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On this double length LP, Phil Stroud offers listeners a diverse selection of instrumental works; the result of numerous writing and recording sessions with close friends in both Boorloo (Perth) and Naarm (Melbourne). A distinct ensemble focus on ‘Apparitions’ allows for the development of modal and rhythmic ideas that have for a long time been central to Phil’s listening and playing. These compositions mark an important development of approach and add new territory to a greater body of music that currently includes releases on Brownswood Recordings, Good Company Records and Deep Water.Underpinning Apparitions is a process guided by an appreciation for the incidental in music. Many of the ideas heard on these recordings began as spontaneous moments of improvisation that were then expanded into detailed arrangements, produced and mixed by Phil — who cites the approaches of Teo Macero, Miles Davis and John Hassel as inspiration for the production techniques on the record. Phil tells us:‘I wanted the experience of working on this music to be a constant revelation; to explore different approaches without expectations, so I developed a process that would lead me on a journey and facilitate the freedom of creating outside my own imagination’.Collaboration has played a significant part in the creation of this music. With many of the musicians involved credited in multiple roles, the ideas are given form by a myriad of instruments, recording techniques and production methods. Composed and assembled using recorded material collected between 2018-2022, Apparitions is a work of perseverance and adaptation that is firmly grounded in a sincere love of collaboration in music.
Dentistry is the dual energies of Rory Glacken and Jack Burton, Boorloo originals now living in Naarm. The pair have previously released an EP, “Ribbons,” on their own Deep Water label, and a track on its local showcase comp “Greenhouse Vol. I” at the end of 2021. This transmission is their debut full length offering, channeled through hometown beacon Good Company Records.“LP1” was created in unusual conditions between September and December of 2020, when the duo’s shared Northcote studio became a site of remote collaboration. One person would start working on a track and leave the session open for the other, with no overlap of physical space shared. Responding to an invitation from GCR to make a record, the initial impulse was to write dance music. But what dance floor were these incorporeal partners writing for?The album takes a spectral approach to the dance space, wrapping up air in a strata of textural tech, pulsing dub house and fractal illbience. Drawing on dub production techniques, "LP1" combines the structure of an ambient record with intricate percussive elements. Results are both atmospheric and material, abstract and palpable: a synthesis which expresses sonic relations of surface and depth, with the correlating mirage of light and shadow.At times tinkering methodically and others in mercurial lurch, there is an immediacy to this album that stems from the way it was produced, using a mixing desk and outboard gear to rich and living effect. When we listen, we commune with the artists in the heat of working out of an otherworldly space, and feel every tweak and and turn. “LP1” is a current which carries the substance of process in communicable form. Intuitive and moving, breathing, dancing.
Flying Lotus release 'Until The Quiet Comes,' the long-awaited follow-up to 2010's 'Cosmogramma.'Composed, according to FlyLo, as "a collage of mystical states, dreams, sleep and lullabies", 'Until The Quiet' Comes has the distinct feel of this nocturnal trip.From the twitching descent into a subconscious state and the out-of-focus time-ether of the journey that follows, the sound is an unhinged, yet elegant evolution of the melodic and rhythmic interplay that is woven into the DNA of Flying Lotus' aural personae.The album, featuring guests Erykah Badu, Laura Darlington, Niki Randa, Thundercat & Thom Yorke.
As you may deduce from the title of his latest opus, Steven Ellison - aka Flying Lotus - done just that. Not only has an entirely new range of sounds been unlocked by our intrepid astral traveler, but every genre touchstone associated with his name has been merged into a self-described "space opera."Seamless in execution and too wide in scope to properly describe, it is the authentic embodiment of his unique musical heritage. The spirit of his famed aunt, Alice Coltrane permeates the record, notably in the powerful collaborations with relative Ravi Coltrane, bass virtuoso Thundercat and the brilliant harp prodigy, Rebekah Raff.Certainly these are further reaches into a musical space that Flying Lotus had hitherto been exploring, however other collaborators such as Erykah Badu and Outkast string arranger Miguel Atwood-Ferguson and guest vocalists Thom Yorke and a returning Laura Darlington (featured on Los Angeles' epic closing track 'Inifinitum') help deliver 'Cosmogramma' to dizzying new heights.All this name-dropping, however, is not to detract from the genius of the wizard-like figure behind it all. The most powerful aspect of FlyLo's output has always been it's ability to communicate his boundless love and enthusiasm for music in all it's forms and that is what is boldly on display here.
