Search:j dub

* First appearing on A&O’s album `King and Queen’ in 1991, `Pure and Clean’ became an instant classic, with Jah Shaka cutting the track and running it on dub. Fast forward to 2013, Partial Records release it on 45 for the first time backed with one of the Shaka-championed dub cuts,
it remains the best fastest selling 7” on Partial.
* So, all good things come to those who wait. Partial have repressed it with 300 only copies available, with a tasty hand stamped outer sleeve.

Yogg and Pharaoh - The Neverending Gever Remixed PRLX08RMX Coming out soon on Parallax Records - Tel Aviv duo Yogg and Pharaoh unleashing a 2X12” remix pack featuring remixes by Answer Code Request, CUB Regis and Simon Shreeve, Shxcxchcxsh, Luigi Tozzi and Amandra. Ranging from peaktime breaks in ACR’s familiar style, to CUB’s dub-infused meditation, the result is a coherent 6-part collection of their last record, reworked to the edge. The Neverending Gever Remixed sheds new light on Pharaoh and Yogg’s unique world of sound as in Shxcxchcxsh’s crackling wall-of-sound reinterpretations, to Luigi Tozzi and Amandra’s lush atmospheres, this release is a real journey through the fascinating world of modern techno.

The King & City reissue series continues with Paul Robinson's disco boogie jam Come On Sister. Moving from the Lovers sound of his early productions, his first solo recording was aimed straight at the blues, clubs and pirate stations of South London and beyond - a prolific artist on the rise.

Appearing as a 13 year old protegee drummer in The Simeons, recording for the legendary Freedom Sounds label out of Kingston; to forming the influential Roots / Lovers Rock outfit One Blood; then vocalist in the Nick Straker Band; and through to a 30 year career as "dubplate" producer / singer Barry Boom, Robinson is a man of talents and serious legacy.

This highly sought after debut, part of Neville King and Lee Laing's family of labels, followed releases in One Blood and productions for female Lovers groups Blood Sisters and Charisma. A pure disco boogie party cut, Come On Sister sees the Robinson family hit the Brit funk.

In label style, the flip is given the Discomix treatment, here by up and coming digger, dealer and producer, Bruno (Perfect Lives). Letting the horns, dub bass and drums build in anticipation before the keys and guitar join and it all drops to Robinson's vocals - Come On Sister.

Westcoast Goddess first came to our attention at the end of 2018 following his debut release on Canadian label Heart To Heart, but his productions actually date right back to ’93 (under various different guises) when he first began making music with his trusty Roland DR550 and Kawai K1. With a fresh and distinctive sound, WG successfully fused soulful touches and late 80’s-era digital synths with raw, punchy grooves and a euphoric, ravey atmosphere. Since then, the Berlin-based producer has built a solid following amongst underground house heads with subsequent releases dropping on esteemed labels such as Omena, Slam City Jams and Let’s Play House.

Opening up the EP we have Step Inline (The Narcotic Soul), which is a piano driven, uplifting slice of house heaven. A simple repeating 2 bar chord pattern lays down the foundation for soaring strings, cascading chimes and seductive echoing vocal hook.

Next up we have The Devil In Mr Holmes (The Erotic Soul) which once again goes heavy on the piano stabs but this time developing the arrangement into something that feels more like an instrumental dub of a long lost Prelude release. Crystalline synth lines come and go, whilst electronic tom hits add pace and energy to the unrelenting house groove.

Flipping over we have the epic I Might Be Ok (The Faithful Soul) coming in at over 9 minutes and being all the better for it. A dirty Moog bassline leads the charge with beautiful synth lines layering up on top, creating a blissed-out vibe which can’t fail to lift your spirits.

Taken from their acclaimed self-titled debut album, ‘One Hand Tommy’ is its latest single and proves no matter how strange our world seems right now, it could always be stranger…

In a blitz session of blood curdling vocals, disarticulated fretwork and wickelly deranged lyricism, ‘One Hand Tommy’ sees The Imbeciles tell us the tale of: Tommy; a child trapped in a dystopian landscape of nuclear annihilation with only a giant killer snake for company.

‘One Hand Tommy’ is the latest exhilarating track to be released from The Imbeciles self-titled debut album - out now. Comprising 13 imploded songs which rarely last more than two minutes, the album was recorded on tape in eight deranged days on the Texan-Mexican border. Packed with stripped-down musical information and resonant with atmosphere, the album was hailed by CLASSIC ROCK as “Some kind of Apocalypse Now” (✭✭✭✭). The band also gained masses of support at radio from BBC 6 Music, Radio X, BBC Radio 1, amongst others. The delirious fun of ‘One Hand Tommy’ is just another reason to believe the hype...

