This volume was unexpectedly successful, so that, instead of sailing for the West Indies, he went up to Edinburgh, and during that winter he was the chief literary celebrity of the season. An enlarged edition of his poems was published there in , and the money derived from this enabled him to aid his brother in Mossgiel, and to take and stock for himself the farm of Ellisland in Dumfriesshire. His fame as poet had reconciled the Armours to the connection, and having now regularly married Jean, he brought her to Ellisland, and once more tried farming for three years.
Continued ill-success, however, led him, in , to abandon Ellisland, and he moved to Dumfries, where he had obtained a position in the Excise. But he was now thoroughly discouraged; his work was mere drudgery; his tendency to take his relaxation in debauchery increased the weakness of a constitution early undermined; and he died at Dumfries in his thirty-eighth year. It is not necessary here to attempt to disentangle or explain away the numerous amours in which he was engaged through the greater part of his life.
It is evident that Burns was a man of extremely passionate nature and fond of conviviality; and the misfortunes of his lot combined with his natural tendencies to drive him to frequent excesses of self-indulgence. He was often remorseful, and he strove painfully, if intermittently, after better things. But the story of his life must be admitted to be in its externals a painful and somewhat sordid chronicle. That it contained, however, many moments of joy and exaltation is proved by the poems here printed.
Burns' poetry falls into two main groups: English and Scottish. His English poems are, for the most part, inferior specimens of conventional eighteenth-century verse. But in Scottish poetry he achieved triumphs of a quite extraordinary kind. Since the time of the Reformation and the union of the crowns of England and Scotland, the Scots dialect had largely fallen into disuse as a medium for dignified writing. Shortly before Burns' time, however, Allan Ramsay and Robert Fergusson had been the leading figures in a revival of the vernacular, and Burns received from them a national tradition which he succeeded in carrying to its highest pitch, becoming thereby, to an almost unique degree, the poet of his people.
He first showed complete mastery of verse in the field of satire. The force of the invective, the keenness of the wit, and the fervor of the imagination which they displayed, rendered them an important force in the theological liberation of Scotland.
But the real national importance of Burns is due chiefly to his songs. The Puritan austerity of the centuries following the Reformation had discouraged secular music, like other forms of art, in Scotland; and as a result Scottish song had become hopelessly degraded in point both of decency and literary quality.
From youth Burns had been interested in collecting the fragments he had heard sung or found printed, and he came to regard the rescuing of this almost lost national inheritance in the light of a vocation. About his song-making, two points are especially noteworthy: first, that the greater number of his lyrics sprang from actual emotional experiences; second, that almost all were composed to old melodies.
Sometimes he kept a stanza or two; sometimes only a line or chorus; sometimes merely the name of the air; the rest was his own. His method, as he has told us himself, was to become familiar with the traditional melody, to catch a suggestion from some fragment of the old song, to fix upon an idea or situation for the new poem; then, humming or whistling the tune as he went about his work, he wrought out the new verses, going into the house to write them down when the inspiration began to flag.
In this process is to be found the explanation of much of the peculiar quality of the songs of Burns. Scarcely any known author has succeeded so brilliantly in combining his work with folk material, or in carrying on with such continuity of spirit the tradition of popular song. In spite of the fact that he was constantly in severe financial straits, he refused to accept any recompense for this work, preferring to regard it as a patriotic service. And it was, indeed, a patriotic service of no small magnitude.
By birth and temperament he was singularly fitted for the task, and this fitness is proved by the unique extent to which his productions were accepted by his countrymen, and have passed into the life and feeling of his race. Holy Willie was a rather oldish bachelor elder, in the parish of Mauchline, and much and justly famed for that polemical chattering, which ends in tippling orthodoxy, and for that spiritualized bawdry which refines to liquorish devotion. In a sessional process with a gentleman in Mauchline—a Mr.
Gavin Hamilton—Holy Willie and his priest, Father Auld, after full hearing in the presbytery of Ayr, came off but second best; owing partly to the oratorical powers of Mr. Robert Aiken, Mr. Hamilton's counsel; but chiefly to Mr. Hamilton's being one of the most irreproachable and truly respectable characters in the county.
On losing the process, the muse overheard him [Holy Willie] at his devotions, as follows:—. The following poem will, by many readers, be well enough understood; but for the sake of those who are unacquainted with the manners and traditions of the country where the scene is cast, notes are added to give some account of the principal charms and spells of that night, so big with prophecy to the peasantry in the west of Scotland. The passion of prying into futurity makes a striking part of the history of human nature in its rude state, in all ages and nations; and it may be some entertainment to a philosophic mind, if any such honour the author with a perusal, to see the remains of it among the more unenlightened in our own.
Promising stuff indeed from this rising 18! Whales A2. Baff A3. Tuna B2. A family affair since the early days, WOLF Music have been shining a light on the scenes and sounds the duo are ingrained in. Machine music with the soul of south London. On the flip, two long time listeners, first time callers, with a double dose of debuts on the label. Deep, emotive, intricate house with a nod to the worlds of Bruk and Chicago house melded together with that NZ feel.
Full crew, through and through — this one hits different! Miguel Migs Feat. First up on the flip, a dub version for the dancefloor featuring an infectious piano and bass groove. The package ends with the B2 a rhodespella version played by maestro Riccardo Burattini who wrote an emotional arrangement for Lisa Shaw's voice. All in all, a timeless record and a must have. Released in on the South African label "Flame", the album "Abahambi — Balomhlaba" was rediscovered and re-released by the good folks of "Black Pearl Records" from Berlin in The LP immediately landed on Matasuna Records' album best list and was at the top of the reissue wish list.
Now that goal has come true to officially release two songs on 45, making them available as 7inch vinyl singles for the first time. Transferred from the original master tapes and remastered to sound as good as never before. An essential release! The title track of the album "Abahambi" composed by "Sipho Gumede" and also the album opener is also the A-side of the Matasuna release. The song immediately builds up an incredible groove with the first bar and offers an atmospherically dense, 5-minute funk firework.
