this is the tape edition with a bonus "b" side worth of new material

The second release from the japonese label Schole is a collaboration between AKIRA KOSEMURA and HARUKA NAKAMURA. Both are from Tokyo and starting to attract people’s attention by taking part in many compilation inside and outside Japan. AKIRA KOSEMURA has for example just released an other album on the australian label Someone Good (lead by Lawrence English). The album “Afterglow” is created with light sounds. It resembles the end of summer and surely puts the words of remembrance and memoir together.

融合樂器、電子、實驗性、大自然、藝術三者為一，以從日常空間作為音樂創作來源的No.9(Takayuki Joe)，再次領軍樂團No.9 Orchestra，在上一張大好評的專輯'' Good Morning ''確立了他平靜而有力的電子旋律聲響，相隔一年後，No.9再次發表最新作品'' Usual Revolution And Nine ''，透過古典吉他與現代電子的融合，再度獻上一首首自然流暢的樂章。 對no.9而言，萬事美好，日常生活的細節也可以帶來新鮮靈感，轉化成一首首充滿戲劇性的音樂詩篇。

開場曲'' Introduction ''就由吉他旋律與輕柔的Breakbeat節拍，引導進入No.9全新專輯的音樂當中，上一張專輯中頗受好評的以改編古典名曲Canon的樂曲'' I Hope ''，這次也以新的混音版本呈現；'' Alive ''在背後女Vocal不斷唱哼[Alive]之中，透過宛如水珠般輕盈節拍，是本次作品的主打曲目；除了電子作品外，也有'' Again And Again ''那透過小提琴與鋼琴演奏過純淨無暇的動人詩篇，更不能錯過No.9替過去介紹過的音樂家Akira Kosemura與Haruka Nakamura合力發表過的曲子'' Afterglow ''，所製作的混音版本，把原先那簡單的吉他風格，透過電子節拍顯得更加的活潑；'' Clover Classic ''是No.9首次以古典音樂的形式，譜出優美感性的動人氛圍；而最後一首'' With Millions Of Love-Fine- ''則是重新製作過去第三張專輯'' Micro Films ''當中的同名歌曲重新編曲製作，從中反映著no.9一路走來豐富的音樂歷程，在這第五張專輯'' Usual Revolution And Nine ''重新登場，故在歌名後方加上Fine。

這一次的作品比起上張'' Good Morning ''那處處感受到自然之美的聽覺比較起來，少了一點花草樹木的味道，取而代之的，是No.9所全新創造出的音樂小宇宙，充滿各式各樣的想像。全14曲73分鐘。Cover design : Shinji Oota (RaNa extractive, inc. )
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前作『Good morning』の大ヒットが記憶に新しいno.9の最新アルバムが完成！さらに進化したno.9の世界。穏やかに、力強く、そして美しく。クラシックギターとピアノが織りなすメロディーに、感情的な電子音が絡み合う。『日常と革命とナンバーナイン』そう、普通の事が素晴らしく、当たり前の事が新鮮になるように、ドラマチックな毎日を創りだす。ライブですでに大好評のTrack2. I hopeは名曲Canonのno.9 remix、Track11 今話題のアーティストHaruka Nakamura & Akira Kosemuraのスプリットアルバムよりno.9 remix。ジャンルも由来する音楽も幅広く、それでいて統一されたひとつのシナリオのようにドラマは起こっていく。

The Orb's Adventures Beyond the Ultraworld is the debut studio album by English electronic music group The Orb, released as a double album on 2 April 1991 by Big Life. It is a continuous, progressive composition consisting of several tracks advancing the "journey" concept; its framework is of a two-hour psychedelic trip through genres and studio electronics, produced to "push the threshold" of live stage performance, and comprising vocal samples and sound effects interspersed with original music.

The 1999 classic release gets a re-release and a re-packaging! There are plenty of classic tracks here on 2 CD's by the likes of Olive, LTJ Bukem, Lil Mo Ying Yang, Bedrock (aka John Digweed), and many more! A Global Underground release.

Cupid Deluxe is the follow up to Devonté Hynes’ debut as Blood Orange, 2011’s Coastal Grooves. Since that album’s release, Hynes has written and produced music for the likes of Solange, Sky Ferreira, MKS, and more. Cupid Deluxe shows a more expansive aural palate than its predecessor while retaining the pop sensibilities that Hynes has showcased since his days in Test Icicles and Lightspeed Champion. Simply put, Cupid Deluxe perfectly highlights why Hynes has become one of the most exhilarating and prolific voices creating music right now.

The album was produced by Hynes in his adopted hometown of New York City, mixed by Jimmy Douglass, and features amazing guest appearances by David Longstreth (Dirty Projectors), Caroline Polachek (Chairlift), Samantha Urbani (Friends), Clams Casino, Despot, Adam Bainbridge (Kindness), Skepta and many more.

Selected Ambient Works 85–92 is the debut album by the British electronic music artist and producer Aphex Twin, also known as Richard D. James. It was released on 9 November 1992 through Apollo Records, a subsidiary of the Belgian label R&S Records. The album consists of ambient techno James recorded on cassette as early as 1985, when he was 13–14 years old. It received widespread acclaim and entered the Dance Albums Chart at No. 6 in December 1992.

