Cerca:liquid light

The Kniteforce Complete Collection Volume 4 does exactly what it says on the box, giving you the full Kniteforce Vinyl releases of the tracks from KF61-KF80, fully remastered, in both Wav and MP3 format. These tracks have NEVER been released on the digital stores, and until now have never been avaialbel in any digital format. All the tracks here are from the beginning of the new vinyl era, and as such feature some of the names that have made themselves in recent years, such as Mannik, Nicky Allen and Shadowplay, not to mention tracks from old skool masters such as Hyper-On Experience, Billy Bunter and The Fat Controller, right beside Kniteforce’s legendary roster of Dj Ham, Dj Force & The Evolution, Luna-C, Alk-e-d and many more…

Club / DJ Support
Jay Cunning, Ray Keith, Nookie, El Hornet, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

”Neon Dust describes the essence of a world just beyond reach, one we often glimpse but can’t sustain. An Ocean in which we rarely dip our feet. When writing this album, I felt in tune with something special, an energy I hadn’t previously known. I was submerged and engulfed in its creation. For me, it’s a journey beyond; into that dancing,
shimmering glow of neon dust.” - Etherwood Melodic master and drum & bass extraordinaire Etherwood makes his album
debut on Hospital Records with his fourth long player, ‘Neon Dust’, following on from the successes of his Med School works ‘In Stillness’, ‘Blue Leaves’, and ‘Etherwood’.

Across twenty tracks, expect signature liquid drum & bass and Etherwood’s own vocal performances with a fusion of folk, rock, indie-pop, techno, downtempo and ambient delights. Alongside his vast range of musical inspiration, Etherwood’s creativity is evoked through his free spirited mindset, exploring the world in his converted van, dedicated to mindfulness and meditation.

With frequent radio support from top-end tastemakers including Annie Mac, MistaJam and Charlie Tee, as well as countless club spins from the likes of Netsky, Sub Focus, Makoto, Degs and Lens, Etherwood’s hugely popular sound takes another step forward in 2021 with his most recent body of work. From topping the iTunes Electronic chart with his second album ‘Blue Leaves’ to performing his very own live session at the prestigious Maida Vale studios, you’ll also be able to find Etherwood at Hospitality Weekend In The Woods, Sundown Festival 2021, ADE Hospitality and Hospitality Bristol this yea

"His desperate need for a torrent, a precipice, a railroad track - no matter what, but instantly - made him appeal for the very last time to the topography of his past. And when, in front of him, a grinding whine came from behind the hump of the side street, swelling to full growth when it had overcome the grade, distending the night, already illuminating the descent with two ovals of yellowish light, about to hurtle downward - then, as if it were a dance, as if the ripple of that dance had carried him to stage centre, under this growing, grinning, megathundering mass, his partner in a crashing cracovienne, this thundering iron thing, this instantaneous cinema of dismemberment - that's it, drag me under, tear at my frailty - I'm travelling flattened, on my smacked-down face - hey, you're spinning me, don't rip me to pieces - you're shredding me, I've had enough...Zigzag gymnastics of lightning, spectogram of a thunderbolt's split seconds - and the film of life had burst." One-time vinyl pressing (no digital). Recommended for fans of Werkbund, Main, General Elektro, Heith, Experimental Audio Research.

Strut present the definitive edition of Sun Ra's classic 'Lanquidity' album from 1978 with brand new 4LP box set and 2CD editions. Recorded overnight at Bob Bank's Blank Tapes on 17th July 1978 after the Arkestra had appeared on Saturday Night Live, the album is unique in the Ra catalogue. "Most critics felt that it was more of a fusion-inspired record," explains Michael Ray."As the name suggests, the album is liquid and languid." Bob Blank continues,"Musically, it was very ad hoc and freeform. There were horn charts but most trackscame out of improvised jams. Sun Ra just did his thing." Comprising five effortlessly fluid pieces, the album eases in with Lanquidity. Danny Ray Thompson remembers, "This was one of Sun Ra's on-the-spot compositions. It is almost like an Ancient Egyptian Stargazing Ceremony, mapping out the stars and the planets." Where Pathways Meet is "Sun Ra's funky version of an Egyptianmarch. Pharaoh is sending his troops off to fight and this is his pep-talk!" continues Thompson. "The music seems to take different pathways but still converges." The loping groove of That's How I Feel, features the reflective trumpet lines of Eddie Galewith solos by John Gilmore and Marshall Allen: "Marshall comes in with that snake charming oboe." Says Thompson. The funky Twin Stars Of Thence weaves around Richard Williams celebrated elastic bassline while the haunting closer, There Are Other Worlds (They Have Not Told You Of), is pure "space music." The poet Mama Nzinga described it as 'The essence of light. Spirit takes a ride inside the deep darkspace of just being."

