印度孟买、土耳其伊斯坦布尔、有关大巴扎（集市）的神秘传说......
《Tales From The Grand Bazaar 大巴扎的传说》，印度孟买民族乐团 Bombay Dub Orchestra（BDO）孟买混音乐团 2013年最新民族音乐专辑，这也是该乐团的第三张专辑。
Bombay Dub Orchestra（BDO）孟买混音乐团 ，来自印度孟买的民族乐团，现居住在英国。
Bombay Dub Orchestra（BDO）孟买混音乐团 ，由电子乐、管弦乐作曲家 Garry Hughes 加里·休斯 和 Andrew T. Mackay 安德鲁·麦凯 二人组成。
土耳其首都伊斯坦布尔大巴扎，建于1461年，是世界上最大、最古老的巴扎之一，近4000家商店、60条街道纵横交错，身处其中，就仿佛置身于迷宫一般，极易迷失方向。

Known to many for his infamous ambient dub techno album, ‘Rigning’, Yagya’s landmark release took us deep amongst the rain-drenched forest. The beautiful, slowly shuffling atmospheric masterpiece set a blueprint for the notorious style we now know him best for. Fast forward ten years, and the gently falling rain from Rigning has now intensified. Yagya has shifted to something with more energy, a more defined groove, and a growing euphoric state: Stormur.
Stormur, sees Yagya continue to evolve his sound into the pure techno realm. His unique palette still identifiable, but the focus now on the swirling hypnotism, the delicate tonal progressions, whispering vocals, and the underlying current that transports you. From the forest floor to the soaring treetops, the dense whirlpools of mist, and the breathtaking landscapes are now seen from above.
Confident in its simplicity and efficiency, Stormur is focused on the subtle flow and progression between tracks akin to a full DJ set, transporting you from one chapter to the next. Each track taking its cue from the previous. The tonal shifts are minimal, resulting in a trance-like state throughout the ten movements, best absorbed in one sitting, with guest vocalist Hatis Noir providing an angelic voice amongst the shifting patterns, swirling synthesizers and driving grooves.

Weaving the random playfulness and natural skeez of Lee “Scratch” Perry’s lyrics into their patented Brit-Dub sound, an erratic, disturbing and exciting form emerges. Perry rarely sounds this smooth and the On-U Sound has newly expanded depth and production value, seemingly influenced by classic Perry work. This incarnation of “Blackboard Jungle” has a brooding heavy sound, while somehow remaining atmospheric. Here’s the bonus: you can almost see Lee Perry on a street corner somewhere in London muttering, “Respect my shit, respect my piss”. He’s also there to warn of the rampant Fungus STD (Fungus Rock)? Chalk it up to some healthy clowning, as also heard on “I Foo China” - love that Black Uhuru chorus vibe too. “I Do Voodoo” feels like a final transmission from the Dub-Ship lost in 1975.
All the tracks featuring Ari Up, including “Surrender Dub” and “Idiot Dub”, rip into some excellent dubstep sounds, immediately re-energizing the rest of the album. Taking the time to re-sample Ari’s vocals fold her into the composition beautifully. Throughout the track selections there is a strong but expected current of activism, including an “Evil Burma Dub” laced with South Asian instrumentation. I had a taste of this album before the review as the vaguely familiar melody of “Chrome Optimism” made DJ rotations. The Dub saga continues with re-dubs and re-mixes of the earlier Perry tracks accompanied by whole new tracks that, if left off of this album, would have been missed.
The additional elements within the re-dubs are exciting and engaging, taking the trip into an alternate dimension back from Planet Dub. While the original Perry tracks are irreverent, the collaborative dubs take on new life between the stars; just tripping-out all over Dubblestandart’s new material. Completely new rhythms enter and attack the powerful, established themes in all the remixes. G-Corp’s dubstep remix brings a third new life to “Chase The Devil” on this album alone. “I Do Voodoo (Rob Smith RSD Rmx)” goes to the darker, space wars side you might have expected from the original. “Wadada Means Love (Featuring Prince Far-I & Trueman Chewstick) [Tom Watson Dubstep Rmx]” takes on a Leftfield sound, and “Blackboard Jungle Dub [Subatomic Sound System Dubstep Rmx]” is a banging dubstep track with a genuine tone missed by most in the genre. The re-treads of previous Dubblestandart material also burn well for fuel.
Overall, a legitimate step forward for Dubblestandart. Respect their sh*t. (by DJ Memo properlychilled)Weaving the random playfulness and natural skeez of Lee “Scratch” Perry’s lyrics into their patented Brit-Dub sound, an erratic, disturbing and exciting form emerges. Perry rarely sounds this smooth and the On-U Sound has newly expanded depth and production value, seemingly influenced by classic Perry work. This incarnation of “Blackboard Jungle” has a brooding heavy sound, while somehow remaining atmospheric. Here’s the bonus: you can almost see Lee Perry on a street corner somewhere in London muttering, “Respect my shit, respect my piss”. He’s also there to warn of the rampant Fungus STD (Fungus Rock)? Chalk it up to some healthy clowning, as also heard on “I Foo China” - love that Black Uhuru chorus vibe too. “I Do Voodoo” feels like a final transmission from the Dub-Ship lost in 1975.
All the tracks featuring Ari Up, including “Surrender Dub” and “Idiot Dub”, rip into some excellent dubstep sounds, immediately re-energizing the rest of the album. Taking the time to re-sample Ari’s vocals fold her into the composition beautifully. Throughout the track selections there is a strong but expected current of activism, including an “Evil Burma Dub” laced with South Asian instrumentation. I had a taste of this album before the review as the vaguely familiar melody of “Chrome Optimism” made DJ rotations. The Dub saga continues with re-dubs and re-mixes of the earlier Perry tracks accompanied by whole new tracks that, if left off of this album, would have been missed.
The additional elements within the re-dubs are exciting and engaging, taking the trip into an alternate dimension back from Planet Dub. While the original Perry tracks are irreverent, the collaborative dubs take on new life between the stars; just tripping-out all over Dubblestandart’s new material. Completely new rhythms enter and attack the powerful, established themes in all the remixes. G-Corp’s dubstep remix brings a third new life to “Chase The Devil” on this album alone. “I Do Voodoo (Rob Smith RSD Rmx)” goes to the darker, space wars side you might have expected from the original. “Wadada Means Love (Featuring Prince Far-I & Trueman Chewstick) [Tom Watson Dubstep Rmx]” takes on a Leftfield sound, and “Blackboard Jungle Dub [Subatomic Sound System Dubstep Rmx]” is a banging dubstep track with a genuine tone missed by most in the genre. The re-treads of previous Dubblestandart material also burn well for fuel.
Overall, a legitimate step forward for Dubblestandart. Respect their sh*t. (by DJ Memo properlychilled)