And now it’s been remixed by DJ Tennis & Danny Daze, Mark Broom, Suzanne Kraft and Duncan Forbes.

The remixes have picked up a fantastic amount of support from a long list of names, including this lot – Radio 1’s Pete Tong, Red Axes, Jackie House, Len Faki, Gerd Janson, Laurent Garnier, Ben Sims and more!

This is the 2nd pressing.

The blues roots grow surprisingly deep in the Finnish music scene. From this fertile ground rises singer Emilia Sisco, who debuts on Timmion with her phenomenal single "Don't Believe You Like That". With her strong background in fusing blues, r&b and jazz, Emilia apparently slips also nicely into the dark soulful grooves of Cold Diamond & Mink.

In "Don't Believe You Like That" Emilia sets herself into the role of a mistreated lover, who still tries to see a speck of hope in the doomed relationship. By dubbing herself, and accompanying the lyric with graceful harmonies, she succeeds in building a powerful beat ballad, that should appeal to the darker end of the dance floor.

There's a special lane in history for soul music this understated. It's cool and intimate at the same time, like there's something dangerous lurking under the surface. So roll up something nice, if that's your thing, and hop along for the ride.

Here comes the « Wonderland of Green Riddim » from Fruits Records’ studio band The 18th Parallel. This one is a super heavy rub a dub riddim played in the Roots Radics early 80’s traditional style. Double 7” single, the first record features the legendary Jamaican vocal trio from Studio One and Black Ark days, The Silvertones, singing the roots anthem « Wonderland of Green » and an extra killer dub mix by French wizard Westfinga on the B side. The second record features the big bad DJ Burro Banton with « Living In a Wonderland » and the instrumental version on the flip side. A must have double 7” single for all selecters!

Southern Italian native, and Berlin dweller, Ruff Stuff, is a fine example of nominative determinism... with a penchant for tough 808 led drum patterns, and arrangement which echoes the spirit 90's Chicago, our man is the perfect choice for the next SB Traxx 12.

Ruff Stuff? You better believe it.

Abstrakt Sonance makes his return to Aufect for the labels's first 12" release in a decade! Enlisting the likes of Crowell and legendary Grime MC, Killa P on the title cut "New Style", together they deliver a smackdown with a skippy Grime-Dubstep hybrid banger in a mood fitting for the status quo.

Label owners Greazus step up to flip "New Style" with a remix leaning heavy on 808's and an infectiously animated piano-esque hook.

"Lay It On" turns up the vibes and dips into R&B vocals chops and loose drums that seem to be melting into each other.

Fans of deep, heavy Dubstep will love "Squad Up". This one is meant to push soundsystems - minimal dubby chords, deep dubs, rolling drums, nuff said.

It's the third chapter in our 'Moonshine Recordings meets...' series where we focus on various talented vocalists from the UK sound system scene. In this session we have met the inimitable Rider Shafique straight out of Bristol. Riddims and versions built by the Moonshine family members - Baodub, Bukkha, Dubbing Sun, Inner Echo and our fresh signing Joyful Lion. Vocals mixed by Sam Binga and the whole project was mastered from stems by Studio As One.

BEATCONDUCTOR strips down the STEVIE WONDER’s “SUPERSTITIOUS” to the core of moogbass & vocals. PHIL COLLINS’ “I’M NOT MOVIN” gets a Balearic rework with new rhythms and MICHAEL JACKSON’s “ROCK WITH YOU” gets the vocals stripped out to make “DUB WITH YOU". Hand stamped limited 12″.

The first time on vinyl reissue of Nikolaienko's four tracks from his debut album "Loops & Cuts Soup" originally releases as a digital download on Nexsound records in 2010.
Restored from the single copy of dubplate record.

For Farsight, California’s bucolic San Geronimo Valley was the space that allowed for the creation of this handpicked selection of artistic output. Following a period of deep interest in abstract painting and its relationship to music, the artist found this lush and sparsely populated region to be an ideal location for contemplation and composition.

