On "Closer," Richie Hawtin continues exploring the palette of sound he displayed on the "Disconnect" EP. Deep, skeletal tracks that have an updated version of the mental patterns found in his "Concept" series woven through a "Consumed"-style deepness, but without the incessant droning. On "Closer" every sound is kept small and concise without ever letting the tempo pick up too much. The patterns seem to "stalk" in a way similar to the new R.Villalobos LP rather than "pump" like most other tracks in the Hawtin back catalogue. Another noticeable new influence is the goth-y new wave atmosphere, not so much like Joy Division as the title implies -- more like Bauhaus, early Cabaret Voltaire, or Chris and Cosey.
Hawtin uses dynamic stereo effects on his trademark pulse pattern beats to draw us on to the dancefloor.

The best Science Fiction Movie ever made, from 1926 til' now -"NOTHING NEW IN THE WORLD" - the most beautiful production, excellent.... 78 YEARS STILL THE BEST!!!

The British DJ / Producer George Evelyn, aka DJ Ease, aka NIGHTMARES ON WAX, despite his relative lack of years, has for more than a decade already numbered among the most visionary musicians on the island. He has never left his hometown of Leeds since he was born, but his sound is nonetheless universal and his recordings for the English label Warp have frequently set new trends. Even his first single, "Dextrous", found its way into the English Top 75 and his subsequent releases are still today regarded as prototypes for the downbeat genre. The following album, "Word of Science", with its combination of soulful bleeps and clonks, underscored his creative potential, but even so it was a full 6 years before he released his classic, "Smoker's Delight" (1995), one of the milestone records of the nineties.

Opening with his trademark song, "Nights Interlude", this record has played itself into innumerable hearts, record collections and annual charts, has been a dope beat classic ever since its release and has yet to lose any of its allure. His album, "Carboot Soul" (1999), as well as his collaborations with De La Soul, O.C. and Corinna Joseph, seamlessly picked up where the success of their predecessor left off and charted all over Europe. The album "Mind Elevation" 2002 release is the fourth album, is another welcome hit of chilled beats, entrancing melodies and soothing soul-drenched vocals. While persevering with the use of live instrumentation, Evelyn--a one-time judge of Amsterdam's High Times Cannabis Cup--has fortunately not sacrificed any of the dreamy ambience and looped samples that made 1995's Smokers Delight such essential post-club listening. He has though finally abandoned "Nights Interlude", an interpretation of Quincy Jones' "Summer In The City", that traditionally opened all prior Nightmares on Wax (NOW) albums. In its place lies "Mind Eye", a languorous spiralling instrumental groove that sets the pace way down low and stirs an entrancing breezy summer vibe that drifts throughout the album. Alongside the cool mix of mellow hip-hop, soulful r'n'b, and ambling ambient effects, comes the lilting if occasionally overstretched vocal talents of Chyne B. "Got To Know My Name", the most upbeat NOW track to date, sees her joyously waxing lyrical over an impossibly funky, retro-soul melody. Sadly her other contributions such as the r'n'b-lite "Date with Destiny" prove disappointing. But with the majority of the album bringing the feel of a joyous sun-drenched afternoon to your speakers, you can sit back and rest assured that Mind Elevation really does do what it says on the tin.

Excellent live shows translated into an exultant progression across Europe and NIGHTMARES ON WAX can today enjoy a substantial worldwide fan base.

His record collection might soon be almost equally broad, the foundation stone for which was laid with the acquisition of two dub 7-inches when he was eight years old (!) and which to this day serve as a source of inspiration (and samples). The idea of making a mix CD with NIGHTMARES ON WAX came about (and was carried out) as early as 1995, but the project was also subject to George Evelyn's "leisurely" working practices - all good things take time. Now he sends us, just a little later than expected, shooting into his beat orbit. He has put together an excellent selection of hip hop and downbeat tunes for his "DJ-Kicks" set and has found the perfect blend of the old and the new, UK and USA as well as vocal and instrumental tracks. Tunes from A Tribe Called Quest, Kenny Dope, Aim, Blackalicious, Freddy Fresh, Jerry Beeks and DJ Trax amongst others, as well as some of his own tracks of course, come together in a phat set with plenty of funk!

