Search:vast vision

- Printed Inner Sleeve and Heavy Weight Outer

The now legendary ' Abbey Road' version of 'the Isness' was the originally conceived version before last minute wholesale changes resulted in new tracks , different mixes and/or edits appearing in a wholly different order for the commercial release of 'the Isness '  in 2002 . The 'Abbey Rd 'version had been initially promo'd to ecstatic reviews, receiving an unprecedented 6/5 stars from Mixmag 'it's like a beam of white light from heaven'. 
This is the first time the Abbey Road version has been officially and commercially available .The band themselves ' the Amorphous Androgynous ' ( a psychedelic supergroup conceptualized and produced by the Future Sound Of London ) are said to have always regretted the last minute changes to the album ,the creation of which took five years from 1996-2001 post production of the FSOL album ' DEAD CITIES' and marks an important chapter in the production duos history and 5 year disappearance where rumours of madness and disbandment were rife among fans of the band only for them to finally appear with this radical new vision and what is now considered something of a psychedelic masterpiece which along with subsequent albums ' Alice In Ultraland ' ( on Harvest Records ) and their 'A Monstrous Psychedelic Bubble  ( Exploding In Your Mind )' Dj series ( which chronicle and redefine the history of psychedelia from the 60s to the present ) did much to activate a third wave of global psychedelic sonic revolution .
The Isness is a vast samplerdelic sonic galaxy where a huge range of instruments ( from sitars and numerous eastern instruments to flutes, banjos and conventional rock n roll instrumentation)  and countless musicians are employed ,collaged and twisted using the studio as instrument ( much in the tradition and lineage of the Beatles and other 60s exponents) to form a startling new vision of cosmic space music and to redefine the possibilities of what ' the song ' could be in the new millennia with its by turn : cosmic , wildly surreal , absurdist lyrics on epic songs such as ' the Galaxial Pharmaceutical ' ' the Mello Hippo Disco Show ' ' Divinity ' and many others ! 

Tadd Mullinix first made a name for himself as Dabrye in the early 2000s with a pair of instrumental albums combining the rhythmic finesse of Detroit hip-hop with the ingenuity of electronic music. But instrumental beats were only a temporary goal, a way for Mullinix to catch the ears of MCs. On Two/Three, his second Dabrye album for Ghostly International, Mullinix brought together a formidable crew of local and national talent to make the statement he'd always intended. Released in 2006, Two/Three o-ered a fevered vision of rap's future that remains just as intoxicating a decade on. Ahead of the long-await-ed conclusion of Dabrye's hip-hop trilogy in 2018, Ghostly is reissuing Two/Three.

Dabrye's move towards rap began in 2004 with the album's first single, 'Game Over' featuring Jay Dee and Phat Kat. An early inspiration of Dabrye's, Jay Dee invited Mullinix to his crib in 2002 for a listening session during which he picked the 'Game Over' beat to rap on. Crucially everyone involved was in accord that despite perceptions of their respective work this would be a hardcore rap song. Together with Kat, Jay delivered a one-two lyrical punch on 'Game Over' that no one saw coming. Detroit made the world go round and everyone's head spun. 'Game Over' set the tone for the album and, over the next few years, became a Detroit anthem — shortly after Jay's passing in 2006 the audience at Movement Festival sung his verse.