Although the majority of the work was executed in the first two months of 2020 in this forested setting, some of the pieces were based upon drafts created as early as Summer 2017. United in their eclecticism, the six cuts that comprise “Not Here, But Somewhere'' reveal a broad spectrum of musical influences. They are statements in an age in which influence is omni-directional, and in which the pace of artistic invention outstrips the ability of observers to identify and reify sub-genres. Although each track presents a unique approach, “Cadena,” “Sans Titre,” and “Door to the River'' reflect the continuing global suffusion of Latin American and Carribean styles such as reggaeton and dancehall. Simultaneously, the duo of “While” and “Hot Half” suggest the ongoing dialogue of techno, electro, and industrial music and the interstices between them. “Mid-Winter Burning Sun”
invokes the intensity of American trap music with its booming bass while touching equally upon the feel of early dubstep.

Ultimately, the idea that there is a “space for each artist” can be taken both in a literal sense— One’s physical environment— And also in the figurative sense that there is room enough for the ideas of all artists, who are kindred spirits in the endeavor of radical self-expression. In this way, “Not Here, But Somewhere” exists as an acknowledgement and gesture of goodwill towards every artist daring enough to explore the unknown.

After more than a year of support from the likes of Loefah, N-Type and others, 'Winter is coming' is Coki's 10th instalment on his Don't Get It Twisted label.

Fresh from being played on his USA, Australia and New Zealand tours, something to lift the lock-down spirit.

Welcome to the curious world of Peter Graf York: a world full of city centre safaris and epic train journeys, Soviet cosmonauts and Oakland rappers, filtered synths and plucked mbiras. It's a wild ride inspired as much by Jamaican dub sorcery as by playful minimalism outta the Pacific Northwest.

Many of these tracks were composed on the hoof - literally en route across sections of the ever-reliable Deutsche Bahn network. As such, there’s a certain travellin-without-moving dynamic across this collection, capturing that cinematic feel of window frames flickering past graffiti'd signal exchanges, morphing into rolling hills and green forests. Expedition Bahn is the sound of ideas being set in motion, each track heralding the arrival of an uncanny destination. Blazed beats give way to acid-fuelled electro, and dub rhythms step aside for 4th world meditations as readily as sleepers on a train track.

We can leave the last word to heroic USSR cosmonaut Vladimir Komarov, who spent the final moments of his fateful re-entry giving the administration an earful of righteous proportions (regarding the technical failures of the spacecraft). Taking his place as the first martyr of space travel, Komarov accepted the Soyuz mission despite safety concerns, in order to protect the other cosmonauts. It's an attitude that echoes throughout PGY’s sonic universe - make the most of the trip you're on... ‘cause you never know just which way it will go.

Gear used: Tascam MIDISTUDIO 644, MPC1000, Roland JX-3P, MODE MACHINES DT200, Electro-Harmonix MEMORY BOY analog delay, Nord Drum 3P, MacBook Pro, Logic Pro 9

ALTER is proud to present ‘Tendrils’, the first LP release from London based artist & musician Malvern Brume. After gathering some hushed praise from the UK underground for a couple of excellent cassette releases and strong local live performances, ‘Tendrils’ is the first definitive document of the Malvern Brume sound world. His instrumentation and sound sources would be considered familiar staples in the world of “experimental” music, but Salter does an admirable job of making them his own. Comprised of 8 pieces, this is electronic music at its core but a kind that sounds as if it’s being played through fog. Like spores growing on a damp surface. Densely composed and thick with an almost asphyxiating atmosphere - even during the record’s more minimal moments - track titles like ‘Caught In The Exhaust Trails’ and ‘Sunk Into Plastics’ only heighten the tone further.

Salter was originally born in the countryside and since relocated to London, a place he finds “over stimulating in every sense”. Much of ‘Tendrils’ could be taken as a response to the city and a means of equating the two. Camberwell is listed as the location for composition, but field recordings are attributed to rural landmarks. The Rollright Stones on the Oxfordshire / Warwickshire border and Seven Sisters Cliffs by the English Channel are two in case, but despite their picturesque origins Salter renders them into abstract clatter. As if dubbed from the private tape archive of an old eccentric. In addition, synthesised electronic tones hum and buzz, occasionally giving away to strange, slurring sequences that sound like lost transmissions from the radiophonic workshop. Despite the nod to this electronic music institution, it’s lacking the sincere level of esteem that can turn one into a heritage act. There is a strangeness and distant other worldliness to the music that feels unselfconscious and keeps Malvern Brume from being easy to define by contemporary terms.

