergdorf Goodman department store in New York as one of the city's top colorists. In the mid-1960s, he was approached by Vogue and began to work exclusively on photo assignments, the first hair stylist to be paid to fulfill such a role. Gallant went on to work with many of the great fashion photographers of the period, Richard Avedon, Irving Penn and Bert Stern among them. Perhaps his most notable contribution as a stylist was the introduction of "flying hair," an effect he first used on an Avedon shoot with iconic model Twiggy in 1966, and which is still widely employed today. By the early 1970s, Gallant had begun shooting his own pictures, his first assignment being a set of celebrity portraits for Interview magazine. His work often juxtaposed classic Horst-like compositions with contemporary scenarios. In the early 1980s, Gallant moved to Los Angeles to pursue a directing career, which never happened; in 1990, he committed suicide in a Las Vegas hotel room. This new book tracing Gallant's life and career is edited by David Wills and features photographs by Richard Avedon plus a foreword by Anjelica Huston. |
|
||||
 |
|
|
||||
 |
|
|
|||
|
|
|
|
|||
|
|
|
|
|||
 |
|
|
|||
 |
|
 |
|
 |
|
 The fourth installment of the Sounds Superb series is with us, and comes up with an eclectic trio of tunes for our listening pleasure. This time the tracks are a bit more on the stoner tip, kicking off with the 20 minute-long "Conversation Of Momentum" by Euler. This is just one long epic deep disco-house tune that gets in the groove and stays there. Actually, I think Euler left the computers playing and went off and got a cup of tea... Codek favourites In Flagranti ditch their usual straight-to-dancefloor shenanigans in favour of a plodding Balearic groovathon on "Mutual Affection", while Bruno Cried's "No One Has Ever Pinned Anything On Me" is a percussive Balearic beard-rock house chugger. - piccadillyrecords.com The 4th installment of the Sounds Superb series explores further the possibilities of randomness. This time it's a bit more on the Stoner tip. Lot's of editing and messing with the turntable pitch control. Codek liked it so much that they had to include 20 min. long radio mix of Euler's "Conservation of Momentum", long, lush and very balearic, excellent stuff! In Flagranti themselves provide another melodic slo-mo chugger and the EP finishes up with the Delta blues meets punk funk bass throbber from Bruno Cried!!! - phonicarecords.co.uk |
|
 |
|
 |
|
 |
The duo of Crnobrnja & Gloor
(aka In Flagranti) are like the MVP's of this new disco shit,
always advancing and coming correct with every release. "Firmly
Planted Memories" is their latest exploration into the various
realms of the dirty disco sound and as usual, the team hits their
destination spot on. The title track(1) will get you situated
into the electro-disco house groove, with pumping drums and arpeggiated
bass topped off with clever scat vocal chops and effects. Kind
of reminds me of something off the "Wronger Than Anyone
Else" full length. "Where Is Miss Palmer(2)" goes
on a tangent to some seriously funky terrain (kind of a new sound
for In Flagranti), with more of a breaks-style beat, fat bass
and some African(?) vocal bits. Feelin' this one. This EP also
features the straight ahead disco sounds of Lord Isis' "Erdoel(3)"
and rumbling, tribal swing beat of Eldridge and Huey's "Revolutionary
Bust(4)." Don't really know too much about these tracks
(possible aliases for IF?), but they definitely do not seem out
of place with the rest of the EP. Packaged in a fitting collage
pic sleeve by Gloor. Codek Records keep pumping them out, this weeks four track EP comes in the form of a various 12" although In Flagranti appear twice. It's a bit of a weird one, kicking off side-A with In Flagranti's "Firmly Planted Memories" a heavy, druggy disco groove, similar to Eddie Grant's 'Time Warp', with chopped up Yello style vocals and slamming beats. Next up on side-A are Eldridge & Huey with "Revolutionary Bust". On side-B Lord Isis' "Erdoel" is a mad as you like uptempo punk disco number, again another edit I'd hazard. Last up is In Flagranti again with "Where Is Miss Palmer?" a fat groovy afro disco number, with oodles of funk and toughened percussion aplenty. - piccadillyrecords.com |
Third volume of cosmic, electro-disco
goodness from the Sounds Superb series on Codek. Once again it's
a grab bag of tracks from a bunch of different artists, all of
which contribute quality regardless of what style they choose.
