Search:m high

Following two staggering contributions from The Analogue Roland Orchestra and 2030 that illustrated to boundless sonic possibilities for the label, Deep'a & Biri return to their Tel Aviv-based Black Crow label with a pair of powerful, emotive techno cuts in the style for which the duo long since become admired. For a long time one of those admirers has been Detroit techno founding father Derrick May, who has been on a mission to push the new 12s A-side, 'Basic Cycle', into instant classic territory through his unwavering commitment to making the track a highlight of his sets. May has been far from alone, with the track being one that D&B have been asked about, if not outright begged for, over the past year or so. It finally becomes available to techno fans worldwide in January 2017, backed by the pummelling rhythms of 'OverDrum', which itself has the potential to turn heads and drop jaws all by itself.

To begin the year with, Antinote summoned Panoptique and JC Satan's Paula to release a badass two-tracker, paying a pared-down tribute to a very overlooked period in recent musical history: the accursed electroclash-era.
.
At a time when 'Balearic' has become the new musical gospel, the holiest adjective one can use to describe one's music (and therefore, electroclash has become the musical antichrist - to keep going with the biblical comparison)... while everyone seems to glorify stuff like Ibiza's 'endless sunsets', the duo happily kicks over the anthill with a song, a record and a band soberly called Succhiamo (first person plural of 'to suck' in Italian). The title-track straightforwardly announces what the main elements of Succhiamo's music are: over-saturated simple patterns of drum machines and EBM-infused lines of synths backing overtly sexual vocals in Italian. Nothing more, nothing less.

On the flip side, Succhiamo deals with the same formula in depth, engaging this time in detailing a meaningless list of products available in the 'supermercato'. The song conveys a nihilist - but fun - attitude, and it just sounds as if the band was crashing a car in a commercial zone in high spirits... As a kind of inheritor to Ich Bin, Succhiamo offers to bring some stupidity in the club and gives serious dance music producers the finger, like some irreverent Franco-Italian Beavis & Butthead.

Infernal Sounds is discharging its fifth hefty, system-affine release, adding another highly regarded talent to their roster. Having featured revered producers like Von D, Sepia, Causa, Shu & Perverse, the label has clearly positioned itself in the front row seat of the modern dubstep movement. Representing a combination of upholding the values of system music with a 21st-century take on sound - the next release, catalogued as 'IFS005' is stylistically congruent and adds to the discography in total.

It is now time for highly talented Sub Basics (Tom Woods) to augment the imprint's discography with his ridiculously massive incarnation of bass music. His debut vinyl release on the Canadian imprint 'Visceral Vibrations' in 2015 has garnered ample amounts of positive reception by esteemed figures in the scene like Versa, Syte and J:Kenzo. After an equally praised 10' dubplate release ( Give Dem') in 2016, we now find ourselves in the silence before the thunderstorm, that is this very record. His upcoming release includes three tracks, two of which will feature on vinyl (A. Horus/ B. Cartel), while the third 'Northern Lights' will be a Bandcamp-exclusive.

Diving into the sound at hand, his arrangements are closely aligned and firmly true to the origins of Dubstep - conjugated with extreme clarity, as well as preposterous amounts of weight and gravitas. The impeccable execution of his minimalistic sound design will leave this release rumbling on soundsystems around the globe - and will most stay a fan's favourite draw from the record bag for a good while.


Perfectly displaying a refined sense of dynamics with 'Horus', Sub Basics effortlessly squeezes every available ounce of air out of the system, while preserving an immense sense of space. The highly infatuating groove of 'Cartel' is mingled with a sweltering foundation - tied together through his meticulous attention to detail. As etheral pads complement the gnarly drum reverberations and bird's cries recoil - the listener is left in a surreal world of the 'Northern Lights' - apprehended by the sonorous magnitude of the bassline. Completed by creamy atmospheres with tape-echo-esque characteristics, this whole release is sure to tick all your boxes from top to bottom - IFS005 has already received support from J:Kenzo & Foamplate among others, therefore the pre-order is strongly advised.