The musicians master their instruments to perfection: be it in the collective playing as well as in the polished solo passages, where they can fully demonstrate their skills. One of the tunes that could run endlessly without ever getting boring. Although this song is much slower in tempo, it is in no way inferior to the A-side in intensity. Especially the piano generates a hypnotic groove, which is skillfully continued by the guitar.
Another musical treat! Apparently it is considered proven that the band was founded by bass player "Sipho Gumede". Born in "Durban" South Africa , "Sipho Gumede" learned to play the guitar autodidactically until he received his first introduction to jazz from jazz guitarist "Cyril Magubane" at the age of He switched to bass and then got his first professional music job as a member of the "Jazz Revellers" band. In he went to "Johannesburg" where he met, worked with and toured with some great musicians of that time.
He formed several bands with some of them such as "Roots", "Spirits Rejoice" or "Sakhile". Gumede also recorded collaborative pieces with other jazz legends before recording his first solo album in In the following years he was involved in tours of North America, Europe, as well as many African countries. In , Sipho moved back to "KwaZulu-Natal", where he taught music and performed for township youth.
His artistic productivity did not stop there, however, and he produced a number of other albums. In total, he produced, recorded and contributed to more than 20 albums. He died in July after a short illness. Originally recorded in this remaster you wouldn't know it. Abahambi 2. Klubb Global Groove Vol.
Klubb Global Groove - Gothenburg's finest groovers - serves up two club-friendly and carefree disco edits, cut loud on No sugar added, only natural sweeteners. Still so sweet they will make you stick to the dance floor. Limited to copies, no repress. Track A B1. Track B. A soundtrack of Sudan's revolution and the first ever international release of the Beja sound, performed by Noori and his Dorpa Band, an unheard outfit from Port Sudan, a city on the Red Sea coast in eastern Sudan and the heart of Beja culture.
Beja Power! Few older Beja recordings were produced. Even fewer, if any, remain. Electric soul, blues, jazz, rock, surf, even hints of country, speak fluently to styles and chords that could be Tuareg, Ethiopian, Peruvian or Thai—all grounded by hypnotic Sudanese grooves, Naji's impeccable, airy tenor sax, and of course, Noori's tambo-guitar, a self-made unique hybrid of an electric guitar and an electric tambour, a four-string instrument found across East Africa.
A truly ancient community, Beja trace their ancestry back millennia. Some say they are among the living descendants of Ancient Egypt and the Kingdom of Kush. They are even depicted in the hieroglyphics. Beja melodies—nostalgic, hopeful and sweet, ambiguous and honest—are thousands of years old.
This album could be 6, years, 60 years, or 6 months old. Along with his Dorpa Band, formed in , Noori's instrumental Beja music forms the latest link in an unbroken chain of an inherited, arresting sound that is local as it is global, a gift of a storied past and the exchanges of the well-traveled Red Sea. Ostinato Records is honored to bring the nearly forgotten Beja sound in all its nostalgia, sweetness, honesty, and power, recorded and mastered to maintain the warmth of Sudan's signature aesthetic, to your sound system.
Super deluxe, embossed Alan Dixon remixes of Patrick Cowley here, part of the esteemed Unidisc campaign which seems intent on bringing the best of hi-nrg, disco and boogie straight back into our living room discos! They don't get much more hi-nrg, and indeed crotch-thrusting than Cowley's ero-disco-throbber, "Lift Off".
Originally released in on the same album as "Megatron Man" , there's a poppers huffing, highly charged energy throughout; those raunchy synth nips and squiggles synonymous with the porn soundtrack producer all present and correct, whilst a rambunctious array of electronic instrumentation - not forgetting that forceful octave bassline sequence - all take us to hi-nrg heaven!
Alan Dixon contributes 2 mixes which offer up a galvanized patina, certain to tickle the speaker stacks that bit more aggressively than it's counterpart. Also included is the original album version and an alternative mix from the original release for completion and comparison!
An absolute must for disco heads! Hi-nrg erotic disco from the singular visionary Patrick Cowley. Up to date power ups provided by Alan Dixon who beefs it up proper for the rigs. A truly deluxe edition! Originally the B-side opener to Cowley's first solo album, "Megatron Man", it's fitting that 40 years later this important dance song is getting a rerelease with fresh remixes from Alan Dixon and amazing embossed disco bag to boot.
Disheartened by the lack of promotion and distribution off by Fusion, Patrick and Marty decided to set up their own label releasing not only Cowley's work, but by other synthesizer disco bands around the Bay Area and beyond. Megatone Records quickly captured the sound of the city's legendary gay nightlife. With supreme vocals by J. Block, amazingly vibrant chorus and verse sections and highly frenetic instrumentation featuring the vast array of Patrick burgeoning synth collection - it must have sounding unbelievably fresh at the time!
This new edition by Unidisc curates the original album version, a remix by Paul Parker from and two new mixes by Alan Dixon which, while beautifully faithful to the original material manage to give Cowley's music new life and vigor through some rugged and galvanized outboard mastering.
This is unmissable stuff for your disco and hi-nrg collection! Boosted by two Alan Dixon remixes this is unmissable hi-nrg disco for your next chemsex party. The Canadian producer and edit wizard was last seen at the helm of his seaplane en route to the island of Madeira for surfing and sunshine. Before he took off he left us some heat we are ready to share with you all. Both tracks are so undeniably and deliciously Eddie C that we're all united in agreement that this is the best work by the producer for some time.
Effortlessly funky grooves throughout! Two mid-tempo loopers, one traditional peppered with his trusty whilst t'other goes on a bit of a dub-disco jaunt. Infinite Wait B. Germany is not the first country you think of the glitterball; but some of the hottest disco artists of the s and 80s were based in Germany. To be more precise in Munich. And that's the vibe you get with the new Gome guys. This youthful troupe originally come from Munich.
They have the Munich disco DNA. Their disco is played on several drum machines, keyboards, sequencers and a microphone. Check their live on Insta. The new one goes further, remodeling 80's boogie stylings into a fresh dancefloor sound. The first track "Teach you" was produced in the raw style of early Prince or the legendary Sexual Harassment. A squelchy bassline, driving beats and funky rap vocals is the only thing you need.