Frederic Sinful kicks it off with a smooth electric guitar and
vocoder-laced italo groove on "Crater Sand(1)." Deep
disco heads will dig. Next up is Lab faves In Flagranti with
a departure from their usual dirty disco style on "Rush(2)"
which flexes more of an edgy, drugged-up punk rock sound. Not
mad at that at all. Flip the disc and get ready for more vocoder
disco fun on Borke Woerter's "Foe Tim Out(3)," but
its Freddie Mas' "Tails Of Prevalence(4)" that really
got me going with its funky post-punk disco action (fun fact:
Brennan Green played ALL the instruments on this joint!). Impressive.
- turntablelab.com |
|
 |
New side project from one half of In Flagranti, Sasha, and synth collaborator, Visini. Where as In Flagranti's other projects include a wide variety of edits and productions covering the wide range of disco, new disco, italo, synthpop, house, electro, etc...this new partnership slows it down a bit, delving deep into cosmic space disco dripping with futuristic synths and minimal tendencies. The sounds are so atmospheric, I can close my eyes and imagine the foreign sci-fi film to go along with it. Check out the hypnotic pulse on "Crux Of The World(1)," the enlightening progression on "More Thieving(3)," and the smooth, lush sounds of "A Radical Change In Directiojn(4)." I believe their name is taken from a movie which stars a round headed boy in a village full of points. It's abstract and weird, and a perfect companion to the music here. Fans of Professor Genius and the Italians Do It Better label will love this. - turntablelab.com Imagine Jan Hammer ran with
a down tempo electro label of five years ago, and he and one
of today's disco revivalists decided to make music together as
OBLIO. That's not what happened but it's what it sounds like.
I haven't been able to get any links for OBLIO. It's like record
shopping before the internet. The EP is called "The Crux
of the Matter" so perhaps because that's exactly the point,
getting back to what's important: the music. I think Oblio might
be something to do with Inflagranti, I cannot be 100% sure, but
hey who can these days. Anyway onto the music: "The Crux
Of The Matter" is a pretty ace nu-disco joint, leaning more
towards the Italo / electronic sound with it's analogue bass,
spacey synths, driving beat and some ace phasing going on too.
Next up on side-A is "The Crux Of The Matter (Edit)",
I am sure you can guess. Over on side-B "More Thieving"
is a brilliant filmic, slo-mo balearic movie theme, I just dunno
what the film is yet. Last up on the EP is "A Radical Change
Of Direction" which is a minimal late night driving theme,
proggy bass, soft synth pads and relentless rhythm. Another alias from our man In-Flagranti!! Killer new york electro-disco meets German krautrock of the highest order. Pure class - phonicarecords.co.uk |
second release
from IN FLAGRANTI's new series of various artists releases :
SOUNDS SUPERB. Killer selection ranging from original productions
to punk funk classics re-edits. full perfect package. HIGHLY
RECOMENDED !!!!! This is the
second EP in the Sounds Superb series from Codek, featuring four
artists that are new to me. For starters we have Arms Numond
with "Late Night Flight L.A.X" a very Euro disco number,
a proggy walking bassline, soft synth pads and a nice vocal about
sunsets and rock and roll. Next up is Harmonika Lyder with "Siegfried
Der Drachentoter" a juddering, stuttering electronic disco
number with a minimal beat and bleeps aplenty. Over on side-B
is Airy Dun with "Cockney Wide Boy" an uptempo driving
groove, crazed whistle noises and some mad filtered horns in
the middle, this will sound bonkers live! Last up is Fab Tak's
"House Of Funk" a lowdown funky groove based round
a four bar loop, vocal snippets, neat beat edits and big handclaps
all dropping before ther big funky guitar lick comes in. -
piccadillyrecords.com Since the first volume in the Sounds Superb EP series featured one track from In Flagranti and three other artists who we'd never heard of before (or from since), I'm gonna assume that all four of these fake-sounding artist names are really In Flagranti in disguise. Arms Neumond starts it off with the plodding downtempo boogie of "Late Night Flight L.A.X.(1);" sounds like this might be an edit, complete with a lovely vocal sample about sunsets. Next up, Harmonika Lyder's "Siegfried Der Drachentoter(2)" has gotta be original production - a stuttering, bloopy track that sounds like something from an educational science film you'd see in high school (the part that shows all the blood circulating through your body). On the flip, we got Airy Dun's "Cockney Wide Boy(3)" with tight disco grooves and a no wave flair courtesy of one skronky filtered sax, honkin' away into the night. Fab Tak rounds it out with "House of Funk(4)" - another edit? - working with a minimal drums / bass / handclaps loop and tiny vocal snip, letting loose occasionally with a wakka-chikka guitar breakdown. - turntablelab.com |
