Buscar:light house

LMYE first came to light in 2016 on Funkineven's Apron imprint with the LMYE EP, which quickly became a regular fixture at the London label's infamous parties and bbqs as well as with house DJs worldwide. Since then the pair have been relatively quiet, only appearing once on record, with a release for Bristol's Idle Hands in 2016.

The paucity of their output though belies a busy production schedule behind the scenes. Tracks from those sessions have surfaced occasionally in the sets of DJs like Shanti Celeste and Ben UFO but they have never seen the light of day on a full release until now.

As you would expect from their first releases, the self-titled LP treads a line between classic house and UK garage with a nod here and there to boogie and Latin freestyle, genres which have inspired their production techniques.

From barnstorming new jack house cut 'The Gift' to the classic UK funky sound of 'Hypnotized', LMYE have selected only the most weighty numbers at their disposal, with the aim of offering an LP that will catch the ear of those at every end of the house spectrum.

That's not to say that this is an LP of dancefloor-only cuts though. 'Long Island at Night', which features Bristol's Typesun and Adam Davies live in session, shows the softer, more musical side of LMYE's output. Meanwhile 'XTC Rising' is a uk garage cut with a classic edge which nevertheless still feels modern and up to date in its outlook.

In short, 'LMYE' collects the highlights of a number of years' work, with the aim of finding a home in the boxes of the most discerning and listeners for years to come.

The 8th record from Muzik & Friendz sees Pat Lezizmo joined by a few especially picked artists.

People who have their own take on Electronic Music and typify the sound the label is pushing.

The Obdurate Session EP brings in Al Bradley, Replika, Dsitb and Harry Light for four different trips on this.

Al Bradley takes us on an atmospheric and 80's tinged dreamstate workout with his Move A Little Closer, a refined production as we have come to expect. Pat & Dsitb keep things strictly deep with their Sea Cake cut. A sampler workout with a close groove that keeps things bubbling. Harry Lights Basement Dub brings a bit more heft to this heavy collection of tracks, pure driving House music whilst finishing the EP Replika's sample based slice of classic House On the Spot warms things up a tad, pitting washed out melody against a funked up groove.

Moonshoe set their sights south of the border, shining a light on a collaboration between two vanguards of the Melbourne underground - Ziggy of 30/70 and Analogue Attic alumni Matthew Hayes. This EP bridges both their sounds while retaining a flavour all of its own, and Hayes' spacious production affords their ideas room to breathe. The result combines disparate influences from jazz, ambient techno, house music, and broken beat to form a musical vernacular that feels singular to these two.

Freamon is a denizen of the modern world, allegedly hailing from NY, according to some, not relevant, says he. What matters is the music - finely honed and carefully crafted dancefloor gems, served up with love the way they used to be, the way they ought to be.

The Hot Damn! EP is his second release on the mysterious Turbocapitalism label, after 2016's Black Grid EP. This time, he has decided to shine a spine-tingling light on our souls. He wants you to raise your hands and put them together in an overdose of holy joy on this unashamedly celebratory slab of sweet gospel grooving. Can you feel the spirit One listen to 'No More Crying' will settle any doubts on the subject. It's gospel-funk. Or gospel-not-gospel, which is like a million samples taken from every soul record you never heard, seamlessly stitched together as if created fresh today, with one idea - to meld together into one big explosion of spine-tingling dance floor joy!

The title track takes things down a notch with a heavy kick drum shuffle - stripped back analogue house, making for an intoxicating, dense brew of sounds, feelings and ideas. Fierce, pulsating free jazz sounds, snaking around that deliciously tense, bustling bottom end, creating an infectious groove that is fresh, different and most of all, impossible to resist.

Meanwhile, Madrid's DJF and Damian Schwartz do what they do best: they take that thing straight to the centre of Detroit, let it adjust to the new environment and then freely cruise the boulevards at night.

