Buscar:two s tones

Acid Jazz are pleased to announce details of the definitive Leroy Hutson compilation - Anthology : 1972-1984 on 20th October. Erstwhile Impression, Leroy Hutson's catalogue has become increasingly coveted over the years and this compilation collects his Curtom recordings together with two newly discovered tracks including Positive Forces which is available as an instant grat track when pre-ordering the album.

Native of Newark New Jersey, Leroy Hutson grew up In a part of the world that spawned many of Soul's all-time groups, amongst them, The Parliaments and the Manhattens. Smitten by the music he was to join a local quartet, The Nu-Tones and despite never recording the youthful Hutson experienced the thrill of being a singer. On splitting up, Hutson found himself studying in Washington DC and once more in the company of supremely talented artists including Carla Thomas and future collaborator Don Hathaway. Various recordings came and went with little chart success before, along with Hathaway he became central to a group of singer, songwriters and players under the tutelage of Curtis Mayfield at his Curtom label a relationship that initiated Hathaway's chart topping career when the pair co wrote the all-time classic and million seller The Ghetto.

Early 1971 saw Hutson replace Mayfield in the Impressions as he left to concentrate on his solo career, the transition was seamless and although relatively brief saw the band in the pop and R&B charts. His debut on the Billboard chart as a solo artist arrived with Love Oh Love, the first of a dozen Curtom singles he recorded during an exciting and turbulent decade for black American music.

The seven albums Hutson released on Curtom between 1973 and 1979 are a legacy that remain highly respected, almost revered amongst soul cognoscenti, an untold influence on an entire generation of musicians throughout the eighties. The demise of Curtom in the early eighties saw Hutson relocate to Elektra, where in 1982 he released Paradise - highly acclaimed and much loved for a time it looked like that release may spell the end but some twenty-seven years later, the newly monikered 'Lee' Huston unveiled Soothe You Groove You.

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

First official reissue of Nigerian Boogie Disco Grail LP produced by Grotto for EMI Nigeria and originally released in 1978. Contains dance classic'Bad city Girl'. Liner notes by Nigerian Music expert Uchenna Ikkone, include previously unpublished photos and extensive interviews by Temitope Kogbe.
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Odion Iruoje was the A&R manager at EMI at the time,' Benson says, and he auditioned us, liked he material and signed us.' Odion Iruoje of course had groomed and produced Ofege. Now he was looking to repeat the formula with other high school groups such as Tirogo, Apples and Question Mark. Grotto's deep rock would be a welcome addition to this schoolboy rock' series.
Work on their album started immediately, with Iruoje in the producer's chair. Adapting to the tastes of the times—as well as their own maturing musical sensibilities—Grotto started transitioning from acid rock towards sleeker, more dance floor-friendly grooves. As I grew older I think I got a bit jazzier,' Benson says. I also listened to Curtis Mayfield, James Brown, Isley Brothers, Prince and a lot of funk groups from that era.'
Hard rock was the content of the first album,' Amenechi agrees, and funk/jazz/R&B the focus of album number two. Especially with the late Toma Mason Jr. joining as bassist.' The group's second album, Grotto II: Wait... No Hurry (released in 1979) reflected the growing sophistication of its members' musical outlook. Fat, funky bass grooves rubbed shoulders with jazzy flute lines, space-age synthesizer tones punctuated good, old-fashioned crunchy rock riffs.

This release by Matrixxman & Echologist showcases sturdy Techno rhythms that have happened when these two stalwarts got into the studio together. Acidic tones, thumping bass drums and adventurous FX sweeps. From rhythm driven Techno cuts to the more oddball bits, ''The Black & White EP'' proves to be a versatile yet energetic package.

