Cerca:stripped

A vivid portrayal of Zaltsman’s direction, My Luv delivers 4 hard hitting club tracks, with rhythmic percussion and heavy basslines throughout. ‘The hook’ remaining a staple of this release, the tracks are all equally useful in peak time club scenarios as they are for after-hours listening.

The stripped back, bouncy ‘Moving’ features the vocals of London based poet and musician, James Massiah. An eerie synth runs throughout, complimentary to the vocals and choppy drums. The lead track, 'My Luv', is an out and out club-weapon. Chopped up vocals and a deep dark sub bass. This has seen a Summer of being deployed by some of the best DJs in the scene, taking advantage of its ‘obnoxiously long’ breakdown, before descending into chaos.

Complimenting these two tracks, 'Page 365' is a more sensitive body of music, engaging listeners with a strong bassline hook, before progressing into a more heavy hitting club track, with a large focus on groove, taking influence from the UK Funky scene. Finally, the most club-driven track from the record. 'Flatspot' is dominated by its forceful bassline and rolling percussion. This is out and out designed for peak-hour fun.


Early DJ Support:
Moxie, Saoirse, Louise Chen, Leon Vynehall, Ben UFO, Parris, Moopie, D.Tiffany, re:ni, Amaliah, Stenny

Are you Looking for Love? Advice? Good Luck? Then you’ve come to the right place. The second release in the Psychic Readings catalog, Peach continues to explore her sound bringing us 3 tracks dedicated to the dance.

On one side, The Art of Casting Spells will bewitch you with its basslines. As they go from squelchy to stripped back, the track is an upfront yet ethereal ride in true peak time Peach style. Then, a track inspired by the sensation of butterflies in your sacrum - Flutter is a deeper cut for the heads down, introspective dancefloor moments. Both come complete with sassy stabs, moving pads & bouncy bongos - all of which are becoming a staple of her sonic palette.

On the flip, Gay Dreams brings us a starry-eyed escape into fantasies. Delicate synths flirt with the weighty bassline, as sentimental pads carry us into a slow surrender of emotion.

All the tracks are a testament to her many moods as a DJ. For club use or home listening, this is an EP dedicated to the dance.

On their debut EP, Sam De Nef and Camille Camille delve into some of their most personal and introspective songwriting yet. These songs showcase their individual talents but also highlight the powerful synergy that arises when two gifted artists and unique vocalists join forces to create something truly special.

Sam and Camille are two unique and talented artists hailing from Belgium who share a gift for writing compelling contemporary folk and singer-songwriter songs. They both released acclaimed debut albums in recent years and have been crossing paths on numerous occasions. Camille appeared in duets on Sam's debut EP and his first album, Sam featured in Camille's live band, each time expressing a profound musical chemistry.
This collab EP seemed the logical next step, uniting their talents to craft an EP embodying heartfelt, warm, and uncomplicated songs.

"In the collaborative journey of crafting the songs on Waving, our different creative approaches brought about a unique synergy. We feel the result transcends our individual styles. Each song resonates with our individual aspirations, which makes playing them very refreshing and challenging."

Stripped to their core, these compositions on their debut EP are defined by the gentle interplay of acoustic guitars and harmonious vocals. Only subtle percussion and the occasional cello add subtle layers to the sonic tapestry. The two recorded the six songs on their debut EP by themselves in the intimate atmosphere of Sam's home studio, opting for a DIY and back-to-basics approach. Their primary focus was on capturing spontaneity and the essence of live performance. Musical sparring partner PJ Decraene added the final touches and mixed the EP.

Repress!

Amsterdam's The North Quarter releases an EP by enigmatic artist LIN000 who delivers a stripped back, Techno inspired four-tracker; LIN001-004.

Exploring minimal and experimental dance music, LIN001-004 was approached with a “less is more” ethos – and without conforming to current trends. Just 4 DJ-tools, each based around strong motifs, with depth and texture, and each with a strong individual identity.