No one had been through those doors in years. Unchanged, seemingly untouched, just a Guard watching over it, one wondered whether the place would ever see the light of day again. Built in the 70s by Scotch, there were only twenty such places in the entire world. Twenty studios, all identical. Most had undergone a digital makeover in the 80s, but not this one; situated in Lomé, this studio had stayed true to its original form. Silent and uninhabited but waiting for one thing, and one thing only: for the sacred fire to be lit once again. That of the Togolese Recording Office, is studio OTODI for those in the know. Through thick layers of dust, the console was vibrating still, impatient to be turned on and spurt out the sound so unique to analog. That sound is what Peter Solo and his band Vaudou Game came to seek out.

The original vibrations of Lomé's sound, resonating within the studio space, an undercurrent pulsing within the walls, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never really gone cold, despite the deep sleep that they had been forced into. In taking over the studio's 3000 square feet, enough to house a full orchestra, Vaudou Game had the space necessary to conjure the spirits of voodoo, those very spirits who watch over men and nature, and with whom Peter converses every day.

For the most authentic of frequencies to fully imbibe this third album, Peter Solo entrusted the rhythmic section to a Togolese bass and drum duo, putting the groove in the expert hands of those versed in feeling and a type of musicianship that you can't learn in any school. This was also a way to put OTODI on the path of a more heavily hued funk sound, the backbone of which maintains flexibility and agility when moving over to highlife, straightens out when enhanced with frequent guest Roger Damawuzan's James Brown type screams, and softens when making the way for strings. Snaking and undulating when a chorus of Togolese women takes over, guiding it towards a slow, hypnotic trance. Up until now, Vaudou Game had maintained their connection to Togo from their base in France. This time, recording the entire album in Lomé at OTODI with local musicians, Peter Solo drew the voodoo fluid directly from the source, once again using only Togolese scales to make his guitar sing, his strings acting as channels between listeners and deities...

Tracks from Aural Imbalance's Propagation Of Light album versioned and rendered for wax.

Just Breathe gets spotlighted on the A-side with two remixes. First up, Maps Of Hyperspace grafts his brand of dubby ambience to Simon's instrumentation for trippy chill house goodness. Off Land strips back the beats and ups the ambient bandwidth on his version to close out the side.

The B-side kicks off with Soul Solution, one of Mr. Huxtable's trademark lusicous atmospheric house tracks. Adriano Mirabile brings his techy production stylest o the desk on Fall Of Stars to wrap things.

Serbia's Soul Print Recordings returns after a year away, this time with Englishman Mark Hand at the helm. Four pieces of beautiful and emotive deep house from Mark, fresh from his Cobwebs EP on Uzuri earlier this year. The record kicks off with Midnight, a beautiful track with it's floaty pads and gently rippling bass tones, coupled with the great soulful voice of Greg Blackman. False Leads is a percussive number, drenched in machine soul, with on the flip, Sio's voice sits effortlessly above a downtempo beat, while Mark adds his late father's saxophone to the mix on the final jazz enfused Mountains. Complementing the wonderful music is the design, with the label art handled once again by the talented Bratislav Milenkovic, and vinyl coming in a beautiful light pink colour, making a Soul Print Recordings release both an aural and visual thing of beauty.

Envee kept us waiting for his album a little bit too long, but our patience finally pays off - "Time & Light" drops later this year! But before this happens, we got an appetizer for you - 4-track vinyl EP with tunes that didn't make the cut, but are too good to be forgotten.
It is widely acknowledged that Envee aka "The Bear" is all comfy in club environment, so it was high time to release those four club bangers on a strictly limited (300 pieces) vinyl "Time & Light EP". Two instrumental deep house dancefloor fillers on the A-Side, and two surprising covers on the B-side. The latter ones you may have already heard in Envee's DJ sets - track ID requests were flowing in, so Envee decided to finally spill the beans and put it all out on vinyl.
Cover photos were taken by Filip Blank, Animisiewasz put all the pieces together, Envee did the mix himself and Eprom Sounds Studio is responsible for mastering. Quality guaranteed!

