Birthed from the site of the same name, Ransom Note’s mothership label provides a home for dancefloor and other beautiful music from all over planet earth.
Review: Barely two months have passed since the release of Bawrut's excellent 4x4 EP, but already Ransom Note is serving up a remixed version. Philip Lauer naturally impresses with a typically loved-up, melodious and glassy-eyed dancefloor rework of "I Hear Voices" that's as Balearic as they come, while psychedelic disco sort Timothy Clerkin re-casts the same track as an acid-fired ambient trip rich in hallucinatory electronics. Elsewhere, Jimpster surprisingly doffs his cap to Gieorgio Moroder on a druggy, arpeggio-driven re-make of "More Cowbell", Sano lays down a low-slung, Afro-tinged jack-track take on "Ghettoscar" and Lossy's remix of "Three Sounds" joins the dots between bass-heavy bleep-era electro and shimmering Balearic house. Arguably best of all though, is the epic, rush-inducing positivity of Marlon Hoffstadt's "Aloe Vera Mix" of "More Cowbell".
Review: Bawrut returns to Ransom Note to present his debut album In The Middle, featuring nearly a dozen tracks of electronic pop, featuring vocalists Liberato, GlitterUYUY, Cosmo and Chico Blanco. Whether it's the blissed-out sunset breaks of "Son El La Cara", the flamenco-inflected rave of "Alfredo And Ricardo Brought Me Here", to the glassy-eyed and bitter sweet deep house of "Fe Samaa" or the brooding dark disco closer "Looking For A Golden Blanket" - the Madrid-based Italian producer delivers a top notch release from start to finish.
Review: Bawrut makes a triumphant return to Ransom Note Records with the Remix Pack EP, a stunning collection of reinterpretations of his recent work. Featuring a lineup of top-tier underground producers, this four-track whirlwind of club bangers embodies the best of electronic music in 2024. Marc Romboy transforms "Que Quiere Usted" into a relentless dance floor stomper, while Fernanda Arrau infuses "Sonidero Usera" with tropical rainforest sounds and classic house elements for a deep and dirty club workout. Hologram Teen takes her work in an unorthodox direction with her signature '80s computer game synth work, seamlessly blending staccato Chiptune stabs with a sleazy bass line. Nandele's remix of "Calima" from Bawrut's 2022 record adds manic percussion and Kraftwerk-inspired synth arpeggios, resulting in a simultaneously anxiety-inducing yet meditative slice of machine funk.
Review: Ransom Note mainstay Bawrut brings a sixth solo release to the label with this particular record giving "Triangulo De Amor Bizarro" a full missive following its inclusion on last year's Pen Pal compilation. With its parties & bullshit references, the single touches on an assortment of Latin grooves with Blanco's vocal elements bolstered even further by the artist's own heavy and hi-fidelity remix. Something more progressive and classically techy comes from Super Drama with some nice usage of the original's vocal element, while Kristy Harper keeping it bassline driven and soulful in her remix. Percussions and dub techno heads checkout Beigean's Amore De Noche dub!
Review: London based online magazine The Ransom Note launched their record label back in early 2016 and are now onto their tenth release. They continue their search for the finest dance music around the globe and serve up a 'carnival-ready curveball' here with 'the sleazy, Ghanaian Afro-Ghetto-Techno-Pop that is Bryte's word-of-mouth classic' entitled "I Like Your Girlfriend". Originally surfacing on YouTube dance videos, the low quality video rip of Bryte's 'bizarre' lyrics over Gafacci's grime/afro house beat has been popular with tastemakers such as Bok Bok, Mixpak and Gang Fatale. Coming from Accra's Azonto dance scene, where tracks are produced in makeshift home studios then swapped through social media apps on smartphones,this track has long remained a holy grail. The label claim that this is quite possibly the first Azonto track to be released on vinyl!
Review: Chloe Raunet has really come into her own since departing from London electro-punks Battant several years back - the trio she fronted with Crimes Of The Future's Timothy J. Fairplay and the sadly departed Joel Dever. As C.A.R, the Canadian chanteuse has delivered several releases on Paris based Kill The DJ (including an impressive EP with Tel Aviv indie-dance heroes Red Axes) and now her third LP Pinned - but this time for London's Ransom Note. Naturally, the remixes compilation is titled Pinned Up and features the current creme de la creme in electronic music. From Kompakt co-head Michael Mayer's uplifting and pop-inflected house rebdition of "This City" (which also received a super makeover by Man Power which was a standout), to the Innvervsions affiliated Macrus Worgull's tunnelling and hypnotic renditon of "Cholera" and disco underdog Jonny Rock's Thisisfreakinglongbutwherethefuckismybreakdownremix of "Strange Ways" which does exactly what it says on the tin.
Review: Bristol lad Chez De Milo isn't afraid to explore electronic music's more esoteric fringes, and here he returns to Ransom Note with four new remixes from like-minded chums that get progressively weirder as they go on. Sara Dziri's remix of 'Durga Lesson' is normal enough, a deep tribal house jam with Detroitian drums and spoken Afro vox, while MR TC's remix of 'So It Goes' is a solid exercise in bleepery. But Orbury Common's rub of 'Sister Dex' pushes further out into near-arrythmic, leftfield territory, while Lapalace's take on 'Wadham' veers wildly from haunting ambience to harsh, industrial D&B.
Review: Hotlanta's Ryan Parks a.k.a. Fit Of Body up next on Ransom Note. Five woozy original tracks jammed out on second hand drum machines, bass guitar, cheap mics and creaking synths, this is techno as it was first imagined; raw machine soul made for strange times and unknown futures. Serving up a nice EP here with some deep and sexy house on "56K" while dreamy lo-fi business follows on the sublime analogue haze of "RTTRAP/DIE". There's even a lovely vocal number in the form of "ATT (Since)" which is a dead giveaway of his R&B past we must say.
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