'Lost For Words' is the successor to the enormously popular 'Osmosis' sampler and gives a bargain-priced opportunity to hear tracks from all the recent and excellent Leaf album releases - Murcof, and the beuty "Asa-Chang & Junray", Boom Bip & Doseone and A Small Good Thing - as well as other highlights from recent Leaf catalogue, and exclusive forthcoming offerings by Manitoba, Susumu Yokota, Gorodisch and 310. The best electronica label in UK is "LEAF" great music, excellent productions, THIS IS PURE ART for you brain and your ears too.

BACK IN STOCK. ALL PIANO MAGIC A-SIDES & B-SIDES 1996 AND 2000 INCLUDING THEIR VERY FIRST RECORDINGS, NOW DELETED, FOR CHE, WURLITZER JUKEBOX & PIAO! Piano Magic began as a hobby in a Muswell Hill spare room in Summer 1996 but grew legs when Glen Johnson sent a demo to Che Records who released it as it stood. "Wrong French" won the heart of John Peel's night owl audience and that of Melody Maker who awarded it Single Of The Week back when it meant something. Since then, Piano Magic has blossomed into a sort of shady members only club that's allowed the likes of Darren Hayman (Hefner), Simon Rivers (Bitter Springs), Peter Astor (The Wisdom Of Harry) through it's doors, most notably on 1999's "Low Birth Weight" album. Over their releases for 15 or so labels between '96 and the present day, Piano Magic have bastardised Kraftwerkian small beat industrialism ("Popular Mechanics"), deformed regal Baroque pop ("A Trick Of The Sea") and miscarriaged odes of sorry to the war dead ("Artists' Rifles"). They've also played 48 concerts, gotten medium-to-big in Spain (headlining a main stage at this year's Benicassim Festival) and, most recently, signed in blood with 4AD (their soundtrack to Bigas Luna's "Son De Mar" movie leaked out in August). "Seasonally Affective" collects all Piano Magic a-sides and b-sides between 1996 and 2000 including their very first recordings, now deleted, for Che, Wurlitzer Jukebox and Piao! - labels the band has outlived. It also makes the obscurities for tiny European labels like Acetone, Debut and Alice in Wonder easily accessible for the first time. Rarer than rare is Sketch For Joanne" - a track for Dutch radio station VPRO's Xmas compilation - of which only 50 copies were made.
Buy it now, excellent price for the most beatiful music in the world.

A sublime collection of music, the new CD by Richard Dorfmeister and Rupert Huber is full of uptempo beats with a downtempo feeling, grooves in soft satin, spliff tunes with lyrical extravagance, and piano-pieces in a dub style. There's musical diversity galore on Dehli 9 : CD 1 contains the classical Tosca sound infused with lush instrumentation, and CD2 (the bonus CD) features twelve dubwise piano compositions by Rupert Huber.
Great design for cover and great design for sound...
The sound of space coming out of your speakers...
Tosca is the finest actual sound presented by the best record label K7! & G-Stoned.

The better sounds for my deeper and dark dreams, where the night is infinite, where the empty does not have end neither beginning. The cold all invades it and we can see a dark river of thick and black sound. A perfect musicality, many sonorous textures where Sinead O'Connor enlarges each piece that sings and Horace Andy a beautiful whisper adds it for a breathe infinite. It would be able to define "100th Window" as a Hypnotic Dub Dark. A Masterpiece of ARTsound.

The muse was in the mistakes. Then the mistakes became music. You could reduce the short history of minimal techno's infatuation with error-driven, "glitch" compositions to those two sentences. But in a field of electronic music where even progression is delineated at an accelerated, microscopic level, the past three years have not only seen the emergence of a nascent, often misconstrued, rhythmic unessentialism, but also the consequent flourishing of ideas and individual signatures. "Clicks & Cuts" was that emergence, and its successor was that rhizomatic flourishing. After all, who by now would mistake originators like Alva Noto or SND for anyone else? That said, "Clicks & Cuts 3" marks a maturation for many of the artists involved, a departure for some, an integration for others.