Released in 1982, "Weltweit" was the sole output of the band. It has appropriately become quite rare and difficult to find with the resulting high prices to obtain an original copy. Inspired by the greats such as Kraftwerk, YMO and Klaus Schulze, the three members crafted an exquisite collection of electronic pop songs played on a very impressive collection of analog synthesizers (Arp Odyssey, Korg MS series, MiniMoog, PolyMoog, Moog Modular System 55, PPG 360, some Rolands, and Doepfer sequencer), self-builds and drum machines (Roland TR-808) that were considered cutting edge at the time. The band would have recorded a second album but split up before that was possible. Members of the band continued to be involved in the music industry at least peripherally but didn't participate in further collaborations or bands. Also interestingly, MONOPOL was basically a studio-only project and actually never played live (despite some TV appearances).

Definitely a must-have for fans of NDW such as Bal Paré, Grauzone, Piefke & Pafke, Rheingold, Stahlnetz, Ti-Tho and the like.

'Nãnã Imborô' is a deep rootsy samba masterpiece that may have influenced Jorge Ben's 'Mas Que Nada. The song appears on the much-revered and highly influential 'Tam... Tam... Tam...!' LP originally released way back in 1958. Gilles Peterson spent many years trying to track down an original and recently reinterpreted it with remixed and reworks. Wróblewski Jazz Quintet's version from 1960's Poland is a wonderful mellow, atmospheric jazz version. A soaring main brass line with vibes and drums bubbling underneath. Originally released on a 4-track EP, we thought it needed a full side!

COMPILED BY PETE PASQUAL, ERICA OLSON & DJ KINETIC

Following on from acclaimed compilations like 'Down Under Nuggets' and 'Heavy Soul' (and two other new titles 'Running The Voodoo Down' and 'Dodgy Bossa (& Silly Sambas)' - details below), Festival Records presents another deep dig into the archives, this time shining a light on rare Australian soul-jazz, jazz-funk, and freaked-out groove rock from the late '60s and '70s.

BACK ON THE STREET AGAIN - AUSTRALIAN FUNK, SOUL & PSYCH (MOSTLY) FROM THE FESTIVAL VAULTS is a stunning 20 track CD and 2LP release that highlights a point when the previously disparate styles of rock, jazz and soul all started influencing each other, and exciting new genres were created. To quote the liner notes (by DJ Kinetic):

Australia produced some amazing music during the 60s and 70s that sat outside of the normal rock mould. Avant guard artists like John Sangster pushed boundaries and experimented with the fusion of local and overseas influences, artists like Dalvanius recorded soaring disco music that was lost amongst the popular music of the time, only to be rediscovered by DJs overseas who were searching for unknown sounds, composers like Brute Force and His Drum took risks and recorded left-field funky sounds hidden within their more mainstream compositions, and popular artists like Billy Thorpe occasionally strayed from their A&R directions and took leaves from the books of American artists who were largely unknown in Australia at the time. Beneath the veneer of bland rock and roll lay an unknown multitude of funky sounds hidden from mainstream view.

In addition to the artists that Kinetic mentions (and the compilation features two John Sangster tracks - stunning versions of 'Hair' and the Beatles' 'A Day In The Life'), the collection includes iconic names of the era like the Daly-Wilson Big Band (featuring Kerrie Biddell), Renee Geyer and the Johnny Rocco Band. '60s sides from Ross D Wyllie and The ID (featuring Jeff St John) reveal the various styles' roots in American rhythm & blues, and the unexpected inclusion of some legendary Australian rock outfits like Tamam Shud and Blackfeather reveals the psychedelic and progressive rock influences at play. The full range of the music is highlighted by the inclusion of both cabaret/daytime TV performer Al Styne and outrageous Kings Cross club act Count Copernicus & The Cosmic Fire as well as the in-house studio 'pops' orchestra, Festival Studio 24 Orchestra.

Co-compilers Pete Pasqual, Erica Olson and DJ Kentic to undertake interviews with specialist media around release. Facebook ad's around release.