Since making their debut on the imprint in 2013 with 'Blue Aconite', the Italian duo Hiver has since released two more EPs on Curle; 'Same Mistake Twice' in 2015 and 'Soundescence' last year. Since the release of the latter mentioned EP, Hiver have been busy behind the booth, performing in the UK, China, Germany, Holland and, of course, in Italy, where they still hold a residency at DUDE Club. Kicking off the EP is 'Elipse', a stunning four-minute track that nods to avant-garde artists such as Wolfgang Voigt's GAS alias or Brian Eno, as the pair gradually weaves several layers of shining, atmospheric tones before slowly fading into the background. Title-named track 'Air Castles' follows, with the tight selection of drums combined with the ebb and flow of soaring synths creating a melodic style of techno that has become synonymous with their name. Next is 'Aleutine', a song that similarly blends Hiver's characteristically ethereal, hazy synths alongside more vibrant analogue bleeps to great effect. These delicate synths are later given the chance to gleam as the track comes to a close.Closing this excellent four-track EP is deep-groover 'Leisure', seeing Hiver up the tempo through their clever use of percussive elements, sharp synths and headstrong drums.

the italian duo boot & tax got already one lp and four eps under their wings who all deliver house and techno that stands out.
so far their records been published by glasgow's finest optimo music and meant records from paris.
now the two give their debut for endless flight and release three tunes that listen to the name 'dimension'.
they all got funk, they all love mesmerising melodies. you can feel the power of disco coming in with heavy seducing strings.
you can get lost in echoed drums, trippy sounds and some oriental tones. and you also can march to cosmic techno that loves krautrock without embracing it.
a multi-coloured ep that spreads deepness in an uncommon sense. if moves the heart and soul profound, while staying edgy and catchy.

REPRESSED !
Bristol based producers Behling & Simpson take on remixing some Kerri Chandler classics this August with the 'Heaven' EP, set to drop via Kerri's very own Madhouse Records
imprint.

Madhouse Records boss Kerri Chandler needs no introduction having been one of the most prominent names in underground house music for over two decades now. While rising talents Behling & Simpson's collective output has been championed by the likes of Claude von Stroke, Derrick Carter, Ralph Lawson, Modeselektor and many more over the pairs 100+ previous releases between them (under various guises), this stands as testament to their undeniable ability to craft forward-thinking electronic music.

First up on the release we have 'Heaven' featuring Christopher McCray on vocal duties, Behling & Simpson's prevalent low-slung, dropped tempo rhythms take the lead, alongside hypnotic lowend tones, while the duo capture Chandler's warm musicality with style utilizing the original's bright chord progressions and smooth vocal licks, creating an intricate, intelligent slice of house. 'Peace Of My Mind' follows on the flip side, a track originally released on Madhouse in 2011, though returning to the label in 2014 with an intriguing reshape courtesy of the Behling & Simpson, again taking on the pair's niche slo-mo feel, setting the tone and radiantly showcasing why their sound stands tall above many of their
contemporaries in such an effortlessly cool way.

Brixton's Dream Diary continue to bolster a blooming catalogue of classy electronic music with a fresh 4-track EP courtesy of label owner Oslo Roma. Staying true to their canon - Roma's 'Bubbles' EP spans Ambient, cruising Deep House, Minimal and Electro balancing water tight drums with eyes down melodies throughout.
The title track opens things up with gliding Juno chords and a steady, hypnotic pulse. Shimmering cymbals and spoken snippets ferry the listener into a trance before 'How Good Is The Party' rolls loose limbed drums under sweeping tones and expansive dub delays. 'Mars Water' then dims the lights with a driving bass line set under reversed vocals and clipped, neat drums. 'Twotet' then finishes the package up with sharp 808 drums and soft allaying melodies that work to round off another rich and varied addition to the Dream Diary catalogue.

Black Truffle is honored to present a new issue of Annea Lockwood's classic 1970 tape piece Tiger Balm, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds.
Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming.
LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017

Hemlock founder Untold is back on the label with his first vinyl EP since 'Doff' on sub-label HBLK back in 2015. This release follows appearances on last year's #savefabric compilation, and more recently on 'Magic City III' compiled by Mixpak boss Jubilee.

