Stream Fragments here:
found.ee/landhouse-fragments-amselcom

Label: Redkliff Records – RED010CD
Series: Kampengrooves – 10
Format: CD, Compilation
Country: Germany
Released: Apr 2, 2012
Genre: Electronic
Style: Downtempo, Deep House, House
Record Company – Elbsilber
Distributed By – Nova MD GmbH

近几年，欧美时尚电音届大热印度RAMA（喇嘛）作品，Don Shiva 正是这类音乐的顶尖人物。这张《Rama Ho》专辑1999年出版，随着RAMA的热浪，先后在2001年和2002年两度再版发行，可见其极受市场追捧。
专辑风格基本属于Techno/Dance/Trance类型，在强烈的电子音乐节奏中混合印度音乐元素和喇嘛诵经吟唱，使人心情愉悦、欲随着音乐翩然起舞。

Bandcamp：
云音乐：
每年至少蒸一首系列第四年，蒸不蒸不知道，兄贵是一定兄贵的。

张亚东的首张个人专辑

UK

Eeeeeesh, Shinichi Atobe’s sixth album for DDS, another deployment of effortless and entirely inimitable club classics that connect the dots between effervescent dub house, deep techno and swirling beatdown, selected and compiled from a package of new productions sent from Japan with nothing but cryptic track titles for guidance.
Love of Plastic - we talking aesthetic here pal? bit like comme de garçons' genius, subversive amplification of synthetics in perfume? Something like Mark Fell’s assertion that “House music is best when it does not aim to copy ‘real’ music”? Impossible to tell - and honestly part of the thrill is in not really fully grasping Atobe’s praxis. What we can say is that with every album there’s a shift - sometimes barely perceptible - in spirit and focus. On this one everything’s gone a bit heavier - bit deeper - once again refracted through Rashad Becker’s mastering prism. You really could be listening to music recorded decades, years or a few weeks ago - we’ll probably never know. But with the simplicity comes a kind of impenetrable code too. That fleeting diva vocal sample 4 minutes into 'Love of plastic 6’ - what’s it doing there? why does it work so well?
Perhaps the reason Shinichi’s music resonates with so many is the impregnable sense of optimism buried in his DNA - there’s a breeze of warm air that takes over whenever his music is played, a promise of better days, blue skies, tingling skin, sultry evenings - all that hammy stuff. But also, entirely undeniable. Play this one and tell us you don’t feel it?
Spring’s almost in the air.

rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.
The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.
Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.
Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.