A real rarity! 1977's "Stepping Out" by obscure Oliver Sain produced Funk/Soul outfit The 13th Floor has always been a tough LP to catch, the only release by this lesser known St.Louis outfit showcased a unique blend of jazz, funk and soul that has intrigued hardcore collectors of rare grooves and black music since it's release. Released on the highly collectable Blue Candle sub label of Miami's TK Disco empire, "Stepping Out" features lots of different musical flavours - from the languid, Ohio Players-esque "Hang loose" and the incessant mid-tempo burner "Leanin" to the dance-floor groove of "Sweet thang", the LP showcases across it's 9 tracks show a band at the top of it's game, completely in tune with each other and firmly in the pocket. This should be no surprise when you consider the opening track of the album is co-written by a young Chaka Khan and members of the band went on to form parts of her band Rufus and played alongside artists such as Patti Austin, Maxayn Lewis, Ronnie McNeir and High Voltage. The overall feel of the album is one of amazing musicians keeping it gritty, soulful and most of all, funky! This album has always demanded high prices on the second hand / used vinyl market and is a truly lesser spotted gem, which is surprising considering the eye catching sleeve artwork!
This is the first time that The 13th Floor's "Stepping Out" has been reissued on vinyl, fully remastered from TK's original tapes, represented the way the the LP was issued in 1977 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.

Returning to Hypercolour with a second volume of his Sugar Cane Chronicles, Gary Gritness lays down more devastating funk and classy riffing over his trusty Roland 606. After the first volume, released last April, sold out its vinyl run, Gritness delivers more explorations and adventures into his unique and soulful world. Having elusively built his reputation as an outstanding session player, live producer and fantastically dressed Funkateer, Gritness has delivered a handful of releases on labels like Clone Crown Ltd, Nyami Nyami and his own DIY and cassette-only Slikk Tapes. "Steady Choosin" gets downright fusion-jazz and Gritness fires out seductive melodies and latin piano playing of the highest order whilst "Countin Up With Starr" delves into a darker well of synth mania, with a sexual groove reminiscing of Rick James, all the while retaining Gary's signature licks and riffs. "Runner Joe's Revenge" on the flip ramps up the hysteria for a gritty and colossal production that typifies his love of cyberpunk soundtracks and the drama and narrative to be found in this style. "The Sugar Cane Chronicles Vol. 2 closes with the low-slung "Pool Shark Loot", wrapping up on a mysterious and captivating tone; its wandering bassline and melodic touches carrying all the signature Gritness sounds, with the P-Funk sleaziness on top.

Fresh, jacking & swinging, classic 1990s US House trained, highly effective DJ tool set.

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo's newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. It's not very common to find a female singer performing publicly among the Peulh. But Poulo's mother's co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo's entree into the music world was auspic ious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo's first internationally-distributed record. On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n'goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shapeshifting layers of rhythm and woody overtones match Poulo's commanding voice in a jocular yet deliberate dance. This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. Poulo's conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali's melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.

The xx today announce details of their highly anticipated third album. Titled I See You, the ten song album will be released on 13th January 2017 via Young Turks. I See You is the follow up to The xx's two previous albums - xx and Coexist - which have sold over 3 million copies between them, winning a host of accolades along the way.I See You marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith, both sonically and in terms of process. For while xx and Coexist were both made in relative isolation in London, I See You was recorded between March 2014 and August 2016 in New York, Marfa TX, Reykjavik, Los Angeles and London, and is characterised by a more outward-looking, open and expansive approach. Produced by Jamie Smith and Rodaidh McDonald, I See You is The xx at their boldest yet, performing with more clarity and ambition than ever before.I See You will be available on CD and LP, with each physical format featuring a debossed mirri board sleeve.
Two vinyl versions of the album, with full product descriptions as follows - Standard Vinyl: 10 tracks, in a debossed mirror board sleeve with a download + CD copy of the album - Deluxe Box Set: Silver mirri board debossed box containing the album on 180g heavyweight vinyl, with an extra 12' including 3 bonus tracks, album CD, enhanced CD featuring a live video of bonus track 'Brave For You (Marfa Demo)' and 3 exclusive prints by Alasdair McLellan.