The Strictly Rhythm imprint is legendary and is instantly recognisable by connoisseurs worldwide. It's a label that has contributed time and time again to dance music culture across it's almost 30 year lifespan. Countless classics passed through the NYC offices of Mark Finkelstein and Gladys Pizarro and this brand new 'Strictly Classics' series looks to celebrate this cornerstone dance label and it's immense catalogue by going back to the archives and presenting some double-header action for diehard fans and newcomers alike. That's right, the 'proper' mixes, reissued from source and remastered to the highest spec, each track spread across one side of a 12" for optimal sonic playback.

Number 3 in the series kicks off on a proper old-school tip with CLS' mammoth 'Can You Feel It' from 1991, a collaboration between Todd Terry and Benji Candelerio CLS made a huge and lasting impression with this euphoric and anthemic slab of dancefloor madness. Instantly recognisable from it's ravey riff and funky drum programming, file this one under 'rave classic'! Over on the flip side we have South Street Player's smoothed out '(Who) Keeps Changing Your Mind', a rolling and deep jam from Roland Clark and George Morel that came out in 1993. This one's some lights down, honest to god soulful house music, skipping garage drums and that organ driven groove offer the perfect vehicle for Clark's gorgeous vox to soar over. Yet another set of absolutely essential SR cuts from the archive!

Remastered with love by Optimum mastering, Bristol from original master sources. Made in conjunction with Strictly Rhythm 2018.

Pyramids. Jagged Teeth Pushing Through Immaculate Skies. The Ever-changing Light. The Expansive Sense Of Freedom. The Wide Open Spaces. The Textured Landscape Seen From Above. Mountains. Watchful And Immobile For Thousands Of Years, Weathering Seasons, Transcending Change.
It's December 2016. I've Left The London Madness To Hit The Reset Button And Compose New Music In A Tiny Village In The Swiss Alps. I'm Over 10,000 Feet High, It's Minus 15 Degrees And The Snow Is Scintillating Under A Rich Blue Sky. I Turn Around And Suddenly This Gigantic Pyramid-shaped Peak Is Towering Over Me, Staring Me In The Face. Mind Blown. Senses Overwhelmed. Perspective. Lightbulb Moment. I Have My Album Concept.
I Wanted To Put Into Sound My Cathartic Experiences Of The Mountains. Every Track Title Was Chosen Before Composing. The Title Would Be A Catalyst For Visual Memories, Narrative And Overall Vibes. I Continued Developing The Tracks On Occasional Trips To Switzerland, But Mainly Back In The Gritty Habitat Of London's Hackney Wick. The Urban-nature Contrast Had An Impact On The Music Too.
I Use A Lot Of Found Sound, Stuff I Have Collected Over The Years, And A Lot Of Resampled Guitar Sounds And Textures. I Love Imperfections In Sound. Detuned Synths. Distortions And Glitches. Rhythmic Flutters And Percussive Frenzy. 'manual' Cut-ups. I Love Moving To House And Disco And Getting Lost In The More Melodic Side Of Techno. I Love Polyrhythms And Melodic Counterpoints. I Love The Energy And Rawness Of A Live Rock Band. I Channel All This To Create My Own Sonic Palette.

Artwork By Jimmy Turrell, Graphic Artist And Video Director Who Combines A Love Of Handmade Collage, Drawing, Screen Printing And Painting Alongside Digital Techniques. He Has Worked For Universal Music, Nike, Lexus, Levis, Mtv, The New Yorker, Intro, Capitol Records, The New York Times, Green Peace, Beck, The Prodigy/xl Recordings, Channel 4, The Guardian, Gq, The Times, La Times, Newsweek, Getty Images, Adidas, Sony Music, New York Magazine, Wired, Glastonbury Festival, And Vanity Fair Amongst Others.