Nightclubbing is the fifth studio album by Jamaican singer Grace Jones, released on 11 May 1981 by Island Records. Recorded at Compass Point Studios with producers Alex Sadkin and Island Records' president Chris Blackwell, as well as a team of session musicians rooted by rhythm section Sly & Robbie, the album marked her second foray into a new wave style that blends a variety of genres, including reggae, art pop, dub, synth-pop and funk. The album comprises a mixture of cover versions from artists including Bill Withers, Iggy Pop and Astor Piazzolla, and original songs, three of which were co-written by Jones.
The album received positive reviews upon its release, including being voted best album of the year by writers of the UK music magazine NME, and continues to be praised by critics, with reviewers commending the singer's unique sound and organic fusion of genres. The album entered in the top 10 in five countries, and became Jones' highest-ranking record on the US Billboard mainstream albums and R&B charts. Six singles were released from the album, including the hits "Pull Up to the Bumper" and "I've Seen That Face Before (Libertango)".
Critics and scholars have noted the album's influence on popular music, especially how its unique sound has been emulated by both pop and alternative acts, and how the persona Jones adopted – deeply influenced by art and fashion – has had an enduring influence in modern female pop singers. Around the time of the album's release, she adopted her characteristic androgynous look which would become popular in fashion. Nightclubbing is now widely considered Jones' best studio album[1] and the record that cemented her pop icon status.

Khruangbin is an American musical trio from Houston, Texas, with Laura Lee on bass, Mark Speer on guitar, and Donald Ray "DJ" Johnson Jr. on drums. The band is known for blending global music influences, such as classic soul, dub and psychedelia.

Deep on a mind trip aboard the ISS Kingston, we are floating upon the low-gravity armchairs of its “Disco 3000” cocktail lounge. Brain-dance soundwaves are being distributed by means of the Akuphone, transmitting the psychedelic music of Spiritczualic Enhancement Center.
Me and My Students Have Reached Higher Levels presents itself as an obscure and ever-morphing spectral-jazz album. Produced by eight outernational musicians, once originating from Iran, Israel, America, Russia, Romania and Germany, this record carries a distinct centrifugal force. Suspending musical particles out of a brewish stew full of drones, bleeps and feedbacks, we hear a retro-futuristic sound which could have been Big Fun back in 1974. It makes us envision the electric dreams of an artificial intelligence modeled after Lee “Scratch” Perry. Given the task to create a dubby fusion requiem for Bela Lugosi’s Death, it seems Perry’s AI has been applied to a jukebox full of CAN’s and Sun Ra’s 7-inches.
credits
released October 11, 2019
Recorded on June 24th, 2018 at Niedervolthoudini Studios, Hamburg.
Artwork: Dima Rabik
AKUPHONE (2019)
AKU1020

"What is music today? Is it still an essential form of art? Or is it now just another brand totally integrated in our surroundings? Do we still allow music to give us emotions or do we just want it to be acoustic wallpaper? Since 1997, F Communications has tried to answer these questions with the series of Megasoft Office albums. We still feel that the music we listen to in the F COM office creates a unique atmosphere and brings a permanent source of energy for your personal creativity. So like us, enjoy this fourth edition of Megasoft Office." Featuring: A Reminiscent Drive, Alexkid, Ready Made, Frederic Galliano, Nova Nova, Aqua Bassino, Fabrice Lig, Laurent Garnier, Jori Hulkkonen & Alexis Delano, Llorca, The Youngsters.

Porter Ricks 是兩個人(德國)，不是ㄧ個人的名字，他們擁有雄厚的錄音工程背景，開創出前所未聽、如死寂星球般冰冷的dub techno美學。
首張專輯 Biokinetics 面世後，滿滿的極簡態度實驗精神，毫無妥協，並暗藏無窮無盡的細節，每次聽都有新發現，真的是史上最棒techno沒有之ㄧ，比經典更經典。

Howyoudoin" by the late great RSW represents everything that was right about early 90's electronica. Strictly formulaic & predictable genres hadn't quite taken hold yet, and rampant experimentation was the norm among these newfangled electronic artists. RSW was one of the most difficult to pin down, as they dabbled in big beat, rap, trance, dub and house, often with an underlying punk rock aesthetic. Mute. 2001.

Recorded at Le Poisson Rouge, Bleecer Street, New York City, on 6 February 2010, during the Unsound Festival.
This is a limited edition 2xLP gatefold vinyl package includes a complimentary CD version of the album in a stamped paper envelope. The tracklist and track times of the vinyl and CD versions are identical.

Yvette Marie Stevens, better known by her stage name Chaka Khan, is an American musician, singer and songwriter. Her career has spanned nearly five decades, beginning in the 1970s as the lead vocalist of the funk band Rufus.