Open today: 00:00 - 00:00
1 / 0
Sons Of Slough
Live EP
Artists
Labels
Catno
FELT002
Formats
1x Vinyl 12" 33 ⅓ RPM EP Reissue
Country
Release date
Jul 14, 2022
Genres
Emerging from the shadows with 2021s ‘Bring Me Sunshine’ album, electro duo Sons of Slough see their debut 12” back in print via Perko’s FELT label.
Emerging from the shadows with 2021s ‘Bring Me Sunshine’ album, electro duo Sons of Slough see their debut 12” back in print via Perko’s FELT label. A quiet highlight of turn of the millennium-era British dance music that takes cues from the New York and Detroit schools of thought, ‘Live EP’ is rough, heavy and proves just as effective on the dancefloor two decades later. The Sons played shows with Richie Hawtin, Two Lone Swordsmen, Dave Clarke, The Chemical Brothers and more, often performing (as the title might suggest) in a live context. Indeed, the A1 cut ‘Snares and Temptations’ was a regular fixture, reportedly taking the roof off the place at the first Dedbeat Weekender as well as some of the worlds ‘less congenial establishments’. It's a sharp, low-end laden assault on the senses making great use of a distorted vocal sample and Drexciyan-like drum programming. The other three cuts are equally as powerful, vocoders and 'squelchy messes of clicks and whirrs' aplenty. The second instalment of FELT, 'Live EP' hints at the stylistic breadth yet to come via Perko's newly christened aural lovechild.
16.5€*
*Taxes included, shipping price excluded
A1
Snares and Temptations
A2
I Can't Hear the Stereo
B1
Boxhead
B2
Say It, Don't Do It
Other items you may like:
Brock Van Wey returns as Earth House Hold and his third full album under the alias, continuing to explore the furthest influences of Ambient-infused, deconstructed Deep House in all its varying elements. “...from the second I descended those stairs, lived it for myself, and the events that followed, I knew my life had changed forever. A life that brought with it a beauty as infinite as its pain”.Daybreak Basements and Broken Hearts explores a new aspect of Brock’s early Deep House influences, one that meticulous followers of this guise would have been patiently trying to guess since his last outing in 2018. If Brock’s debut Earth House Hold album (When Love Lived, 2012) took the grooves and danceability from Deep House, and his second, (Never Forget Us, 2018), highlighted the powerful progression of vocals and melodies, then Daybreak Basements and Broken Hearts continues to build on the many aspects and inspirations of the Deep House genre, with a raw, dirty and somehow deeper take on the sound that Brock grew up with many years ago.Brock’s signature vocals once again provide the narration and backbone to an album that is designed to progress; from its patient and spacious beginnings to its energetic and emotional closing chapters. Reverberating synths fill cavernous spaces as basslines rumble, bringing a darker, more abstract, early-morning vibeClear, Orange and Black Splatter 2LP to an album born from a place of both reflection, and personal experiences.“This is a house album in the purest sense of the word - just as much as the furthest thing from one that ever existed. As much a deconstruction of what deep house means as an attempt to reconstruct a time, and a life, it built.”
DJ Aquatraxx debuts on UTTU with an epic 5 track EP made up from live sessions in his Rome based studio.. Drexcian inspired houz muzik.
Constructed from a library of sounds collected by the artist in the rainforests of Borneo, Llyr’s debut album is an expansive documentation of natural beauty and human interference. Out July 29th on Max Cooper’s Mesh imprint, it is the first full-length album from the Berlin resident.The result of painstakingly manipulating these recordings via a multitude of cutting edge production techniques, Biome is an expression of precarity and beauty. It invites the listener to be enveloped by Llyr’s augmented reality rendering of the tropical rainforest, one of the Earth’s most biodiverse and iconic biomes, and encourages them to consider our impact on the natural world.Split into two sections - Pre-Anthropocene and Anthropocene - Biome tells its story with vast sonic ecosystems of molecular detail. Opening to the sounds of bird call, faint monkey hollers and the gentle crackling of mist-enshrouded trees, the album sets its tone with an archetypal impression of the jungle; one of instant familiarity. This is then expanded on across eight tracks, with the first four offering an abstract meditation on the marvels of nature, and the remainder of the album presenting a sonic vision of human interference - more chaotic and complicated than before.Llyr’s recordings include signifiers of human presence left untouched as an integral part of the story, with natural phenomena manifesting in different ways on each track. The resulting creations are a testament to the inherent musicality of the natural world. ‘Courtship Signal’ uses a recording of frogs singing in Kubah National Park to map out the rhythms and pitches of its composition, reconstructing an exact structural replica of these mating calls before manipulating and recomposing. Elsewhere, ‘The Hawthorne Effect’ captures a swarm of insects engaging in a rare mating ritual, sampling both a collective hum and individual percussive moments to build an entire library of sound. Similarly, ‘Winged Chamber Music’ carves out a majestic sonic cave using recordings of water dripping and the chattering of bats pitched down to human hearing range. Having engaged wholeheartedly with these moments as they occurred, Llyr extracts themes and motifs with a sincere respect for their origins.The first section is made in its entirety from Llyr’s own rainforest recordings with no use of drum machines, synths or samples. The recordings feature at every possible scale from macro to micro: unmodified binaural field recordings set the scene; granulated layers add pseudo-synthetic textural atmosphere; iteratively processed one-shots provide punctuation; and carefully designed custom instruments, forged from short fragments and cycles, express harmony and rhythm. The second half, heralding the arrival of humans, relaxes the rule book and a smattering of synthetic elements enter the fray to maximise visceral impact.The resulting work is a debut album that considers extensive themes by weaving these rare recordings into a remarkably coherent sonic blueprint. Biome resonates as both an affecting listening experience and a thematic exploration of the changing world we inhabit.
Following on from last years roaring success of HMND001, Humanoid Recordings hit again with a super-strength four-track EP from man of the moment DMC.On the A-side, “The High Rip” pushes and pulls, dropping dancefloor delight at every turn, whilst “Afternoon Snacker” comes with incredible relentless energy - it's slap-style bassline providing pure bliss. Over on the B-side, “Vallyrie” keeps up the unerring quality with it's Italo-esque bassline and magical pads that wash over the mix beautifully. “Same Way as the Stars” rounds off the EP with pure class, mixing depth, musicality and dancefloor functionality, showcasing DMC's flair for high quality production as is the theme throughout. A must have!
SPAZIOTEMPO’s sixth chapter marks the debut of the Swiss artist Matthew Dexter.Matthew delivers a full excursus throughout contemporary beats, modern trance and underground anthems.Opening the EP is Horizonte, an acid-trance cut with a twist of Goa. Any elements are wisely mixed up creating a perfect contemporary club track. The title track Centroterra is a mélange of dark and introspective atmosphere, with a meditative / tribalist vibes and broken beats supporting the tension.The B side starts with Variant Intelligence, a 4/4 cut with a sci-fi mood and prog build up that takes You back on a clubby mood… Can you recall that?The closing track Everything Matters brings has a robotic retro feeling with breaks and some melancholy acid vibes to fold it up perfectly. The evolution is long and delicate, the layers are intricated but distinct, making the listeners dive into a wide array of emotions.