Electric, their third album, came out in 1987 and really caused the band to explode to new levels of fame. It contains the massive hits "Love Removal Machine", Wild Flower" and "Lil" Devil" and was produced by Rick Rubin. Electric is a seminal work, featuring some of the band"s most iconic songs. It is a departure from the band"s previous work, with a raw, agressive and stripped-down sound. The album"s opening track, "Wild Flower," sets the tone with its pounding drums, blistering guitar riffs, and Ian Astbury"s wailing vocals. Electric was a commercial and critical success, propelling The Cult to the forefront of the hard rock scene and cementing their status as one of the most influential bands of the era. The album remains a touchstone for hard rock and heavy metal fans, a classic work that captures the spirit of rebellion and the power of rock and roll. The Cult has remained an important and enduring force in the rock music world. The band has sold millions of records worldwide and has earned critical acclaim for its powerful live performances. The Cult continues to tour and record new music, and their influence on rock music shows no sign of diminishing.

For The Nude Party, nearly a decade has flown by in the blink of an eye. In that time, the New
York-based band has released a pair of well-received albums, an EP and played numerous shows.
The band has historically worked with a producer to help them create a distinct sound in their records
but with their latest effort, Rides On, the band decided to handle production duties by themselves. The
hands-on approach allowed the band to have as much fun creating as they ever had at any other point
in their career. They recorded over 20 songs, including some that dabbled in electro-pop and
stripped-down country before settling on the final 14 songs containing the best elements of ‘70s-driven
blues rock. The relaxed vibe of the session also unleashed a diverse sonic texture compared to their
previous releases. Sonically, the album is reminiscent of Sticky Fingers-era Stones, but the lyrics are
mini-vignettes that embody the spirit of what The Nude Party are going for — and their growth as a
band. Rides On, the band confidently says, is their best record. It’s also the most homegrown and
organic record The Nude Party has created to date.

Encore!? Say no more.. Plush number 4 is here!
Elusive local live hero JCow soft launches into the arms of Plush Records, bringing a modern day classique to the underground masses. The Berlin based producer & DJ has been humbly making waves amongst prancers and dancers; unless you’ve been living under a rock!

“Wish U Were Here W Me” is a pupil dilating, rump shaking sunrise anthem; a melodic masterclass with a bassline that puts funky town to shame. Vocals expertly extracted from Brandy’s “Long Distance'' which soar like silk over a breathtaking breakdown.. tugging at heartstrings across the globe. The Emotional Breakdown mix is catering to the softies out there, stripped back and filling up your cup, pure natural ecstasy.

Close your eyes and get lost in the groove.

Originally released in 2003 on CD via Post-Parlo Records, and two years later on vinyl via Morr Music, the »Home EP« sees Benjamin Gibbard (Death Cab for Cutie, The Postal Service) and Andrew Kenny (The American Analog Set) each contributing three original tracks and playing one of the other's songs. This 2023 vinyl edition is released via Morr Music (EU+UK) and Barsuk Records (US). It features the artwork by Jan Kruse, that was originally made for the 2005 Morr Music version.

The EP was released as the fifth and final volume of the early-’00s series of split albums on Austin, TX indie Post-Parlo, the Gibbard/Kenny pairing followed short contributions in the series from such varied notable early-aughts indie artists as Kind of Like Spitting, Britt Daniel (Spoon), Bright Eyes, Pavo and Super XX Man.

Gibbard and Kenny’s installment came out during a prolific era for both writers: The American Analog Set had released the classic »Know By Heart« album in 2001 and followed it in 2003 with the acclaimed »Promise of Love«, while Gibbard’s profile was rising significantly via the critical and commercial success of The Postal Service’s »Give Up« and Death Cab’s »Transatlanticism«. Unlike the more lush arrangements of their main projects, both Kenny and Gibbard took a simple approach for their entry into the Home series, recording on cassette four-track machines in their respective living rooms in New York and Seattle and each performing four exclusive stripped-down tracks (including a cover of one of the other’s songs – Kenny choosing a rendition of Death Cab’s »Line of Best Fit« and Gibbard delivering his version of AmAnSet’s »Choir Vandals«).