Salter says the album is defined by movement and the environments that have inspired him over the years. In his own words, “each of these tracks is inspired by a journey or moving through a space, not in a wishy-washy cosmic sense but more as a practical A to B.” With that in mind, ‘Tendrils’ is perfect music for solitary inner-city marshland walks and urban bike rides to forgotten local suburbs.

The far west has long been known as hollowed ground for Dub Reflective arts, from the birth of Reggae and subsequent Jamaican diaspora to the more recently developments that ultimately informed Dubstep. Many key figures have emerged on the left coast of the USA throughout these developments in Culture and Roots-centric Dubstep, with key among them being the surfacing of LoDubs, and its rise near the advent of the sound in 2006 serving to inform and cement Dub's true DNA at a time when the field of those carrying the torch throughout the region could be counted on a single hand.

These run of releases on ‘Existence Is Resistance’ comes from the Legendary Proto Garage Record Label ‘Same People’, and see’s Persian & Long time musical partner DJ Texsta, repressing some of their most pioneering UKG E.P.s.

Following the Turner Street Sound collaboration with Rings around Saturn, Melbourne producer and DJ Midnight Tenderness presents his second offering to Butter Sessions, Digi Modes. Throughout, Midnight Tenderness maintains his fixation with dub-wise rhythms and heavenly melody, delivered with his signature silky smooth production.

Digi Modes begins with the complementary pairing of tracks Crosswinds and Dub Dreams which feature on the limited yellow 7". Crosswinds is a bright medley of garage breaks against hazy synth-work that gently inhales and exhales. Dub Dreams, as its title affirms, is a mirage of sweeping synth loops and chattering rhythms. Elastic Dub is a more traditional homage to early dub works of the 1980s, marked by persistent echoes and rumbling bass that divides and conquers. Reflexitones, and the EP's endnote Regent St Dub, both add a sprinkle of house and electro, primed for a discerning dance floor or perhaps for now, a dance at home. As a whole, Didi Modes is an affirmation of Midnight Tenderness' mastery to adopt and adapt acquainted sounds in a unique way.

House and techno focussed FINA sister label FINA WHITE comes through with more direct dance floor grooves from Bodyjack, aka Chris Finke. The veteran artist serves up two killer tracks, one dub and four locked grooves that provide serious heat for DJs and dancers.

Before now, former DMC competitor Finke has established himself with his Bodytrax label in association with the Clone.nl crew, standout mixes for Radio 1 etc and EPs on the likes of UTTU, Hypercolour and DEXT, all while being a famous former resident of titanic techno party Atomic Jam and playing the world's finest clubs for years.

Arresting opener 'Measure Twice, Cut Once' is a big, buoyant techno monster with warped acid lines and raves vocal stabs all adding fuel to the fire. The locked grooves serve up scintillating breakbeats that are hugely powerful and ripe for abuse in the club, and then 'Enfant Terrible' is a dark and eerie warehouse monster. The bass is loud, the kicks rock solid and an echoing female vocal lost in the midst of it all draws you in deeper. Closing things out, the dub versions strip things back to gritty chords and heavy, well-swung kicks that make you march.

This is high class, high functioning techno from one of the finest in the game.

Keplrr returns to Control Freak with ‘Reconstructed Club’ - a collection of high-definition techno with a meticulous focus on sound design, careful arrangement, and a painstaking attention to
detail.

A-Side ‘Esoteric Functions’ is a screw-face roller full of anxious, rising pads, driving percussion
and an insistent sub rumble. On the flip, 'Convection' continues down the wormhole with a
propulsive, hypnotic low-end throb & trickling, dissonant arpeggios. Finally, the chugging triplet
groove of ‘Bods Realm' rounds off the journey with hair-raising whispers and warped, dubby
textures.

’Reconstructed Club’ is a call to an extraterrestrial dance floor, a catapult through the vortex -
strap in for the ride.

This compilation features music from artists who perform regularly at the Diane's Hunting Club annual gatherings. Heavily inspired by and indebted to the influence of the natural world and open spaces, this is music for motivation, movement, and meditation. Conoley Ospovat (Kimochi Sound) begins with a breezy slow-house theme, followed by some similarly slow but a much more tangled webs by sug (Hausu Mountain). Lokua contributes a melodic deep-space techno roller, Area (Kimochi Sound) offers gentle ambient rhythms, Mukqs (Hausu Mountain) produces a shimmering sunshine beat, and K-rAd closes out with an vast dub house journey. Enter the zone.