Formerly of the legendary band Liquid Liquid, Dennis Young is proud to announce his new vinyl recording titled ‘Open Roads.’
The new record is a proud testament of Young’s talent and ability to expand the boundaries of his music, excelling in all facets. The vocal acoustic recording consists of 14 new and original tracks, accompanied by cello/viola and bass guitar.
The exciting new recording shows that Dennis Young isn’t able to be locked into any boundary, and is continuing to surprise new listeners whilst satisfying his current audience with the sounds they have grown to adore, and embrace.
Best known as the marimba player and percussionist for Liquid Liquid, Dennis Young is a self-taught musician who started his music journey at a young age, picking up drums first – which led him to other instruments, later on.
Liquid Liquid was an American no wave and dance-punk group that only lasted 3 years, but released many legendary hits like ‘Cavern’ and ‘Optimo’ which have granted the band a cult-like status within music history. Originated in New York in 1980, the quartet consisted of members Sal Principato, Scott Hartley, Dennis Young, and Richard McGuire.
Dennis Young believes ‘Open Roads’ will become one of your favourite albums as it easy to consume in one sitting, whilst being intoxicating enough to draw you back in for continuous listens.

With their 25th anniversary celebrations well underway, Hospital Records are bringing their esteemed ‘Classic Symptoms’ series into 2021 with four stellar selections.
The fifteenth edition will be the first to celebrate the label’s milestone achievement by shining the spotlight on some of the original versions of tracks from the highly anticipated ‘H25PITAL’ compilation set to be released on 26th March 2021. Expect an eclectic mix of sound supplied by Netsky, SKC & Bratwa, Hugh Hardie and Q-Project pressed to an extremely exclusive vinyl run.
An undeniable anthem which has cemented itself in the hearts of countless drum & bass lovers, Netsky’s ‘Memory Lane’ marked his first release on Hospital Records and is the perfect starter for ‘Classic Symptoms 15’. Opening the ‘Sick Music 2’ compilation which originally came out in 2010, ‘Memory Lane’ is now approaching its 11th year in circulation.
“It was an exciting time, I had been sending demos through AIM to Hospital for some time, hoping something would get picked up.” - Netsky
Hailing from Hungary, SKC & Bratwa’s nostalgic ‘Heart Of Love’ follows. First seeing the light of day as part of the ‘Weapons Of Mass Creation’ compilation in 2004, this one will take you on a funk-infused liquid trip back to the days of the original Hospital loungecore sound.
Bringing things back to the future, Hugh Hardie’s soulful slammer ‘Tearing Me Apart (feat. Kyan)’ provides ‘Classic Symptoms 15’ with alluring groove and, of course, that infamous double bass melody. Initially released on the ‘Hospital: We Are 18’ compilation back in 2013, it’s safe to say this one is timeless.
Sending it way back to 2006, Q-Project steps up with the title track of his 2006 ‘Computer Love’ electro-infused smasher. Rugged breaks and future-retro synthesis, this one sounds just as good now as it did back then.
Don’t sleep on securing your extremely limited press of four Hospital classics.
This one is for the serious collectors - once they’re gone, they’re gone.

After making a name for itself through acclaimed reissues of forgotten gems, Lyon’s Tunnel Vision Records is back, this time with a previously unreleased cult EP from the Serbian underground: InnVision’s Lake produced by Welljam aka Velja Mijanović, one of the pioneers of electronic music in Serbia and host of the legendary “Liquid” show on Yu Radio.

While it is fairly common these days for tracks to reach cult status after being uploaded to Youtube and picked up by its recommendation algorithm, the story of the Lake EP is truly unique.

Picture this: it’s the summer of 94 in Serbia and despite US sanctions, something was going on in the country’s musical underground with open-air parties on lakesides and other natural locations, fuelled by a feeling of freedom and creativity. At the time, InnVision was a 26-year-old producer inspired by the likes of The Orb, Brian Eno, Underworld, and Spooky. Unconcerned with adhering to trends or finding ways to make commercially-viable music, he created the tracks on this EP with Cubase running on an Atari computer and several synths fairly common at the time.

But the result was beyond anything common or ordinary. Described by its creator as “organic (ambient) house, but you can call it trance”, LAKE is rapture in its highest form. Pure enthusiasm seems to be driving this uplifting track, with an abundance of heavenly arpeggios and positive energy, along with masterful arrangements that make it even more grandiose, while retaining a light and dreamy quality (perhaps it is no coincidence that Lake in Serbian evokes weightlessness). It is one of those rare tracks that have a deep impact on body, mind, and soul and for which the repeat button was created. While adhering to a central theme, it never feels stale and this is explained by the fact that it was arranged live, with InnVision muting and tweaking everything in one go, which makes this track a “deskmix”, to use dub terminology. In fact, the producer remembers jumping around and shedding occasional tears while he recorded the final take.