Counterweight is well known for their party series in Munich defined by their strong bookings. Now the guys decided to go a step further and start with their own Vinyl label. Their first release shows already what they stand for and what you can expect in the future CWTs releases. This release is also the debut EP of the Spanish DJ and Producer Gonzo MDF, who shows his ambition and love for rough sounds. High BPM, Industrial, violent synthesizers and really heavy kick-drums are what you'll find in this Sacrificio EP. Get your copy before it's sold out, 180 gr Limited Press!!

Red Vinyl

After a very successful label launch last year with "In Aeternam Vale - Self Destruct EP". Linda Records returns with another straight talking, analog fuelled 10". This time welcoming aboard Berlin based Russian artist "Alexey Volkov". His three track EP "Cold Blooded Genius" comes finely presented on transparent red ten inch vinyl (limited pressing). Whilst staying true to its current white label feel, this time Linda's trademark eyes, also a fitting red. On the A Side at 45RPM the title track "Cold Blooded Genius" and on the B Side two tracks will spin at 33RPM, "Unfriendly Nation" & "Curtains Of Flesh". We hate to categorise and attempt to summarise what these pieces of music craft sound like into words, we'll leave you to indulge for a short time to the machine noise of the highly regarded talent that is Alexey Volkov...

Recorded in 1969, the fourth album from Sly And The Family Stone, "Stand!" was the crowning musical statement by this unisex, multi-racial rock and soul combo from the Bay Area of San Francisco, featuring four chart hits, including the number one smash "Everyday People", "Stand!" virtually invented the 'progressive' funk of the 1970s and 80s, jettisoning the trappings of 60s soul and paving the way for a new sound that would influence other artists to this day.

40 years after the huge international impact of OXYGENE, and 20 years from its second volume OXYGENE 7-13, Jean-Michel Jarre is fulfilling a trilogy of albums with OXYGENE 3, containing seven newly composed and recorded pieces, consistently titled parts 14-20.

His inspiration for the newly added parts on OXYGENE 3 was not to go back in time, but to add a sense of now' to his iconic piece of work. Plunging into the environment of OXYGENE with its highly original dark, moody and at times quite upbeat musical language, Jarre references some of the music from his entire body of work on OXYGENE 3. It's a state-of-the-art recording, embracing both classic and modern ways of music production.
This release is available on single LP heavyweight vinyl.

For the Mapuches or "People of the earth" the forces of good or "Ngnech" -meaning life and construction- opposes the forces of evil or "Wekufe", representing the destruction and death.Through their ritual ceremonies, they seek to balance of these two dissimilar energies.
The nguillatun, the great ceremony of supplication, is high on all these ceremonies.
During the ceremony dances are performed accompanied by various prayers.
This first release, Suyai, has 3 tracks from Rehue (Auca + Zedje) emerged from a joint work between Madrid and Buenos Aires. The remix is an incredible work from the french artist, Von Grall. All the tracks mastered by Neel.

7"
* One of the earliest recordings from Bush Chemists aka Dougle Wardrop & Chazbo which features vocals from King General on what was his first ever released recording dating from 1994
* Highly sought after by collectors. General's vocal cut previously only ever appeared on a Dubnology 12' back in the day. Also, the dub cut featured on the B-Side is a different mix from the version on the 12'.
* Another successful archive raid from Partial Records.

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Arthur Forests name should be more widely known in the world of dance music, the man lent his expert to touch to more than one classic record emanating from Detroit during his time and has quietly left an indelible fingerprint on House and Techno history. Here at Mint Condition and for our third release we are extremely proud to present one of Art Forest's (in our opinion) finest moments - The majestic, futuristic 'Expectations' EP. Released in 1992, this 4 track EP has always been sought after by Detroit lovers worldwide. Often very difficult to track down and commanding high prices on the second hand market, this 12" is a real rarity. Showcasing a style that stands out from a lot of records released around the same period "Expectations" still sounds so killer today. Listen to "Flow with me" on the b-side, an insanely deep, melancholic piece of Detroit house, steeped in motor city futurism (those synth pads!) and with an otherworldly vocal performance from Dan Carter it ticks all the boxes, absolutely sublime and worth the admission fee here alone. Stunning.
If you're up to your neck in the history of Detroit dance music, or if you've literally just stumbled upon this entire world of amazing music (Welcome!) you'll want a piece of this. Beautifully crafted deepness from a quiet master of the artform, what's not to dig MC003 has been reissued with the permission and involvement of Arthur Forest and remastered by London's very own Curvepusher. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!
'Mint Condition - We're out there'

