Get in the pitch
selected garments, accessories, vinyl records and cassettes from selected diy designers, brands and artists from Greece and around the world.
Limited long sleeve celebrating 6 years of stickering, stamping and wrapping.
- Blue ink on white
- pro screen-printed in Italy by Serimal.
- Design by Davide Salvati
curated by Giovanni Napolano
Repress of the infamous MBE002 recorded by Conor Thomas on 2016 now served in a new one shot of 150 restyled cheeky tapes +++
“This mix is a tribute to a series of "free parties"/raves held in manchester over ten years ago. Records that were played there or that i used to cane during that era
Using the benefit of hindsight, this is a snapshot or perspective of the era after the '90s "Madchester" and “sulphuric soul” (gip) thing. of course there were other things happening, lots of techno/electro/breakcore/electronica and early dubstep, but for me, this was the sound of cracked warehouses and abandoned mental hospitals when i moved here in 2002, and it remained like that until dubstep really took a grip after 2007.
All tracks are from original records released between ’93 and ’04 (apart from the Leckey snippet), with particular focus on darkside late ‘90s flex, which bled into that era. I only found out years after that time that other people had nicknamed me The Smoking Man, probs cos i look a bit grey and tended to hang in the shadows with a big spliff when i wasn’t brukking and gurning. Not because i wore a flasher mac and had links to secret government agencies."
Pack of white C90 cassette in clear case with stamped pink tape + A3 pink ink risograph fold-out poster.
poster designed by Davide Salvati
Liturgy is a journey into the uncanny realm of the senses that dives
into histories of perception and intuition. The artist Flora Yin-Wong
deploys a variety of images and texts to explore issues related to
cosmic principles, conspiracies, and parallel universes. The result is a
constellatory work filled with religion, dreams, and fragmented
memories and knowledge that also gestures at the artist’s own history.
The book’s chapters—Rituals & Fire; Omens; Hexagrams / Oracles;
Curses; Gods & Creatures; Places Doors to Hell / Ghost Cities;
Paradoxes; Sound Phenomena; Reality—function like a secret dossier
inflected with flights of fantasy, speaking to systems of faith and
language and its corruptions.
Divining inspiration from meditation, oracles, curses, hexagrams, Cantonese traditions, and superstitions, Liturgy interweaves textual and visual collage to create a multi-layered tonality. Reflected here is the multidisciplinary artist’s interest in the web between fiction, memory, rituals, and incantation, as well as her approach to sound.
Flora Yin-Wong is a London–born, Chinese-Malaysian writer, producer, and DJ who has released material on the labels Modern Love and PAN. Her sonic work uses traditional instruments, software processing, and text-based storytelling, and has been performed at venues including ISSUE Project Room (New York), the Victoria & Albert Museum (London), Volksbühne Theater (Berlin), and Berghain (Berlin).
10.9 x 18 cm
Edition of 2200
Co-Published with Primary Information
Managing Editors: James Hoff and Bill Kouligas
Copy Editor: Allison Dubinsky
“The intention was to record as much as possible,” Trabucchi says about KIKOMMANDO’s musical showcase of eight Kampala-based artists, coming from the spectrum of musical influences, crossing trap, drill, cut ups, kuduro, electro, smooth jams—the list goes on. In creating a sonic space to support the expression of its featured singers, poets and emcees, the mixtape ties countless styles and flows into a single snapshot of a particular part of the Kampala music scene, at a particular point in time. The invective of rapper and street legend Blaq Bandana’s “Nkwaata” is laid over a spare and brooding ambient. Kampala Unit trumpet player and first-time singer , Florence, rolls a thick melodic texture through the organic clicks, knocks and atmospherics of “Bae Tasanze”. Jahcity’s unique lyricism combines a personal take on traditional music and soulful-reggae with a jerky, wobbly collection of drops and donks.
Meanwhile, Ecko Bazz applies his grimey vocals and rhythmic, introspective words to lead single ‘Ntabala (Rolex Riddim) at a particularly pertinent moment of self-reflection. “I was trying to listen to the voice inside myself and wanted to achieve a higher level of understanding of things, life,” he says about the themes that he felt inspired to explore with Trabucchi at the recording desk. The accompanying video, shot on a rooftop in the Kampala neighborhood of Ggaba, is one of a series of slick and high-definition films complementing each one of the KIKOMMANDO tracks. These also include contributions from Ugandan emcee and key Hakuna Kulala member Biga Yut, don dada of the GabaGaza gang Swordman Kitala (with Omutaba on percussion) and South Sudanese poet and singer Winnie Lado.
Also accompanying a ‘visual mixtape’ of moving images for each song on KIKOMMANDO is a recording diary of sorts, where Trabucchi compiles a vibrant collection of pictures, colours and textures reflecting the its heterogeneous sonic palette into a book. Together this multifaceted, interdisciplinary project showcases, what Lamin Fofana’s liner notes describe as, “amazing originality, complexity”, while “embracing dissonance”.
Trabucchi’s personal take on a kind of ‘digital dancehall’ defined the sound of his ground-breaking rumination on Italy’s colonial history on debut STILL album, I, in 2017. KIKOMMANDO is a different proposition entirely, where he finds new ways to complement the personality and skills of its contributors sprung from a constant stream of visitors arriving at the Nyege Nyege Villa’s makeshift studio. “It was a dialogue,” stresses Trabucchi, who has always preferred collaboration as a means to escape branded and stereotypical identities, while creating something new. “I created the musical platform to make the singers confident, and challenged them at the same time. Working together accelerates ideas and reveals that nothing is your invention alone. That’s why KIKOMMANDO is a mixtape to me, and not an album.”
The mixtape is mastered by Rashad Becker, featuring artwork by NMR. Tracks 1, 2, 3, 4, 7, 9, 11 & 12 mixed by Ville Haimala. Tracks 5, 6 & 8 mixed by Lorenzo Dal Ri.
In collaboration with Hakuna Kulala
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