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DJ lighting. DJ spare parts. Computer accessories. A reflection of the London label's commitment to curating the best in underground dance music, Dancing With Friends is SlothBoogie's outlet to open minds and offer a warm embrace to their fans throughout their 11 year journey.
After the success of the inaugural compilation this time last year, they are back with volume two featuring TURF with the funked up disco loops of 'Easy Way Out' reminiscent of classic Chitown tunes by Paul Johnson or DJ Sneak, the likes of Felipe Gordon and Kristy Harper also appear with some proper late night mood music on 'Avalancha' and 'Blissful Denial' respectively, and veteran of the scene The Revenge is in fine form as always on the low slung dirty acid jam 'High Time'.
Add a buy button to your tracks and playlists by clicking the pencil icon below the waveform. If you are a Pro user, you can also customise the text used for the 'Buy button' on the edit page in the 'Buy link title' section, to read 'Buy at Juno'.
Add a link to your release at the top of the description section to maximise visibility and sales. Juno Daily Music and tech news, interviews, features, reviews and more. Music New This Week. New Today. Last 8 Weeks. Back Catalogue. Back In Stock. Coming Soon. At this time, Jenkinson was becoming obsessed with bringing a "dark psychedelia" to drum and bass which would eventually reach its zenith with Go Plastic from But the meeting also facilitated James initial selection of Jenkinson's tracks that went on to form the Feed Me Weird Things album released on Rephlex Records in Jenkinson accepted a five-album record contract with Warp Records in December Early inJames completed the compilation process for Feed Me Weird Thingswhich was made from over 50 tracks that Jenkinson had given him on DATwhich were recorded from late to Jenkinson's contribution to the other track was reinterpreted and released as "Happy Little Wilberforce" on the Alt.
Frequencies compilation released on Worm Interface in Jenkinson and Singh went on to play together on several occasions during this period, including improvised sessions at the end of the night at Anokha, one of which featured guitarist Guthrie Govan, and also at the first Big Chill Festival in However the remix was rejected on the basis of it having insufficient similarity to Ishii's piece. Using the same equipment from the sessions that produced the majority of Feed Me Weird ThingsSquarepusher now set about working on the material for his first album for Warp.
His broad conception for this record was "to push away from the jazz influence that was being felt at the time to a more soundtrack-type of sound". According to Squarepusher he was listening to, amongst other things, early Lalo Schifrin and the "Deathwish" soundtrack by Herbie Hancock around this time. That said, the album also contains some abrupt diversions into quite different musical territory, evidenced in what Squarepusher calls the "Industrial Psychedelia" of "Chin Hippy" and "Rustic Raver".
Squarepusher's electric bass work becomes apparent on this record. He states that he was "still battling with the influence of Jaco Pastorius. As such I suppose it might indicate tentativeness, but in my mind at the time I liked the idea of bringing musical assumptions into question by smashing stylistically divergent elements into each other".
The sleeve artwork was generated from a set of images taken by Squarepusher wandering about Chelmsford town centre. The front cover image is based on a view of the gasometers situated at Wharf Road, near where he lived as a teenager. The 8-bit graphics reflected Squarepusher's resurgence of interest in old video consoles and home computers at that time.
This location was subsequently used in some of the press shots in the Hello Everything promotional campaign. This particular residence was shown in the Jockey Slut "All Back to Mine" article from that year, and it was also where Squarepusher's appearance in the "xxx" documentary was filmed.
The piece was the first to be recorded of the set and was originally commissioned to be used in a computer game, but Squarepusher decided it was too important to hand over to somebody else's project. The track immediately became a favourite at gigs and was still making appearances as an encore in Tom's run of live shows in This exemplifies a more abstract take on the 8-bit aesthetic, with sounds constructed to deliberately resemble computer game sound effects.
Doing the video led Squarepusher to develop a friendship with Chris Cunningham. This period also saw the release of the Burning'n Tree album,  which was a compilation of Tom's Spymania releases. The set includes three pieces that were recorded in late during the Feed Me Weird Things sessions that were not originally released on Spymania. Squarepusher started considering new ideas about how to put music together. At this time James introduced Squarepusher to the music of Tod Dockstaderan American composer who had worked extensively in the s, principally realising his compositions by tape editing.
Alongside this Squarepusher was becoming interested in the work of 20th Century composers such as Stockhausen and Ligetispecifically their electronic and electroacoustic works. After Budakhan Mindphone was completed in MaySquarepusher went to South East Asia for two months, and on this trip acquired a selection of Gamelan instruments. He stated that he was keen to carry on with the method of making music he had developed making the "abstract jazz" elements of Music Is Rotted One Note.
He decided to switch focus slightly and approach the following phase with a less rigorous aesthetic in mind. This is the first record where Squarepusher started using effects processors in such a way that values for the available parameters would all vary as the piece progressed. This period also produced the "Maximum Priest" EP. He stated that this piece was obliquely inspired by the films Solaris and Stalker by the Russian director Andrei Tarkovsky. The organ in this piece is triggered directly from an electric bass.
Very few live shows happened around this time, although Squarepusher claims he did in fact do quite a few gigs unannounced: He did organise two shows for an ephemeral organisation known as the "Squarepusher Ensemble" which amongst others featured Jamie Lidell on vocals, Mick Beck on saxophone and Squarepusher on bass.