The audio - navigators on this high - breed workout are

Leyla's 'Parallels & Influences EP' brings together Mondkopf, Positive Centre, Codex Empire & Yuji Kondo for an assaulting 4 tracks of power infused and industrial strength techno.
Mondkopf starts things roling with militaristic snare rolls and off-kilter analog synthesis into a climatic fervor of dystopian scene-scaping. This then is followed upu energetically by the pounding pressure and liquid 303 squelches of Positive Centre's 'Rub'. Crushed out cymbals battle against booming sub bass as a foghorn call rides high above the tempestuous patterns.
Codex Empire's 'Hessdalen' is as slick and detailed as it is ruff and raw. Huge sweeping backgrounds with intense high end percussion lick over a stomping, staggered kick pattern. Yuji Kondo (one half of the excellent Steven Porter project with Katsunori Sawa) brings things to a close with 'Whip Blow'. Bringing his signature refusal for traditional percussion sources - this peaking track pits high level technicality against deeply hypnotic and brooding rhythm.

Born out of a love for Disco records and odd electronics, Casino Times is the project of producers Joseph Spencer and Nicholas Church - a musical partnership that is rooted in House and Techno but often treads into the weird and wonderful.
Since first starting the project in 2010 Spencer and Church have steadily been crafting a back catalog that reflects their varied tastes and unique approach to electronic music. This has seen them release on a wealth of respected labels such as Wolf Music, Futureboogie Recordings & Permanent Vacation, just to name a few.The debut on Omena, 'Decoded EP', consists of four tracks highlighting a distinct development of their musical style.
No need to dissect each and every track here to explain how it sounds, just play it and enjoy. Everyone from your grandparents to your neighbour and best friend will ask for track IDs.

Following on from Plus Instruments Love Is Enough Remixes EP comes an accompanying Dubs EP, featuring deeper reversions by Jamie Paton, Luke Solomon, Khidja and joining them with a breaks meets dubwise, Alphonse. Truus de Groots return to her Plus Instruments project after a 30 years break saw the label pick up her off-kilter House roller, Love Is Enough for one of our (e)special remixing packages. Here then, we turn out attention to everyones favourite, the Dubs. Starting with label mainframe, Jamie Paton, his Cloudy Dub-Out pulls his mix through modular prisms for heads down basement rumble. Echo chamber vocals, twisted syncopations and a bass to breakdown walls, this is Patons true calling - dub to get lost in and rightful to kick off the EP. Next guest remixer de jour, Luke Solomon stays close to his original bumpin remix, warping the vocal with skatntrippin wonk, all atop a funk bass line and riding shuffle percussion. Cha cha cha. On the flip, Khidja triumph again with a tougher version. Not a straight up dub of their remix, this pushes a nod to colder (wave) vibes, with industrial percussion riding high on their trademark production. Hard kick atop refrained synths, growing out of Eastern protoid routes to glimpse their future. Finally, mystery man Alphonse comes in from the dark to close with a killer breaks inspired dub. Utilising the originals bass with an angular break, the intricate cut up percussion, Theremin and vocals all glide, keeping the head and feet (jazz) dancing for some (free) party sound system love. Dub is enough

