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Del Mar Skate Park, California, Summer '84. Blinding sun hits chrome sending rainbow prisms across hot asphalt. There's a buzz in the air. Teenage dreams and dope smoke mix with the Pacific breeze. Boy meets girl. Girl meets boy. This summer's never gonna end. Tricks are being pulled and moves are being made that these crowds have never seen. Even the wood-pushers are blown away. Seeds sewn a decade ago by Todd and Devin Banks on Overland Drive have come to fruition. Dominguez is up next, he's 15, and hitting 6 feet of air. Then it's Gonzalez. And Vanderspek. This is going down in history.

Except this isn't the West Coast of America. And the sun's not shining. These are the grey suburbs of Leicester and London. And our Bmx's are shit.

WHEN HARO MET SALLY is the soundtrack to one seemingly endless summer, when teenage heartbreak ruled supreme, everything American seemed cool, and all we did from dawn 'til dusk was dream about girls and ride our bikes.

Spanning early 80's VHS soundtracks, teenage electro, heartbreak synths and Italo Disco, WHEN HARO MET SALLY will transport you back to that endless sun-baked teenage summer... that none of us ever had.

* 180 gram audiophile vinyl
* Includes Insert
* First Time On Vinyl
* The front Covers Of Volume 1 To Volume 4 form one image together

Klaus Schulze And Pete Namlook Created Their The Dark Side Of The Moog Series By Combining Different Techniques And Synth Driven Sounds To One . The Third Instalment In The Series Is Based On The Pink Floyd Album "atom Heart Mother". This Album Got A Dark Themed Kind Of Feeling, But Also Got Some Upbeat Melodic Parts. The Spooky Drone Sounds Make Up Part I, Before Entering The Ambient On Part Ii. Part Iv Is The Most Interesting Track With Some Deep Beats From The Moog.

The Pioneering German Music Composer Klaus Schulze Created Over 60 Albums During His Career Which Started Back In 1969. Pete Namlook Is Another German Composer Which Played A Big Part In The Way Electronic Music Became Popular.

After a triumphant return to Batu's Timedance label with 'Intrigued By The Drum' Ploy keeps the pressure high on his new EP for Hemlock.

Unruly exposes further light on the workings of his now signature style. Waves of metallic percussion tessellate around a thumping central bassline. Pneumatic flashes of noise seal a dense atmosphere full of equal parts euphoria and dread.

Garys is Ploy's most stripped back and potent club tool yet, striding into 'proper techno' territory, equipped and optimised for the highest yield.

Lost Hours drops the beats and pumps out a thick fog of hazy chords and bellowing subs. Perfect for after hours listening.

After introducing Griffit Vigo 'the Gqom legend' on the Originators EP on Gqom Oh! Records back in February with the percussive anthem Ree's Vibe and the historical track featured on MTV Base Gqom Nation documentary "Gqom 5 - Gqom Oh! is finally ready to release Griffit Vigo's first solo single 'DJ' on a 7" vinyl, with on the b-side another Gqom viral Durban track coming from the numeric series "Gqom 6. Griffit Vigo, a real innovator in the Gqom genre who grew up in Clermont and started to produce music around 2007, has attained a legendary status amongst his peers as he was one of the originators of gqom, inventing sounds as Umshanelo (meaning broom in Zulu) and chopping vocals that everybody then started to sample. Many of his beats were appropriated or sampled, so now the time has finally come for him to show his talent and unique style and inspire the listeners in the same way he inspired everyone in Durban. This single introduces his forthcoming album on Gqom Oh!, to be released in September/October 2018 entitled 'Gqom is Alive'. As the Gqom sound has massively changed in the past year, taking over South Africa and the world, also by evolving into a more commercial-focused and melodic branch which derives from Sgubhu, Griffit Vigo's intention is to keep the original Gqom sound as pure and authentic as it was when it was first birthed whilst still pushing the sound forward in the future.

RAVEDIT presents dance/pop music in the style of Rian Treanor. Across four radical edits, familiar and obscure ohrwurms are dissected and flipped in thrilling new ways, rendering razor sharp
and playfully nutty updates of Pakistani film music, Eurodance set-pieces and seminal synth-pop classics.
Rian extracts and accentuates their hooks in series of jabbing, asymmetric reductions for the 'floor with results intended to rewire muscle memories and inject the club with a healthy dose of
advanced daftness. In each part Rian exerts a singular spin on timeless evergreens, demonstrating his roots in hip hop and UK dance music's sampling cultures, while exemplifying an inexorable, personalised push for new patterns of dancefloor possibility.
All material has been thoroughly disruptive in a variety of situations, from midsummer rites at IMMA to Radio 1Xtra to freak raves in Salford and, most recently, as part of Rian's Boiler Room
performance in Helsinki, the latter of which drew opposing criticism from its YouTube viewers; prompting Wayne Cloete to remark 'what do you call this cos it aint music its like a production
that went wrong or still trying to figure out the beat', whereas Viktor Štech claimed Rian to be a 'genius with rhythm.' To be fair they're both right, but only one of them knows it.
Basically the A-side is mental party fuel - especially if you like alcopops, Lollywood soundtracks or Ferris Bueller's Day Off - while the B-side turns 3 mins of '80s pop brilliance into a 14 minute+ monster cannily riffing on the idea of deferred gratification.

