Mole Audio

09/08/2023

thanks Legend!

06/08/2023

https://clone.nl/item73521.html

Celebrating dubwise origins, Mole Audio delivers two fresh remixes of their very first release: Andy Martin ft. Gavsborg’s Plato & Caves. Gavsborg is a towering figure in Jamaica’s dancehall scene. So when Andy found an acapella, he set to work on a renegade edit. Subsequently approved and embra...

06/08/2023

available in all shops now ,
https://hardwax.com/act/andy-martin-feat-gavsborg/?fbclid=IwAR0q6r7o2JDCnCWawAljMYA_xcNnZICVPuhCYFACna-u5Ff7yqVLn0EEA6I

Hard Wax is one of the world's leading shops for cutting-edge electronic dance music, such as techno, house, dub and bass music.

18/07/2023

thanks for the support

Diessa twists your late night lullabies with a dystopian vibed 30 minute mix!

08/01/2023

https://moleaudio.bandcamp.com/music
soon remixes for plato & caves coming ..

23/12/2022

https://groove.de/2022/01/27/groove-dj-charts-mit-al-wootton-barker-mor-elian-nicole-terrence-dixon-hhv-recordstore/

Die Groove DJ-Charts - in dieser Woche mit Al Wootton, Barker, Mor Elian, Nicole, Terrence Dixon & HHV Recordstore.

25/11/2022

25/11/2022

Thanksgiving with Tommy the squirrel

03/11/2022

https://www.youtube.com/watch?v=phjrI3gVEBY

" I remember Teenage kicks on John Peel's Radio Show show. Back then the idea of putting your hands on a vinyl record or scratching it was practically sacril...

07/10/2022

TURMSPRINGER* RELEVANT MOVEMENT EP
from today in the shops , with amazing cuts from Mad Professor & Nit Yardman OUT NOW
https://moleaudio.bandcamp.com/album/relevant-movement-ep
https://www.juno.co.uk/products/turmspringer-relevant-movement-ep/799891-01/
https://www.beatport.com/release/relevant-movement-ep/3877218

Buy Relevant Movement EP at Juno Records. In stock now for same-day shipping.

04/10/2022

upcoming Friday we launch the Mole Audio 03 digital featuring Mr Neil Fraser with two fine cuts of Turmspringers `Relevant Movement

BERLIN BASED LABEL DEDICATED TO THE SOUND OF DUB IN VINYL FORMAT. Music is magic. If you have good magic you will be followed by good people.” Lee Scratch Perry We love good music & put it out on vinyl

17/09/2022

https://www.facebook.com/nityardman/videos/837368710020883

25/08/2022

https://www.youtube.com/watch?v=SYU45d-m52o
from October 7th available in all shops.

https://moleaudio.bandcamp.com/album/relevant-movement-epArtist: TurmspringerTitle: Relevant MovementLabel: Mole AudioRelease: November 30th 2020Cat No: MA03...

14/07/2022

https://moleaudio.bandcamp.com/music

BERLIN BASED LABEL DEDICATED TO THE SOUND OF DUB IN VINYL FORMAT. Music is magic. If you have good magic you will be followed by good people.” Lee Scratch Perry We love good music & put it out on vinyl

25/04/2022

https://www.tiktok.com//video/7090243704442686725?is_copy_url=1&is_from_webapp=v1&lang=de-DE

Mole Audio 02 Trailer

24/04/2022

We got records back in stock , 75 copies in transparent & Discobag incl. digital download.Bandcamp is the fairest deal on the planet, its so fu***ng good for the artist. Streaming Quality is so much better then Spotify. What the problem ? Afraid of diggin music ? Let the Algorhythem control our taste ?