The Debut Album 'pyramids' Comes Out Worldwide On Limited Double, Green Vinyl (including Download Code).

After a string of acclaimed EPs on Heist, Dirt Crew and Quartet Series, Amsterdam's Nachtbraker presents 'When You Find a Stranger in the Alps', his first longplayer on his own Quartet Series imprint. The good-humoured Dutchman - tongue always firmly in cheek - has always refused to stick to the 'sound du jour' and the industry's conventions, following his own path instead, continually willing to step out of his comfort zone. 'When You Find a Stranger in the Alps', a nod to his favourite Coen Brothers' movie, is testament to Nachtbraker's studio prowess and drive to explore new sonic pastures and styles. The album consists of thirteen tracks, made over the course of 2,5 years in his studio at Volkshotel Amsterdam. Constantly shifting through different settings and moods, the album feels like a deep dream, with vivid details, blurry edges and a warped sense of time. The word 'stranger' in the title references to this dream state in which you sometimes can be a stranger to yourself. Album opener 'The Dream Sequence' sets the mood with a lo-slung hip-house groove that relies heavily on field recordings, like the sound of one of the capital's trams. 'Flambo', a delectable slice of up-tempo French filtered house, is aimed straight at the dance floor. Nachtbraker dims the lights on 'NSFW', cleverly manipulating samples from adult oriented flicks, and turns in a hilarious skit with 'LOL'. Flip over for 'Randy', a quintessential Nac

An Invitation To Disappear is the debut LP by British electronic musician Inland aka Ed Davenport - and his first release for A-TON. Based on his soundtrack for a video installation by conceptual artist Julian Charrière, Davenport has recast the material and field recordings into eight tracks of rhythmically intricate electronics and spectral, ambient techno, inspired by Charrière's visually striking, 76-minute tracking shot through a palm plantation toward a totemic soundsystem on full blast.
Both the album and original soundtrack were created in response to the 200th anniversary of the eruption of Indonesia's Tambora volcano in 1815, which plunged the world into darkness and caused a series of extreme weather conditions. At the time, the natural climate change crisis resulted in numerous global famines and is known throughout the northern hemisphere as 'The Year Without Summer', with global communities forced to adapt to sudden radical changes in temperature and weather.
An Invitation To Disappear offers a contemporary parallel, leading viewers - and listeners - down a seemingly endless direct path of gridded palms from dawn to dusk; a bio-commercial monoculture where ancient jungle once flourished. Light flickers between rows of fruit-laden trees and a distant fire burns in the undergrowth where the border between natural image and computer simulation breaks down. At the same time, formerly incoherent rumblings of sub-frequencies begin to transform into the contours of rhythm. This is reflected sonically in eight perspectives on the lush, synthetic jungle, made of myriad buzzing fauna, morphing melody and colossal bassweight. All paths lead toward an apocalyptic dancefloor, though speeds vary widely; rhythms dissolve from straight to broken, synth tempos operate by their own internal clocks (and logic). Juxtaposing industrial agriculture with rave culture, the album explores the industrialization and refinement of nature, and the new strange forms emerging from the synthetic grids of both.
As Inland, Davenport has previously contributed soundtracks to other installations by the Swiss-born Charrière, whose artistic practice focuses on bridging environmental science and cultural history, often taking place in remote geophysical locations, including ice fields, volcanos and radioactive sites.
Julian Charrière is a French-Swiss artist based in Berlin. A former student of Olafur Eliasson at the Institut für Raumexperimente, Charrière's art explores post-romantic constructions of nature, staging tensions between deep or geological timescales and those relating to mankind. His work has previously been shown across the globe, including at the main exhibition of the Venice Biennale in 2017, a solo show at Kunsthalle Mainz this past Spring and an upcoming solo show at the Berlinische Galerie opening September 26.
Inland (real name Ed Davenport) is a British producer, DJ and founder of Counterchange Records based in Berlin. Known for his detailed and explorative house and techno releases on his own label, Infrastructure, Naïf and more, Davenport has recently gravitated toward the contemporary art world, finding inspiration in the cross-pollination between Berlin's art and music scenes. Previous sound design collaborations with Charrière have been exhibited in institutions such as the Musée des Beaux-Arts de Lausanne in 2014 and Thyssen- Bornemisza Contemporary in Vienna in 2017.
The gallery version of An Invitation To Disappear premiered this past April at the Kunsthalle Mainz and will be on display at the Berlinische Galerie as part of Charrière's solo exhibition As We Used to Float, opening September 26, 2018. The LP will premier live together with the video installation during a special presentation in Berghain the same day for Berlin Art Week.