Lucky Me Präsentiert Das Debütalbum Des Us-produzenten Suicideyear Aka James Prudhomme Aus Louisiana, Der 2014 Mit Einer Ep Auf Oneohtrix Point Nevers Label Software Debütierte Und Jüngst Mit Yung Lean Kollaborierte. Wohnhaft In Den Us-südstaaten, Wirkt "color The Weather" Wie Eine Geographische Transzendenz, Und Gleichzeitig Introspektion Und Fantasiewelt Des Jungen Produzenten. Beteiligte Vokalisten Bzw. Co-produzenten Sind Georgia (aus London), Casey Mq (ein Klassenkamerad Von Der Red Bull Music Academy) Und Singer-songwriter John Keek (aus L.a.), Das Sample Auf "days Won't End" Stammt Von Outthepound Aka Chris Burrell.

Nubian Quadrant EP sees Dutch producer Philou reaching for that sweet spot between Afro and Electro to produce three pulsing new tracks for Byrd Out. As Philou says, "All good music ultimately comes from Africa", and true to his African roots, the EP was part recorded in Malawi. With his tracks being picked up by the likes of Erol Alkan and Eats Everything, this EP is sure to provide the rhythmic backdrop to the summer. If you imagine the driving force of Fela Kuti matched with the acid sqwelch of Phuture, you're part of the way there. It's dancefloor sunshine on vinyl. Mastered by the legendary Noel Summerville, artwork by G.S-L Studio.



Biog: Philou Louzolo, a vibrant human being showcasing a diverse sound: born and raised in between the forests and the salty ocean breeze of Southern Zeeland (The Netherlands). Blessed with deeply rooted ties to the townships of Sierra Leone, the jungle surrounding the Congo river and Nigeria - where the birth of Fela Kuti's Afrobeat took place - his music sounds like Pan-African propaganda packed with sounds from urbanized cities, the Sahara and Africa's many jungles. He's been making waves with a Mixtape for the Feel My Bicep guys (it's #84), and getting airtime on BBC Radio 6 with Erol Alkan, and on BBC Radio 1 with Eats Everything, and playing Resident Advisor's GAIN stage at DGTL in Amsterdam in March, and playing at Morocco's boundary-pushing Altas Electronic festival later this year.

The label does not wish to go down the route of boring (yawn!) track explanations and nor do they want to say what other label this is part of, the artist Jeff Blank may also have put out a record or 2 in his time Quite simply, enjoy the music. Be nice. Rave safely.

For their second release, 12th Isle proudly fling 'Blubber Tottum' into the waxen sonic abyss for your full listening pleasure. The inaugural LP drubbed from the Glaswegian machines of Cru Servers is perhaps best framed as what it would sound like if early life took its first steps out of the primordial gloop, dragged itself ashore, decided to make dance music and discovered they had a knack for it. It dangles precariously in the fault lines between discordantly melodic rhythm tracks, steadily paced chaos and swamp-soaked bass oddities. Laden with eerily familiar samples yet always in a world of its own.

Drew McDowall and Hiro Kone's collaborative record "The Ghost of Georges Bataille" induces a state of suspense via sonic seance. Conjuring the sentiment of death as productive force, the artists join their analog paradigms to open a door elsewhere, or perhaps, inside - sublimating personal struggles into ritualistic offerings. Churning, cinematic, and pulsating with an organic sentience - The Ghost of Georges Bataille invites an undeniable presence into the consciousness and lulls both collectors and the newly inducted alike into catharsis - with the hairs on their arms standing up. Not for the casual listener.

'A glistening field of sport / Mylar turf sucking up to the feet of the future athlete / No noise from the crowd / Hypoextinct brain waves peak at nominal levels / Mouths hang as they watch the rehearsed games unfold. 'Across megalopolis / Handshakes between men and machine / Ply for future rations /Every man for himself
that isn't under the spell of the government's mind whip /
Signals wash out over haphazardly stacked neighborhoods
as they sleep / Investing, convincing, planting memories /
Fabrication of emotion.
'And even farther still / Past the snicker-snack of the
city's air intake fans /A humming drone passes over the
green grey canopy of the last forest / The no man's land /
Scanning for heat traces and human sound / Looking for the
resistance with its red pin-prick eye.
'In the moments between search and seizure / The rebels
eat from the forest floor /They climb trees, they commune
with the animals / They live life, they stare out to the ocean,
past the shanty skyscrapers/ The last frontier.
'Sean Smith soundtracks all these thoughts in my mind's
eye / His synth and guitar layered music is the signal / It is
the force field, refracting light / It is the chemtrail drifting
down like slow motion party glitter / From the heavens
settling like moon flakes on the roofs of the cards / On the
debris / On the upturned faces of the rabble.
'It is beautiful imagination at its best.' —John Dwyer

Cosmic Bridge's dedication to expanding the lexicon of UK dance continues. Please welcome Vromm and his hugely exciting & versatile take on D&B. For the New Dawn Includes: the title track Om Unit certified 'last tune" and future anthem "For The New Dawn feat. Agama" - and "Stargazing" - an epic 9-minute organic/electronic collaboration between Vromm & OmUnit taking ideas from jazz, ambient and fusion to expand dancefloors and shake dancers alive.