Erobique drop a stripped back redux and there's a highway-cruising electro number completing things nicely. Now Testa has become the latest artist to contribute to the Rush Hour Store Jams series, delivering a four-track EP that takes his self-proclaimed world music-meets-club music approach in kaleidoscopic new directions. Rich in synthesizer and drum machine sounds, it should delight all those who love melodic, tropical-tinged electronic music. Testa sets out his stall opening title track, a squelchy slab of electro-fired musical joy whose dreamy pads and synthesized marimba melodies recall the mids work of legendary South African musician Hugh Masekela and the delay-laden proto-house jams of the late Boyd Jarvis.
He opts for a deeper, sweeter, and more laidback sound on the gently jazz-funk-tinged warmth of "Blue Ocean" where layered percussion, ethereal chords and morning-fresh melodies catch the ear, before doffing a cap the spacey electrofunk and obscure Trinidadian synth-pop records on the wonderfully picturesque "Guayaba". Gigi Testa merges styles for a winning formula. First time commercially available 12" pressing of this seminal UK house production.
Originally released in Dating back to the electrifying earliest performances of blues artists like Big Bill Broonzy during the early s — an influence on Eric Clapton and John Lennon — right through to the dawn of Chicago house and onwards. This record is a prime example of this.
Although Mother Tongue was a one-off project, its history is rooted in this long-standing culture stretching back decades. The main man behind Mother Tongue was a drummer and record producer named Richie Stevens. Stevens was steeped in music and the industry, thanks to his father, John Stevens, also a professional drummer.
He is also a long-term collaborator with Boy George. But the story of Mother Tongue begins with a band called Well Red. This group, effectively a studio creation by Richie and his then manager Martin Poole, recruited vocalist Lorenzo Hall, a fixture on the London reggae scene and sold the concept to Virgin Records.
Well Red yielded two albums — Motion and Respect Due — but never really got the crossover success their songs perhaps deserved. They pumped money into it, and it never quite paid off, but we did okay. We recouped and got to make a second album with George Clinton.
It was a good move, recording with him. It did us a lot of good here and in America. We did pretty well in the US. We were very well-supported over there. This is the first time Mother Tongue has appeared as a inch single, a long overdue but very welcome happening. Obviously indebted to Chicago, it's an early and brilliant example cross-pollination and adoption from our fertile soils. The Boogie Times label is back with 4 cuts from a very elusive artist.
There has been much speculation over the years as to the identity behind the Disciples Of The Watch moniker. Sharp eared listeners have attributed the sound of the breakbeats to one artist, while others are as convinced their deductions from the sound of a bassline can attribute the production to someone else.
All we can say is that Disciples Of The Watch make great music! Back in the "Dance In Peace EP" received an incredibly limited white label run and was only available from a handful of specialist record shops. Blows all the new stuff out the water quite frankly - there's just summat so gritty and raw in that old hardware and samplers that elbows the modern competition outta the warehouse.
The EP is presented on Original custom sleeve artwork is provided by Suburban Base legendary artist Dave Nodz in his iconic graffiti influenced style. D'Cruze, the legendary DnB producer synonymous with some of Suburban Base's biggest tracks such as "Lonely" and "Watch Out" now sees some of his unreleased productions finally getting a much sought-after release. Original solely available as a hidden track on the US version of the CD, "Bittersweet" has never been released in the UK and never released on vinyl.
Demand for a vinyl pressing of this has been called for since ! Farting bass that'd make Aphrodite blush and a neck-snapping drum groove cement this a maximum ruffage monster! Decorated with tantalizing pad stabs and a skillfully constructed Apache break, this is funky dnb fire for long, life affirming club sessions. Rounded off with the incredibly dazzling "Meus Precious Filius", an unheard end-of-night killer that was considered a 'lost DAT' until recently. Seriously emotional vibes on this one!
The EP is presented on blue and black splattered vinyl making every single piece uniquely different. Suburban Base have been at the forefront of hardcore and jungle since the early 90s and have remained delightfully uncompromising and underground throughout.
Hardstep A2. Bitter Sweet AA1. Sublime State AA2. Meus Precious Filius. Still ripe with dizzying instrumentation, rich musicality and a sun-blushed dreaminess those Ozzy cats do so well. Over the past six years, Dimensions has firmly marked its place as a leading name in the underground, with its festival, International Series, DJ Directory and Dimensions Soundsystem.
Available from 14th July across three separately available 12" EPs and a digital compilation the debut reflects the flavours and variety of what's in store. The compilation ties together twelve tracks across the three discs with very different personalities from soul and house through to techno and electro. With contributions from Dimensions friends old and new, breakouts and long-established names, it's a solid-gold offering from the Dimensions Recordings team headed up by Andy Lemay and David Martin.
Part 1 calls upon artists from different corners of the globe who share the similarity of undeniable soul and expression in their music. The EP has an earthy, worldly feel to it. From the Swahili sung harmonies on Mim Suleiman's 'Pole Pole', to the afro influences of Swiss collective Alma Negra's 'Onga', both tracks work raw percussion with just enough swing that either would sit comfortably within late-night UK dance floors or on the sun-kissed beaches of Pula.
Then there's the jazz-tinted glow of Istanbul's Kerem Akdag whose 'Getdownsoclose' deep roller makes use of lush pads and rushing snares. Closing is Maryland's James Tillman, who's soulful vocals on 'Wander' sit gracefully over transcendental keys and compellingly loose drumming, rounding off Part 1 with a cleanse of the soul. Part 2 turns the heat up with more dance floor leaning contributions from four American artists, each delivering something very different but equally powerful.
Marcos Cabral's 'Prochainement' is a driving, dubbed out melter with stomping kicks and big-room claps under fuzzy synths, whilst Byron The Aquarius drops his signature dose of funk into 'Full Moon'. One of the standout breakthrough artists of last year, the Atlanta producer has been part of the Dimensions team for some time.