Moody, propulsive, and above all ambitious, Two/Three emerges from a sonic stew of Detroit and UK dance music, Jamaican sound clashes, and hip-hop sampledelia. The guests, a who's who of the mid-'00s underground rap scene, engage in a raucous rhyming session that pays as much attention to the realities of the streets as it does world events. MF Doom, Wildchild, Vast Aire, Beans, and AG represent for the various coasts while local talents — Waajeed, Ta-Raach, Invincible, Finale, Kadence, Guilty Simpson, Big Tone, Phat Kat, and Jay Dee — bring Two/Three alive with an infectious energy. In between bursts of raw rap and hard beats, Dabrye showcases detailed instrumentals that evoke bleak industrial futures, underwater meditations, and smoky late night sessions. With Two/Three Dabrye placed himself at the forefront of hip-hop's new wave, throwing a Molotov cocktail into the rap world as uncompromising as the head-twisting cover art from WK Interact. The independent press praised Mullinix's audacity. Over the following years the impact of Two/Threewas felt in slow increments as Dabrye's music became central to the sonic makeup of a new generation of producers. As this beat scene grew and moved away from rap, it showed Mullinix the influence of his work and the value of his vision for Dabrye as his own brand of Detroit hip-hop.

The chorus: that moment where everyone connects and participates in unity. A moment anyone who's shared a dancefloor can recognise whether it's a festival arena, subterranean dark room or an illegal rave in a field, warehouse or any abandoned canvas between... Like the ones Cologne's Julian Stetter has come from. Inspired by subversive communities, all pulling together for a greater cause, his background in underground parties can be felt in everything he's done so far: his work with the Ancient Future Now label, his vast imaginative techno constructions and now his work with Jennifer Cardini's long-standing community Correspondant with the widescreen odyssey that is 'Chorus' Six slices of evocative narrative-rich electronic soul inspired by his on-going international experiences on the road; loaded with poignant introspection, thunderous rumbles and playful theatrics, the EP is bookended by two versions of 'Chorus', a vision of scorching hope and lift that can seize a full floor's attention in seconds and full live up to the track's title, message and meaning. By far Julian's most significant solo EP to date, this is a moment for us all to connect and participate. Join in if you know the chorus...

Top tip for Boards Of Canada fans! Gorgeous isolation wrapped in electric memories. 8-track electronica for homesick time travelers. 'Nothing Left To Abandon' is a slow rendering of brooding introspections and imaginary spaces. Memories, visions, eroded philosophies, tragedies in a few words. A childhood of livid skies, barren escarpments, homeless wastes. An absorbing contemplation of unlikely beauty and dusty melancholy that intersects with the creative territories of Vangelis, Boards Of Canada, Klaus Schulze, and Ulrich Schnauss, and the musings of Joe Frank and Robert Ashley. Clocolan is South African-born composer Emlyn Ellis Addison. A long formal training in music, his work centers on original writings and the found sounds of abandoned ideologies--generations of radicals and skeptics searching for meaning. From his childhood in South Africa--a landscape of neglected hinterlands, eroded topology, unconquered vastness--emerged clocolan's homesick, lo-fidelity electronica, expansive themes lost in the background noise of human affairs.

Spatial Cues is a series of split singles sounding out main(void)'s and Kon Janson's shared musical space. Operating out of Berlin and London, the two artists join forces to showcase their mutual vision of techno music.

CUES003 explores the darker side of the series with a focus on low frequencies, echoing percussions, and vast spaces, evoking a deep introspective motion.

Diffracting a manifold of sounds around its massive kick drum, CUES003 A builds and releases tension through a dramatic sequence of smooth swells and intense surges.

Grounded by its captivating groove, CUES003 B evolves around the sinister funk of fierce FM bass stabs, leading up to a powerful break that introduces a razor-edged hi-hat.

*Repress*

PPU's first long-play LP highlights some of the early beginnings of one of the label's favorite producers, UKku Kuut. Written and recorded at Uku's home studio in Los Angeles and Stockholm between 1982 & 1989.
Some tracks co-written with Maryn E. Coote, famous jazz vocalist who had her beginnings in 1960s Soviet Union. "That's my MOM" recalls UKU, "I remember when I was little, sitting under the mixing board at her sessions". Growing up in studios, Uku's love of music production began early, and over the years he has amassed a vast collection of domestic and soviet electronic gear. In true PPU style this LP is a mix of Uku Kuut's raw cassette demos, forgotten masters and unreleased magic.