By his debut album "Alcatraz" in January 2015, ARAS label head André Galluzzi thrilled with a concept album inspired by occult sounds and psychedelic vocals. "Alcatraz" as a whole is a captivating piece of art, its the essence of a club night. Now after received a wave of icredible feedback from "Alcatraz", the bird returns to ARAS with a bunch of remixes of the hypnotic track "Mathilda". Time to welcome Mike Shannon and Jacek Sienkiewicz to the ARAS family. This remixes will be a blast at the club by its very deep and reduced, futuristic interpretations. Mike, as head A&R of Cynosure and formerly Revolver Canada Recordings over 10 years, has shown an uncanny ability to select and produce tracks which have become go-to fixtures in the sets of the industry's best DJs. Far from pursuing the next one hit wonder or sound of the season, his steadfast curatorial vision and passion for the music have earned him the trust of discerning music connoisseurs the world over. Alongside DeWalta, Mike impressed lately with his album "Residual" on Cynosure/ meander back in March 2016. Jacek Sienkiewicz lives in Warsaw and he is a key figure in Polish electronic music scene. He holds Recognition since 1999, one famous label based in Berlin. With one foot deep in classic Detroit and Chicago dance scene, and the other in modern jazz and classical music, Jacek's tracks for the past ten years always try to find a right balance between the avant-garde and dancefloor, between primal emotions and highly sophisticated sonic wizardry. His latest album "Hideland" has been released in August 2016 on Recognition.

Dance floor taskmaster REINHARD VOIGT is at it again,

dropping a new set of raw, willful techno cuts that follow his much-acclaimed solo release REISEN & SPEISEN (KOMPAKT 338) and a stirring split EP effort with Michael Mayer on TIME IS RUNNING (KOMPAKT 328). He even found time in his busy Kompakt schedule to throw in a rare remix for El_Txef_A on rising underground imprint Forbidden Colours. Voigt's latest outing KONTRASTE fits snugly in the artist's tradition of powerful, minimalistic techno with a headbanging twist: oscillating between pure movement,

and monolithic, abstract riff, the a side's THE SINGING SAW interweaves several rugged synth motives around a stoic, empowering bassdrum, while b side jam TRUST takes the scenic route, building its simple, yet highly effective lead sounds up into a towering grinder with a touch of silkiness. As we've grown to expect from REINHARD VOIGT, the whole is always greater than the sums of its parts, with these new recordings again proving his mastery of all things banging.

Black Truffle is thrilled to announce Reverse Tree, the new LP from the acclaimed duo of Eyvind Kang and Jessika Kenney, two musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms. Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo (documented on The face of the earth and Aestuarium, both released on Ideological Organ/Editions Mego) most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations.
On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney's voice and Kang's viola alongside a multitude of other instrumentalists. Kang's Thoughts on Being Exiled to the Frontier, for Lord Wei, inspired by a text by the Tang dynasty poet Hsueh T'ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Guðnadóttir, and guitarists Oren Ambarchi and Stephen O'Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney's voice, which sings long, wavering tones, at times reminiscent of Michiko Hirayama's classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature (the irregular rhythms of the piece calling to mind nothing so much as drops of rain), the piece opens a space both serene and subtly uneasy.
Kenney's 'Elm features Kenney and vocalist Nova Ruth (of Filastine & Twin Sista) alongside an ensemble of strings and Seattle's Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan's instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara the IV). The melody is sung as a rich and wavering heterophony, with the ensemble sometimes rising up to support individual notes. The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. This is music in slow motion, in which, in Kenney's words,