Rounding up is DJ Aakmael with 'Transit'; a raw, flexing cut that we've come to expect via his massively impressive output and his own superb imprint, Unxpozd. Dimensions Recordings explores its darker side on Part three with intergalactic oddities and twisted techno constructions, the release is definitely one for the late hours.
Next, French artist, Upwellings steps up to demonstrate his purist approach as he unites elements of dub and techno to create the beautifully spacey 'Soft Shadows'. To finish the winning release is Fachwerk label boss and prolific techno artist, Mike Dehnert; who presents raw but melodic track in 'Tokio,'which maintains his minimal and stripped back aesthetic beautifully. A beacon of modern electronic dance music that thankfully treads its own path and looks for innovation and evolution rather than relying on the successes of past formulas.
Three tracks that find the Akai-sensei in moody Motor City mode; constructing those peppered drum sequences and drunkard pads to compliment a shadowy vocal track on "Weirdo" which comes in two mixes - one sans pads and with even more percussive goodness jammed in! A sound Theo singlehandedly invented himself, think "Sound Sculptures"-era and you'll be getting a twitchy for this frisky biscuit! Limited copies, bound to fly out - you know what to do!
This sounds like some of the earliest Sound Signature gems; deep, moody, beatdown soul synonymous with the D. Weirdo Full Mix B1. Original Weirdo B2. Imaginary Thugfunk. With its warm, melodic chords, infectious piano theme and big strings it seems perfectly suited to one of Joe Claussell's lavish and long house epics. Back in the late 90's, Mats used to book Joe for his legendary Raw Fusion parties in Stockholm so the connection and mutual respect were already in place.
A brilliantly celebratory release from the impeccable Local Talk label. Meanwhile, modern jazz duo Kyodai elevate "Mood Light" into stratospheric heights of feeling and expression. A truly great release from this mammoth label.
Moon Light Kyodai Rework. Delsin is pleased to welcome a true pillar of the contemporary techno scene, Answer Code Request, for his first EP in six years. As an integral part of the Ostgut Ton family since breaking through some 10 years ago, Patrick Graser has shaped a patient but potent discography which embodies the hybridised nature of techno in the 21st Century. His distinctive style of melodically embellished, subtly fractured body music helps define the contemporary zeitgeist, but it also moves with enough emotional maturity to stand on its own terms as compelling, artist-led electronic music.
Arriving some four years after his second LP Gens, the Shattering EP opens in an especially exploratory mode as Graser teases elements of breakbeat and ambient techno on the spellbinding 'Resonate'. There are more linear techno pulses to be found in the tunnelling propulsion of 'CRS', but in the interests of contrast the EP closes with the sparkling refraction of 'Sustaining Life', a floor-ready masterclass in electronica with teeth.
Here the esteemed nightclub technician drops four new tracks on prolific techno label Delsin. A very Berlin-meets-Manchester affair; these two post-industrial cities obviously flexing their influence on the producer. It's still got that bass-n-shuffle you'd expect from this talented and singular producer but he swaps the sound bwoy attitude for something a bit more slick and sexier. All The Colours 2. Southbank Slide 3. Harry Septiandry has been gaining traction with standout releases on Darker Than Wax and Star Creature under his Munir alias, and for his RNT debut he serves up four extra special reworks of obscure disco from his native Indonesia.
The source material would stump even the most savvy of ears, but Harry finds the universal in these rare gems, augmenting the grooves and preserving just the right bit of camp for super sunny spin! Time A2. Christi B1. Rame B2. Limited edition hand Part calling card from the stars, part postcard from the gutter, when The Libertines made their first introductions there was no time for a gentle warm-up or an orienteering session to point out all the fire exits.
Hell, there was no way out anyway because with their first single Pete and Carl and Gary and John dropped you straight in the middle of the energy and chaos that surged through their lives and fuelled their band. Twenty years on from its release, The Libertines' opening salvo retains a freshness that is as much down to its wisdom beyond its years as it is the youthful exuberance it inspired in band and fans alike.
What A Waster 2. I Get Along. Two roots reggae classics circa from Max Romeo on 12" vinyl. Clear and loud pressing! Melt Away feat. Max Romeo 2. Break The Hold feat. Max Romeo. The Greek born artist has had excellent previous releases on labels such as Ewax, O.
Don't forget yer speedos. Cosmos 99 2. Inner Tripper 3. Bamboo Skirt 4. Inner Tripper. Diggin deep, two treasured cuts from the John Collins vaults, remastered, reissued and sounding oh so weighty. On the flip a twisted, tape-echoed dub exercise so ganja-soaked I convinced myself it was already !
Again, if you're aiming to get horizontal this weekend this is the disc for you! The Detonators - Lift Off. Two late 70s heavyweight roots rockers from Barry Brown, produced by Bunny Lee. Reissued on original "Justice" label from the time. The classic voice of Barry Brown is one of the most synonymous in dub. These two tracks are timeless high watermarks of the dub reggae genre every fan of JA music needs. No Wicked Shall Enter feat.
Barry Brown 2. Big Big Politician feat. Barry Brown. Brown Sugar were unique - not only were they one of the most important of the first wave of lovers rock groups, they were also the only group who managed to successfully blend together a reggae roots consciousness with a lovers rock sensibility.
Black Pride B. Having had the legend Roy Davis Jr. With its deep analogue bass, beautiful pads and great spoken-word vocals, it went on to become an underground classic and is now hugely in-demand with DJs and collectors. The "Frog Mix" ups the tempo and energy, getting shoulders jacking and the floor bouncing. Quite an apt remix title really A brilliant example of the unique deep house sounds purveyed by the Murk duo and a much needed official repress sounds fatter than the boot from a years ago from Above Board.
Don't sleep! Having worked closely alongside founder Erol Alkan in recent years to shape the imprint's diverse output, Loveless' collaboration with the Peach Discs founder nods to the electro landscape of the label's earliest days. Yes mate!! For those that don't know, John used to live right here in MCR; documenting the folklore of our night life and generally getting right amongst it.