On the flipside is another previously unreleased track, the forward-thinking NIGHTY. By no means filler, this is a timeless track with a subaquatic feel. With lush pads and elements doused in delay and reverb, you’d think this is a purely ambient cut, but it’s much more than that. Subtle melodic and rhythmic elements are engaged in a dialogue, and distant breakbeat samples can be detected in the background, enough to induce movement but never overtaking the vibe carefully created by InnVision. The result is a track that is at the same time featherlight and impossible to listen to without some sort of movement. Once again, truly unique music that transcends time and place.

This compilation sees the coming together of independent music makers from across the globe to meet in one place and gather as a single entity. That simmering hub of warmth and affection is known as Motor Jazz - a place for artists to congregate and share their devotion for songs that are infused with rhythms created by anodic wires, buttons and other digital paraphernalia. That's electronic music to you and me, and in this case electronic music with swing, a sense of freedom and improvisation that some might call 'Jazz'.

The album opens with the ominous drone of the Mega Corp., sounding like one of the parties responsible for 2020's almost post-apocalyptic feel. It's perhaps an unlikely opener for a what's a positive and optimistic collection courtesy of young musicians from across the globe, but we all need to be reminded of who's in charge sometimes, and Dutch producer Jon Sewi does just that!

The mood soon lightens though, with the soulful strings and enticing keys of Gladdics by the mysterious Black Soyls, before well established German musical artisan Renegades of Jazz brings the family in for It's Tea Time with ticking clocks, warm tea pots and slices of cake, whilst being serenaded by a very vintage sounding horn section.

Serafin Plum almost steer us into drum & bass territory with their off-the-wall percussive nugget Jagged, whilst keeping a calming hand on the shoulder (as all good parents should) with soothing keys, before it's playtime once again.

There's nothing conventional about the Motor Jazz family though, and after tea time and play time, it's time to rave! In Greek mythology, The Maenads were female followers of Dionysus; their name literally translating as "the raving ones". Often they were portrayed as being inspired by the god into a state of ecstasy through a combination of dancing and intoxication, during which time they would dress in fawn skins and carry a thyrsus - a long stick wrapped in ivy or vine leaves and tipped with a pine cone. With a sound ranging between Jazz, Techno, Rave and Breaks their track, Opera, delivers a psyche and Jazz influenced piece with colliding styles, busy drums and rich melodies.

Heading over to Dublin, Ireland, and multi-talented producer, musician and DJ, Donal Sharpson (aka Double Screen) makes his presence known with grandiose brass preempting a four-to-the-floor wood block frenzy in the shape of Sheikah, complete with enthusiastic whoops and a persuasive bassline. Meanwhile, somewhere below the Irish Sea, aquatic artiste Stubby Dials delivers the bass worrying Put It On Ice the only way he knows how - living in a submarine, he emerges from time to time to leave his master tapes on the beach with a note saying "Release this!" before submerging, never been seen again.

Back in the Netherlands, Bram van der Hoeven, otherwise known as Lucinate, is an electronic Jazz producer par excellence. His effortless balance of organic musical roots like Fusion, Bossa Nova and Soul, into the world of modern beat orientated sounds is something to behold, and with The Cards he offsets life-affirming keys with rolling drums reminiscent of some of the seminal liquid Drum & Bass he grew up with.

As the global Motor Jazz family expands, we head to Canada, where the wonderfully monikered Woodpecking Mantis brings a little acid to the party with his squelchy, stuttering and brilliantly entitled Waving At A Melting Square Tooth Of A Specific Rabbit……. We're guessing they like acid a lot in Canada.

We're going down under to Newcastle, Australia next, where things take a more serene turn. Wrenasmir, known to his parents as Craig Smith, used to be a baroque pipe organist before he discovered samplers and synthesizers. Now he makes imaginary soundtracks at his studio for the twilight beachside city that lives in his head - full of vinyl and pixels and bittersweet memories. The gorgeous Lucempight is exactly that.

Keeping things low key and tranquil, Poets And Rockets, the latest offering from Jay Solomon is a horn driven slice of futuristic dub that makes way for The Motion Orchestra's majestic Midnight Sun, complete with Alexander Bednasch on double-bass, Mark Matthes on violins, Andy Sells on drums and David Hanke on electronics and production. Though influenced heavily by neo-classical and jazz sensibilities they occupy a musical space that sits in neither sphere, with a compositional style that deftly fuses the orchestral and electronic worlds. The full Motion Orchestra album, All One, will be released later this year on Bathurst.