|
"By the late 70's, nostalgie
de la boue was raging out of control: The stray celebrity or
trust-funder made the trip to 42nd Street for a hot dog from
Nedick's, a kung fu doubleheader, then maybe a virgin sampling
of tar heroin or, later, crack. Meanwhile, the strip west of
Times Square had gone from a Tom Waits ballad to something out
of Bosch: sex everywhere on point-of-sale display; an endless
parade of drug pilgrims and johns; pushers muttering 'joints,
coke, acid' like a Zen prayer."* In Flagranti has a way of capturing a similar
aesthetic on record with sleazed out, post-disco, minimal funk
decadence. The salacious cover art, a throwback to full frontal
'70s porn and New York subway graffiti before the Clean Train
Movement of '89 wiped out these traveling canvases, serves as
a fair tribute to the actual Grand Central shuttle which shuffles
between 42nd street/fourty deuce, and Times Square. Codependancy, the B side of the Grand
Central Shuttle 12" released by Codek, features vocals from
fellow Brooklynite and the singer of Artanker Convoy, Arthur
Owens.* Stephen Metcalf's review of Marc Eliot's book Down 42nd
Street: Sex, Money, Culture, and Politics at the Crossroads of
the World. By now you should know that I am a big fan of Inflagranti, since they came onto the scene about 4 years ago, they have reinvented themselves soundwise and always have something good to offer. Here again on their most suited label Codek with three ace new tracks. "Grand Central Shuffle" is a brooding piece of dark 80's style disco not disco with Arthur Owens delivering a sinister line over a bad ass slapped bass. Next is "Codependency" the housey one (and there is always one) a dirty stuttering grind with a big old sample and a tough groove. Over on side-B is "Coquine (Sanctuary Mix)" a kind of electro disco stomp with French vocal, heavy beats and farting analogue bass. Last up id the Supermarket Remix of "Coquine" which is a cool little edit with wonky synth loop and Liquid Liquid style percussion. Oh did I mention the best porn sleeve we've had in ages - piccadillyrecords.com so what i hear from
my hipster friends is that in flagranti is considered italo disco,
but honestly they use that term in such a contrived manner i
try to avoid it. despite having been explained to me many times,
i still have no idea what italo disco really means. luckily,
in the ghettro, disco is disco and we don't care. the dance floor
is the last place for questions. with enough glitter and gold
we're sold. so here's some new ish from in flagranti that codek
will release in '08. the footage is from an original broadcast
of playboy's roller disco, mixed with 3 of their new songs, newsflashes,
and commercial clips to create a retro-ridden dance mix dripping
fabulosity. |
Sasha Crnobrnja and Alex Gloor
are experts in trash culture. Each release under their In Flagranti
moniker is grimy, funky disco, almost invariably accompanied
by a clip from Gloor of found footage from the late '70s or early
'80s that best captures the feeling of the music. Softcore porn,
as you can tell from the image above, is often an option. Gloor's
clip for this 12-inch starts at a Playboy Pajama Party, with
'Codependancy' as its soundtrack. Hef and the ladies are dancing
to the housiest track here. It's a hard-charging track that sounds
almost like an edit (much of In Flagranti's work does). Release
comes in the form of Tom Jones (or a damn good impersonator)
blabbering on about "asking you to spend your whole life
with,Ķ" We only get to the "me" late
in the game, but that's the charm of Flagranti and the whole
edit culture: these samples are teases, half-remembered moments
of tunes that are unlikely choices to be remodeled into funky
disco gems. The title track that comes before it on the A-side
is just as unlikely. Flangranti loop an insistent punk-funk bassline
and a wheedly synth underneath singer Arthur Owens, who himself
sounds like an edit version of himself. (Either that or he loves
to repeat phrases ad infinitum.) The Rapture might do well to
take notes. On the flip are two remixes of 'Coquine'. The first,
the 'Sanctuary' mix, is a smash waiting for the proper dancefloor
to work its magic. Stuttered vocals, stuttered percussion, stuttered
bass, it's something like what might happen if Akufen had spent
his formative days at the Paradise Garage. Solid stuff. The 'Supermarket'
mix, on the other hand, straightens things out and unleashes
the cowbell. Supermarket here is an unfortunately apt name, because
in its attempt to appeal to an imagined audience, it ends up
lacking the crazed zeal of the rest of this 12-inch's contents.