A full throttle maniac, the energy levels don't drop below 10 on this fully certified banger for Phantasy. Highdive A2. Highdive Beats Mix B. Highdive Schacke Remix. Cat Number IJR Booster pack from the label's workhouse force. An undeniable summery, frenetic energy taking over on these four workouts, perfectly primed for festival appearances and day raves across the warmer months. Don't miss the specialist tweak of Harvey Mason or the amazingly uplifting organ solo on "Bomba Rejam".
A fantastically killer series most DJs won't want to do without Their touch so deft, so sympathetic to it's source that you hardly notice their input. It's there though, behind the scenes, making these dancefloor work horses run silky smooth.
Volume 10 in the cult collected warehouse music series - Tone Dropout. Along with the usual suspects Dawl and The He-Men, two new artists plus a new collaboration of previous artists are introduced. First track comes from the one and only Dawl, The TDO co head honcho comes at cha with a techy, bleepy, Detroity stomper; no breaks or any of that nonsense just expertly programed bleeps and buzzes. Kiddmisha, all the way from Kiev in the Ukraine. Mega deep session club track.
The He-Men contribute a typically naughty and acidic electro track; with lashings of fastened to a snappy vintage drum box coerced to work over time for this mutant dance party! Finally we have 22 year old Marino from Nantes in France. He is the co founder of Hyperfrequence records and party collective and also linked with the 44tours record shop, label and parties.
This man is a real talent for the future and "Rave Alarm" is full on high energy assault, starting with a killer break and time stretched vocal, it verges into hardcore territory whilst nodding to production tropes more akin to the birth of jungle and DnB. When that bass sweep hits you square in the chops, there's no turning back! Mega stuff from the titans of modern warehouse music!
Limited copies, no repress - move quick! New artists are introduced, old stalwarts are re-decorated - there's plenty to jack to! First up is "Mesmerized" featuring Shyam P, a slinky, serpentine, deep acid roller with subtle synth craft, airy hi-hats and maximum terrace potential! Eager house historians will hear the cheekiest, tiniest snip of "Peaches And Prunes" on "To The Floor"'; a track otherwise submerged in late night, deep house immersion.
Thick wobbly bass and incredibly well placed drum articulation marking this out to be A-class, energy efficient heater. Don yer best jockey gear folks - horse not included! Finally the awfully titled "Slut Drop" concludes proceedings with another intricately constructed late night jam. One of those tracks that makes perfect sense come 3AM, it's sparse but meticulously programmed elements working in harmony to create a hypnotic, e-body track few can resist Here the slinky superstar drops an essential four tracker that'll be heard everywhere from Ibiza to the Adriatic coast.
Holiday house music without the instgram drops. Mesmerized Feat. Shyam P A2. To The Floor B1. Summerz B2. Slut Drop. Blink-and-you'll-miss-it 7" from Terekke who touches on the kind of sublime, cushion soft dub-techno-electronica that used to be the realm of acts like Farben, Fluxion, Burnt Friedman and such like. Tender, sensuous movements from a master of the machines. Don't miss this one folks. Really, really limited!
The Detroit trio continuously impress with their exquisite releases, striking lyricism and a hefty dose of house authenticity across their outputs. With Amp Fiddler on production, it's nice to see Detroit soul kickin' and back on the map with serious intention. Introducing Dames Brown B. Introducing Dames Brown Instrumental. More dancefloor fuel from the unrelenting Local Talk. Italian powerhouse Nico Lahs usually glides smoothly between labels like Delusions Of Grandeur, Adeen and Rawax - working with house royalty Chez Damier - and keeps delivering top quality music.
A straight forward track that embraces loops and repetition with hints of HNNY's golden days. Pure sunshine and good vibes emanating from every orifice. On the flip Local Talk's very own Tooli moves through a series of moods and grooves with "That Cowbell Track", a cut which eases you deeper and deeper into the dance, with clever rhythmic programming and enveloping mid-range stabs.
A dub that focuses on the cowbell ina proper Danny Wang style.. A brilliantly musical offering from two titans which really grasp the spirit of modern deep house. Nico Lahs with a loopy organic MPC jam, Tooli turns down the lights for the evening session with two takes on a killer theme.
Numbered and limited to copies each worldwide. Released in , the band continue to deliver the sound of the Brian Jonestown Massacre. Cover artwork by Anthony Ausgang. This is filled to the brim with boogie disco that encapsulates sunshine and good vibes. Loveface never one to miss a beat and with these 80s bangers they've nailed it yet again.
Band on the Wall Recordings unveil its fourth release from The Singles Club, their 7" series supporting a selection of Manchester most exciting rising artists. I can't recommend this enough, go go go n listen right now. Every Story 2. Israeli producer Nenor delivers a 4-tracker of impeccably produced dancefloor weapons for his second outing on Razor-N-Tape. The Echomen's song "Let's Get Together" appeared first on the third volume of the Movements compilation series many many years ago.
Sadly, its lyrics are still relevant today even 50 years after its recording. Let's Get Together 2. Talk Is Cheap. Finnish nine-piece Kuja Orchestra original version of the Afro centric Kuja's disco on Jazz Aggresion label came in under 3 minutes so this unreleased extended version allows the instrumentation to shine through showing off some seriously good solos and horn arrangements. Backed with the super bluesy vocal of the legendary Bobby Bland on an aching tale of loss and regret.
A slow smoochy groove with lyrics of genuine heartache… and all this with a resilient slow motion dance beat and some exquisite brass breaks. Both sides remastered for sprung dancefloorshaking longevity. Taking inspiration from classic 60s and 70s soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean- Claude Vannier and Piero Umiliani, the album was very well received upon its release and struck a chord with the scene's connoisseurs.
The next logical step was to make their music available on 45 too. The release features an album track 'Fear Me Now' on the A-side and is paired on the B-side with two new tracks that channel the sound of library music giants such as Hawkshaw and Bennett. Three lush, warm and timeless productions.
Inspired by classic 60s and 70s soundtrack composers such as Axelrod and Morricone, and library music giants including Hawkshaw and Bennett. Johnny Marr Fever Dreams Pt. Manctalo Beach has gone through several versions over the years to arrive, like a chilled Bianco, at the crisp beauty you hear today.