4 track album

23/04/2022

The only good System in the world is the Sound System.
https://moleaudio.bandcamp.com/music

08/04/2022

thanks to Renaissance for including the remix from Turmspringer of Revolution ft. Lee Scratch Perry in their 20th episode

The Sound Of Renaissance reaches its milestone 20th episode! Who’d have thought that just over a year and a half ago we’d now be reaching nearly 1,500,000 million global listeners each month, so a mas

27/02/2022

Thanks Dub Iration Sound System for these beautiful 10 inch’s today ! Will give it a loud shot next week on my Jbl 4311B hifi System

20/02/2022

Our 4th Release is now available in digital stores and streaming services.

https://linktr.ee/moleaudio

https://moleaudio.bandcamp.comAndy Martin ft Lee Scratch Perry - RevolutionVideo by: Doctor BagreA1.- Revolution (Original Mix)A2.- Nit Yardman meets Lee Per...

29/01/2022

Thanks to Joris Voorn for including the Nit Yardman version of Revolution ft. Lee Scratch Perry released in Mole Audio on his fabriclondon show

Part 1 of my 7 hour 'All Night Long' set at Fabric London, Januari 8 2022. TRACKLIST Andy Martin feat. Lee Scratch Perry - Revolution (Nit Yardman Remix) The Black Dog - Form, Function And Friction S

23/01/2022

another good read ...

Andy Martin has established himself as a vital element of the electronic scene in Mexico. The Mexican Jamaican artist Andy Martin Revolution

27/12/2021

We have uploaded the remix Neil Fraser did for us ..
RELEVANT MOVEMENT *** MAD PROFESSOR VERSION 5

from the album Relevant Movement EP

26/12/2021

M05 coming up strong in 2022““ Andy Martin & Didier dlb aka ** db.art

20/12/2021

our first edition is almost sold out, decks has 4 copies left so if you want to grab a copy of the Jamaika Splatter do it now .. if you prefer the second editon in green , here you go

Andy Martin ft. Lee Scratch Perry - REVOLUTION - Mole Audio / MA04 - coloured 12 Inch Vinyl Record

22/11/2021

MOLE AUDIO 04
ANDY MARTIN FT LEE SCRATCH PERRY ++ REVOLUTION
is finally available in all shops via Decks ...
We are surely happy & proud about the result though the maIn force behind this track has passed away recently. Big loss for the community. We are sending out hugs to family and friends. Lee 'Scratch' Perry Legowelt Music Turmspringer Andy Martin Nit Yardman Mad Professor Gavsborg Ao Inoue Didier dlb

Andy Martin ft. Lee Scratch Perry - REVOLUTION - Mole Audio / MA04 - coloured 12 Inch Vinyl Record

26/10/2021

A Dubby Set from Didier dlb (half of Turmspringer) full of future dub, dub techno, and echoes.

19/10/2021

ma 02 is online... Ao Inoue - Richa Negri Ep

Check out Mole Audio on Beatport.

14/10/2021

whats comin up next , we launch Ao Inoue´s release digital 18.10 , keep the date in mind & stay tuned
www.facebook.com/watch/?v=837316153359472

08/10/2021

Latest calls ...

08/10/2021

Latest calls

01/10/2021

Another mail out today

08/09/2021

Today is Mail out day

06/09/2021

nice read...