Almost three decades after he put out his first record as one half of Tummy Touch twosome Tutto Matto, Paulo Guigliemino continues to produce effortlessly brilliant music that joins the dots between vintage disco, boogie, proto-house and sun-kissed Balearica. For proof, just check the heavyweight dancefloor sunshine that is 'Bella Topa', his first release on Leng Records.

Slow, sensual and blessed with all manner of delay-laden drum machine percussion hits, the track fixes the producer's usual colourful, boogie-era synth flourishes and ear-pleasing instrumentation (think fluid electric pianos, fluttering flutes, eyes-closed jazz guitar solos, lilting saxophones and spacey electronic chords) to a chugging, head-in-the-clouds groove reminiscent of Lindstrom and Prins Thomas's early collaborative work. 'Bella Topa' cleverly shifts shape several times throughout, utilising jazzier rhythms and bolder melodies to light up key moments.

Remixes come from Guigliemino's old pal Federico Marton, a producer best known for being one half of sometime Get Physical, Superfiction and Snatch Recordings artists Italoboyz. He lays down two distinctive revisions, starting with a 'Slow' club reconstruction that adds additional percussive heaviness and sparkling electronics to Super Paolo's twinkling, sun-baked original.

His other version, a 'Fast' club reconstruction, drags Guigliemino's track towards peak-time dancefloors kicking and screaming. Making the most of his friend's killer groove and finding sufficient time and space for each life-affirming musical element to sparkle, his mix bobs, weaves and eventually soars for 12 mesmerizing minutes. The mix, like his slow version, makes use of additional percussion and wisely gives more prominence to the A-side's spacey electronics and boogie-influenced synthesizer flourishes. The results are little less than breathtaking.

Volume five of the killer Britxotica! series, looking this time at 16 super rare and briliantly bonkers latin and percussive pop cues from the wild British Isles!

HISTORY:
Britxotica! (pronounced 'Britzotica') neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! Put together by Jonny Trunk with DJ / tastemaker and Smashing nighclub legend Martin Green, these groundbreaking new compilations shine new light on lost and forgotten corners of British culture and sound.

For this, Part Five of our planned Britxotica! series we head to lively latin tinged dancefloors where Brits could cha cha cha to the KIrchin band, 'Jump In The Line' with Frank Holder and Mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary loungecore hit 'House Of Bamboo' plus the stunning 'Jonny One Note' by Ted Heath, the track that originally introduced John Craven's Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UKs most wild record collectors. Also, there are men in underpants on the sleeve, What's not to like