Sixteen year old, self taught producer and multi-instrumentalist Teis Ortved is something of a prodigy. The Copenhagen based wunderkind has so far self-released two EPs, and if What, his offering here, is anything to go by, he's going to be making big waves across the eclectic music spectrum for years to come.

If Teis is the new kid on the block then what better way to round off this compilation that with its patriarchal figure. Funki Porcini has over a quarter of a century of recordings in his back catalogue, and has spent fifteen of those years dedicated to the independent UK behemoth that is Ninja Tune records. The Last Recording From Earth is exclusive to this album and is in many ways the perfect closing song. Perhaps more concept art than traditional piece of music, the idea behind it is that an alien archeologist has found this recording tens of thousands of years after humans have disappeared into the sand…. You never know, it might just happen, and hopefully Them To Us will take on a whole new meaning.

‘Life Guarding’ offers a first glance into an upcoming album by Wolfgang Tillmans. The song finds Tillmans in open waters, lyrically exploring wor(l)ds as they appear like undertows and tie in the listeners by his candid approach to accept whatever the drift throws at him and leaving him exposed at his most vulnerable. It seems no coincidence that the video Tillmans’ shot and directed for the song finds a similar approach to ‘liquidity’ in visual language. Shifting the lens between micro and macrocosms, collages of body parts, fruit and insects, we find him equally paying attention to the waves of the Atlantic Ocean as well as to the ’same’ water in the form of drops, evaporating on a hot kitchen plate. This current shape of ‘Life Guarding’, in equal measures upbeat and melancholic, emerged in sessions with Tillmans’ long term musical collaborators Tim Knapp and Jay Pluck in early 2019 at Trixx Studios in Berlin, that were further developed and produced by Tim Knapp and Bruno Breitzke. ‘Growing’ was originally part of Wolfgang Tillmans’ sound, light and video installation ‘South Tank’ at Tate Modern in 2017. This summer finally sees the independent release of this collaboration with the L.A.-based duo Wreck and Reference. The song also features excerpts of Fred Weyrich’s lyrics for German singer Alexandra’s 1968 hit ‘Sehnsucht’ (Longing). ‘Growing’ involved the band placing samples of Tillmans’ singing and spoken word over a kick drum-driven techno track made with synthesizers, acoustic drum recordings converted to digital drums, and noisy samples of jangling keys. ‘Wreck and Reference’ are an experimental music project from California by Felix Skinner and Ignat Frege. Drawing upon the blown-out intensity of black metal and noise rock, they eschew traditional guitar-centric instrumentation to construct songs with digital samples, drums, and voice. To date, the band has released four EPs and four full-length albums, and has contributed to the producti

Various Artists: Lisene, Hartta, Sourpuss & Interplanetary Criminal

"Banoffee Pies Records" drop the 13th release in the original series. This VA aptly entitled "Common Ground" is a crossover of influences from 4 artists with a selection of tracks all above 150 bpm from producers of a similar generation giving a nod to their youth and early musical journeys, largely inspired by Drum & Bass and Jungle raves across the UK.

The release divided in two with a Dark A side and Light B side offering parallel moods of depth and liquidity. The opening track "Class Of '92" from Lisene, one half of the Space Cadets duo, with previous releases on Seven Hill Records and an EP lined up with Planet Euphorique later this year, pushes complex drum patterns and pulsing synths evolving in energy levels throughout. The A2 from Bristol based Hartta offers a more spooked out bass heavy cut with "Hauntology", ready for powerful system rumbling.

The B side begins with title track "Common Ground", an ode to dusted jungle and liquid drum & bass from Leeds based Sourpuss, known for running the Stretchy Dance Supply parties, - this track serving hedonistic eye rolling gurner euphoria, sounding more like an og 90's prodcution. The last track on the disc "Vapour" comes from Manchester's Interplanetary Criminal. With his UKG EP "Move Tools" on BP010 landing on the label and many dance floors at the end of 2019, this nostalgic drum scattered jungle cut stylishly closes off the compilation. Ltd. Press. BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.