Syberian "Raver's Guide to Love" series now in physical. Everything that you want to drop on the floor is here. Chopping peaceful tekkno acieed and Dj1985's Polivoks electrobeat coupling with chilly swampy dubs. Always phreshh cuts from the Russian masters.

Strictly limited 150pcs fleshed out to transparent yellow slime heavy handy vinyl.

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

Runden is a collaboration by Martin Brugger (bass) and Simon Popp (drums), both of contemporary Jazz quintet Fazer, and neo-classical pianist Carlos Cipa. Their debut LP is a conceptual record reflecting on Minimal Music, Afrobeat, and Dub Techno of the late 90s/early 2000s.
While Cipa's solo works build on clear harmonies, for the recordings of Runden he prepared the piano to make it sound like a faintly tonal percussion instrument and his mechanical patterns contrast the syncopated drum grooves of Popp and the deep and sparse basslines of Brugger.
The musicians explore, over the course of seven tracks, the concept of circular music. Each piece is based on a four-bar-motif played in a loop and varied subtly but steadily over time, creating a sense of eternal recurrence and timelessness.
This makes Runden a meditative but demanding record, that only grows with every listen.

Anthiliawaters returns to Isophlux with “Barcelona” after last surfacing in 2017 on Denmark’s Kondi imprint with the double vinyl version of “The Miles Without You” debut album. Anthiliawaters was originally produced by Shad T. Scott (Gosub) and John Wend. This time Shad goes it alone and continues the Anthiliawaters concept of deep electro / techno beats, complex melodies, and Gosub’s trademark spooky vocals.

Keeping to the original DNA of Anthiliawaters Gosub drives deep house beats with classic Chicago organs dubbed out in old school tape delays. Inspired by Miami’s radio station WRBD’s weather reports back in the 80’s Concept1 with heavy synth workouts over deep bass-lines infused with Midnight’s steel drum synths assault on the listeners ear holes. “Night Time Comes” brings the trademark spooky vocals of Gosub speaking to a girl he can’t sleep without with a response from a lead-line inspired by Miles Davis, all held together with deep dubbed bass-lines driving to Detroit style beats.

All in all the Barcelona EP is hits all sides and is a classic to have in any collection. Full colour artwork by Hawaiian Surf art artist Madek.

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

First time Repress "Greensleeves Records", 12” Classic from
1979- 2 Roots anthems back to back!

• Deep- and heavy extended workouts from "The Dark Prince of Reggae" • Both Sides made big impressions on the sound system scene on raw dub-plate, continued heavy Jah Shaka rotation means they remain in-demand to this day!

"An amazing dub infused reimagination by buzzy Brooklyn duo Overcoats, of the Local Natives hit single When Am I Gonna Lose You. This version of When Am I Gonna Lose You has never been released physically
Local Natives have released a new version of “When Am I Gonna Lose You” back in December, with the touches of Brooklyn duo Overcoats. The original single is off of Local Natives’ latest album, Violet Street. “We loved singing this song and the more we sat with the lyrics and layered the harmonies, the more powerful the words became for us. It’s a beautiful song and we were really excited to be part of a reimagined version. “It’s hard to have perspective on songs you’ve spent so long with and are so close to, so having an amazing group like Overcoats reimagine one feels like a gift. We’re honoured that they created their own version of When Am I Gonna Lose You, they did a great job, especially with their beautiful vocals.”"

Emma-Jean Thackray, an outstanding figure in the UK jazz scene, releases Um Yang, her long-dreamed project dedicated to the Taoist philosophy of duality and harmony. Ahighly ambitious and personal record that sees Thackray leading a septet featuring
Soweto Kinch and Steam Down’s Wonky Logic, recorded straight to vinyl. An accomplished trumpeter, beat-maker, singer, composer and DJ, Thackray draws on far wider influences than jazz. Her sound is distinctive; in the words of The Guardian like “Bitches Brewera Miles entering the dub chamber with a New Orleans marching band – in a good way”. Since debuting in 2016, Thackray has directed the London Symphony Orchestra, performed at the NY Winter Jazz Fest, played Glastonbury five times in 2019 alone, and launched her own record
label, Movementt (in association with Warp). Championed by Gilles Peterson, Theo Parrish and Jamie Cullum, Thackray has firmly cemented her place among a new wave of exciting young
musicians, collaborating with Makaya McCraven, Junius Paul and Angel Bat Dawid, and still finds time to host her monthly radio show on Worldwide FM. Raised in Yorkshire, Thackray inherited a grounding in Taoism from her father, and approaches her music with the same pursuit of harmony between Um & Yang (the Korean Ying & Yang), balancing melody and rhythm, groove and free improvisation, cerebral and physical. For this one-off recording, Thackray has applied this ideology in every sense, even down to the ensemble itself featuring not one but two percussionists. Um commences with ethereal interplay between keys, percussion, and Thackray’s trumpet, recalling the spiritual jazz of Alice Coltrane’s classic records. As the piece builds, an earthy groove emerges. On both trumpet and vocals,
Thackray leads the ensemble further out until the piece peaks with an epic breakdown. On the flip, Yang starts on the same cacophonous note but progresses to a joyful groove before returning to a peaceful state again, balance restored.