Beautiful 1 Lp Edition With 140g Vinyl, Stoughton Tip-on Sleeve, Liner Notes (english & Japanese) By Chee Shimizu, Sticker Official Reissue Of Diggers' Favorite Colored Music Available On Vinyl And Cd Or The First Time Since 1981. Genre: Electronic, New Wave, Pop, Synth, Experimental Wrwtfww Records Is Deliriously Happy To Announce The Reissue Of The 1981 Self-titled Album From Cult Japanese Duo Colored Music, Available On Vinyl (housed In A Stoughton Tip-on Sleeve) And Digipack Cd, With Liner Notes By Digger, Curator, Connoisseur, Writer And Legend Chee Shimizu. An Incredible Mix Of Cosmic New Wave, Unconventional Disco, Avant-garde Synth Pop, And Hybrid Electronic Funk, Colored Music Is Enchantingly Unique, A Sort Of Experimental And Magnetizing Take On David Bowie's Berlin Trilogy With A Psychedelic Haruomi Hosono Touch. From The Groovy Post-punk Glam Title Track To The Proto-house Dance Floor Killer heartbeat", Ichiko Hashimoto And Atsuo Fujimoto Hit All The Right (and Sometimes Not-exactly-right-but-truly-genius) Notes To Create The Odd And Beautiful, An Unparalleled Audio Escape To The Best Elsewhere You Can Think Of. Also Playing On The Album Are Celebrated Musicians Mansaku Kimura, Shuichi ponta' Murakami (pacific, Ki-motion By Mkwaju Ensemble, Collaborations With Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono...) Kiyohiko Semba, Tamio doyo' Kawabata, And Tatsuhiko Hizawa.

Following a killer acid-piano house 12" and contributing a Test Pressing-certified new-disco chug to a split release with Tuff City Kids (both) on Terre des Pommes in 2014, The Working Elite further refine their ability to soundtrack festivities with Rockman / Born Again. While "Rockman" conveys an understatedly cinematic mood with repeated imitation string cycles over crisp electro foundations, "Born Again" presents a new wave / rave endurance test, summoning perspiration from dedicated day-dancers with its metronomic hammer of a beat overlaid with motivating synth-lines like marching toys. On the flip, Saap and Lauer (Tuff City Kids) provide inventive interpretations of these tunes, reshaping "Rockman" into a stomping, flashing-lights electro jam while "Born Again" gets a delightfully multi-dimensional digi-dub treatment complete with acid-reggae breakdown over a 4/4 house beat.

It's bit special this time cause a side is an early 90s house anthem AKIS produced and on the flip side you have the demo he recorded at Vangelis Katsoulis studio during the late 80s.

Point of View is a new parallel project by Cognitiva Records.
It is a limited series of 150 hand-signed "7inch" copies.
Each release will compare two artists, different points of view with the same pattern. side A Beraber - Shades Play
Beraber is an Amsterdam based producer and dj that made his debut with this moniker on La Freund Recordings. He has a bi-monthly show on Red Light Radio.
This time he has delivered a special groovy production with deeply roots in 90s italian house. A rich and full sound with few elements; it's his goal. 'Shades Play' is mainly Juno-6, Korg M1 and TR-707.

Brand new release on Mondo Groove with a Remix double pack of selected tracks from Daniele Baldelli classic 'Cosmic Temple' six chapters that were out on the italian label from 2015 to 2017. You can find everything for everyone in these new versions. DJ Tennis and In Flagranti tributing pure Cosmic sound with their interpretations of - Gandharva' and - Afelio', DJ Ralf transforming - Kosmaro' into a house stomper, Tiger & Woods adding their subtle boogie touch and edit science to - Vhanessa', Clap!Clap! going deep and percussive on - Isotropo Funk', Alkalino tripping italo-disco with - Inner Light', Club Paradiso in an afro-balearic clash on - Joka Joka', Eric Duncan working a deep-techy groove on - Diffrazione', and Dionigi, often production partner of Baldelli, finishing in glory with a brilliant funky take on - Taxon'. You can't sleep on this.

Mang Dynasty are the collective force of Bill Brewster and Ray Mang. Both should need no introduction! Together they combine to form the mighty Mang Dynasty, and deliver 'Crash the Box' - a riot of afrobeat, house and disco stylings, laced expertly with horn stabs and vocal chops, guaranteed to light up any club or festival stage. On the remixes are two exciting up and coming producers currently making waves: Lord Leopard offers a chunky, abstract bumping house version that's good for the floor.
Tee Mango takes a loopy disco excursion, with squelchy synth stabs and party starting vocal."