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On this second, more expansive sampler for his forthcoming album Spaces & Places, Kerri Chandler treats us to tracks inspired by - and by the wonders of mobile recording technology, produced inside - clubs including Dublin's District 8, Glasgow institution Sub Club, Lux of Lisbon and NYC's Output. Of course, the standard is uniformly high throughout - it's classic Chandler from start to finish - but our picks of a very fine bunch include the soulful piano house shimmer of 'Change Your Mind', the thrusting, bass-heavy pump of 'Subbie (Rattle The Subbie Mix)', the effortlessly slick and soulful 'Tenacity (Full Vocal Mix)' and the ludicrously sub-heavy snap of 'See The Light (Dub)'. To borrow an old cliche, this is very much, 'all killer, no filler'.
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As part of the 2016 Ghent Film Festival, the first ever 'greatest hits' album for Ryuichi Sakamoto's soundtrack work was released. This retrospective LP compiles the best selections from the entirety of his career, from Merry Christmas Mr. Lawrence to The Revenant. Now reissued 5 years later by Silva Screen, the album sees a wider, exclusive white vinyl edition, capturing the swelling pangs endemic to Sakamoto's music for screen.
O / Phase - Intensity Fluctuations Remix
A 12" of singles from the London-born Phase's latest album 'Before This', featuring the talents of fellow UK producer Setaoc Mass on a remix of 'Intensity Fluctuations'. The remix sees the song completely transformed into a hyper futuristic, forward-thinking piece of techno with subtle producing elements sprinkled throughout giving the track an entirely new breath of air. This record also features 'Underwater Acoustics from the album, a spacious and cerebral piece of progressive techno that evokes the work of Dopplereffekt, Aphex Twin and Susumo Yakota in its use of negative space to tell a story. On the tail end of Side A, a previously unreleased track 'Night Terrors' is introduced, a thumping techno dancefloor track that is more evocative of Setaoc Mass's previously nightmare-themed releases than Phase's more cosmic ruminations.
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Mike Dred's contributions to acid and rave culture overall are monumental, although he's largely operated outside any specific scene trends (perhaps excepting the misfit community orbiting Rephlex Records). In 2013 he dropped a fresh salvo of lysergic bombs in the form of Overmind, which has been dutifully scrubbed up for a fresh pressing on silver wax courtesy of De:tuned, one of the labels keeping the braindance dream alive. From the jacking 303 workout of 'Sociosexual' to the wet-as-you-like mutant electro of 'Psychoatomic', this is a collection which manages to be both immediate and utterly idiosyncratic. No one does it quite like Mike Dred.
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Paolo Nutini proves his versatility and taste for constant reinvention once again, this time setting his sights on fourth world, synth, kosmische and Krautrock with the new album 'Last Night In The Bittersweet'. Across 70 minutes, bands like Can and Neu! are nodded to with full introspective emotion. But unlike the instrumental (or vocals-as-instrumental) prowess of those bands, Nutini doesn't hold back on letting his own vocals take centre stage as usual.
Ingram - Tha Champ
History tends to look back kindly on musicians unafraid to proudly wear their music on their sleeves. On the cover of their debut album The Ingram Kingdom, the members of Ingram stand united in front of a banner that reads, "the funk is in our music," and the transfixing image of the cover flows deep in the body of the album's audio landscape. For this special 7" single, P-VINE has paired two sensational sampling covers with organ-frenzy jam "The Champ" originally by Mohawks with "Apache" by Incredible Bongo Band.
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Ploy - Unit 18
Ploy pays homage to the urban-mythical nightclub Venue MOT Unit 18 with his new EP 'Unit 18', which has seen a home to his equally legendary club night Deaf Test - named after the artist's deaf left ear. Stinky, Ninety One and Unit 18 are "three rave tracks" in the artist's own words, rushing and dragging through system-ready sonics and with undeniable influences from UK drill, to bassy techno, to dubstep.
Touching Bass is a vital force within London's jazz-adjacent scene, prioritising and incubating new Black talent and giving a voice to artists who might not have been heard otherwise. Now we're being given an authoritative view into the label's world with this expansive compilation, Soon Come. It's a double-disc affair with some serious flair from the get-go thanks to the incredible beats of 10.4 ROG behind Brother Portrait's eloquent flow on 'The Lighthouse'. From Clever Austin to KeiyaA, AshTreJenkins to Molinaro, the heat is undeniable whether it's stone cold jazz, red-eyed neo soul or some other cosmic contemporary fusion your ears are getting treated to.
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