the awesome in flagranti returns
in his own recognizable style of punk-funk-disco not disco. 'grand
central shuttle' is a minimal funk tune built around a driving
bass line and a tight drum set, featuring the vocals of arthur
owens the singer of new york based artanker convoy. 'codependancy'
is funk-disco in a cut and paste fashion deep bass with flanging
hi hats and some random vocal sample... nice little floor stomper.
'coquine' was recorded during a visit in paris featuring the
vocals of gabouchka. the "sanctuary mix" is a high
energy track with a lot of nervous break downs and chopped up
vocals while the "supermarket mix" has more of a pop
sensibility. hot stuff on codek. |
 This Codek 12" compiles some of the label's finest artists together for a bumper piece of plastic. Kicking off with Inflagranti's "Low Dose Virility" a jaunty party disco number with ace discoid bassline, funky guitars, rewinds and cool edits. Oblio's "Escape" is an ace slow down cosmic synth beast, as hypnotic as it is ploddy. Over on side-B Freddie Mas' "(A Lonely Sea) Tide To The Tide" is a groovy little electronic dance number with kooky synths. Lastly, Lobt Noch Irrt's "Heizgas Meter" is a big sounding synth monster with an ace groovy breakdown and some great crooning at the end, very good EP indeed. - www.piccadillyrecords.com |
|
Complete insanity from Freddie
Mas on Codek, four tracks in total and he runs the whole gamut
of weirdo dance music on here. "Tails Of Prevailing"
is a full on acid assault in an electronic rave kinda way. "The
Way They Look At Us" is a distended downbeat track, that
sound like it's on the wrong speed, all warped vocals, weird
guitar FX and sludgy beats. On side-B "In The Act"
is a Rephlex style wobbly acid techno throb with cut up vocals
and stuttered samples. lastly we get the raging electronic punk
of "Bathing In The Boil" a killer riff, shout vocals
and an electronic bleep fest undercurrent, not bad I say. Citing Freddie Mas' biggest
influences as "dreams, coincidences and house parties...",
the Chicago native has been introducing a physical dynamic to
his productions, collaborations, infamous DJ sets and performances.
something that, he feels, has long been missing from a rather
stoic NYC dance scene. The Arc ep features 4 new tracks entirely
written and produced byFreddy Mas that sit somewhere between
electro-rock-punk-funk-house & genius....
americas bastard. citing 'dreams, coincidences and house parties' as main influences, freddie mas is determined to forge a new level of expression in popular music. simply describing his music as 'motion motivated', freddie has brought his uniquely physical dynamic to the new york art rock/ dance scene since 1997 with extremely unpredictable performances and dj sets that are heavenly and demonic, often simultaneously. sometimes dangerous but never stingy, mr. mas aims for textural and emotional vistas largely uncharted by his contemporaries. freddie mas
has released material on codek, output, tigersushi, and soundlab
records. this fall sees the new www.myspace.com/freddiemas
|
|
Rarely does
In Flagranti ever have other people remix their tracks, but when
they do you know it's gonna be nasty (in the good way)! I didn't
think it was even possible, but Parisian duo Sex Schon turn up
the heat on the already proven dancefloor scorcher "Nonplusultra"
making it sizzle like my Bushwick apartment in August with no
A/C. Right from the get go their remix(1) has some of the toughest
drums and sickest synth bass stabs to make the hips sway and
the shoulders shake. Then comes the sexy French girl vocals,
grinding bass, cowbells and electro snares like a slap to the
face (or ass). The hipster slash pseudo-model crowd won't know
what hit 'em. Recommended. |
|
 |
Clad in their usual 70s designer porno artwork, this is the first single for 2007 from In Flagranti. Over the past couple of years they've worked out their own fiendish derivative of techno, house and disco, cutting a niche of decidedly knave-ish tracks. Although utterly original, "Intergalactic Bubblegum" sounds like some sci-fi disco track crossed with a Throbbing Gristle outtake and "EFX 10-11" is Chicago techno meets the BBC Radiophonic Workshop. B-side Bipolar is interesting indeed, a collection of strange synthwave which occasionally settles down into a nu disco groover. - www.piccadillyrecords.com sasha crnobrnja and alex gloor return with a follow up to last years ''wronger than anyone else'' 12 with g.rizo on vocals this is a sexy and slow burning classic - good mash of knock on wood. - www.roughtrade.com In
Flagranti's first release in 2007 features G. Rizo ("the
queen of the galaxy|) with a punky ESG-ish rap over a backing
based on Amii Stewart's hi-NRG anthem "Knock On Wood".