»Home EP« showcases two brilliant songwriters whose legacies continue to shine twenty years later. The American Analog Set recently announced »For Forever«, their seventh album and first new music in 18 years, which was released last week and followed the band’s announcement earlier this year that The Numero Group will reissue their first three albums »The Fun of Watching Fireworks« (1996), »From Our Living Room to Yours «(1997), and »The Golden Band« (1999) as a vinyl boxset in early 2024.

Benjamin Gibbard has recently finished fronting both bands on the sold out Death Cab for Cutie / The Postal Service co-headline tour of arenas and amphitheaters in the United States celebrating the 20th anniversary of »Give Up« and »Transatlanticism«.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

New Robohands LP 'Palms' is the fifth album from the London based instrumentalist and producer Andy Baxter. Moving towards different genres and arrangements from his previous albums, 'Palms' features duelling harp parts, tape echo, double bass and draws inspiration from artists such as Dorothy Ashby, Azimuth, Alice Coltrane and Toquinho.

In parts tropical and synth drenched, and in others stripped back and acoustic, 'Palms' is a journey back to saturated analog recordings of the late 60s and 70s, with a subtle modern layer of glitch FX and pitch control experimentation in places. The album makes also reference to classic releases from jazz fusion that feature the legendary Arp Odyssey synthesiser, used by artists such as Herbie Hancock and George Duke.

The seventeen track album features performances from multiple session musicians including Jim Piela on saxophone and Marco Cremaschini on Rhodes, with Baxter taking on drums, guitar, bass, keys and also mixing duties. 'Palms' is a new direction for his project and a record that thematically journeys into modern reinterpretations of jazz, downtempo, acoustic and ambient music.

Stepping out of the bedroom and into the Real World, Liverpool’s Strawberry Guy headed down to Peter Gabriel’s idyllic Real World Studios with Manchester’s Northern Session Collective in tow and set about trying to soften and expose the bare bones of his two biggest streaming tracks 'F Song' and 'Mrs Magic'.
Stripped of drums & synths, the music is pared down to piano and romantic new strings arrangements, bringing the careful melodies & indrawn lyrics to the fore.
Having recorded the original tracks in his Liverpool bedroom, swapping the originals’ string samples for their real-life counterparts lends the tracks an even more ethereal quality than the self-produced originals. The trip to Real World marks a first foray into studio recording for Strawberry Guy, and a new high-fidelity direction for the project, as he begins the process of making his sophomore album.
The vinyl edition of these new songs is out November 10, and features the two new strings versions along with the originals of both tracks, meaning fans can finally get their hands on a physical version of early single “F Song.”
While the music of Strawberry Guy favours a hermetic, headphones-forward sound lying somewhere between Bryter Layter-era Nick Drake, The Clientele, Slowdive’s Pygmalion, and the psychedelic 70s output of fellow Liverpudlian Paul McCartney, it’s nonetheless become a smash on TikTok and streaming services with a fanatical young and diverse fan base.

Originally released as a hand-numbered CD on New Year's Eve of 2004, Last Light captures Tor Lundvall 's hushed songcraft at its most ghostly and grayscale, stripped bare like branches bracing for winter. Initially conceived of as "a piano album with sparse electronics" (with the working title November), Lundvall's palette steadily expanded, incorporating synthesizer, samples, bass, metronomes, and his signature spectral vocals. A journal entry from the spring of 2002 proved formative to his evolving vision: "I remember watching the blueish-grey light shimmering outside and hearing distant sounds echoing far away, eventually sinking into silence and stillness." The album's 12 tracks are steeped in this sense of autumnal transience, of bearing witness to what fades. The music moves in whispered swells, between dirge, drift, and devotional. Synths chime like slow-tolling bells; percussion shuffles and shivers, icy and isolated; bass traces a low-lidded plod - it's a mode both austere and seductive, lulling the listener into its landscapes of deepening dusk. Lyrically, Lundvall's language skews observational and depressive ("through lace curtains / grey light falls / dark clouds gather / in my soul" ), with each song like a gauzy glimpse into a different tableau framing winter's descent: rust - colored leaves, frozen ponds, cold crescent moons. Lundvall has long considered Last Light a "personal favorite" in his discography, and it's easy to hear why. In texture, finesse, and pacing, it vividly evokes the rare mood of fragile, frosty pastoral noir depicted in his iconic oil paintings. His is an art of the half-seen and half-remembered, of fleeting figures, shapes and shadows, and gathering darkness. Of all that disappears, and the ghosts that never leave: "So I wait / as the years / slowly drain the magic and the light / and the girl / I never loved / haunts me through the dark roads of my life."