"Who Sent You?" by Irreversible Entanglements is an entire holistic jam of "infinite possibilities coming back around," a sprawling meditation for afro-cosmonauts, a reminder of the forms and traumas of the past, and the shape and vision of Afrotopian sounds to come. Stay on it! This is the future! This is the spectral dreaming, the reshaped soundwaves of post-Katrina, post-Osage Avenue, post-Obamacare that we borrow from to do this work, so stay on it. Who Sent You? they said from their liquid cryo-chamber, from a low-light induction field cobbled together with lithium rods, with melted down Romare Bearden and Howardena Pindell paintings, stitched with chaos fibers and placed in the center of the carrion husk of a burnt out shanty town. They took time to scrape ashen samples of what was, their souls the residue thick and caked on, that still climbs those new high-rise condominiums like moss - the only evidence that they were once there, that they were baked into the fabric of this planet - they were there fixing elevators and tossing wrenches into quantum fields until they were stopped! frisked! and turned into weird, 100-foot martyr murals on the backside, the north side, of supermarket walls-Who Sent You? is how the matrix modulation works. Dig it: Who Sent You? is the punk-rocking of jazz and the mystification of the avant-garde, a sci-fi sound from that out-soul-fire jazz quintet Irreversible Entanglements.

Rockets Audio starts the saga with 4 finest minimal house trackers by Matheiu, Denis Kaznacheev and the master trio Wareika. A rocket (from Italian rocchetto "bobbin" is a missile, spacecraft, aircraft or other vehicle that obtains thrust from a rocket engine. Rocket engine exhaust is formed entirely from propellant carried within the rocket before use. Rocket engines work by action and reaction and push rockets forward simply by expelling their exhaust in the opposite direction at high speed, and can therefore work in the vacuum of space.

In fact, rockets work more efficiently in space than in an atmosphere. Multistage rockets are capable of attaining escape velocity from Earth and therefore can achieve unlimited maximum altitude. Compared with airbreathing engines, rockets are lightweight and powerful and capable of generating large accelerations. To control their flight,
rockets rely on momentum, airfoils, auxiliary reaction engines, gimballed thrust, momentum wheels, deflection of the exhaust stream, propellant flow, spin, and/or gravity.

Rockets for military and recreational uses date back to at least 13th century China. Significant scientific, interplanetary and industrial use did not occur until the 20th century, when rocketry was the enabling technology for the Space Age, including setting foot on the Earth's moon. Rockets are now used for fireworks, weaponry, ejection seats, launch vehicles for artificial satellites, human spaceflight, and space exploration.

SOUND rockets are the most common type of high power rocket, typically creating a high speed pitch by the wave of rythm with an oxilator. The stored delay can be a simple pressurized detune or a single filter delay that disassociates in the presence of a curve (EQ + FILTER ), two hats that spontaneously react on contact (RANDOMIZER), two snares that must be ignited to react, a solid combination of effects with oxidizer (solid GROOVE), or solid fuel with liquid oxidizer (hybrid FILTER BAND DELAY). Chemical rockets store a large amount of energy in an easily released form, and can be very dangerous. However, careful design, testing, construction and use minimizes risks.

The first set of remixes of Calm’s By Your Side got plenty of props for sound quality as well as their ability to get people grooving. Now the label serves up some more remixes, this time from legendary figures Mark Barrott (International Feel) and My Friend Dario.

Up first is Barrott, the long time slow motion master whose downtempo, ambient, new age and electronic fusions very much set out the Balearic template way back in the nineties. ‘Space Is My Place’ (Mark’s Re Imagination to the Sacred Heart Center) is an enchanting and tropical reworking with exotic percussion and liquid drums that gentle sway to and fro like a raft at sea. It’s another escapist, transportive track from Barrott that takes you to the other side of the world.

My Friend Dario returns to Hell Yeah after his exquisite Calamari Fritti EP late last year with more of his worldly infused sounds. His Etna Vision of ‘Shadows and Lights’ is a glistening affair with loosely jumbled drums and romantic keys that ring out into a balmy night sky. It’s musical and blissful as always with this artist.

Once again here Hell Yeah have come through with your most essential summer sounds.

Supported by Leo Mas, Chris Coco, Pete Gooding, Bobby Beige, Soft Rocks, Calm, Balearic Gabba Sound System, Phat Phil Cooper…

Swedish composer and multimedia artist Marcus Fjellström's debut Miasmah release follows two critically acclaimed full length albums on Lampse (2006's 'Gebrauchsmusik' and 2005's 'Exercises In Estrangement'). In addition Marcus has had several commissioned works requested, leading to him working with, among others, the Swedish Royal Ballet, the Scottish Chamber Orchestra, numerous ensembles, soloists and filmmakers including 'Salad Fingers' creator David Firth. Currently based in Berlin, Fjellström's compositions often combine aspects of modern classical composition and arrangement and more avant forms of music, be that acoustic or electronic.