Until Now, All Is Well is the latest track to be shared by The Nix, a loose collection of uniquely talented musicians corralled together by Nick McCarthy (ex Franz Ferdinand) and Seb Kellig around their Sausage Studio in east London.

Based around the original composition ‘Warm Canto’ by Mal Waldron, the track features founding member of the avant-pop band Stereolab Laetitia Sadier.

Out on Moshi Moshi Records, Seb of The Nix said about the making of the track:

A night at Sausage Studios and nothing falls into place...we talk, we laugh, we mess about. But the 'record' button remains un-hit.
Time is not on our side, we need inspiration, and we know where to find it:
We saddle our bikes and ride into the mild London night. Down to Homerton, along the Canal, passing Springfield, we end up in Tottenham.

The mighty Jah Shaka tears the place apart. Low ceilings, the place is filled with smoke and bass. One love, unity, another version....the mids, the tweeters - in perfect harmony. Familiar riddims, unknown dubs. Shaka on the wire.

We get back to Sausage as the sun rises. Our senses are numb. We can't hear, don't want to see, how good it feels not to be guided by ears but by the heart. We close the curtains and plug in.

we are very happy to announce this killer remix package. our dear friend superpitcher(aka pachanga boys) made three versions of remix.

studio mule’s original version which is produced by kuniyuki takahashi and sung by miyako koda (aka dip in the pool) is a cover version of japanese 80’s dance classic by taeko onuki.

superpitcher’s main mix is just for your peaktime set. it’s much more groovy and dance floor friendly than original version. it might be this summer anthem(if the party will be restarted…).

dub mix is more stripped down version and for more disco oriented dj. we love this version so much since superpitcher have been playing at his dj set.

ambient mix sounds like a japanese kankyo ongaku,it’s simply beautiful meditative music. beautiful cover design is by lily fei in new york, she is our new favorite illustrator.

Detlef celebrates the launch of his new label “Issues” with a quintessential EP titled “ Dub Clap”. Known for his simplicity and effectiveness, Detlef delivers the same vibe to this release. “Dub Clap” is a groovy track with a sub bassline, a great catchy vocal and a clever arrangement that gives maximum energy to the track. Title “Say Something” is a special groove made by chopped vocals and subby basslines thats creating a driving groove. Also included in the package is “Dub Clap tool” which created with chopped vocals and grooved out tops that Dj’s could use as part of their dj sets.

Detlef is a DJ and producer of the highest order, and has garnered a reputation as one of the most exciting names in the underground scene. The artist has rapidly established himself as one the leading names in the industry, releasing and remixing with well respected labels including Hot Creations, Repopulate Mars, Moon Harbour, and Relief. Detlef is moving towards the next chapter of his exciting career.

2020 reboot for Detroit's legendary Metroplex.

The Label Say "Cologne based producer Bas Grossfeldt has crafted an outstanding release perfectly aligned with Juan Atkin’s brilliant Metroplex aesthetic. As a relatively new name in the scene, Bas Grossfeldt’s music sounds as if it were the results of decades of focused experience in the studio.

With a background in installation, choreography and performance art, Bas Grossfeldt is the artists alias to focus on the musical side of things. His deeply rooted interest in the relation of space and body is also translated into his music. The fusion of spaced-out textures, rhythmical distortions, cold waves of synthesis, and enough modern production prowess ensures a release saturated with innovation and abundant imagination. A rare release for the seminal Detroit label, which also represents Juan Atkins’ interest in the arts world and new, different approaches.