One of the deepest reaching projects from the multifaceted Vibraphone stable resurfaces for an extended trip through ambient sonics that marks possibly the most daring departure on the esteemed Italian label to date. The harmonious tones undulating throughout Sketches From Space are instant soothers, taking the odd cue from techno but defiantly beatless and meditative. It's a surprising addition to the long and winding Vibraphone story, but also feels like one of the strongest steps forward the resurgent label has taken since returning to the fray. Just try sinking into "Lagrangian Point L4" and you'll see exactly what we mean.

Vast, expansive and introspective works utilising place-specific found sound on this second Cremation Lily LP for Alter. Contemplating mortality, illness and the perennial bleakness of British winter in a seaside town we find Zen Zsigo experimenting with piano, violin, synthesiser and walkman tape players. Layering field recordings of the Hastings shoreline atop druggy, stretched out 303 basslines and snippets of spoken word there seems to be an overarching thematic of memory and reflection at play. From vignettes of crumbling glass and bittersweet drones through to sprawling, semi-rhythmical pieces ('As a sea creature...') it seems as if Zsigo is trawling the coast for fragments of its former glory. The end result of his study manages to echo the work of Yoran, Leyland Kirby and even Jacob Kirkegaard yet the rare moments where he lays bare his own vocal narrative seemingly transforms In England Now, Underwater into sonic diary territory. Mixing salt-water soaked cassette loops with haunting, minimalist piano motifs and warped recordings of crashing waves and bird noise an intense atmosphere of Ballard's drowned world is evoked through sound.

(LP+CD


"I use music as a medium to talk to other people", Sun Ra once revealed. The Düsseldorfer Stefan Schwander would agree with this statement by the avant-garde jazz great, though he would not necessarily sign his name to it. He also speaks to people through music. Yet he also likes to let music talk to music. Since 2008, as Harmonious Thelonious, on numerous EPs and two albums, he blends the reduced patterns and structures of American minimalist music with African, Latin American and Caribbean rhythms. For his new work "Santos", which he sees as an LP with a unified concept, he embarked on a mental journey to the north of the African continent and became entranced by Moroccan trance music. The resulting pieces are light, with traces of pop, interweaving the atmospheres of the Master Musicians Of Joujouka and Gnawa music with the driving force of techno. This time Schwander invited a handful of guest musicians to serve as sound sources. The Berliner Ghazi Barakat, former bass player of Stereo Total and man behind the psychedelic experimental project Pharoah Chromium, contributed modified sounds from his Moroccan flute. A second guest musician is the Cologne-based composer Volker Zander, who has long played double bass and electric bass with Calexico. For songs like "Mountains" or "Belloumi" he played a melody on the Turkish Tambur, lending an oriental flair to the vital rhythms of the tracks. The intricate rhythmic patterns also incorporate instruments such as banjo, mandolin and Afro-Cuban drums, played by the percussionist Stefan Suhr, who studied Afro-Cuban ritual drumming in Cuba. Schwander's electronic sequencing blurs these organic sources and brings them into a fluid dialogue with his electronic ideas. For a piece like "Rendez-vous of the Dead", for example, Harmonious Thelonious projected himself out of the studio onto the Djemaa el Fna square in Marrakech. Here, every evening after sunset, local musicians meet and play themselves into a frenzy on distorted mandolins. Harmonious Thelonious translates this dream into a quaking dance monster whose home might be a techno club with an experimental sonic approach. Of course, most of the pieces of "Santos" are heavily danceable, although this time Harmonious Thelonious' tracks roll a little slower than previously. Their rugged beauty has also given way to a very smooth sound. His music, however, has lost none of its complexity. The many voices speak together, propelling each other toward something that traverses traditional genre boundaries, creating a playful trance. The cover of "Santos" underscores this: It is a collage designed by the artist himself, depicting his notion of an all-star band. Everyone must decipher for themselves exactly who is to be found there. Here, once again, the pictures are not direct portrayals, but veiled references to an emotional state hidden far beyond the visual realm. Just like the music of Thelonious Harmonious, which uses various layers tell countless stories.

Five Years After "privileged Life" Was Released P.h.o.r.k. Is Back At It For Opal With Four Hypercolour Tracks Referencing French House, Jit, Uk Funky And All Manner Of Hypnotic, Percussive Goodness.