Packed with chunky bass arpeggios, pixelated pitch-bent melodies and freeze-frame drum fills, the A-side conjures images of coastline sunsets and waterski waves. Meanwhile on the flip, the bonus beats proceed in a more dubbed disco direction, with acres more space, cascading delays and tripped-out breakdowns. One for your speedboat! The clue's in the title! Clear vinyl, limited to Vacant Gardens is Glenn Donaldson of The Reds, Pinks and Purples and a hundred others and Jem Fanvu, collaborating on music and with the latter responsible for vocals and lyrics.
The project began with the idea of combining heavy fuzz and slow-mo drum machine beats with Fanvu's gentle almost trad-folk style vocals. Almost all of Donaldson's otherworldly sounds are achieved through layers of guitar fuzz and copious delay, while Fanvu offers an ideal counterpoint, taking the listener on a celestial melancholy trip with her opaque poetry and melodies. So inspired were the duo by this blend of styles, they immediately recorded at least two albums of material, Under the Bloom and Obscene, released in quick succession in and in swiftly-disappearing micro editions on the secretive Tall Texan label.
With those records close-to-impossible to find at an affordable price, Tough Love are now reissuing both LPs on May 20th, alongside a 7" containing two previously unheard songs recorded at the same time as the albums.
The albums are pressed in editions of , and the 7" , and all on transparent vinyl. Stay tuned!!! Very very into this. Jerome Potin, aka Gallic mash-up artist Moar, returns for his super limited, ultra collectable 45 Loves series. Maximum head nod factor on this one folks, with just enough umph and shuffle to kick start your Friday night dancefloor early doors! Moar retains much of the OG, instead getting busy on the echo unit and wave chopper, injecting this smooth smoocher with a huff of poppers for the Saturday night crowd.
Mega stuff from Moar! Working DJs don't need reminding how crucial these cuts are for the weekend armoury. Keep Sharon and Tracy at bay with this late 90s pleaser. H Side 2 1. HH Elsewhere the nods to piano house and the housey jams of Underground Resistance tick all the right boxes. Prism Rain EP - Inc. S moniker. Adding his ever innovative spin to the table, SYO cuts into the flesh of the original to deliver a further syncopated and spacious version, flush with complex rhythmic sleights of hand and subtle melodic trickery throughout, bound to keep you on the edge with every bar.
Refraction B1. Takin it back to the old school, EEE return sampling another great from days gone by, working it into a house leaning warper. Terrace friendly mash-ups that the whole family can enjoy. Unlikely to be aired on NTS. Hybrids of UKG, bass music, breaks and house music, coalesced into summat fresh, grooving and incendiary for the cluurrb. Opening up with the fiery garage of "Blantyre 86 Style", complete with punchy breaks, M1 stabs and subtle echoes of soundsystem culture we move into the more abstract and spacious halftime of "Healing ABle ".
Featuring Usurp the track straddles the grey areas between dub, jungle and halftime beautifully; all with an expansive, big room vibe - perfecto! Onto side B and "Luca Benzito" opens with warm piano chords and a big raggamuffin drop; bridging into sublime, bass heavy UKG with those delicious chords and sharp synth licks unveiling a sexy and sophisticated core. Finally, "Eraser Funk" drops the perfect B2 - a downtempo smokers cut that's perfect for the morning after the night before as your roll the last spliff of the session before bed time.
It's been a big night, time to get some rest dear raver. Limited copies, hot shit - highly recommended! Comes with a bonus, stoned, head nodder for the come down too. Both side A tracks are fire for the club. The New Jersey stalwart drops two mixes on one theme which demonstrates his uncanny ability to produce long-form club freakouts that total encompass the listener in their simmering, focused intensity.
Rattling with the fizzy, metallic percussion artifacts and jolting kicks that made us all fall in love the first time round, it's a welcome return to the producer's original sound and should be a firm favourite with Levon fans around the globe! Orphic Apparition is a new label born out of a transatlantic meeting of minds.
On the final uptempo choice the pair opt for a head-scrambling electro take. Choose your fighter! Combined with the other edits this version almost becomes a totally different track. Orphic Apparition will return soon. The results are mutations of acid, bass, rave and dubstep into one end-level bossman warehouse killer.
You'll need a pocket full of power pills to fend off this beast! These are studio recordings from Xberg in , at a time when they gave life and animation to a beautiful and young electronic music scene. Opening with the foreboding, minimal wave throb of "Notturno Crescendo", underpinned with a simple hi-hat utterance and circling b-line. Carnivalesque, noir-wave horror core - you can have that one for free! Really strong stuff here on the wonderful Space Ritual label - check!
I'm sure there's a Leeds connection here? Anyway, Eva Geist contributes some wonderfully unique sounds here - a bit Dusseldorf a bit industrial and bit wavey; basically if you like it left of centre and a bit scuzzy round the edges, this one for you. Eduardo De La Calle and crew return with 4 tracks of deep off kilter electro and idm; proper circuit fried head twisters for late night club sessions, after party freakouts and studio wizardry obsession.
Big tip if you're into Bitstream, Gosub and Silicon; Eduardo De La Calle is himself a bit of a sorceror at the controls; at ease both churning out both skeletal braindance and full frequency audio trips. These four sketches find him in masterful control of his machines, achieving a bilatteral conversion between hardware and human interaction few knob twiddlers achieve in the present day.
Big one for the circuit benders! Arithmetical 1 A2. Arithmetical 2 B1. Arithmetical 3 B2. Arithmetical 4. His status is due to a number of factors: a gambler's luck, backing by the finest version of Nightingales yet assembled, his faultless wry humour and wit, a difficult but unimpeachably excellent body of work, and the fortuitous timing of 's Robert Lloyd documentary, King Rocker. The release of film seems cunningly planned, with its roll-out brilliantly plotted, although it was actually the Covid epidemic which caused the cancellation of this film's scheduled theatrical screenings.
Rather than postpone, Fire Films' James Nicholls made the unusual choice of making a deal to release the film through Sky TV, where it was an immediate success and has been shown many times since. The audience, captive at home by way of the epidemic, was far larger than hoped, and as a result, The Nightingales have emerged as one of this era's most brilliant, unorthodox and genuine bands of the post-punk.