HEK029 follows a rewarding period of A&R for Hemlock that has so far delivered EPs from Bruce and Parris, with several more scheduled to drop throughout 2017.

This EP's two winding tracks are a natural progression from the fiercely textural drum work of Untold's previous singles and album 'Black Light Spiral.' Here the material is given more space to breathe and released from the grid creating a lighter more footloose feel.

'Tear Up the Club' carries the weight of DMZ era half-step using a loose web of elasticated breaks and builds to reveal a striking melodic line.

On 'Watton Res' exotic tones are further compressed and expanded in sequence, encasing drum machine, keyboards and guitar work within a delicate shell.

'Sometimes life can kick you in the nads,' says Dominick Martin (aka Calibre). 'When life does do that, I need to make music like this. With its tones of hope and gospel-level layers of self-recorded vocals. Raw, uplifting, soulfull... Even to the most ardent of Calibre follower, ' Grow' sounds like nothing else he's done before. Yet it's not actually on the album it gave a name to. Partly because its ultimately positive veneer (even though it was written in the midst of two toxic relationships - one personal, one with the bottle) doesn't quite complement the deeper, more contemplative aesthetic of the album. But also because this is the start of a whole new story for Calibre...

'A part of Dominick is a poet and a part of him is a man who's lived through Northern Ireland at its worst,' observes Craig Richards . 'There's a gentleness and a tension to him and his past and his experiences. Somewhere in that middle ground is his music.'

Taken from a interview by Dave Jenkins for DJ Magazine.

Renowned house veterans D'julz and Jordan Fields drop two tracks each for a split release on Radio Slave's Rekids this December.One of the key components in Parisian electronic music, the A side sees a display of groove led cuts signature to D'julz as 'Shy Town' combines sultry bass tones with mesmerizing atmospherics and tranquil piano chords, making way for the crunchy drums and trippy synths of 'In Your Soul'.
Meanwhile, from across the pond in Chicago, Jordan Fields' raw productions begin with syncopated percussion and fuzzy notes until 'Mformation' concludes the package with thudding kicks and ethereal melodies.
Both artists have been commanding forces in electronic music for 25 years each making this split release very special indeed.

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,

Originally released in 2014, Luciano's 'The Great Amael' is an enchanting and endearing trip; a lo-fi bubbling groove and dusted Hammond organs that hustle along whilst live percussion cuts through the oceanic atmospherics. Two years on, and Cadenza Music call upon a brace of remixers to provide fresh and unique interpretations of this hidden gem in Luciano's catalogue. Having recently released his first album in over 10 years, Matthew Dear AKA Audion boldly steps up to the mantle and stamps his intelligent techno sound all over 'Amael' in the first of our remixes. Cutting a sprightly pace from the off, Audion melts stuttering sine waves and bulging tones over concrete beats, tweaking in the original organ riff and fathoms deep pads whilst adding additional vocal refrains as he playfully teases the arrangement before dropping a superb riff in his 'Backward Melody' Remix, which takes a most psychedelic and unexpected twist! Two other musical heavyweights collaborate on the second of the remixes; Phil Moffa and Seth Troxler are no studio strangers, having released a joint project on the British Hypercolour label last year, and remixed for Tiga a few months back. Their LSOS LOVE/GOD Remix builds from ambient beginnings, save for a rhythm carved out of spongy electronics, a sturdy beat kicking in and setting the controls destination unknown, as the duo steer through breathy vocal cuts and propelling bass, stripping the remix back before leaping back into hyperspace with some adventurous and dubbed out vibes, before coming back down for landing with those unmistakable pads from Luciano's original.

Matrixxman and Echologist team up for PRRUK's 2X12'' EP ''Black & White''. As the title suggests, this comes in a Black + White package showcasing sturdy Techno rhythms that have happened when these two stalwarts got into the studio together. Acidic tones, thumping bass drums and adventurous FX sweeps. From rhythm driven Techno cuts to the more oddball bits, ''The Black & White EP'' proves to be a versatile yet energetic package.