Opener "my Love" Inverts A Super Tight Duelling Loop Of Voices Against An Increasingly Staggered And Glitched Line Throwing Dancefloors Off Balance Like Cassius With A Head Injury. Title Track "no Afterlife" Sits On A Jerking Snare Pattern While Air Vents Open To Release Plumes Of Steam, Urban Fields And Angelic Drone In A 7-minute Ride.

"get That One Note Jam" Has A Clue In Said Title. The Tracks Bounces Forward On A Super Simple Riff While Modular Percussion Pick Out Spaces In Between. The Track Slow Blends Into Resonating Alloys Of Cyber-kora Offset With Reload Clicks And Abrupt Restarts. The Ep Closes On "love Recirculation' A Cartoon-ish Barrage Of Wooden Perc Just Keeps On Pushing While Synths Wow And Moan All Over The Shop. Killer Minimal Funk Throughout That Is Sure To Build A Smile.

After their psychedelic tour to Alice's Wonderland on their adventurous second album, CRuNCH 22, the Tel Aviv based Rhodes, turntables & drums power-trio, is back with "LUSH FLUSH", a fiercer than ever EP of raw, in-your-face grooves.

Opening track "Cairo" places a persistent Egyptian orchestra sample on top of a Led Zepplin-styled heavy beat; "Osaka" sounds like an early 2000s indie-pop with vocals sampled from a japanese folk song; "Baba" fuses Middle Eastern leads with broken beats; "Minderbinder" is a quirky afrobeat and "Young & Happy" is an odd metered pseudo-house track. While this list might seem as eclectic as you can get, the band's unique instrumentation and live playing style manages to make it sound completely coherent.

On the flip side of this 12" vinyl are three remixes by some of Israel's finest producers: Markey Funk's space-rock version of Cairo; Mule Driver's techno edit of Baba; and Obas Nenor's house remix of Young & Happy take these tunes deep into the dancefloor, making the "LUSH FLUSH" EP an important tool in any DJ's arsenal.

Luge is an enchanting poet out of Moscow, reconciling rough western lofi patterns with light eastern zen harmonies. Recommended!!

In the grayness by concrete of the Amsterdam suburbs we find Pascal Pinkert (Dollkraut) working on his darker wave salvation, going by the moniker of De Ambassade. *2018 Edition...Blue Vinyl*
.
This debut EP forming an alliance between the past and the present deliver one take recordings, drowned in reverb, using preferably older recording methods.

The result are poppy wave tracks that shiver your spine and let you chant along to lyrics from the dutch lowlands.

Mastering by Rude66.

Shroom Gang No Beggin is a full length project presented over two sides; Tuesday and Wednesday.
Recorded live and mixed at Black Void Studios, London.
Couple man locked in a studio with some Shrooms and tunes... No Beggin.

special price for this last copies !!

"it Sounded All Right Through Two Walls, So What's The Problem" The Final Words Of 'two Walls', The Fast And Very Catchy Leading Track Of Dj Marcelle's New Record, Sum Up An Aesthetic Almost Lost In Today's Musical Climate, Where Often A Pleasing Attitude And Overproduced Music Sadly Rule, Even In So-called 'alternative' Circles.The Quote Comes From The Late Mark E. Smith (1957 - 2018), Legendary Frontman Of The Fall, And Is Taken From Some Of The Conversations Marcelle Had With Smith Over The Years. Smith Is Referring To A Recording Process But For Marcelle His Words Stand For Something Bigger.Although The Fall Have Been With Marcelle During Her Whole Musical Life (which More Or Less Started In 1977 During The Punk Wars) And She Has A Deep Love For Their Music, It Was Especially Smith's Attitude That Inspired Marcelle.Smith Was An Iconoclast, A Surrealist Dadaist Breaker Of Conventions In Music And Art More Generally. A Magically Creative Individual, A Brain-twisting Wordsmith. An Attacker Of The Pretentious And Dishonest Elements In Society And Music Scenes. An Autodidact Whose Singular Vision, Fired By Both Humour And Sharp Observation, Found A Voice In A Body Of Work Unlike Anything Else.The Day After Marcelle Heard Of Smith's Passing She Created A New Track, Lauding Smith, Whose Name Was An Institution In Itself: Mark E. Smith! Therefore, The Repetitious Use Of A John Peel Sample Pronouncing Smith's Name Celebrates The Life Of This Totally Unique Artist.This Track Opens With Another Smith Quote: "you're Probably Right, Marcelle". And Indeed, The Dutch Producer / Dj Shares Many Of Smith's Attitudes In That She Tries To Stay True To Herself, Doesn't Think Too Much About Audience Expectations And Always Tries To Stay Ahead Of The Public. 'punky' Energy Combined With The Avant-garde And Always Going Forward With Fresh Productions And Dj Sets. To Make And Play Music Which Reflects The Present And Doesn't Rest In The Comfort Zone Of One Dimensional Party Music.There Are Five More Versions Of 'two Walls' On This Ep, But They Differ So Much From The Original That You Can Count Them As Different Tracks. 'dubai Muezzin Dub' Was Partly Recorded In The United Emirates When Marcelle Played There Earlier In 2018. 'problematic Dub' Is Pure Industrial Techno Torn Apart By The Wildest Dub Effects, Its Coming And Going Of Sounds Equals A Ride In A Calypso. 'studio Door Dub' Celebrates The Repetition Of The Fall And The 'emerson, Lake & Palmer Symphony Dub' Is Both Pure Avant-garde And Hilarious Fun. And Belp, Who Owns The Jahmoni Label, Comes With A Wicked Abstract Noise Remix. The 'for' Ep Is The Fourth (get It) Vinyl Release Of Marcelle On The Munich Label Jahmoni Since 2016. As Always, Sleeve And Label Are Very Colourful. Both Labels Show Special Photos: On One Side We See An Old Picture Of Smith Embracing Marcelle, The Other Side Depicts The Label Of A 1985 The Fall Test Pressing That Once Belonged To John Peel But Which Was Stolen Out Of His Car In Amsterdam. Later Marcelle Found The Record On A Flea Market, Recognising Peel's Handwriting. "when I'm Dead And Gone" Smith Sang In The 1979 Song 'psychik Dancehall', "my Vibrations Will Live On, In Vibes On Vinyl Through The Years. People Will Dance To My Waves."Now We Can Listen And Dance To A Vinyl 'for' The Incomparable Mes, Made With Total Commitment And Which - Like The Fall - Defies Comparison.