'Schattenspieler' (which translates as 'Shadowplayer') takes the form of eleven compositions which explore ambience and melody, texture and silence. Haunting synth and orchestral instrument-based audio constructions, flowing from one moment to the next - the fleeting ghosts of Fjellström's melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you're listening to something more implied than obviously stated, as if Fjellström wants only to expose us to the shadow of the music - the implication being perhaps a more terrifying experience than to be confronted outright…listen to 'Schattenspieler' and you may find your mind starts to play tricks on you…

The undeniably Angelo Badalamenti-esque descending synth strings of opening track 'The Disjointed', lay the foundations for Fjellström's 'Schattenspieler' album; music resting somewhere between the unsettling horror soundtracks of Jerry Goldsmith, the elevating melodies of Cliff Martinez, and the subtle audio constructions of Miasmah label mates Kreng and Jacaszek. Marcus' wide ranging abilities in composition and his willingness to let go of accepted form and function makes 'Schattenspieler' a perfect choice of release for the Miasmah label. The suspense laden 'Antichrist Architechture Management', with its harrowing and tense undertones, weaving synth lines and a wash of static hiss and flicker, is a particular standout track. Despite it's a strangely oppressive sound, shafts of light grace 'Schattenspieler'; pieces such as 'Untitled 090616' find gorgeous melodies are boxed in by unsettling arrangements and sparse background ambience. There is a coldness to many of these compositions - not without emotion, but somehow remorseless. 'Schattenspieler' is, for the main part, a defiantly bleak journey.

Vinyl edition ltd. to 300 copies, purple vinyl, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

In late 2017 Hyperdub released 'Diggin In The Carts', a compilation put together by Nick Dwyer and Kode9 of pioneering and rare Japanese video game music from the 1980s and 1990s.
Since then, from Sonar Festival in Barcelona to Liquid Rooms in Tokyo, Kode9 has been touring a live audio-visual set in collaboration with visuals from anime legend Koji Morimoto, who also designed the artwork for the original compilation.Finally, on this first new Kode9 EP since 2014, a handful of these remixes see the light of day.

9 rivets his 80/160bpm rhythms onto these classic 8bit and 16bit melodies, re-animating the Steve Reich-ian arpeggios of Soshi Hosoi, the grimelike horn fanfares of Yuzo Koshiro, the sour pads of Koichi Ishaibashi, and pitching Tadahiro Nitta down into a slow building, frantic low end grind.
Sleeved in artwork by Konx-om-Pax, adapted from the visuals from the live A/V performance

In support of their forthcoming documentary 'Subotnick - Portrait of an Electronic Music Pioneer', Waveshaper Media — the same team behind the wildly-popular, acclaimed modular synthesizer documentary 'I Dream Of Wires' — presents a special reissue: a deluxe, 50th-anniversary-edition vinyl LP of Morton Subotnick's landmark 1967 debut electronic release, "Silver Apples of the Moon." Here are some of the features that make this 50th-anniversary-edition vinyl LP special:

All-new, full-colour gatefold jacket.
Vinyl edition is strictly limited to 1,000 copies.

Audio has been REMASTERED from the original, pre-mastered digital tape transfers. Unlike previous reissues of this LP (both vinyl and CD), remastered for Wergo's 1994 CD edition and narrowing the recording's stereo field, our reissue has been remastered maintaining the full stereo field of the original recording.
Brand new liner notes by Morton Subotnick.

The original, iconic liquid-light cover artwork by Tony Martin has been re-scanned for full-resolution clarity.
Featuring rarely-seen, newly-scanned photos of Morton Subotnick in his Bleecker Street studio where "Silver Apples..." was recorded.

Also includes a scan of the LP's original Nonesuch-edition liner notes

Logistics, one of Hospital Records' most prolific artists, is back with his seventh studio album 'Hologram'. Inspired by his travels to Hong-Kong and New Zealand, this universally admired drum & bass figure presents a vibrant 16-track collection soaked in his signature groove, soul and liquid-funk stylings.

Opening track 'Lotus Flower' sets a warm springtime tone with fluttering harp-like arpeggios and atmospheric pads. 'Broken Light' follows on from the success that singer/songwriter Thomas Oliver brought on Logistics' collaborative LP with brother Nu:Tone. A sombre tone matched with melancholic lyrics bring a blissful beat to the album.

Keeping true to the craft, 'Chant' flips to Logistics' jungle style with molten-hot flair. A powerful punch of expertly sliced breaks and vocal stabs are the ingredients for this dancefloor weapon.

It's safe to say that this has been worth the wait. Although titled from the ever-growing illusion of the digital-age, 'Hologram' is an example of Logistics' very real talent and is a welcomed addition to his impressive repertoire of drum & bass classics. Quantity, quality and a fierce musical character is everything we have come to expect from this Hospital staple.