The exchange between the label head and the artist, initially came to life because internationally renown conceptual artist Mischa Kuball, knowing Juan from a joint project, sent him the demo of Bas Grossfeldt. Especially intrigued by the track „Lost In Translation“, Juan and Bas started exchanging, approaching the record as an „art project“ and a classical EP at the same time, for example leading into the cover being made by Bas Grossfeldt/Søren Siebel himself and including numerous hidden references to the sound.

Each track embraces an incredible array of sounds and styles, from soundscapes to mind-bending Techno – all equally as effective for the brain as the dancefloor.

“Lost In Translation” opens the release with a cinematic piece of electronica permeating with frozen emotion and melancholic soul. The beautiful track captures a foggy morning’s haze, the first chill of winter with only a gentle kick-drum keeping the cold from completely taking over. It is also accompanied with a hypnotizing abstract video by film-artist Svenja Voß.

Continuing in a dubby, winter haze is “Lost In Sensation” which floats alongside a sharp, metallic rhythmic arrangement and a gentle, ever-present kick drum. Deep, heavily saturated atmospheric textures sleep underneath the sounds while lucid melodies float in and out.

“Your Orbit” rounds out the release with the most club-ready production. Disorienting melodies and gritty synths capture a dreamlike perception while a tough kick drum and clattering percussion drives the music deeper into undiscovered dancing territories just left of center. "

A creative partnership between Tom Laroye and Yam Who, Qwestlife is a trans-continental boogie trip between the two producers' respective homelands of Paris and London. Fulfilling the Glitterbox philosophy by crafting great songs the old school way with analogue and weird electronic gadgetry, Qwestlife's 'Give Me A Minute' appeared first on Glitterbox's Disco Revenge compilation and now graces vinyl for disco connoisseurs everywhere. Featuring the vocals of a frequent Yam Who collaborator, soul diva Jacqui George, 'Give Me A Minute' is an instant party anthem. Disco-fuelled synths and strings plus live sax, trumpet, guitars and bass give a glorious saturated dancefloor vibe rolled into one by sticky hooks and a timeless catchy chorus. Accompanied by the Dubbed Out Version, plus an Accapella and Bonus Beats, this sweet vinyl release provides all the good stuff that Qwestlife have to offer.

Moonshine Recordings and Steppas Records have reconnected to deliver the 3rd instalment in the Moonshine Steppas series, a debut release of Modi Bardo featuring Carlton Livingston backed by remixes from Alpha Steppa & Bukkha. Same as with the previous releases, it's a limited edition one time vinyl pressing.

Young gun and badman producer Retina returns to Foundation Audio for his debut vinyl release and quite frankly it slaps!!!!

‘Dusted’ kicks things off with a hyper 4x4 beat and an eratic bassline – this one comes flying straight out of the gates! ‘Nameless and Nothing’ a meaner, beast with its eerie atmospheres and plodding bassline takes the A2 spot. Flip the record and we have ‘No Fear I’ a subby monster best described by the word SUB. ‘If Not The Orb’ closes proceedings with a 07-08 old skool antisocial kinda vibe wrapping up the ep perfectly. Dubstep goodness from front to back and solid proof that Americans can also do the dubstep.

The original, the inspirational, the bombastic, the never bettered, the one.
'Don't make me wait' is all of the above and so much more. Classic to the core. Huge earth shattering record right here.
OK, so the scoop, for the uninitiated is this - the Peech Boys were Larry Levan's group, we're talking early 80's NYC here, 1982 to be precise, around the height of the Paradise Garage as Larry was making the transition from superstar DJ to producer. He brought a sparse, dubbed out, narcotic late night feel to the overall sound of this record. This was a short-lived project, but the influence is still felt today, the Peech Boys DNA is inside the veins of modern dance music, as is Larry's. There is no underestimating what an impact this record had. 7+ minutes of electronic bliss, trailblazing stuff, and don't get us started on the dub. Do yourself a favour, BUY this classic if you don't own it already, you'll keep coming back to it time and time again. Guaranteed. This essential 12" is repressed here in it's original 1979 glory, an essential classic that has stood the test of time for the last 30+ years & is now available again, remastered & repressed for 2017 in conjunction with West End Records, NYC.

The third release of Kay Suzuki's Time Capsule imprint rejuvenates Bill Laswell's dub reinterpretations of Ethiopian singer Gigi. Following reissues of Japanese fusionist Yuji Toriyama and Italian new age visionary Il Guardiano Del Faro, the third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.