First time on vinyl reissue (previously CD only) of Mark Van Hoen's 1998 masterpiece presented on a deluxe 2LP. Playing With Time perfectly showcases the lush and deep environments that can only arise from Van Hoen (Locust, Scala, Seefeel). Melody Maker called it "A Mesh Of Loveliness". The Sunday Telegraph described it as "The perfect, spacey chill-out album", and The Sunday Times had this to say: "A sound that at it's best has a positively spiritual quality about it". Other accolades include Sleazenation - "At the cutting Edge" Computer Music "A melange of jerky, cut-up sounds, stretched out ambience... that owes more to Far-Eastern music than to Steve Reich". And lastly, HiFi World felt "The sound scape is so deep and diverse that it's accessible to anybody into laidback beats and soothing, beautiful noise". Contains a side long bonus track best described as a modal Eno-style classical ambient piece that was originally intended as a 'hidden' track at the end of the original 1999 CD release.

Hell Yeah’s summer will be all about Passages, a brand new and fantastic album from Quiroga that shows off his unique take on the Neapolitan sound. It is a soothing mix of real musicianship, laid back funk, soul and jazz stylings that wash over you, fill your heart with warmth and take you to a faraway beach where all your worries melt into the ether.

It is 11 years since Walter Del Vecchio’s last album on Cactus Island Recordings and since then he has put out a steady stream of sublime EPs on the likes of his own Really Swing as well as, of course, Hell Yeah. Label boss Marco calls him “a delicate musician” and it’s true that his deft sound is filled with beauty and detail.

A lot of attention is currently on his native Naples scene, but Quiroga doesn’t fit with the usual narrative thanks to his left of centre take on the breezy Mediterranean sounds of the city. This new album features six brand new cuts as well as six of his favourites that have previously been put out Really Swing, and is a fantastic showcase of his sound, with two of the tracks already getting big support from Italian ensemble 291out.

Gentle groove undulations and refrained vocal euphoria define opener Got Your Love, while fat bass twangs and nodding keys light up the jazzy-soul-funk fusion that is Martinica Feelings. Things get even more horizontal and romantic on The Zoist, with its steamy female coos and delicate keys, and North Hollywood Witches is a glorious bit of slow motion boogie with squelching bass and effervescing keys.

Elsewhere there are the lazy tumbles of Non Dire Notte, which is awash with acid gurgles, while glistening dreamscapes like Citto Di Mare shuffle on lush live drums and new age melodies. There are hippie vibes on Luzhin Defence which evokes sun beams breaking through the clouds, then Chiaia Sunset will melt your heart with its diffuse keys and rippling rhythms and ambient closer Bava casts you adrift into the clouds.

With many other gems along the way, this a perfect summer album that will temporarily rid you of whatever problems you may have.

We're coming up with something to break boundaries and strengthen the spirit of artistic freedom."The Fall" by the Belgian-born Berlin-based singer, songwriter and producer Cook Strummer - aka Maxime Donnet - is an evocative ode to lost love and forgotten spirituality.Channeling the post-punk synth sound of his home country's Cold Wave movement of the late '70s and early '80s, Donnet has absorbed the sounds of his adopted home in Germany, taking that all-pervasive electronic music that is all around him and morphing it into something new. The result is "The Fall".Recorded in a cell located in the basement of an old Stasi Prison (Studio K61 in Berlin), it's an album with one eye on the dancefloor, but one that works just as well when the party is over. It's an album that blends the organic with the synthetic, mixing guitars and synths with post-dubstep flourishes and drum machines. It's an album about something. The name of the album has been chosen in reference to first single Fallen, the idea of falling in life and waking up again. It's also about the fact that it's not the fall that kills you. A fall can be graceful. A fall can improve a life perspective and create new paths. It can and does make you strong. The main metaphor in there is one of reincarnation. Indeed, it's the story of a soul negotiating with God to not reincarnate on earth again, but being forced to do it anyways.Experience something different!Composed, written and produced by Maxime DonnetRecorded and Mixed by Mario Engelter at Studio K61 BerlinMastered by Sasse Lindblad at BlackHead Studios