Three planned tours for the band's last album, were Covid-cancelled before a fourth attempt succeeded. With bassist Andi Schmid stuck in Germany and unable to record, the band asked three of their fans to remix tracks from Four Against Fate. The titles - let alone the radically alterations hereon - give no clue to which tracks were remixed. Contributing their massive talents are DJ Surgeon, whose stint as an opener for Lady Gaga push the band ever closer to the charts err, not likely, but the tune is brilliant!
Team's Ian Parton, who'd posted of his affection for the band and remains a figure of fascination, being a good dollop more talented than other young upstarts, and Randy Kuntz, whose devilish musical skills have added serious sizzle to the last few Nightingales records. As Nightingales toil on new projects, initial plans for The New Nonsense could not be realised. Worldwide vinyl pressing delays made delivery before last year's tour impossible.
The project seemed destined for collector status from the start - we pressed too few copies, Robert though it would be 'novel' to set the back sleeve ninety degrees off from the front sleeve, Four Against Fate is now nearly two years old, and the creative efforts of the band did not slow during lockdown. Sure Pow 2. Tangerine Shot. Teenagehood, brotherhood and a genuine love for alternative music has united The Goa Express from the off.
The intensity of this friendship has resulted in the occasional bust up along the way, yet it only adds to the burning chemistry that the band offer on record and on stage. What sets The Goa Express apart from other musicians who sit comfortably within scenes is that their identity as a band has been growing organically long before the 5 of them decided to pick up instruments and teach themselves art of killing time.
Their genuine joy in the everyday; their attitude and antics seem to hark back to the glory days of the NME- if they talk about a night out, you want to be there because these lads ooze charm and wreak havoc. This purist, old school approach to creating music through unified experiences and stimulated good times is married with the plain fact that they are very much young people of this generation, and while they see its flaws its hyperreality, its sheep-like tendencies, they still understand the importance in the immediacy of pop music: of a banging riff, or a glorious chorus and how effective this can truly be, and they want everyone along for the ride.
With influences ranging from Spacemen 3 and The Brian Jonestown Massacre to French existentialism, from Beat Literature to long hours working at the Bookies to the journey into the sunrise on the night bus home, it is their ability to be all these things at once which makes The Goa Express a guitar band for the 21st Century. So far, the band have released 3 singles with great success.
The songs on the EP may at first seem delicate and beautiful, but closer listening reveals dark undertones and dry humour fuelled by the frustration of feeling trapped with no way out. Driven by this sense of claustrophobia, the duo have sought to create a form of escapism outside of their physical and geographical limitations. The four songs on the EP are an intentional collection of contrasts and paradoxes - beauty and repulsion, calmness and mania, anxiety and stasis - all combined to form a balanced whole.
Bleakly imposing yet comfortingly familiar, the monochromatic starkness of these structures has fed into the imagery for the record, as well as the sounds found within. Are You 2. Foreground 3. This Is Not 4. Tone Control Illusion incl. King Theo has landed! Late night, early morning, peak time, take your pick. It was an instant classic when it was released, with Theo regularly drawing for it at his legendary Plastic People residency.
Now sit the man Theo down in the studio with the stems for a track he clearly loves and what do you get? A slice of Theo genius no doubt. Even the way the song is put together is honestly what house is all about for me. It's got every element I love in one song, dope bass line, a different deep vocal, the sounds are hot drums, even the way he made them swing, that Rhodes all of it… Everyone I play it for they freak out about it.
Illusion Tone Control Mix. Originally released in very limited quantities back in , this record now changes hands for quite some cash. The tracks off of the Distangled release are re-mastered from the original master tapes and the EP includes 3 previously unreleased tracks. A very versatile 6 tracker which glides through static-riddled dub techno, hard acid and funky, tribal styles. It's mega cos all six tracks are highly playable across the course of an evening. Jeff Mills used to boast about how he'd only buy records were at least 2 of the 3 cuts were playable - so here you're getting maximum techno coverage for just one entry into your record box - back of the net!
The kinda shit that'd go off at Tribal Sessions and Sequence back in the day; a lot of modern clubland forgets how fierce and tribal it used to get. Feathers n face paint tackle. Seductive sadness. Powerful vulnerability. Precise yet irresistible vocals. A few words to describe Laroie as she steps forward in full possession of her means, following up on her debut and namesake EP released in August , and on the recent singles "Can't Let Go" and "One More".
In this nostalgic and emotional territory, standing at the borders of her influences, Laroie's talent shines through. Killer vocals from this under-the-radar songstress. Big TIP. Number six in the highly collectable Golden Lion Sounds series - featuring artists and friends of the iconic Todmorden based hub and released on limited edition vinyl. A true treasure and curio of Yorkshire musical and cultural history!
Manchester's Henge take over side A with a jaunty, indie-psyche number. Guided by a waspy synth motif and marching drums, it's as reassuringly eccentric and grooving as we've come to expect from this bunch of noisy weirdos. The Lion roars strong once more!! Stupendously limited copies, will sell out pronto! Meanwhile, local pranksters Henge embrace middle age, swapping the Quaaludes for valerian tea but remaining deliciously outrageous as ever.
Incredible new record from the now well established local firm - Bakk Heia. His third record could be his most brilliantly phlegmy and scuzzy record to date; four lysergic squelchers that bend and squirl with nuff tryptamine enhancements. There's an almost regimental stomp to opener, "Simmons"; which also contains an assortment of Kuning's now trademark percussion and synth squiggles.
Finding the groove might be tricky on this one folks - but maximum reward is granted when you do! Flip and "Dripgroove" is most likely to be my staple go-to in the clubs. I device into some spiritual conversation. Unmissable record from an unmissable label. Jorg Kuning smashes it outta the park again.