We are back with the fourth opus of THE EVOLUTION series of 4 collectable Ep’s:In this ep you’ll find LIFE RECORDER from France, JUNE JAZZIN from South Africa, Mark E from United Kingdom and ALEX ATTIAS from Switzerland.Tracks are a natural Evolution on of what Visions Recordings is constantly developing, a sound that goes from jazz to deep techno mixing the new generation with the veterans producers.The ep starts with a Broken house jam by ALEX ATTIAS featuring SOHAN WILSON, a mix between broken and house rhythms made with the MPC 2000xl and some lovely keyboards and Rhodes by the one an only Sohan Wilson taking you onto a jazzy journey. On the same side, LIFE RECORDER is back on VISIONS and delivers here a melodic deep techno disco house track for the late nights filled with soulful vibes and wonderful warm percussions.On the B side, JUNE JAZZIN, known for his deep house releases, offers here a soulful deep house track with lead solo to make you dance and fly high into a killer journey into house music. The beat is groovy and the bass is dirty and this will for sure make people go mad on the dance floor . Last but not least, MARK E. is serving a deep and moody slow disco deep house cut with a perfectly mastered sound that only Mark can provide. Subtle sounds and groovy rhythm with pads and atmospheric sounds. Delicious !
“The story behind Shroomz, Guns and Roses came from the pandemic, it was a time I felt deep in nature and studying of zen, I felt like the pandemic brought out a darkness in me, and I combatted these negative thoughts with nature and mushrooms to create a balance in my life spending time in the mountains of Alabama and Asheville, North Carolina. I chose “guns” and “roses” as a way to juxtapose the violence we’re experiencing in the USA with the peace of mind a rose can bring as a balance in life. Music makes its way through these tough times we’re all facing, and to me, music is that rose. I paint a canvas of my emotions through synthesizers and drum machines to show the world balance can be found through even the toughest of times.”
As we journey on Private Society Vol. 4 connects the dots from the events of the Oasis LP and Abstract Soul. Discerning listeners and collectors clearly ascertain the unfolding story, as pieces of the puzzle begin to form a clear picture in the tapestry of a new trippy fusion house sound. Singular in form and output Fred P continues to go deeper into his ever evolving sound pushing the music forward into the future.
For our first release in the sound-clash series, Xander goes head to head with Papa Nugs.Based out of Brighton, Xander has made a name for himself in the UKG/breaks scene over the last 18 months with his exciting sound design and work for his own label, Over and Out.
Charlotte de Witte takes charge of her KNTXT label's 15th release with the new Universal Consciousness EP. It comes after Amazingblaze - Venture EP and features four more powerful and psychedelic techno cuts.Charlotte is soon to be playing her biggest ever KNTXT party in mid April. It shall take place in her hometown of Ghent and see her play a historic 10 hour set to a vast crowd of people who shall go on an all night long journey. Also in April, Charlotte returns to London’s iconic Printworks for the first time in five years, this time with her KNTXT concept and once again is set to raise the roof. While staying busy on the road, she continues to curate the Apple Music x KNTXT page while cooking up ever fresh sounds in the studio. This latest EP is another subtle evolution in her signature style.Says Charlotte of the EP, "following up on my latest Asura EP in September, I decided to delve a bit deeper in the world of psychedelia. All the tracks of the EP are psy inspired, some more than others. I’ve been playing these tracks for a while now in the clubs. It’s been a real pleasure to see the crowd’s reaction and see the amount of track ID requests online. This one is from me to you, I hope you enjoy my Universal Consciousness EP!"Opener 'Satori' is dark and heavy. The chunky, raw drums hit hard and flat as the squelchy acid synths pan about the mix. An enchanting middle eastern vocal wail brings an extra trance-inducing element that is sure to lock in the hearts and minds of the crowd. The super 'Kali' is a slick and high speed piece that shows the love relation between psy trance and techno. The video game style synths peel off the groove next to alien sound effects, and the subtly evolving acid line burrows deep into your brain.Then comes the dynamic, bouncy and acid laced-title cut ‘Universal Consciousness’. It's a fulsome tune with rubbery kicks and visceral 303 loops that will melt the mind as dancers fall into its hypnotic and tripped out spell. Last of all is 'Ahimsa' with its bright, lashing acid synths and hammering kick drums. It's the perfect mix of physical groove and psyched-out synth work, and is perfect for both sweaty basements and vast main rooms alike. When the mystical flutes come in, it takes things to another level entirely.This is another all consuming EP of innovative techno from Charlotte de Witte.
Forbidden Feelings EP pressed on fresh green 12'' vinyl and packaged in transparent printed PVC sleeves.
Burial's classic Untrue album on double vinyl - black inner sleeves and 180g vinyl in a thick card sleeve. It is updated from the previous, now deleted pressing - to add the beatless atmospheric tracks that have always been integral parts of the CD version.
Groovy D coming in with our first full artwork, vinyl, and digital EP on the label with 4 naughty cuts of dark garage. Full of swing, sub, and straight rollage.
4 more cuts of HARDLINE power. This one is for the sovvy soldiers. 2 darkside steppas and 2 bootlegs on the flip.
