Shanti Celeste
Tangerine

GEMMYIrreversible Culture EPInfernal Sounds

Adding a percussive and experimental edge to the current class of post-dubstep pioneers, Mount Kimbie, the duo of Dominic Maker and Kai Campos - are set to release their highly anticipated debut album 'Crooks & Lovers' on Scuba's Hotflush label in July. Mount Kimbie's first two EPs - 'Maybes' and 'Sketch On Glass' - seemed like explorations of spaces so private that all within earshot were instantly turned into voyeurs. The experience was less like listening to music and more like eavesdropping on the machinations of a lone mind - albeit a lone mind surrounded by and retreating from millions of other minds. Difficult to categorise, the lush EPs caused a commotion when released last year with 'Sketch On Glass' recently undergoing reworks from the likes of Faulty DL, SCB (Scuba's darker techno alias) and their sometime collaborator James Blake. With their own remixes (Foals and The xx) becoming hot property, Mount Kimbie have been a core part of the growing scene in London often associated with labels like Hyperdub and Hessle Audio. Dom and Kai met whilst at Southbank University, pushed together in a student halls that was previously a mental asylum - where the ceilings were still ridiculously high to stop patients hanging themselves: 'a cold, joyless, concrete building - the sort of building where you'd drop a pen and the sound would just go on and on in an echo.' Armed with found sound snips and a siege mentality, Kai and Dom set about turning London's ambience into rhythm, its chaos into coherence. Traces of influence remain - the hard-earned spaces of Burial and The Bug vie with the berserk melodrama of Xiu Xiu and Grouper's sad-eyed glow, D'Angelo's pervert soul gets cleansed in the intimacy of Phil Elvrum's Microphones, Angelo Badalamenti's swollen 'Twin Peaks' atmospheres find a cradle in Madlib's lax lope. The band's sound and response to the dubstep moment is very much their own. Sceneless and untethered from etiquette and genre codes, 'Crooks & Lovers' floats through dubstep and hip-hop, jazz, techno and ambient, post-rock, UK garage and film scores to startling effect.Mount Kimbie - who play as a live band - have announced a string of European festivals & shows for the summer.

What do you expect ? Classic Vath.

After years of anticipation, here are the Iration Steppa “90s CLASSIC CUTZ”, an exclusive re- edition of five seminal UK Dub tracks that revolutionised reggae & electronic music in the 90s! Including: Reminiscence, Kilimanjaro, What's Wrong, Lightning Dub & High Rise Vibrations All tracks have been remastered to perfection by Fédé (DK Mastering) and put onto five separate 12” slabs of wax. And to spice it up even more, each release features original mixes + previously unreleased dubplate cutz that could only be heard live on the sound system! These tracks were produced and mixed by Iration's founding members Mark Iration and Dennis Rootical at the High Rise Studio in Chapeltown, Leeds. At the time, the dub-making-duo were heavily experimenting with new sounds, blending dub with acid soundscapes in a way that had never been done before. Their pioneering approach resulted in the creation of a whole new sub- genre, later inspiring future generations to create their own...ALL 12" come in thick heavy card printed "Iration Steppas" White Sleeves!

WREKIN HAVOCPlaying With FireAccording to the mildly amusing back story that accompanies this debut release from the Wrekin' Havoc crew, the crew of crate diggers turned re-editors behind the series make their wares in a cave in deepest wales, armed with just a computer and a pile of Balearic-minded wax. Whatever the real story, there's plenty to savour on their first outing. Opener 'Oh La Lover' is a tasteful tweak of an obscure, slap bass-sporting, mid-tempo French disco number from the early '80s, while 'Love Shock' breathes new life into an electrofunk era slab of Gallic rap/synth-pop fusion. On the reverse, the cave dwellers first play around with a boogie-era, drum machine-propelled cosmic disco number ('We're Truckin'), before delivering a saucer-eyed delight in the shape of the luscious 'Catch Me If You Can'.

Sorang, the debut album of Yalta native Wulffius, represents his work over the last eight years. The playful creature on the cover, Stone Eater, is based on childhood sketches of the producer's father. The album's name alludes to the first collection of his father's poems, which took its name from a short story by Konstantin Paustovsky, a master of nature writing in Russian prose. Sorang is the name of the south wind that "blows once in centuries," and you can hear its unique warmth in these tracks. There is a sense of wholeness here, a palpable style and atmosphere that permeates the individual pieces.Wulffius creates what he refers to as "B-sides": something too strange to be danceable, with "complex ease" and rhythmical variety. The music has a charming serenity and beauty thanks to Wulffius' intuitive approach, which is childlike and whimsical in the best possible sense. By the way, Paustovsky wrote Sorang in an hour and a half at a speed writing competition. You can hear a similar spontaneity here, but make no mistake, this is the work of a master that has been crafted over a period of years. It all comes from experience.