First ever vinyl reissue of the self-titled 1984 LP by Twilight 22, the creative moniker for Gordon Bahary, the computer / synth wizard who teamed up with singer and co-songwriter Joseph Saulter.

Their 1983 single from the album, 'Electric Kingdom', was a top 10 single on the R&B charts that combined elements of electronic music and hip hop. The song is recognised in dance music history as one of the major hits of the electro genre.

Underworld And Iggy Pop Announce Details Of A 4 Track Ep, Teatime Dub Encounters, Due For
Release On July 27th Via Caroline International.

While Overseeing The Soundtrack For T2 Trainspotting, Underworld's Rick Smith Arranged A
Meeting With Iggy Pop In A Room At The Savoy Hotel On London's Strand To Discuss Working On
Collaborative Music For The Filmhe first track from Teatime Dub Encounters - Bells & Circles - was premiered live as part of
Underworld's recent headline performance at the BBC Biggest Weekend Belfast. A second track -
I'll See Big - is streaming everywhere now. Something of a flipside to Bells & Circles, I'll See Big is a
wash of gorgeous ambient sound that features Iggy recounting how friends - however
dysfunctional - have saved him from a lifetime of bad decisions. The lyric for I'll See Big was
inspired by a conversation Iggy had with Danny Boyle about the subtext of both Trainspotting films.

It's been a while since Red Laser's last release which left a void in the UK output of Manctalo synth jams but now a planned schedule of three releases in quick succession means plenty more analogue chug for you to rattle your bones to.
First of the 3 is this unique double gatefold LP from Red Laser original Kid Machine.Kid Machine delivers a 5 star upgrade to the signature sound that people worldwide have fallen in love with. 808 kicks and DX 7 licks bubble under the atmospheric chord changes creating a soundtrack which is just as comfortable on the dance floor as it is on a midnight drive.Alien Dance darts around to irregular delight. The dramatic score of Asteroids builds until it soars high above the grid. The bassline on Beast drills a blackened dance floor in preparation to be replaced with 80's discotheque neon squares.Beyond Cygnus takes flight and drifts across a Martian plane. The 808 kicks and orchestral synth stabs of Conquest crush all known reality into a space the size of a photon and the weight of its gravity is unbeatable. Standing out amongst the pack is the apply titled 'Forever Machine'.
A proper Manctalo synth anthem guaranteed to deliver speaker destruction.The LP closes with classic Machine style bangers 'Flight Manoeuvres' and 'Seconds From Oblivion'.
They bring this galactic odyssey to a confident end. This is a cracking journey through the outer rim and back.

Second repress of this seminal work from Kiyoko aka Synkro and Bering Straight.

Kiyoko is Synkro and Bering Strait. Following on from their sublime debut LP 'Sea Of Trees' for ASC's Auxilliary label, Kiyoko were approached to contribute to the Horo series in an effort to take it even further outside the constraints of any bpm or musical genre. The resulting 4 track EP is akin to having your mind soaked in honey while you float on top of clouds in the kind of dream you never want to wake from. With titles removed to allow your mind to associate your own mental images to each track, Kiyoko takes Synkro's genius touch with soaring emotions and spreads them evenly into a gentle soothing melancholy that few electronic musicians are capable of. Marbled vinyl 10 only.

For the second foray into past hidden gems by some of our favourite producers, brokntoys is pleased to welcome French producer Raphael Vendramini aka Automat. Known for his electro output on labels such as SCSI-AV, this 5-track EP showcases excerpts of his unique dark and atmospheric sound and includes the haunting 'Dark Days' previously released digitally on Parisian label Milles Feuilles.

Only one month after the release of their first ep on MT on May 2018, Vactrol Park continue surprising, this time with a full LP in the shape of 'Music from the Luminous Void'.The album sees VP delve much deeper into more atmospheric realms. Using modular synths and unexpected drum machine sequencing they leave the 4X4 beats behind in favor of off-world rhythms and ever growing bass. Starting with Drops's high frequency tension, laying on top of those heavy kick drums it keeps on growing and growing. From there it moves to the 'End of the party' groove that is Novikov's Notation, and its trippy monotonic rhythm. The A-side ends with the heavy sampled ambient track Macbeth, bringing forward that mesmerizing flute solo by Italian artist Luca Spagnoletti yet succeeding in avoiding the kitsch, and with a touch of class. The B-side delves even deeper into ambience and atmospheric muzak. Starting with Bells, that features again Spagnoletti on flute. Then we get into the real gems of the album - Anstruther and Glove. The first is a pure trip into modular psychedelia and repetitive jazzy-like drum rhythms, creating tension right from the start and plays with it throughout the track before decaying slowly into Glove, which is in sense both the catharsis and the decompression session of the album. Like a 2018 version of Vangelis, this track's soundscape will keep you dreaming with your eyes closed long after the album ends.