Selected Ambient Works 85–92 is considered a classic, defining work of electronica. Music journalists have credited it with expanding the scope of ambient music and introducing techno to fans of indie music. The website AllMusic described it as "a masterpiece of ambient techno".[1] Selected Ambient Works 85–92 has appeared on best-of lists; in 2012 the UK magazine Fact named it the greatest album of the 1990s.

Melody A.M. is the debut studio album by Norwegian electronic music duo Röyksopp, released on 3 September 2001 by Wall of Sound. Songs from this album have been used in television adverts and computer games; "Remind Me" was formally featured in an advertisement for GEICO Insurance in one of their popular Caveman ads, while "Eple" was licensed by Apple and used as the introduction music for the Mac OS X v10.3 setup assistant. The Silicone Soul remix of "Poor Leno" was featured in the soundtrack to the 2003 snowboarding video game SSX 3. "So Easy" was the soundtrack of T-Mobile's launch advert featuring the face of a baby appearing around places in a city.

Formed in 1994 the London based 3 piece have become mainstays of London club culture. The album itself is a diverse and compelling fusion of reggae, hip-hop, r&b and soul, African and jazz. 2000 release. Standard jewel case.

Kevin Martin, under a dozen-or-so aliases and across numerous genres, has been screwing around with deep bass for well over a decade. 1997's Tapping the Conversation-- a concept album conceived as a surrogate soundtrack to Francis Ford Coppola's The Conversation-- was his first release as the Bug, and in retrospect, it sounds like an alternate-universe prototype of dubstep, based on instrumental hip-hop rather than UK garage rhythms. By the time he issued his 2003 follow-up Pressure, he'd already charged headlong into heavy digital ragga, building a repertoire of grimy, distorted beats that mutated dancehall into a glitchy, blown-out commotion.
Martin's latest Bug album, London Zoo, is very much in keeping with that permutation, which stands out amidst the recent wave of dubstep in a way that makes Burial's Untrue sound like Music for Airports. But it also takes the Bug's work into a somewhat cleaner, less abrasive area-- it streamlines the sound, shaves away the distortion, and draws most of its impact from the rhythms themselves. Of course, "less abrasive" doesn't necessarily mean it hit any less hard: Martin knows how and when to drop a heavy beat directly on top of you, and there's a carefully crafted tension throughout this record, no matter how sparse or dense that beat actually is.
Sparseness and density tend to work in tandem on London Zoo's strongest tracks: Bass hits at machine-gun intervals, leaving deep, tube-station echoes disintegrating in its wake and giving a number of these tracks a simultaneous sensation of freeness and claustrophobia. Reverberating, distorted voices and spare synth melodies close in on you even as they recede into the distance, and the rhythms are so pervasive and locked in that after a while you start hearing the spaces in between as much as you're hearing the beats themselves.
Martin has also enlisted an army of top-notch singers and toasters for the record, ranging from dancehall veterans like Tippa Irie to Burial and Kode9 collaborator Spaceape. However, three names in particular stand out. First, there's Roll Deep member Flowdan, whose grumbling, elastic baritone contributions to the chaingun-rhythm "Jah War" (heard on the fantastic 2006 Planet Mu comp Mary Anne Hobbs Presents the Warrior Dubz) and last year's sinster, headknock single "Skeng" show up again here. Flowdan is also at the center of the manic "Warning", which features one of the album's best hooks and a hell of a rampaging performance; there's one cool bit about halfway through where he ratchets the intensity in his voice down to a conversational rumble to match a moment in the song where the bass draws back, then resumes shouting right when it drops back in.
Singer/toaster Ricky Ranking shows up on three tracks as well, and his vocal range-- switching from sweet melodies to foreboding chants-- is impressive, even if he's best suited to the slower numbers (especially the dirgelike closer "Judgement"). And the two appearances from Warrior Queen are knockouts: "Poison Dart", originally released as a single last year, is ruffneck feminism ("Though me na sling no gun, a boy think sey me soft/ But me a real poison dart") delivered with a sharp, wailing sneer over more low end than most MCs could contend with, and "Insane", which augments a chirpier, more buoyant flow with a smoothly-sung chorus and a few out-there adlibs, including a funny little riff on Tears for Fears' "Mad World".
The only caveat concerning London Zoo is how far it might skew away from your traditional notions of dancehall-- and even then, it helps to recognize that, if anything, this record is another manifestation of how London has transformed the sounds of Jamaica to its own ends, from 2-tone to jungle to dubstep. It's a tense record, sure, but that tension is palpable in a crossover-friendly way, invoking Babylon and fire while avoiding the more problematic aspects of "slack" lyrics. It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do.
----- Pitchfork

Artist: Deep Dive Corp.
Title: More Bass
Country: Germany
Genre: Electronic | Downtempo
1999年，Deep Dive Corp.诞生于德国汉堡，成员是吉他手Peter Musebrink（德国）和Bjern Gerhard（英国）。组团至今，共出版了6张专辑。
在Downtempo之中Ambient元素恰到好处的应用，以及一些民族音乐元素的融合，制造出属于他们的“DeepDiveSound”。其作品先后被“Nirvana Lounge, Le Café Abstrait, N.Y. Lounge, DJ-Magazine, Luftkastellet, Hotel Costes, History of Chill”等驰放合辑中收录，也成为Ibiza驰放CD的常客