4 cuts from the mythical, illustrious bootlegger Sawheadz. Originally released on Molly Parker Records in 1998 'Don't Go' & 'Allright' are perfect examples of bootleg speed garage at it's finest. With Discogs' prices for this being £££ I hunted down the man behind them and from talking, found out there was some unreleased Sawheadz from the same era. 'Gimme That Bass' & 'Stop Playin' Games' speak for themselves.
First release on Peggy Gou's Gudu Records, featuring the tracks 'Starry Night' and 'Han Pan'.
5 track EP from the ever masterful London based DJ/Producer Shy One. Following on from the fuzzy, acidic haze of the vinyl only Crumb Trail 7 inch the new EP - From The Floor To The Booth - encompasses further rich and eclectic sounds of Shy's musical heritage, London leaning from Broken Beat to Soul, Garage to Grime. The record journeys through and abstracts a variety of styles, tipping its cap to the archtectics of Londons musical underground from Soul II Soul and 4Hero to Loose Ends and Roll Deep. A notion every bit apparent in Shy's eclectic bass heavy, hi-energy club selections. The record is Shy One’s most in-depth and ambitious release to date. The artwork is created by Herald Essuman of Artbox London. An incredible London based charity that supports artists with Autism and learning disabilities.
To celebrate 11 years of Sydney skate brand PASS~PORT's existence, they have release a small capsule range which includes a limited edition 12" smokey brown vinyl comilation. The Vinyl includes 11 selected Australian tracks from the brand's various video explorations so far!
WhatI Breathe is the debut album from Mall Grab AKA Jordon Alexander. The Australia-born London-based powerhouse reaches within to create the most comprehensive demonstration of his style to date –loudly defining the raw energy that has become synonymous with the moniker. "This album is deeply personal and an exploration of all influences, sounds and sides of the Mall Grab project. It follows my journey of the last 6 years from a university dropout in Newcastle (Australia), making music as a source of happiness and expression.”While glances of what Jordon gravitates towards in dance music can be heard in the record label imprints he steers—Looking For Trouble and Steel City Dance Discs—it's with What I Breathe that he elaborates on and articulates his diverse ear for music. Through collaborations with Brendan Yates of Turnstile, Novelist, D Double E and Nia Archives, the Mall Grab repertoire of emotive electronics is used to traverse his love of hard-to-define energies that exist between genres like Hardcore, Hip-Hop and Soul. Even with a stack of very well-received projects already under his belt, What I Breathe can be seen as the first deep breath in and a fierce declaration of what’s to come for Mall Grab. “I’m grateful for everything and everyone in my life, those I love and those who support my music, through all the ups and downs. I live and breathe this shit. I cannot do anything else. I will continue until there is nothing left for me to say.”
It’s a thing. Things are ugly. Things are beautiful. The record is a blur of melted media. Piles of tapes and records. Human elements provide some evidence that we are still the ghosts in the shell. The world that is being built is broken like a breakbeat. Our perception gives it flavor. Pay attention to the details listeners. This city is humming. The master programmer and the underground mellow are trading bars with the frantic, the hard, the heart, and the horrifying. Voices are held in suspension like conjured spirits given new context through the sublime art of sampling. Resurrect the music with a message or a question. Where does it come from? Why does it fit? Reaching out brings you deeper within. Static, fuzz, echo, and the bedrock of a boom-bap rhythm. Ignore it if you dare but you can’t deny the feeling. The trembling in your blood. The hot wire touching the specimen in the petri dish reveals life’s impulsive nature. SURVIVE. When the soul speaks, making sense isn’t an option. Words don’t do it justice. The password is LISTEN.
The fourth solo album from NYC's Tony Simon, The Music Scene comes nearly six years after his much-loved Ninja Tune debut Music By Cavelight. In addition to his solo instrumental work, Simon's made a name for himself producing tracks for the likes of Aesop Rock, DJ Signify and Murs among many others, but he undoubtedly has an ear for threading together standalone works from manipulated samples. Apparently, on The Music Scene, Simon found himself more able to elaborate on his compositional approach thanks to his use of Ableton, which saw him shunning the more traditional sampler-driven approach to beat dissection in favour of heavy layering. Ecclecticism lies at the heart of this record, and each track seems to usher in a new multi-dimensional collage, finding an early peak with the crashing drums, grainy brass and soulful electric piano phrases of 'Which One Of You Jerks Drank My Arnold Palmer?". Keeping with the eclectic theme, for a brief moment 'Pity Party' features a spot of whistling that evokes the intro to The Scorpions' 'Wind Of Change', but then it's a track that seems to switch persona repeatedly throughout its four or so minutes. Further standout moments come during the Four Tet-like folk-hop of 'The Daily Routine with its scrunched acoustic guitars and string samples and the exploitation movie referencing 'Hell Camp', which offers timelessly bluesy, trip hop style beats and progressions.
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