R.I.P Lee "Scratch" Perry!
Halloween With Lee "Scratch" Perry
Mike D, Beastie Boys Book: In terms of the way we made records, Lee “Scratch" Perry was one of our biggest influences for sure. I'd explain it like this: Since the first recorded music, most pop and jazz recordings have been made in as simple and straightforward a manner as possible. You have a bass guitar going through a mixing console going to a tape machine. You have drums mic'd up and submixed with few effects, if any. Guitar, vocals, whatever-same. The idea being that you wanted the recorded version to sound as close as possible to the way the music sounded if you were simply sitting in the room while the musicians played it. Fair enough. Lee Perry's approach is the exact opposite: Taking the instrumentation and whatever was being played in the room as the starting point, as his raw materials, he'll then endlessly manipulate and tweak and transform them until they sound nothing like they had in the room, and everything like whatever he has in his head. Usually he does this using some technology or other. Tape delay/echo. A reverb that makes something recorded in a closet sound like it's being played inside a giant hall or stairway. An EQ where you're only hearing a portion of the frequency of whatever is being played. Loops, layering, feedback, speed changes, playing stuff backwards, slapping and pounding on the spring-reverb units until they literally create explosions of sound, and hundreds of other ideas and effects. Instead of aiming for perfect production, Perry sees the raw tracks as merely his paint; and he is the painter, not the musicians. Like a lot of kids my age, I first saw his name on a Clash record. On the band's first LP, they covered "Police and Thieves," a song Perry co-wrote, and he later produced their amazing single "Complete Control." But it wasn't until later, while we were making Paul's Boutique, that we started to buy a lot of dub records. During Check Your Head, we became obsessed with his song "Bushweed Corntrash" by Bunny & Ricky, produced by Scratch. The vocals sound literally otherworldly, swirling around like an alien spacecraft, and so much is happening on Perry's chamber of effects that the listener can't tell which way is up. Perry pushed the production and effects further than we'd imagined possible, and we really wanted to do the same, so his records became a blueprint of how we could get there. When stuck on an idea for a song, we'd ask, "What Would Lee Perry Do?" Even though Grand Royal published a huge cover story about Perry, we didn't actually meet him until 1996. Oddly enough, we bumped into him in Hong Kong and had dinner with him. Perry had a video camera and was filming everything-the people, the buildings, the night sky. After a while he said there was no tape in his camera. I wouldn't say it was your average, normal dinner conversation, like, "Oh, you live in Switzerland. What's your favorite thing about the Alps?" But there was nothing disappointing about meeting this particular idol; his personality was every bit as strange and captivating as his records. Soon after, we were working on the Hello Nasty album at a studio on Downing Street in the West Village. A lot of our material at the time came out of just basically jamming on an idea. We had this one unfinished song that revolved around an organ line by Keyboard Money Mark, a bass line that Yauch played, and a beat I had made with a big kick drum in G-Son's live room with the parquet floor. Perry's productions were always the primary reference for us with that song, but we didn't have what it took to finish it- a vocal idea, a hook, the thing that could take it from a sort-of-idea to an actual song. We tried a couple of directions and nothing really got it there. We liked it, but we couldn't figure out how to finish it. We had our dry-erase board up with a list of all these songs in various stages of construction, and that one just sat there. Then we heard Perry was doing a show on Halloween at a club in Tribeca called Wetlands. Mario Caldato, our co-producer on Hello Nasty, really started pushing - "Lee Scratch Perry's coming to New York; we gotta get him in and see if he has some ideas." Long story short, Perry agreed to give us a few hours between sound check and show time on the night of that Halloween show. The day of the show arrived, and it turned out we'd overlooked one minor detail: Halloween in the West Village is a huge fu***ng deal. There's always a massive parade. You've got tens of thousands of people, maybe more, dressed to the nines. People of all colors, all persuasions, all preferences, letting their freak flags fly. Sixth Avenue gets closed, and it's very difficult to get around-forget driving. So now we had this very small window of time with Lee Perry, but he basically can't get a cab. So it was decided