2 cds! incl. tracks from sidney samson, feed me, afrojack, ben pearce, michael woods, dillon francis, dismantle

born from a common will to showcase the maturity and versatility of his producer skills, im:ltd has taken the ambitious challenge to give to the extremely talented arp xp the opportunity to release his first ever solo album effort closer. gathering influences from over ten years spent in the electronic music scene, what were presenting is an accomplished twelve-track album with the finesse youd come to expect from the sardinian sun and bass resident and some more intriguing touches you might not. from the eerie dystopia of title track closer featuring the mournful vocals of estel luz, its clear that none of this release is concerned with brightening wintery nights. each track has a vein of inky blackness running through it, and whether its the clicking, mechanical metronome of standout single something wrong, the serpentine bass of sickness of time or the somewhat middle-eastern-infused bassy stomp of maybe tomorrow with that juddering electro clap, the first half of closer is deeper and darker than the baltic. even with tracks as forcefully dank and derelict as papercuts there are washes of tunes like uneasy, stunnas re-work of closer and the particularly exquisite. upon waves to counterpoint the gloom, showing some break in the clouds. you cant stamp the sunshine out of a mediterranean heart. trademark rolling reeses and distant euphoric pads belie,closers cynical sound gives away arp xps true intention,to simply make the best bass music album he can.

big 3s three-disc set buddy holly & the rock n roll giants devotes two of its discs to buddy s classic recordings and gives the last disc over to the rock n roll giants - a collection of sides from the likes of fats domino, elvis presley, jerry lee lewis, gene vincent, little richard, carl perkins, eddie cochran, bill haley, roy orbison, and the everly brothers that also finds space for bobby charles, johnny burnette, big joe turner, lloyd price, the robins, and tommy scott, among others. not every song selection here is spot-on, either for buddy or for the giants...

gem club is an exclusive society: two people, a piano, and a cello. vocalist christopher barnes sings in a quivering whisper, and these minimal accompaniments assure that their sound never becomes louder than a hush. but the massachusetts duo s debut ep, acid and everything, showed just how much emotional intensity you could pack into compositions so spare, and how much could be suggested with so little. everything on breakers, their first full-length, sounds frozen over: icy, quiet, austere. you know that eerie feeling when you find yourself alone in a huge public place that s usually crowded-- maybe a shopping mall or a playing field- but at that moment is totally empty? this record sounds like a sustained version of that feeling. -i heard the party- juxtaposes echoing piano chords and a general sense of unease (-no one could have told you / your body would fail you-) with the refrain -i heard the partys here- floating across the track like the sound of dried up laughter. the word -party- feels so out of place in a song so pensive and lonely that there s something jarring about the experience. the feeling crops up repeatedly on breakers: a sense of slow-motion detachment, a suggestion that there were signs of life here once, but you ve arrived a couple of hours- or maybe a couple of weeks- too late.

the story of skint & demoralised is too long and complex to go into here, but suffice to say it was quite a surprise to see a new release from skint & demoralised, let alone the bonus inclusion of the long shelved debut. made up of poet matt abbott and producer mini dog, skint & demoraliseds songs revolve around teenage pursuits like getting high, getting the girl and getting pissed as well tackling social issues like unemployment and alcoholism.

with niko schwinds first album for stil vor talent you never loose the feeling that each of the tracks would work harmoniously on the dancefloor, but also within the concept of this album that goes from slow-moving vocal house to pretty nifty tech-house and back. niko schwind is a magician when it comes to producing very fine and mature pieces of house music that are sure to work great on the dancefloor. maybe niko has had the dj in mind that he is himself, as the tracks seem to perfectly provide great productions, but also the ideal ability to mix them in and out, with little samples providing great audible cues. after all, as the title suggests >good morning midnight< is an album with the dancefloor in mind

everybody better bring some towels, because housemeister is about to soak the world in electro champagne. presenting his third full length music, the dirty don of club music did it again. touching ravers hearts and hitting ravers right on their heads at the same time. in arts, good ideas are hard to have, but easy to get - masterful musical output is pretty hard to create, but once itÕs done, itÕs about pure listening pleasure. and with a thousand shitty drugs flooding the streets of music today, it isnÕt everyday you get to consume the 100% stuff. Òmusic is awesomeÓ is that shit thatÕs straight from the kitchen, and housemeister has produced this bitch to the point like a 5 star chef. it seems playing clubs and crowds all over the world do add to a players game. add class and confidence. add experience and excellence, add balls as well as balance, and maybe it just takes 15 years of hardcore djdom to be able to come out and kill like this. music is awesome!

