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All music is Name Your Price at http://thepolishambassador.com

Affordably LICENSE all Polish Ambassador and Jumpsuit Records music for Youtube videos and more. Email us at licensing@jumpsuitrecords.com to get some rad music for your videos! 

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Pushing Through The Pavement Remixes

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The Polish Ambassador - Ritual Revival (Dimond Saints Remix)

Document 79 (extract)

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SAINT WKND Feat. INGLSH - Lost (DIMOND SAINTS Remix)

@DimondSaints Remix of @beatsantique - Killer Bee

Killer Bee (Dimond Saints Remix)

Made this remix for the @iambishat's singel "mine", hope you'll like it <3

http://iambishat.com/samuraii

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Bishat - Mine (Samuraii Remix)

presenting the 5th annual halloween mix. thanks to Pharrell for the intro and RL Stine for the drop.

download the mix here: http://rlgri.me/halloween

happy halloween :)

http://rlgri.me
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Halloween V

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With the Global Eclipse approaching, Desert Dwellers have gathered and compiled a stunning collection of deep, subsonic grooves calling to the masses celebrating this once-in-a-lifetime celestial event. On August 14th, one week before a total solar eclipse will be visible across a wide band of the United States, DesertTrax releases Antumbral Shadow, a jaw-dropping 25-track compilation of some of
the best international artists spanning psychedelic chill-out, glitch,
house, techno, bass, and ambient tunes.
Dive into numerous unreleased tracks from artists like Kaminanda, Mystral, Zen Baboon, Somatoast, I Awake, Luke Mandala, Liquid Bloom + Numatik, PheuZen, Moon Frog, and many others, as well as newly minted originals from international chill out legends like Entheogenic, Carbon Based Lifeforms, and Origin. Embrace brand new interpretations of Desert Dwellers tunes from artists like CloZee, LuSiD, and Treavor Moontribe, and a brand new unreleased remix
of Poranguí by AtYyA. These mysterious and deep soundscapes were gathered by Amani & Treavor of Desert Dwellers with this celestial celebration in mind, to help you navigate your optimal Eclipse journey. As the sun is engulfed and time stand stills, so too will you transcend into the spaces between shadows.

Album Cover Artwork: Gonzalo Rescalvo (Abzzolum)
Mastering by Gregor at GZ Mastering
www.deserttrax.com

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Nanda - Inner Vision

Recorded live at Danksgiving VIII opening for Luzcid, Brightside, and Zen Selekta.

Dankful For Everything

Subtlety is often an underrated quality. That’s partly why Papercuts’ new album, Fading Parade band’s fourth overall, and first for Sub Pop—is such a breath of fresh air. Papercuts prinicipal Jason Robert Quever’s beautiful songwriting is thoughtful, quietly evocative and simultaneously ambitious. This is dream pop of the highest order, but unlike a lot of contemporary bands that fall under the same sonic umbrella, Papercuts isn’t trying to emulate shoegaze heavy hitters from yesteryear. Instead, Quever’s embraced a gentler, more sophisticated approach to presenting pop music that’s steeped in atmosphere.

“There was so much aggressive music when I was younger, and I just felt like trying something different,” says Quever. “I don’t want to hit people over the head. That’s just not who I am. I don’t necessarily like to be the center of attention.”

Quever may not want to be the focal point at social gatherings, but make no mistake about who is in control of Papercuts. His lush, layered recordings sound like they were made by what’s commonly referred to as a “band,” but Quever is always the one pulling the strings, whether he’s literally doing it on his guitar, producing, or writing. (It doesn’t hurt that he’s a whiz on a bevy of instruments, including organ and drums.) Though Quever continues to refer to Papercuts as a band, he’s finally getting comfortable with the idea of being a lone arranger.

“I’ve always tried to get away from being the bedroom guy, but then lately I’ve been realizing sometimes that’s worthwhile,” he says. “Maybe that’s the school I’m from: trying to make interesting records any way you can, with whoever might be around.”

Papercuts’ first three albums—2004’s Mockingbird, 2007’s Can’t Go Back, and 2009’s You Can Have What You Want—were recorded in San Francisco by Quever at his home studio, Pan American Recording, where he’s worked with artists like Port O’Brien, Beach House, Cass McCombs, Still Flyin’, and The Skygreen Leopards. Pan American was partially used to make Fading Parade, but for the first time Quever also left his comfort zone by heading to The Hangar in Sacramento and handing over some of the recording reins to Thom Monahan (Beachwood Sparks, Au Revoir Simone, Vetiver, Tussle). It turned out to be a great match, and with Monahan handling the technical details, as well as his live band helping out, Quever avoided sweating the small stuff and was able to spend more time being a performer and arranger.

“I didn’t have a heart attack by the end,” says Quever. “It was actually enjoyable the whole way through, and I’m excited to play these songs live instead of feeling, ‘God, I never want to look at a guitar again.’”

Crafted over the course of several months, Fading Parade is meticulously designed pop music, with a fully developed sense of space and a sturdy wall of sound. With the aid of strings, autoharp, Mellotron, Moogs, 12-string acoustic guitars, piano, Echoplexes, analog tape and digital recording, Fading Parade is wide-ranging and adventurous, through the up-tempo jangle of “Do You Really Wanna Know,” the soaring and resonant “Do What You Will,” the moody swirl of “I’ll See You Later I Guess,” the folky, piano-driven “Winter Daze,” and on. Imagine Belle & Sebastian teaming up with Slowdive and recording with Phil Spector back when he was killing it in the studio rather than, well, you know. It’s also Papercuts’ liveliest record, due in no small part to the fact that many of the songs were road-tested before being recorded, and Quever found himself writing with live performance in mind. He also got help in the studio from the guys who have made up Papercuts’ live band over the past two years: David Enos (keyboard and autoharp), Graham Hill (drums), and Frankie Koeller (bass).

“I just knew that we wanted a big sound, like drums that really rang out a long time,” says Quever. “I’d been playing more with a band, so I just thought about trying to get it as dynamic as possible, in a way that’s hard to do recording at home.”

For Quever, both personally and musically, everything seems to be falling into place, and there is an open quality that can be felt throughout Fading Parade. After enduring a difficult childhood that included the death of both of his parents—he credits the four-track he got after his mom died with both helping him cope and inspiring his career—Quever has a record that was fun to make, soon to be released on a label that made taking his ideas into a bigger studio possible. And he even has a band he loves without having to deal with all the usual annoying band stuff.




Fading Parade

Do What You Will

Papercuts - Do What You Will

Recipe for Moon Cat:

1.  Bake a funfetti cake with someone you love
2.  Cover said cake with funfetti icing, causing it to resemble the moon
3.  Draw a crater (or two (2) or three (3), this can be repeated as desired) with red icing
4.  Using a different color icing, draw one (1) alien and one (1) space-ship 
5.  Create a cat face using more icing (be sure to give it triangle shaped ears and six (6) whiskers)
6.  Give the cat a small body in proportion to the size of its face (this optimizes moon cat-atonia)
7.  Enjoy your moon cat and moon cake, and share with friends as desired.

DO WHAT YA WANT, YER DOIN' GOOD

Document 79 (extract)

Tommy Frampton

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