Every release so far unmissable. Simmons 2. Transplant 3. Dripgroove 4. Bodyscan Dirty machine gun funk, dripping in fudgy acidic grooves on this twisted heater from native London badass Shy One. Techno collides with Jazz Fusion across three jams recorded straight out the box and cut exclusively onto wax for Eglo Records. This 7" marks the first in a series of releases from the kinetic, undefinable talent. Crumb Trail 2. IP Addy 3. Atmospheric jams that instantly transport you to star lit skies and red glowing neons, it comes with an equally hedonistic remix from label boss Noema.
Here joining forces with the "Remind Me Tomorrow" EP the two artists deliver more of their distinctive tripped-out, dropped tempo club sound. The third original "Concept Zero" follows next and lays down psychedelic guitars, choppy stabs, murky bass swells and dynamic delays before Noema rounds out the release with his take on "Remind Me Tomorrow", flipping the switch to raw, crunchy drums and spoken word vocal chants amongst the original's chuggy arps and dreamy melodic elements.
All tracks have this lush patina and crisp production that's gonna sound splendidly 3D on the high end festival rigs and nightclub systems. You'll be hearing a lot of this one over Summer months me thinks Shadow lurking nocturnal dance music with hi-def production. The title track is inspired by a dream Bolis had of a pagoda in Hong Kong featuring a contemplative Buddha made of neon lights. The music is similarly bright and exciting — an insistent acid squiggle giving the track the requisite Weatherall-friendly A Love from Outer Space chug.
Bolis Pupul's wild harnessing of instruments reminds me of classic Modeselektor and his synthetic and expansive sonic canvases are an absolute overload on the senses. Neon Buddha B. Squeeze Me feat. The single and its ground breaking video got them a ton of worldwide attention with the likes of Kanye West and Perez Hilton big at the time — look it up sharing and posting about it and ultimately lead to the band signing a US record deal with Ultra Records and them becoming a successful touring band stateside.
Sink your teeth into these two absolute bangers! Ben Westbeech 2. Carlton Jumel Smith is back on Timmion Records, doing what he does best: grooving, testifying and romancing his way into your heart. His last album for the label Lexington Ave. The first release from an upcoming trilogy of singles, "Devoted To You" packs everything you could want from a mid-tempo jam.
They will keep you warm and cozy through any kind of weather! This easy breezy groover closes Calton's singles trilogy with a style that echoes classic Hi productions for Al Green from the early 's. It's clear that on Timmion Records, Carlton has found a home far away from home. Carlton's soulful demeanor is hard not to like, and if there is any truth to what he's singing here, some even seem to fall in love with it.
The recipe is not complicated here, and there is no reason to keep it a secret: just a steady groove by a tight rhythm section, horns that lift the beat off the ground and a voice that wraps itself around your heart. And sometimes that's all you need. Mr Emotinium goes rogue on a new breaks-heavy bop for Acid Waxa, riding a wave of mid tempo squelchers and industrial strength gurner-churners, pressed on vinyl for the very thirst time! Get yer bolt cutters and deploy at nearest warehouse rave….
The results are gutteral, phlegm-inducing warehouse wreckers that'll scare the shit outta yer parents. Sunshine Sound deliver an absolute doozy for their vinyl debut, treating us to 'Happy Song', the original DJ tool from the legendary Francois K. This is not just a bonus beat This is THE bonus beat!
Now for the first time FK's original edit is available as a high quality stereo recording direct from tape. You may now put away your bootlegs. Walter Gibbons, one of NYs founding DJs, would skilfully experiment with the rhythm live on turntables at his Galaxy 21 club residency, whipping the floor into a frenzy as well as inspiring FK to create his famous edit. What you may not know is that Walter also worked on his own version of Happy Song.
Pulsing with primordial stereo syncopation, Walter's previously unheard Battle Edit could be considered the Director's Cut. This is just the beginning, prepare to amend the history books. Package includes hand-stamped sleeve and information inlay.
Originally released in on Becket Records, "Time To Throw Down" is a slick and futuristic bulldozer of boogie-electro. The bandleader had produced three 12" single's released under the title Circle City Band in , one of those records titled "Magic" became extremely popular in the mid's, but this record was supposed to be the 4th 12" single on Becket Records.
At the same time in , when Reggie Griffin and Paul Thomas was mixing this instrumental track in L. A, the reverend Rickie Clark originally from Circle City in Indianapolis, came to see them and fell in love with the track, asking if he could used it for himself. Licensed reissue on dinked 7" vinyl with an alternative edit of the track on the flip. A true holy grail, you'd be looking at dropping at least a ton on this beaut if you were to even lay your eyes on a copy!
Nate Manic Remixes Part 1 - Inc. First up is house music's larger than life personality and long serving veteran Derrick Carter who injects his usual skewwhiff, tumbling-down-the-stairs, highly swung grooves to "It's Never Easy" - characterized by searing vocoder line and squelchy synth hits.
Rubbery low end push-pulling us into a writhing mass of sweaty club bodies - nice! First by the guided stutter of Justin Cudmore while the second is a much heavy, techno re-vamp by Lindsey Herbert. Hold onto your underpants! Check the Shelter-indebted "Late For Work" too! Cult label Acido returns with more of that spiritual electronic vibration. Side A's "Synaptic Sugar" is bright and with a bassline so rubbery it practically bounces off the wax!
Neat, crisp percussion keeps the rest of the elements on track; but you can sense the restrain and this one should get you bubbling in no time! Meanwhile "Gentle Hell" is a dark n wavy dive into the mainframe; muffled sonar clicks and low tones guiding us through a murky electrostatic haze with no defined trajectory. Andres Loo aligning chakras with the phenominal "Synaptic Sugar". Synaptic Sugar B. Gentle Hell. This 7inch gives you two Brazilian Disco House tunes. Nova Onda returns with their third release.
Their wishes was to respect the original song, putting only slight additional drums and effects into the arrangement. Answers on a postcard please! Highly recommended, very danceable grooves. Yet another bedroom boogie bonanza from the good folks at Star Creature who've enlisted the Italian stalion, Gionvanni Damico for their latest 7".
The well decorated producer has already graced labels such as Lumberjacks In Hell, Bordello A Parigi, Kalakuta Soul and Faces with his slick and star-studded, fresh boogie sound!
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