The improvisation took place with no guidelines. In Marchwith the Budakhan Mindphone and "Maximum Priest" sessions wrapped up, he found himself in quite changed circumstances. He had made new friends in Sheffield and found himself a regular DJ and punter at various club nights around Sheffield. At this point he became quite skilled at tape editing. Another element that he was keen to bring back was the usage of sampled breakbeats. At this time, Squarepusher was frequenting a Manchester-based club night called "Schizm".
It was run by friends of Sean Booth and Rob Brown from Autechre who themselves had played there on occasion. Early saw Squarepusher consider "radical tactics". He states it became clear that it was high time return to sequencers and leave behind the live-playing approach, which he had Release The Bass - Various - Hard Techno 2 (CD) since late Around this time, he started seeing more of Chris Cunningham.
He was also revisiting a lot of the mids drum and bass that had so inspired his early releases. The most notable Birmingham soul artist of the early 21st century was Jameliawho was brought up in Hockleywith an absent father with a conviction for armed robbery and a half-brother later convicted of a gangland murder.
In the mid s The Mermaid in Birmingham's Sparkhill district lay at the centre of the emergence of grindcore which combined the influence of hardcore punk and death metal to form arguably the most extreme of all musical genres ;  and the band Napalm Deaththe most influential and commercially successful band of all of the various genres of extreme metal.
By this point Napalm Death had already developed the fusion of punk and metal styles described by Bullen as their objective: "we wanted that hardcore energy meeting slowed down, primitive metal riffs, and to basically marry that to a political message". Justin Broadrick initially left Napalm Death in to play drums with the Dudley -based grindcore band Head of Davidbut again grew to feel increasingly constrained by their one-dimensional approach.
In Mick Harris also left Napalm Death to pursue more experimental musical directions, teaming up with Nik Bullen to form Scorn whose first three albums brought a strong dub influence to bear on music that resembled Napalm Death slowed down to a crawl,  forming a hybrid ambient metal sound.
The hip hop scene dates back to at leastand has Release The Bass - Various - Hard Techno 2 (CD) popular performers like Moorish Delta 7 and Brothers and Sisters. Rhythm Doctor worked in one of the shops selling a lot of the early house 12"'s, Tempest.
Mixmaster constructive Trio was, as his name suggests, a master of the mix, and also worked in radio. Nathan dj'd at 49er's around this time, playing everything from Prince to House and Balearic. West End Bar was a major meeting place before parties, with Steve Wells and Steve Griffiths and was another important venue throughout this period of time. Electribe hit the charts in with 'talking with myself'. Then came Fungle Junkheld for many years beneath House music club Fun.
The Birmingham-based journalist, DJ and record collector Neil Rushton was one of the first outsiders to discover Detroit's emerging techno sound in the late s. The New Dance Sound of Detroit that first identified techno as a distinct musical genre, also being responsible for giving the genre its name,  and his Network Records label, based in Stratford House in Birmingham's Camp Hillthat would be instrumental in introducing Detroit techno to British and European audiences over the following years.
We were making music, but he brought us together and unified us and gave us the opportunity to attack the world and send our message out. Over the following decade Birmingham would become synonymous with British techno   and established alongside Detroit and Berlin as one of the major centres of techno worldwide  as the home of the distinctive Birmingham soundwhich differed from the techno of Detroit and Berlin through being stripped almost entirely of its bassline funk, leaving only the cold mechanical drive of its metallic percussion arrangements.
In Regis went on to form Sandwell Districtinitially a label and later an international production collective that included the New York-based Function and the Los Angeles-based Silent Servantboth of whom would briefly relocate to Birmingham. Away from the style that bears the city's name, Germ was one of the formative influences on early UK techno, pioneering the combination of the form and techniques of electronic dance music with the more "composerly" models of classical, industrial and experimental jazz music to form what would later become known as electronic listening musicbecoming "one of the most influential, under-recognized forces of innovation in the European experimental electronic music scene".
Ambient dub was born as a genre in Birmingham inwhen the term was used by the city's independent label Beyond Records  Release The Bass - Various - Hard Techno 2 (CD) their series of compilation albums documenting the music of the scene that had grown around the Birmingham club Oscillate.
Oscillate was more about live electronic music performances than DJs playing records and it quickly became the centre of a network of producers and other musical collaborators. Former Napalm Death drummer Mick Harris 's Scorn project severed its last sonic links to its grindcore roots with its release Evanescencecreating "a dark digital domain where fancy danceable beats pop under thick clouds of textured samples, deep bass and minimal muted vocals";  that redefined ambient dub  by moving away from generic Roland TR synthesiser elements and creating a sound much darker than that associated with Oscilllate.
Release The Bass - Various - Hard Techno 2 (CD) was the first recognisable star of the genre of drum and bass the first indigenously British form of dance music.
Birmingham's Back 2 Basics marked the birth of a new minimalist strain of jungle in with their stripped-down early tracks "Back 2 Basics" and "Horns 4 '94". The most notable act to emerge from Birmingham's garage scene was The Streetsled by the vocalist, producer and instrumentalist Mike Skinner.
While the music of the rest of Britain during the s was dominated by the straightforward revivalism of BritpopBirmingham developed a more irony -tinged retro-futurist subculture, producing music which was far more experimental in its sound, and whose relationship with the recent past was more ambiguous.
It's all perception and reality, which are completely different"  The American National Public Radio described Trish Keenan as "an ambassador between the parallel worlds of what happened and what might Release The Bass - Various - Hard Techno 2 (CD) been", noting that she was "interested in memory less for nostalgic reasons and more for the world and lives it distorted and rewrote.
Birmingham's divergence from the national mainstream was partly driven by the city's inherently eclectic musical culture.
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