whats the point of a concept album when no one hears the concept in it? maybe that it sets a boundary, forcing mr artist to go even deeper into the fewer possibilities left. creativity by limitation and all thatÉ well spare you further theorizing. >fever<, the third longplayer by dutch low end scientist 2562, then, is his disco album: a thorough reinterpretation of underground disco music from the mid seventies to the early eighties, with his own birthyear 1979 as the gravitational point. all based on one simple rule: every single sound, from the smallest background shiver to the most obese sub bass, originates from a disco record Ð no additional synthesizers, drumcomputers or other samplesources involved. disco-edits, italo homages or filtered loops then? hardly. this is genuinely new and retro-free music that respectfully flips its sources so hard even the biggest paradise garage connaisseurs wont recognize what just hit them. or in the words of musical allies martyn and pinch, who independently drew the same conclusion: >sorry, but i dont hear that whole disco story in there. this simply sounds like you.< completely failed as a concept album, then Ð and all the better for it.

madlib got a bit lost in his detour into jazz - madlib medicine shows 7 (high jazz) and 8 (advanced jazz). he was supposed to circle back with a punch-you-in-the-face return to hip-hop form - a collaborative album with detroit rapper frank nitti - but instead he found himself lost in the lost gates... a place where black soul (madlib medicine show 10) really means disco funk. sorry about that. the good news is: hes back. and that hip-hop album, for which the medicine show faithfully have been holding their tickets, is finally here. its called lowbudget high-fi music and its a interesting look back at the madlib medicine show and a prelude of what is to come in the 12th, 13th and Ð maybe Ð 9th releases in the series. all of the regular madlib collaborators Ð med, guilty simpson, strong arm steady Ð are represented here with exclusive tracks. karriem riggins pops in for a supreme team interlude, as does a.g. madlib digs out a jaylib-era track that was earmarked for the never-realized second album and, of course, interludes, outerludes and Ð probably Ð queludes abound. the madlib medicine show series is a combination of madlibs new hip-hop productions, remixes, beat tapes, and jazz, as well as mixtapes of funk, soul, brazilian, psych, jazz and other undefined forms of music from the beat...

much anticipated debut album by detroit vocalist, producer, musician and dj on pb wolfs mighty stones throw imprint! regular jewecase version!

>immolate yourself< vereint zehn tracks die dem begriff >electro pop< eine neue & zeitgemŠsse definition fŸr 2009 verpassen. obwohl jeder song eine eigene geschichte erzŠhlt ist das album mehr als die summe der teile. grossartig !

motorcitysoul are frankfurt veterans and deep house pioneers matthias vogt and christian rindermann (aka c-rock). a feast of lush melodies and harmonies, lovingly crafted beats and percussion, ambient excellence and smart vocal numbers. on the albums title c- rock explains: >its an elegant word that refers to the way we work and hopefully how our music sounds. were very technically focused yet we aim for our music to have genuine soul and warmth. we also do everything in the studio so technique is the key to that.< .the start/deliver me kicks off the journey into the motorcitysoul sound, enlisting the vocal talents of swedish vocalist ernesto to complement the soulful, summer-tinged house grooves. as the lush chords build and the vocals progress, its clear this uplifting opener is one thatll have you rolling down your car window with a smile on your face. >maybe its a risk to start a house based concept album with such a soulful track but we dont have to justify it, because of the soul in our name<, says c-rock wryly. >space kŠtzle< was originally a hit last year on aus music, >space cats< (as it translates) sees matthias and c- rock use their studio expertise to layer together lavish arpeggios and harmonies that treat you to an almost cosmic house voyage. solar is the first >ode to the cinema soundtrack< offering on the album and sees the guys get experimental in the studio with deep trippy keys layered with mad aquatic sounds. .c

finally: the long awaited trentem¿ller debut album - maybe one of the most anticipated independent albums of the year - cd version