180g vinyl

Moscow Is Mythologized For Its Grandeur And Gravity But Its Parable Pleasures Offer Splendor And Even Absurdity. Over The Ten, Symmetrical Pieces Of For, Kate Nv Scores Her Native Urban Environment With Just Enough Whimsy To Gurgle Through The City Cracks And Grow Psychotropic Foliage. Each Sound Assumes Its Own Personality, Moving Through The Album Metropolis Like Miniature, Mutating Molecules Viewed From Nv's Apartment Window.

Alternately A Guitar-wielding, Post-punker And One Within The Multitude Of Moscow Scratch Orchestra's Avant-garde, Nv Is A Versatile Artist That Maneuvers Instinctively In Whatever Musical Environs She Finds Herself. Nv's Second Solo Album Is An Even More Abstract Endeavor Than The Hybrid Pop Of 2016's Binasu. Inspired By Casual Moments Of Ephemeral Sound From Within And Beyond Her Apartment Walls, The Record Has A Clarity Arrived Altogether And From Right Under Her Nose. Recorded At Home, Nv Says It Was As If The Music Was Not Written By Herself, But Her Chair.

For Inhabits A Stage That Piero Milesi & Daniel Bacalov, Ann Southam, Or Hiroshi Yoshimura May Have Written Music For And Dresses It With Viktor Pivovarov's Psychedelic Depictions Of Moscow - Contorting Bodies, Flying Pencils, And Multi-dimensional Faces Dance With Subtle Arpeggiations, Conversational Voice Synthesis, And Anthropomorphic Midi. Animating Objects Is Essential To The Album. Like A Surreal Still Life, Each Piece Is An Alien Arrangement Of Common Elements That Extend The Everyday Ritual Into An Eternal Landscape Of Unconscious Activity. Somewhere Along That Landscape, Kate Awaits And Greets With Apples For Hands And Fish For Feet.

Like The Album Title, Each Composition Contained Within Is Represented As A Three Letter Word, In Russian And English. The First Half Of For Was Written In The Spring. Starting With yxo Ear,' Previously Released On The Peaceful Protest Compilation Cassette In 2017, Melodies Meander And Lollygag. a Two' Incorporates Human Breath Played Like Notes On A Pump Organ. Oak' Offers A Warm Tune To Tango. How' Loops Curious Notes That Bump Into Each Other With A Chirpy Acknowledgement. You,' The Only Track On For With Lyrics, Sets A Wassily Kadinsky Poem To Song.

The Second Half Of The Album Was Written In The Autumn. The Feathery Edges Of One' Extend Like Watercolors Bleeding Off A Rubber Scroll. See' Is A Subdued, Shadowy Variation Of How', As If The Same Song Were Played In Different Weather, Dimmer Light, Or By Kate's Devious Doppelganger. The Electronics Unravel And Unwind On Dog' Until The Final Track, Who,' Ends With Vague Solemnity And Rattled Metals.

A Short Online Film Series By Shura Kulak Will Accompany The Release Of For. The Films Follow A Solitary Figure Performing Ordinary Tasks Through A Slow, Warped Lens — Each Song Enacting A Daily Habit: Waking, Dressing, Reading, And So On. In Her Live Performances Around The Album, Kate Nv Will Play Each Song From Memory, Allowing For Variation From The Recorded Tracks, And Scenes From The Films Will Be Re-created And Improvised In The Moment.

While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs Legacy and Fingers, Bank Pads & Shoe Prints introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. I'll Tell You What! is the next step in his mission, and the first time he's released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for. He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo's music doesn't follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years. The words 'things ain't been the same / since I hopped the plane' are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP's veins as much as blood does, something you can't unlearn when you've been making music for Chicago's footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. On At War Boo reminds us 'we are at war in the streets', a double meaning to both the mayhem in this world and the sweetness of rivalry on the dance floor. Another battle-themed track Cloudy Back Yard, one of the spacier moments on this album, is an abstract on the state of footwork's home. Chicago remains the backyard of this artform even though it's left the porch and traveled to new neighborhoods worldwide. Back at home though, competition among the DJs and dancers continues, and as the man himself says, 'with all this hate, there's smoke, and it's cloudy'. I'll Tell You What! throws more than a few curveballs into the mix. Footwork has always borrowed from hip-hop, and many vocal tracks are almost condensed raps, dating back to the street chants pioneered on Dance Mania Records in the ghetto house days. On Bounty, Boo grabs the mic and brazenly lays down a full-on verse of terror over a thick atmosphere of his signature sweltering low-end and erratic Roland R-70 patterns. While he's most famous for his confrontational battle anthems, his melancholy moments are just as powerful. You get the best of both of those worlds on U-Don't No, with soulful samples finishing his own cocky sentences, one of the most elegant tracks RP has made to date. Deep Sole closes the record out, with the words 'It's always beautiful at the end' looping over waves of hypnotic synthesis, confidently looking death straight in the eyes.