The concept of "clicks and cuts", as a template, as a purely phenomenological entity, has developed in truly Deleuzian fashion as a bastardized offspring of capitalist output. What began with Oval, during the last remaining trickles of the industrial age, as a post-structuralist product of mass production, has been integrated into the coalescence of a paradigm shift into the virtual age. Every system inevitably produces excess. Just as Einsturzende Neubauten and Throbbing Gristle once used industrial excess for creative ends, this generation of techno minimalists has found inspiration in the excess of a media-driven economic structure.

The essence of creativity operates within a paradox: it must occur outside a framework, but must also reflect upon the structure that excludes it. Clicks and cuts do just that: they are the sound of right now. This series document the evolution of creativity within the disposable, and in doing so may also create posterity out of sounds that were never meant to register in their original purpose.

The result may not be the ideal forum for the marketplace, rather it is the ideal forum for the excess of that marketplace. Outside economic rigidity exists artistry, and with economic scarcity comes virtual superfluity. These are precisely the parameters that now define clicking and cutting: an exploration of the space that exists between cultural aesthetic reductivism and the waste it produces.

The focus of this third installment of "Clicks & Cuts" is to highlight the range of creative possibilities within that space. And what possibilities they are! The caliber of quality and diversity presented here reflects these artists at their peaks. Whether it be agf or Rechenzentrum or Tim Hecker or Frank Bretschneider, the overarching consensus is that this collection of irrefutably necessary artists has come into its own. This is the sound of experimental maturity. These are the sounds that directly confront the transitional unease of modern society.

That said, the music of mistakes does not have to justify itself conceptually in order to be enjoyed. Perhaps the greatest achievement put forth by these contributors is that they've managed to marry high-brow experimentation with a primal urge for listening pleasure. Mille Plateaux Web Page.

In the 2001 Clicks + Cuts compilation made a revolutionary step into the advancement of electronic music as anyone had yet to perceive. The cut-copy-paste-funk of unessentialist sounds colliding with the essence of electronic music s drive, has created a wave of influence that went on to infiltrate genre s such as house, techno and experimental electronic music. Arguably the first new genre of the 21st Century, click-electronics has been a focus of development with the Mille Plateaux label, and continues to be a key aspect of the releases it supports. Now, the second installment takes a step further, inviting those that have played a key role in developing this exploding sound (Farben, Ryoji Ikeda, Alva.Noto, SND, Geeez N Gosh, etc.) to some of the most progressive artists today (Swayzak, Pan Sonic, kid606, Hakan Lidbo, Matmos, Rude Solo (Andrew Weatherhall & Keith Tenniswood), etc.). This special priced triple CD, moves one step beyond, the artists keeping to their known styles of electronic music but incorporating and furthering the clicks + cuts sound with their unique interpretations. Expect an eclectic excursion into pop sensibilities, Clicks + Cuts 2 attempts to expand the horizons of electronic music s boundaries with this thorough collection.

Muzikizum delivers a small but perfectly formed 10 tracks, including three club smashes with a guaranteed fourth on the way. It's a coherent collection of thumping drums, cool collaborations and soul-stirring keyboard work.
Opening with the heavenly house of the still essential, palindromic title imperiously on its way with a future 'Danny Tenaglia' end of nighter called 'Supasong' mood music in the true sense of the word, before the ubiquitous, David Byrne-sung 'Lazy' yawns as wide as Rocky's waistband. 'Lazy' is a classic radio-friendly, pop crossover record.
As well as Byrne's art-funk yelps, X-Press 2 also employ the weathered croon of Yello's Dieter Meier, best known before now for the oft-sampled 'Bostich' and for repeatedly going "Chicken Tikka!" on 'The Race'.
Equally impressive is presence vocalist Steve Edwards, whose Byron Stingily-style warble makes 'Call That Love' an obvious future single, and an introduction to the sound of classic house for a generation weaned on progressive.
Also board is the apocalyptic boom and clatter of 'Smoke Machine', which concentrates a decade spent traipsing around sweatboxes with disco-dirty sneakers at five in the morning into a sonic mugging. If you can resist the bass surge that signals the end of track's intro, maybe dance music isn't for you after all...
Expressive, explosive, and occasionally experimental (but not too much) 'Muzikizum' is the kind of album house heads have been screaming out for. We all know from hearing the singles out that it works in the clubs, but this isn't just music that 'sound great on a big system'.