In 2013 Tristan dreamt George Harrison and Tom Petty were on motorcycles circling one of those huge roundabouts in Canberra. Their long hair was blowing as they sang "You Can't Hide in Time". The Small Intestines play spare room rock'n'roll with a penchant for three-piece harmonies. They formed in Melbourne, Australia in 2016 while Matt and Rob were taking some downtime from Chook Race and Tristan was on the tail-end of his solo project, Peach Happening. Their debut album 'Hide in Time' will be released on September 29, 2023. For fans of The Go-Betweens and The Bats and any genuine big-hearted knockabout indie jangle with sweet singalong group vocals and simple pared-down arrangements. Tristan Peach - guitar, vocals - Matt Liveriadis - drums, vocals - Rob Remedios - bass, vocals

DEVO’s Hardcore documents the group’s beginning as pre-punk outcasts in the fertile Akron, Ohio, underground rock scene. Spawned at the nearby college of Kent State, site of the infamous May 4 Massacre, DEVO formed as a conceptual art project armed with the radical philosophy of de-evolution. Brothers Mothersbaugh (Mark, Bob and Jim) and Brothers Casale (Jerry and Bob) along with drummer Alan Myers soon whipped up an otherworldly brand of “devolved blues” that could hold its own alongside the beatnik groove of 15-60-75 (a.k.a. The Numbers Band) or the primal rock poetry of The Bizarros. Recorded on various four-track machines and in tiny studios, basements and garages between 1974-1977, Hardcore reveals their strikingly clear vision: rock ’n’ roll stripped bare of its collective cool and jerked back into propaganda fit for post-modern man. It’s no surprise that these transmissions would soon catch the eye and ear of Brian Eno, who later produced their landmark 1978 debut album. Noisy synth, strangled guitar chops and a primitive rhythmic thud power the early DEVO sound. Threaded beneath it all are lyrical themes of post-McCarthy paranoia, middle-class ephemera and DEVO’s long-running topic of choice: sex, or lack thereof. Few moments in pop music history can match the grinding, pent-up energy of “Mongoloid” and the spastic bounce and sputter of “Jocko Homo” (two anthems presented in their earlier and superior versions here). Cult favorites like “Mechanical Man” and “Auto-Modown” make Volume 1 essential listening. Superior Viaduct and Booji Boy Records are proud to present DEVO’s Hardcore to a new generation of spuds, lovingly packaged with Moshe Brakha’s stunning cover photography. As David Bowie said in 1977, DEVO is indeed “the band of the future.”

CNTRL presents his latest EP, "NRG BRKZ," a captivating exploration of the UK garage sound fused with minimalistic broken beats.

Opening the EP is "GT DWN," an track that features a athmospheric choir. It sets a grandiose tone, instantly captivating listeners with its powerful energy and rhythmic drive.

Moving to "8cl NRG," CNTRL infuses the track with breaky energy, masterfully blending broken beats and mesmerizing synth stabs. The result is an infectious and irresistible groove that will have listeners moving to its compelling rhythm.

"NDRSTND" takes a more stripped-back and deep approach, showcasing CNTRL's versatility. It features a solid foundation of minimalistic beats, allowing haunting melodies and subtle harmonies to create an introspective and ethereal atmosphere.

Closing out the EP is "BRKZ," a homage to UK garage. CNTRL expertly layers broken beats, driving sub basslines, and spooky atmospheric synth work, paying tribute to the genre while infusing it with his unique touch.

The Sad Clown Bad Dub series first started as a string of limited cassette tapes and CD-R's for Atmosphere to sell exclusively on tour. Since its inception in 1999, the Sad Clown series has seen over a dozen iterations in numerous formats, including rare 4-track demos, live recordings, a DVD of behind-the-scenes tour footage, a mixtape, 7” vinyl singles and more. To this day, one of the earliest volumes – Sad Clown Bad Dub 2 – still remains one of the most celebrated and coveted installments from the series.