Mellow Waves, Cornelius' first album in over 11 years will be available in a limited deluxe edition pop-up gatefold vinyl (including phenakistoscope animation insert), standard package on 180g, CD and cassette format on January 26, 2018. The album, released July 21, 2017, was previously a digital only release. Pre-orders for these formats are available now.

Cornelius announced eight North American tour dates for March 2018, including shows in Mexico City for the NRMAL Festival, New York's Irving Plaza, the Carnegie Music Hall at Pittsburgh's Andy Warhol Museum, and LA's Fonda Theater.

Filmed live at his record release shows at Tokyo's Liquid Room, Helix / Spiral' captures the Cornelius live experience, with its Kraftwerk-esque roboticism and immersive visuals meticulously synchronized with the performance from The Cornelius Group.

For the uninitiated, Cornelius is the brainchild of Japanese multi-instrumentalist Keigo Oyamada. A performing musician since his teens, Oyamada created his creative alter-ego (the name is an homage to the Planet of the Apes), in the early 1990s from the ashes of his previous project, Flipper's Guitar.

With the 1997 release of Fantasma, Cornelius gained international recognition for his cut and paste style reminiscent of American counterparts Beck and The Beastie Boys and was released internationally by Matador Records. Being called a "modern day Brian Wilson" for his orchestral-style arrangements and production techniques, Cornelius subsequently became one of the most sought after producer/remixers in the world, working with a wide range of artists including Blur, Beck, Bloc Party, MGMT, and James Brown.

With 2002's Point, Cornelius' music took a quantum shift, going from sampling found sounds' to looping organic elements and creating lush soundscapes. Using water drops as the rhythmic backbone of Drop' on his vocoder-infused cover of Brazil', the album dazed and amazed fans and set the path for the next phase of his career.

2007 brought this philosophy to an even higher level with the release of Sensuous. Cornelius' live shows are known around the world for spectacular visuals (all perfectly synchronized to the performance), custom lighting that doesn't simply augment the performance, but becomes another instrument within it, and a full band of equally talented and diverse players.

The companion piece to the album Sensurround + B Sides, earned the nomination for Best Surround Sound Album' at the 2009 GRAMMY Awards.

The summer of 2016 saw the release of Fantasma Remastered, on Lefse Records. The package, a 2LP reissue of his classic album, also included 4 additional outtakes and earned Pitchfork's Best New Reissue'.

Cornelius has recorded music for Edgar Wright's Scott Pilgrim vs. the World, scored the anime mega-film Ghost in the Shell Arise, performed as the backbone of Yoko Ono's reformed Plastic Ono Band, played the Hollywood Bowl with Yellow Magic Orchestra, and co-wrote and produced the Japanese artist salyu x salyu.

The third release in Danse Club's Black Series is a collaborative effort between Dutch tech house hero Lauhaus and countryman Rik Woldring with a standout remix from Boris Werner. Lauhaus has long been at the heart of the underground electronic music scene, releasing on go-to imprints like 100% Pure and Area remote as well as his own Soweso and We Dig. labels, whilst Rik Woldring is very much a talent on the rise who has impressed in Amsterdam with his unique after hours DJ sets. Together the pair crafts some infectious and charismatic grooves that fit perfectly with the increasingly essential Danse Club . Opening track 'Context' is a tight arrangement of looping bass, silky and silvery percussion and myriad sonic effects that create intrigue from start to finish. It's the sort of thing that makes you sweat on the floor but has enough detail to keep your mind occupied, too. Boris Werner, another stalwart of the Dutch tech scene, turns in a superb mix of 'Context'. His remix is deeper and more stripped back, with bobbling drums and perfect claps driving the thing along. Subtle pads warm things through and shadowy voices bring a sense of light night mischief to proceedings. Lauhaus & Rik Woldring then turn in 'Aint No Time', a liquid bit of shape shifting tech house funk that is rich with colourful melodies and well placed spoken word musings. It's music for the floor that is fun as well as functional and last track 'Spearmint' is just the same. This ones a bit tougher and more taught with rubbery synth and basslines wrapping round each other for 9 heady minutes as delightful synth patterns slowly smear and spread in the skies up top. Another cultured release from the Danse Club label that proves tech house, when done well, is still a hugely rewarding genre.

Grammy-winning singing sensation Gregory Porter - one of the most successful jazz artists of his generation - is back with a new album, 'Nat King Cole & Me', to be released on Decca/Blue Note on 27th October. It is a deeply personal tribute to Nat King Cole - the legendary crooner who ignited Gregory's love of music. It's only natural that I go to the root of my inspiration and where I come from. And that root would be my mother and gospel music and Nat King Cole,' he says.