The ep comes in 300 copies packed in hand burnt sleeves on the front and a silkscreen print on the back

Eocity is the result of a study on technological failure and the imagination of a non-existent urban landscape.

This project features the use of a Yamaha ex5r, one of the rst synths to ever implement VL synthesis.

The "Yamaha Virtual Acoustic" Synthesis tone generation was born to try to accurately emulate the complex vibrations and other acoustic phenomena of real instruments and their sounds within space, but the dubious results of this technology gave birth to something more.

Its nal output sound happens to be cold and synthetic while being also organic and warm at the same time, welcoming the listeners into a feeling of an arti cial world that is neither digital nor analog.

In this world man is not around anymore and the binary language survived him, communicating with the rest of the natural environment, in respect of its laws and dynamics, becoming one indistinct entity.

Eocity is a place that exists in between the imaginary and the real one, gently oating as a digital tactile experience.

Forever Colour Is The 2nd Album By Kit Grill Released On Primary Colours. The Record Was Inspired By A Road Trip Through Arizona, Utah And California During 2017.

All Tracks Written And Recorded By Kit Grill In 2017/18.

In 2006 Salvador Breed and Stijn van Beek met while studying Sound Design and Music Technology at the Utrecht School of the Arts. Ever since then the pair have been beavering away behind an arsenal of blinking banks in Amsterdam. The musical fruit of this twelve year friendship Breek. A partnership that smears the boundaries of styles and sounds with festive flare. For their vinyl debut, a candy coloured cornucopia of elements are swirled and whirled. Braindance, electronica and neo-classical are festooned with dubby tones and underground grit in a unique sound of diverse textures and deep tones. Faster works, like the swooping joy of "Yokai", are countered by more contemplative "Ama." "Hang" is a whimsical dreamscape of squirming acid lines, crisp drums and angular notes that combine to produce a brilliantly bright piece. "Mu-Onna" and "Oiwa" are more abstract works that melt vocals with sweet strings before the final piano swells and ambient rains of "Burabura." A daring and dynamic vinyl debut from this eccentric duo with stunning artwork from Warren du Preez and Nick Thornton Jones (Massive Attack, Bjork en UNCLE).

London based artist Ben Vince is best known for his minimal & transcendent saxophone soundscapes. With 'Assimilation' we find Ben treading new ground with his recorded output, moving away from the limitations of solo Saxophone, instead embracing collaboration and communication to forge new paths. Whilst Vince's Sax work still undeniably holds 'Assimilation' together, the new territories explored by working with an artistically diverse range of collaborators allows new life and influence to flow through Ben's work. The album features collaborations with Micachu (Mica Levi), Rupert Clervaux, Merlin Nova, Valentina Magaletti, and Cam Deas. Ben Vince has also recently collaborated on a 12' with Joy O (forthcoming on Hessle Audio).

We got Cuthead on Rat Life Number 12. You probably know this guy. He is respected worldwide for his one of a kind House and Hip-Hop productions. Lately he said, he got a bit bored with all the soulful jazzy sampling, the groovy shuffles and the catchy hooklines. So, he decided to do something a little different for Rat Life Records. Well, thank you Sir! Happy to present these five variations of banging sounds!

Much Like The Colourful Cobbled Streets And Lush Rolling Hills Of His Hometown Of Tbilisi,
Georgian-native Gacha Bakradze's Music Is Characteristically Rich, Distinct, And Seductive.
With His Previous Releases On The Iconic Apollo Records Praised By Pitchfork And Resident
Advisor, Gacha Is A Stalwart Of The Georgian Electronic Scene. Previously Featured On
'anjunadeep Explorations 02' In 2016, Gacha Now Returns With His Upcoming Ep - 'restless'.
From His Nuanced Command Of Subtle Arpeggio Plucks, To His Careful Construction Of
Sensuous Atmospheres, 'restless' Epitomises Gacha's In-depth Musical Knowledge And
Production Skills.
Title Track 'restless' Is A Journey Through Syncopated Sixteenths And Reverberated Jungle
Sounds, Where Bongos Echo Off A Grooving Sub Bass. 'image' Is Lustrous And Bright,
Accentuating A Well-rounded Bassline Alongside Celestial Plucks. The Earth Trax Remixes
Introduce A Lo-fi Aesthetic, Taking It Back To The Old School With Wide Sampled Breaks And
303 Synthlines.
The Final Track, 'contactless', Is A Balearic Ballad, Its Meloduious Arpeggios And Dark Drones
Reminiscent Of Retro 80's Soundtracks, Deep Dreams, And Early-morning Walks Home.