Its very good!! "EFX IO-II" is more of a bass n bleep
rave track whilst on the flip "BiPolar" is a spacy
Italo instrumental - Kano meets Pete Shelley. An impressive record
that is a perfect encapsulation of the New York buzz! Great sleeve
too! |
 |
click on pics for complete CD info |
 IN FLAGRANTI - 'IT,S ALL RUBBISH' In Flagranti are back with another corker on the bodaciously non-conformist Codek. Tongue-in-cheek electro-disco title track that you can take seriously, too. This record's theme is Britt Ekland and her seperation from Rod Stewart. 'Business Acumen' with it's dark guitar riff and slurpy disco beats might just reflect that alleged £1m settlement (see EP title for Ms. Ekland's response to said rumour/leak/fabrication/taxing question). And the 8/4 oddbeat syncopation certainly isn't lost on us as it heralds 'Deceptive Secracy'. It's just a good thing that none of that sort of behaviour goes on - www.covert.uk.com IN FLAGRANTI
- 'IT,S ALL RUBBISH' |
IN FLAGRANTI
- 'IT,S ALL RUBBISH' IN FLAGRANTI
- 'IT,S ALL RUBBISH' IN FLAGRANTI
- 'IT,S ALL RUBBISH' |
IN FLAGRANTI
- 'GENITAL BLUE ROOM' IN FLAGRANTI
- 'GENITAL BLUE ROOM' IN FLAGRANTI
- 'GENITAL BLUE ROOM' |
|
 |
|
IN FLAGRANTI
- WE MAKE LOVE IN A HOUSE MADE OF GLASS IN FLAGRANTI
- WE MAKE LOVE IN A HOUSE MADE OF GLASS |
|
IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' IN FLAGRANTI/FREDDIE
MAS - 'TEACHING CHILDREN HOW TO SWEAR' |
|
TIMOUT NYC
best of 2005 IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO IN FLAGRANTI
- 'BANG BANG' feat. G.RIZO |
|
IN FLAGRANTI
- MELODYMAKER IN FLAGRANTI
- MELODYMAKER IN FLAGRANTI
- MELODYMAKER |
|
IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA IN FLAGRANTI
- NONPLUSULTRA |
|
|
A1) radiergummi
der gefühle C1) stadt
der untoten idioten |
|
|
|
|
IN FLAGRANTI
- JUST GAZING/REMIXES IN FLAGRANTI
- JUST GAZING HOW TO KILL
THE DJ (tigersushi) IN FLAGRANTI - DAY IN DAY OUT In Flagranti, groove to the sounds of Afro funk, disco-stomp, downtempo melancholia and characteristically Codek envelope-pushing style. Mid-tempo funky, freestyling psychedelic apres-chill coolness. - Tunes.co.uk IN FLAGRANTI
- DAY IN DAY OUT
this is the first release from codek records europe, an offshoot
of the brooklyn-based codek label headed by dj/producer sasha
crnobrnja. side a is funky afro-cuban drum-breaks fused with
fuzzy fela-style keyboard solos, sprinkled with cosmic rocker's
trademark dub flourishes. the flip features two shorter cuts,
the disco-funky "just gazing" and the more off-kilter
sounds of "once in a wile" a nice down tempo cut with
disorienting, warpy touches hat make you feel like the valium's
starting to kick in. - XLR8R
|
1. DAY IN
DAY OUT |