Originally released in 2000, Sad Clown Bad Dub 2 was a rather stripped-down DIY release – a simple CD tucked behind an illustrated cover with handwritten tracklist and liner notes. The recordings were equally as rough, consisting of a dozen raw 4-track demos that hadn't been treated to any sort of mixing or mastering. Although Atmosphere initially produced only 500 copies of these CD's to sell on the road for extra cash, the buzz and the subsequent demand from fans eventually led the group to pressing more of the CD's, this time stamp- ing the cover art with the phrase "Authorized Bootleg" as a sly nod to those who'd been ripping and sharing the files. The unpolished nature of Sad Clown Bad Dub 2 was no deterrent from the appeal of its contents though.

Generally considered an underground classic in hip-hop circles, Sad Clown Bad Dub 2 is often mentioned as one of the standout releases in Atmosphere's extensive discography. It is a deeply introspective project that explores a range of complex thoughts and emotions, counter-balanced by occasional moments of darkly humorous sarcasm and wit. Slug's writing is sharp and insightful with a knack for turning his personal struggles into universal themes that listeners can relate to. Ant's production is minimalistic, moody, even eclectic in nature, full of atmospheric textures and unconventional rhythms. This release is very clearly one of the early stepping stones in developing their unique and distinctive sound together, helping to establish their reputation as one of the most innovative and boundary- pushing acts in hip-hop.

We're excited to reintroduce the legendary Sad Clown Bad Dub 2, digitally remastered from the original 4-track tapes and available on vinyl for the first time ever!

Classic Wailers recordings done with Lee Perry, early '70s. Tuff roots rhythms with early stripped down versions to later well known tracks such as 'Sun Is Shining,' 'African Herbsman,' 'Keep On Moving' and many more.

A much-needed reissue of an all-time house classic, from the early explosion of the genre on dancefloors the world over. From the minds behind C+C Music Factory, David Cole and Robert Clivillés, Sandee ‘Notice Me’ encapsulates the New York Freestyle era of the late ‘80s perfectly. Early house heat laced with a distinctly Latin American feel, that has been heavy sampled since it burst onto the scene in ‘88. It’s syncopated, seductive and seriously infectious, with a steamy bassline that couples with Sandee’s echoed vocals to send your brain into a state of rapture.

The ‘Notice The House’ mix is a shining example of that freestyle flavour, with the ‘Club Vocal’ leaning into a more synth pop meets electro, proto house feeling. Taking the final spot the stripped back dubbed out, b-boy beast ‘Dubbin' At Studio 54’.

A must have record that still lights up the dance to this day.

End of Ways is a bridge to healing as it was written during the period of helping a loved one escape an abusive household while working though its lingering horrors to find peace. On this second album
release by indie label Kill Rock Stars, 18-year-old Elliott Fullam touches on even darker subject matter than his predecessor What’s Wrong which was a dissociative trip that reached out to thousands of
like-minded music enthusiasts who hailed the record as their album of the year.

And End of Ways is the next record that will continue in that same gentle melody which alleviates the emotional storm that
torments so many of us. Elliott’s sophomore full-length is a blend of home recordings as well as studio recordings which bring some extra depth within the songs to suit their somber settings in the tracks
Throw It Away, Forget, and Better Way. But the record still retains its stripped down, lo-fi vibe in songs like Let’s Go Somewhere and Remember When with their clear Elliott Smith and Nick Drake
influences in both the acoustic guitar lines and quiet vocals. The addition of young pianist Jeremy Bennett also beautifully adds candle-light melody through-out the album with his haunting notes in the opening song Mistake and his Tim Burton-meets-Vince Guaraldi style in the album’s escapist-themed title track End of Ways along with the dramatic climax to Timeless Tears and the album closer, Over
the Moon which is Elliott’s profession of love to his present companion who he saved from her former home. Nick Drake, Big Thief, Crumb, and Alex G that explores childhood, dissociation, heartbreak and ultimately, survival