Recorded at London's AIR Studios, the 12-track album features some of Gregory's favourite Nat King Cole tunes including 'Smile', 'L-O-V-E' and 'Nature Boy'. There is also a Nat-inspired arrangement of Gregory's own song 'When Love Was King', originally released on his million-selling hit album, 'Liquid Spirit'.

For Gregory Porter, the influence of Nat King Cole on his life and music runs deep, a through-line that reaches back into some of his earliest childhood memories, and culminates in the release of his new album 'Nat King Cole & Me'. Gregory explains, At five or six years old, Nat's music filled a void in me. My father wasn't in my life and wasn't showing interest in me or raising me and Nat's words were the life lessons, words of wisdom and fatherly advice I needed.'

Gregory's love for Nat's music blossomed so much that he wrote a semi-autobiographical musical, also called 'Nat King Cole & Me', which premiered in 2004. After the play, I felt a lighter feeling about my father and a deeper appreciation for both my mother and the great music of Nat King Cole,' says Gregory. He also found his voice through his own songwriting - It wasn't until I wrote the musical that I was fit to call myself a songwriter. Before that, I would write different poems but they had no music.'

'Nat King Cole & Me' is the follow-up to his Grammy-winning albums 'Liquid Spirit' (2013) and 'Take Me to the Alley' (2016). 'Liquid Spirit' took Gregory from being the biggest name on the jazz scene to being one of the most sought-after singers around today, performing sell-out shows across the UK and being invited to perform on high profile TV programmes including The Graham Norton Show, Strictly Come Dancing and the BBC Music Awards. He has become an adopted national treasure in the UK, having sung for the Queen multiple times, as well as major music festivals including Glastonbury, where he performed on the Pyramid Stage alongside the likes of Muse, Adele and Coldplay. Gregory's ability to transcend genres even extends to his surprise dance hit 'Liquid Spirit Claptone Remix' which became one of the most popular tracks in Ibiza.

After winning over audiences with his rich and soulful voice, there can be no better time for Gregory to return to the music which first inspired him to become a singer. On Nat's legacy and influence Gregory affirms, He was one of a kind. He left such great music - such beautiful things to listen to that you can't help but be influenced by that extraordinary timbre, style, and ultimate cool.'

After a first EP released in 2013 at Because Music, Andrea has gained ground and comes back 26th February with Idealist", a first album that gathers the electronic aspect of Todd Terje, as well as the disco of West-African inspiration of William Onyeabor, or even Liquid Liquid's kind of rythms. He already has his media supporters. Idealist was in part inspired by a chance discovery of some music on a hard drive given to Andrea by Salvatore Principato, singer with seminal New York post-punks Liquid Liquid, after their paths had crossed in 2011 when Principato produced an EP for Andrea's previous band did. I was looking for something to inspire me,' he remembers. So I plugged it in and suddenly there were all these amazing sounds.

Absys Records is proud to present the labels 7th dnb vinyl outing ! For this release, we have stellar music by our long time Italian comrade, Arp XP backed with a collaborative effort courtesy of Belgian duo Glyph and Canadian veteran, Gremlinz. This release is diverse, showcasing very different aspects within the Drum & Bass spectrum while maintaining the quality and craftsmanship associated with Absys.

The A side Seems Like by Arp XP, is a classic, laid back, liquid track flavoured with a touch of Jazz. It is a nod to old school and reminds us of the lightheartedness of summer with its congenial and atmospheric tune progression!

The flip sees newcomers Glyph (who are creating quite a buzz in the scene) team up with acclaimed veteran, Gremlinz, resulting in a beast of a track! Much like the flip, Evolution is touched by an element of Jazz, kicking off with a vibe that will conjure up a sense of being in a dark lit Jazz Cafe. Following a memorable sample referencing the apple in the Garden of Eden, the tune does what the name suggests and evolves into a trippy stomper that will pummel any system, making this one of the highlights of this years Absys releases!

Out soon in all good stores with a digital bonus in the form of Mesmerize by Glyph!

Berlin based Donnie Dubsons's long awaited two tracker Muted Horns / Silver Plate is finally being released on Fokuz Recordings.

Kicking off the EP, 'Muted Horns' is all about the floating liquid vibes. Crispy drums and chopped up vocals make this one a must have for all the liquid heads out there.

On the flip 'Silver Plate' takes things up a notch. The raging bassline combined with the musical chimes will light up any dancefloor. All in all both tracks are tasty little things, perfect for an original highlight to any liquid set.

A new true liquid release from Phat Playaz and Duoscience. A1 - The Real You - Is a balanced one. Perfect atmospheric with swirly basses and rolling beats. The vocal and pads are really light and breezy, this will definitely light up your dark December.