Yauch and Mario would go down to the World Trade Center, where his hotel was, and bring him back through the thick of the Halloween parade. Yauch and Mario dutifully showed up at the hotel and told Lee and his manager that the only way to get back was to take the train. The manager was immediately like, "What? You're gonna take Lee 'Scratch' Perry on the train? No." But Perry, with his worldly calm, simply said, "It's fine, it's fine." So the three of them took the train. Then they had to walk through the masses of people from the station to the studio. The amazing part is, the way most people dress for Halloween is the way Lee Perry dresses every day. He had rainbow-dyed hair and beard, and was wearing a super-tall baseball hat that was covered in mirrors and broken glass and buttons, and boots to match. Every bit of his outfit was covered in something. He'd stand out 364 days of the year, but he was perfectly camouflaged to walk through the middle of the Halloween Parade in the West Village. After many hours, miraculously they walk into the studio. We played Perry a little bit of what we were working on. We were nervous about it because the song was kind of, uh . . . inspired by him. He could easily have just turned around and said, "Fire burn," and wandered off into the parade. Thankfully, he seemed good with it. We didn't know where to begin, so Mario just started handing him random percussion instruments, and he did several takes playing them. We all had this holy s**t fan moment when we realized that it was actually him playing percussion on a lot of his productions-you could just tell from the way he played. Then Mario sheepishly handed him a vocal mic and said, "Here, why don't you try this?" His singing was also revelatory, because we realized that on his productions, it's often his voice. On so many of the records he produced, it's impossible to tell who's singing what, but just hearing his phrasing, we realized how much of it was actually him. All told, we got two to three hours of him in the studio. As sort of out-there as he is, he got it done right? He was a consummate professional. He did what a session player would do if you said, "Here, be Lee 'Scratch' Perry." The track finally had what it needed to become a song, and it ended up on Hello Nasty - "Dr. Lee, PhD." After we finished the session, we still had to get him back to Wetlands in Tribeca. It wasn't actually that far. Maybe a twenty-or thirty-minute walk. In the middle of all this Halloween madness, the seas just parted, and Lee Perry walked right through.
You turned 60 in 1996, did you have a lot of fun working with the Beastie Boys in 1997 during the making of Hello Nasty?
Lee "Scratch" Perry, 2016: It was great, great fun. They were nice Jewish boys and they were clean inside. Very lovely. They called me Dr Lee, PhD because they could feel that I loved them. They were very good boys, wonderful.
https://www.theguardian.com/.../lee-scratch-perry-at-80...
Mike D, Beastie Boys Book: Mario C was very much on the same page as us, and understood what we wanted to achieve-even if on some days that just meant smoking pot and listening to Lee "Scratch" Perry.
Mike D, 1999: We had all been influenced by Lee Perry’s productions. We were into how on reggae recordings there would often be a dub version on the b-side of a single– a practice that got co-opted by a few punk and early hip-hop singles as well.
Interviewer: I was introduced to Lee Perry’s music by way of Grand Royal. I’m just curious how that collaboration came about and what it was like working with him.
Ad-Rock: I actually wasn’t there the night he came to the studio, though I’ve met him a few times. It was on my birthday which is on Halloween and I guess somehow we got hooked up with him through our manager because we were recording our record Hello Nasty. And we recorded a bunch of music for it and we had kind of a dope kind of reggae track sort of. And we wanted him to do vocals on it just to mess around with it just to see what he would do with it. And it just so happened that he was in New York on Halloween. So Adam Yauch and Mario Caldato went to wherever he was staying and picked him up and took the train from Brooklyn, I think, back into Manhattan on Halloween.
On the subway?
Ad-Rock: On the subway on Halloween. And he, you know, looked the wildest out of everybody even on Halloween.
Yeah, I bet!
Ad-Rock: And he just came into the studio and did his thing.
Have you ever seen him live?
Ad-Rock: Yeah, and we’ve actually played with him a couple times.
https://gothamist.com/.../beastie-boy-adam-ad-rock...
(Rolling Stone Magazine)