Moonshine Recordings continues to coordinate dub into all sorts of directions with its steady throughput of vinyl releases. This time around, it's the Spanish-based Bukkha to uplift all followers with two up-tempo rollers that take part in his crucial 'Ruling Sound' EP. His name has been all over the news inside bass culture lately, as the American released highly noted physical music on critical labels like Killa Sound and Dub-Stuy Records. He's been working his way to the top and the only thing the Moonshine Recordings imprint can do is support his efforts in pushing dub music to the masses at any given moment of the day.
On top of this wicked news, Portland's dub producer and engineer 'Skelli Skel' joins this session to frame the taste of the 'PDX Mandem' collective from back home. His love for complex rhythms and heavy bass lines fuel his adventure inside dub culture, something you'll hear when listening to 'MS028'. And with the familiar voice from don Junior Dread, who jumps in on the hype by illuminating the dub with carefully selected freedom of speech, it's the collaboration that speaks for itself. To top it all, TMSV is added to the release roster, a producer whose been dealing some serious damage with his inventive music repertoire. Whether it's music on the darker tip, or the more laidback sound, both Bukkha and TMSV know how to uplift and please their followers with bass-heavy, eardrums-teasing bass music.
Bukkha's 'Ruling Sound' leads his way through musicality by portraying the right balance of instruments and not to mention the gigantic bassline that disperses vibrantly through the lower bottom of the mix. The reigning vocal support from Junior Dread and dub techniques from PDX Mandem family Skelli Skell work out fantastically, as it makes this record come to life. Listen to the instrumental part that propagates in the exact sense of 'dub music', regardless of spinning on a higher beats per minute. The version 'Ruling Dub' by Bukkha himself plays a more meditative part inside your headspace; a clipping where basslines and effects will act up in a blurred version. It's the real attention to detail the American producer shares with remix boss TMSV, who hits fans with a darker joint that pays homage to Drum & Bass. It's aggressive stance forms the pinnacle of 'the right' B-side of a Moonshine Recordings plate. Just make sure you experience the second drop of this absolutely mammoth interpretation, as TMSV shuts down the place!

Just in time for ADE, we are more than happy to present a new release by one of our main protagonists since our renaissance. Lehar has made a fascinating career in only two years, he is a key member in our label family as well as Diynamic and plays gigs around the world. His "White Diary EP" is his most unique release so far, with two original tracks by him and two dub versions by UK house legend Charles Webster.
"The Cave" is a very touching track which again shows Lehar's love for deep but popish moments in his music. Again, he has teamed up with L.A. singer Rush Midnight, who already lent his voice to "Number One Hero", which was released earlier this year on the Diynamic sub-imprint 2Diy4. An instrumental version is also available in the digital package.
The title track "The White Diary" is a demanding and hypnotic builder, which was already played often by Solomun during the summer. This is a next level Lehar track, signature sound structure combined with a highly effective arrangement. A winner for many situations.
Charles Webster has been a favourite of the Connaisseur label heads Alex Flitsch and Martin Henkel for ages. Requesting a remix by him has been on the Connaisseur bucket list since day one. He gave "The Cave" two different dub treatments, one
better than the other. His "Dub the First" already takes the original one foor deeper, making it very timeless and hypnotic. His "Dub the Second" takes it even deeper and is adding a proper portion of trippiness. Music for the guardians of the real stuff!

TV .OUT from Tel Aviv, this limited 10 Inch, remind to the old italian productions on MBG and DFC Records. TIP !

Our official first time full lenght vinyl release of the James Walsh Gypsy Band album I've got the feeling has been a huge success and are now sold out from the label. As an answer to the demand, we have now pressed a small run of 7" single for the 45 collectors and Dj's. Limited run of 500 only. The 45 is special designed på Hans Jørgen Wærner who also did the original cover art.

Side A: The fantastic uptempo AOR Modern Soul track, I've Got The Feeling was an easy choice as the A side. Smooth soulful sounds for the dancefloor or travelling along the coust of California. The track was also featured on the fantastic Americana - Rock Your Soul on BBE Records.

Side B: Caves of Altamira is a fantastic mid tempo cover of the Steely Dan track. Funky, smooth soulful version with the Tower of Power horns make this as a runner up of the best version of the track.

Here is a review from Juno Records of The James Walsh Gypsy full lenght album, Ive Got The Feeling:

The James Walsh Gypsy Band is kind of the outfit to go to if you're looking for some blue-eyed soul but, just like Ned Doheny and his sublime reissue on Numero, the band never fully came out of its shell and they were limited to just one album on RCA Victor, 1998's self-tiled LP...until now. I've Got The Feelin' was recorded a year later, in 1979, at the legendary Muscle Shoal Studios, but it never made it out onto the shelves apart from a seriously limited CDR run. Norway's Preservation has thankfully done the right thing by pressing it up on vinyl, and the opening title track is as just as wonderful as the first time we heard - a true soul masterpiece with a clear LA influence. "Looks Like You Got Down In Love" is a funkier, more soulful version of Credence at their deepest, while other highlights include the supremely majestic "It's Over Now", and the tear-jerking "Alabama Eyes". It's a road album, the sort you want to really take in properly. Recommended.