In the follow up to their recent 10 Year celebrations - Aus Music present another landmark signing for the label as they triumphantly welcome long term friend Paul Woolford into the fold. Few artists can boast of a catalogue as consistent and as evolutionary as Woolford and his latest offering for Aus - as ever - lands right on the mark in delivering a beguiling trip split over two sides of vinyl. 'Heaven & Earth' is a rich and elongated House record that contrasts bright orchestral melodies with thick, tearing bass tones. Together - these two primary elements create a fervent sense of tension that no doubt will soundtrack countless memorable dance floor moments over the festival period.

Figure SPC inevitably arrives at the alphabet's last letter and therefore the end of what has been a most prosperous runtime and success story. Already accountable for its first release 'A' seven years ago, Jeroen Search has proven essential to the sublabel's course with his many cornerstone contributions. This final, special extended release grants him the ample scope to tell the closing chapter in all proper detail. Spread across two fully packed 12s the Dutch veteran producer wastes no time but lets his ever evolving array of machines do the talking. They speak in many tones - be it snappy or propelling, vivid or restrained, stomping or intricate - yet they all retain Search's consistently singular voice. Each of the nine tracks was composed as a live take, with elements being reduced to the utmost minimum but always carrying the kinetic energy onto the next bar. Thus this ultimate catalogue number SPC Z not only bears witness to an artist's impressive ability to reliably distill the pure essence of a groove. It is also the grand conclusion to an esteemed series that has become a staple in many DJ's bags, brought forth plenty of future classics and left its unmistakable mark on techno. Crafty, refined and irresistibly moving, this record is sure to be stirring up dancers around the globe.

Prolific Seattle producer Jon McMillion returns to Nuearth Kitchen with another crucial chapter in his epic tale of haunted house-music subversions. This EP offers four variations on a bizarre and engrossing theme. Don't It Make You (edit 1)' is a work of extremes: By some miracle of aural physics, it's at once one of McMillion's strangest tracks and one of his most accessible. He sets into motion a staunch, relentless house rhythm bolstered with congas, massed claps, synth-bass raspberries, and a badass male singer intoning, Don't it make you feel good, if you wanna get down/Just say it, say it again,' over which a miasma of enigmatic tones bubbles and swirls. Like Bohannon's disco-funk classics from the '70s, Don't It Make You' seems like a tease, even at 10 minutes duration, you wish it would roll on for at least 30. On Don't It Make You (edit 2),' McMillion strips things down to dance-floor essentials and erases some of the free-floating background weirdness.

The two remixes are revelatory. New York house icon Fred P. (aka Black Jazz Consortium) slides the track into a tighter pair of pants, but that just makes it swivel harder and slyer. He emphasizes Don't It Make You''s mysterious drones and then loops a female vocalist singing He keeps me' while dropping in some echoed male chatter to gently disorient. What a dreamy, soulful trip Fred P. conjures here. And rising German wunderkind Orson Wells layers and pitches up the original's cascades of bleeps, which becomes the dominant motif, and then subtly modulates said bleeps over the tune's seven minutes, while keeping that irrepressible rhythm strutting. McMillion's raw materials prove to be fertile ground for these two maverick remixers to flaunt their own fascinating quirks while maintaining the original cut's club-darkening and ass-moving functionality.

Closing off the trilogy of 10 Years Of Perc Trax vinyl EPs is the label's first ever 10' release. Drawing together two of the deeper and more experimental tracks from 'Slowly Exploding', the EP pairs label founder Perc with one of his longest influences; Zhark Recordings main man Kareem. First up Kareem brings a touch of deeper Berlin-tinged techno to Perc Trax, built upon a rock solid kick and drenched in moody urban atmospherics, then Perc closes the this vinyl series with a spiralling analogue noise exercise that builds and builds until live drums tear through the wall of bass tones...