A highlight for the band was working with Jamaican dub’s master architect, Lee “Scratch” Perry. “Dr. Lee, Ph.D.” began two years ago at early sessions in New York and grew slowly over time into five minutes of sweet and sticky dubbed-out bliss. “We named it ‘Dr. Lee’ because it sounded so much like Lee Perry,” explains Yauch. “But we weren’t sure what to do with the vocals.” Last October, when Perry was playing a New York club gig, Beasties producer Mario Caldato prevailed upon him to come down to Lennon’s loft (nicknamed the Treehouse), where the Beasties were working. “It was Halloween, and it was so perfect,” says Mike D
“Yeah, he was walking down the street,” continues Yauch, “all dressed up with crazy mirrors on his shoes, and everyone else was dressed crazy, and he just . . . he didn’t look bad at all.” In the studio, Perry listened halfway through the track; unrolled a tour poster on the back of which he’d already scratched out lyrics, theories and diagrams; and quickly got on the mike to celebrate voodoo, science, Jesus of Nazareth and “the Beastly Brothers, and the Beastly Boys, with their beastly toys, they give ya some beastly joys.” “Then he said he wanted to over-dub,” says Yauch, “and he just recorded some tracks coughing and going mrraangh and making all these pig sounds and ad-libbing. And Mario – he was really subtle about it – Mario was like, ‘I really like on your records when you do percussion stuff.’ So Lee Perry got up, grabbed these shakers and rattles, and just started shaking tons of stuff. Perfect. Sean had this little snake-charmer flute that Lee Perry picked up, and he was whacking out a beat. He broke it in half. Sean came back and we were like, ‘Uh . . . sorry.'”
https://www.rollingstone.com/.../beastie-boys-get.../...
Sean Lennon: I'll never forget that day Lee 'Scratch' Perry came by my place. He's kind of like a shaman, like a wizard, right? And I was young enough that he scared me a little bit. I remember he wrote all this stuff on this poster and taped it up on the wall. And he was like, 'Yah have to keep that on your wall; if you ever take it down there, bad things will come to ya!' So I framed that s**t and never took it down until I moved. But I still have that fu**in' poster. The Beasties wanted to change it up for Hello Nasty. I remember Mario C brought a portable studio into a room in my house and they just made the record there. It was awesome. I remember being there when Ad-Rock was using the Vocoder for 'Intergalactic.' He wound up using a silver Vocoder type thing. I had my dad's Vocoder at my house and we tried to get it going, but it didn't work. It was a really amazing time, and I don't think I realized because I was so young that life wasn't always going to be that way. I felt like I was part of a community of musicians, and some of my closest friends back then were really successful artists and felt like I related to them as people. And it seemed like kids my age were all interested in open-minded music. I like to call the Beasties the Beastles, because for my generation going from their early records to Paul's Boutique then Check Your Head and Ill Communication and then Hello Nasty, the only experience I can compare to what it might have been like was The Beatles going from Rubber Soul to Revolver to Pepper to The White Album. I can't think of any other group who opened my mind up to music as much as the Beasties did. I was so lucky to be signed to Grand Royal and get to hang out with those guys. New York, at that time, it just seemed like that's how it always was going to be. It was a golden moment.
https://www.billboard.com/.../beastie-boys-hello.../...
(MTV News, 1999)
"Lee Perry dresses kind of wild, kind of different than the average bear, and he came in on Halloween, so it was pretty cool," MCA told us. "We went to his hotel and picked him up, and he walked to the studio with us, and he has all these mirrors on his shoes and different color bits of spray paint on his clothes. So he was just walking down the street, and nobody really thought he looked out of the ordinary."
"It was definitely interesting that the fateful night it happened was Halloween, it was perfect," Mike D added at the time. "Because it was, like, downtown New York, where everybody's nuts for Halloween anyway and then, Lee Perry in the midst of that, dressed how he was."
After they got Perry to their studio — where he hammered out his verses in two takes — there was still the matter of getting him to a show he had scheduled for that night ... and since there were no taxis to be found, the Beasties were forced to improvise.
"He just came in, immediately heard the track, had his lyrics written out on a poster, one of his posters, just knew exactly what he was doing, like, 'OK, give me the mic, let's do this.' Did like two takes, did like a couple background vocal takes, and then he had to go do a gig that night, a little further downtown," Mike D laughed. "And there's no cabs, no car service, so we actually had to take the subway. Lee 'Scratch' Perry on the subway, which that, in itself was amazing."