When Jerry Lee Lewis walks on-stage, he provokes uproar just by standing still... And from the moment he hits the keyboard, hands raking and floating around the mic stand, hair flying, he leaves no one in any doubt about who gives the greatest live show on earth.



One of the few serious contenders to Elvis Presley's title of the King of Rock 'n' Roll, Lewis made his finest recordings during his early years with Sun Records. Whilst there he recorded prolifically, encompassing the diverse musical styles, including: country, gospel, blues, hillbilly and R&B, genres which he had grown up listening to.



This new LP highlights the cream of Lewis' peerless recordings made for Sun Records, when he was at his creative peak and includes: 'Great Balls Of Fire', 'Whole Lotta Shakin' Going On', and 'Wild One (Real Wild Child)'.



The Sun Rockabilly Legends Series is produced by Sun Entertainment Corporation president John A. Singleton and Charly Records founder Jean-Luc Young.



'The Killer' changed the face of both Rock 'n' Roll and Country Music.' - Clive Anderson

Hot on the heels of the A-Sides Volume 5 compilation, Enrico Sangiuliano makes his return to Drumcode with his highly anticipated EP 'Moon Rocks'. The heavy hitting four track EP shines a light on Sangiuliano's tight, thundering production skills. The hoover heavy lead track 'Moon Rocks' is packed with booming percussion, intricate synths and brooding crescendos. The EP encapsulates Sangiuliano's wide spectrum of sounds ranging from the fat bass line of 'Moon Rocks' to the more delicate harmonies shown within the "Dutch Kiss" mixes whilst 'Ghettoblaster' sits somewhere in between.

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create a two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound. Silent Around Them' exclusive to LP vinyl (no CD/digital)

American experimental musican Shane English continues in a long tradition of outsider electronics as he's been humbly prolific in his output though the years involving himself in numerous recording projects.Collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name), English now commits his second full length solo offering to vinyl in the form of the General Dimensions lp.Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Highly recommended for those into early electronics.

A veteran of the music industry, Dave Ellesmere is way past his hardcore drumming days. Harboring the accumulated skills with a multitude of instruments, his electronic productions are intricate and meticulous. His passion for Detroit and Chicago soundscapes is evident in his latest vinyl release for MixxRecords.

'Caught In A Moment' starts off the EP with a steady techno grip engulfing a serene melody interspersed with sharp and gritty accents.

The second track opens up with solemn piano progressions combined with high pitched synths, conjuring different spheres of the musical spectrum. Aptly entitled Universal Vibe', the track evokes a very diverse array of sounds layered on top of a dubby bassline.

The sub-bassy 'From Now On Only Good Things Will Happen' kicks off in a very introspective manner, developing into a dreamy yet dark journey filled with anxiety ridden chords and drum pads.

Label chief's Tony Rodriguez aka Brothers' Vibe is on duty for the 'Universal Vibe' remix. Percussion takes the main lead, giving the track a rolling pace. Stripping down a lot of the global elements but keeping some bell chords, Rodriguez's reinterpretation offers a tribal infused piece with a completely different mood that is just as contagious as the original.

The album should be considered a continuation of 2013s critically heralded album "This Time We Go Together". The story follows a duo of wanderers finding each other and traveling through life - hand in hand without roots. A 'love conquers all' theme which has been a highly embraced motif in his more recent works.

'We become Ravens' con- sists of 15 electronica vignettes which craftily utilize synthetic soundscapes, memorable melodies, timeless introspection and Gudmundsson's signature electronically infused beats.

Having been an integral part of the Icelandic Electronic music scene since his debut album in 1999. 'We Become Ravens' is a pinnacle release by a well seasoned veteran of electronic music's fringes.