Surfin' with Santa

David Lynch -- Wishin' Well (Hot Since 82 Remix) 
Taken from The Big Dream Super Deluxe Album

Buy it at Beatport: http://www.smarturl.it/BigDreamRemixEP

The Big Dream Digital Deluxe Double Album out 16th December 2013 and The Big Dream Super Deluxe Boxset out 27th January 2014

http://davidlynch.com 

Buy The Big Dream Super Deluxe
At Sunday Best http://www.smarturl.it/BigDreamSuperD...
Buy The Big Dream Digital Deluxe
At iTunes http://www.smarturl.it/DigitalDeluxe

Buy The Big Dream
At iTunes http://georiot.co/22qT
At Sunday Best http://www.smarturl.it/TheBigDream
At Sacred Bones (USA) http://www.smarturl.it/TheBigDreamUS

The Big Dream (Deluxe Edition)

David Lynch - Wishin' Well (Hot Since 82 Remix)

<a href="http://ninjatune.net/release/beat-spacek/alone-in-da-sun">NinjaShop</a>

The modern classic <a href="http://ninjatune.net/release/beat-spacek/alone-in-da-sun">'Alone In Da Sun'</a> finally sees the light of day having been a firm favourite in the sets of Africa HiTech, Benji B and Alex Nut. 

Released as a limited one-sided white label on 16th December 2013, it's 100% the creation of legendary British vocalist/songwriter/producer Steve Spacek who is set to drop brand new material under his <a href="http://ninjatune.net/artist/beat-spacek">Beat Spacek</a> moniker in 2014. 

Modern Streets

Ninjashop

Beat Spacek - 'Alone In Da Sun'

Taken from new album Love Letters, Metronomy's I'm Aquarius is starry-eyed good fun, with shoo-doops and synths sitting beneath talk of star signs and dating crimes. Given a special sort of love by talented producer Edwin Van Cleef, the remix has already received its fair share of attention, which is a good indication of what we can expect from EVC in the near future. Enjoy the exclusive! 
@Metronomy

facebook.com/iDmagazineofficial
 twitter.com/iD_magazine
youtube.com/user/idmagazineonline
http://i-D.co

Track Premiere: Metronomy - I'm Aquarius (Edwin Van Cleef Remix)

Free end of the year remixes of The Soft's Uncanny Valley EP (available now on 12" and digital). Artwork by William Glass. 

https://soundcloud.com/bam-spacey
https://soundcloud.com/thesoft

The Soft - Uncanny Valley (Bam Spacey's Bare Minimum Mix)

More info and links to buy the tracks featured: http://asip.me/reflection_2013

01. Boards of Canada - Everything You Do Is A Balloon (Warmth remix)
02. Boards of Canada - Reach For The Dead
03. Jon Hopkins - Open Eye Signal
04. Ocoeur - Astral Projection
05. Recondite - Riant
06. Bonobo - Cirrus
07. Oneohtrix Point Never - Zebra
08. Lawrence - In Patagonia
09. Daniel Avery - Naive Response
10. Rival Consoles - Odyssey
11. Nils Frahm - For (Max Cooper remix)
12. Need A Name - Road To Berlin
13. Olafur Arnalds - Only The Winds
14. Nils Frahm - Said and Done
15. Max Cooper - Fragments of Self (Petrels remix)
16. Rhian Sheehan - Thoughts on Nature
17. Hammock - Then The Quiet Explosion
18. Stareaway - The Loss Of Breath
19. Ulrich Schnauss & Mark Peters - Das Volk Hat Kleine Seele
20. Luke Howard - August
21. dalot - Night Owl
22. Lights Dim with Gallery Six - Echoes of The Ongoing Riot
23. Bjorn Rohde - I Began To Float
24. Alveol - Empty Heart
25. Preghost - Cliff Edge Ghost
26. ASC - I Share My Secrets With You
27. Nils Frahm - Over There It's Raining

ASIP - Reflection on 2013

"This is the desert......and we're beginning a journey not in time but in your mind. Imagine the camels being loaded up & the men loading themselves up. Its a long journey - the oasis is all in the clamour. 
As we start from the top to go to the very bottom - A mysterious place, a very mysterious place. 
What's that i see ? 
The sun is setting, the moon is high.... because we travel by the stars - the stars never change. The sun may do this in a day, in fact it has to do this in a day or it really isn't a day, but the stars shall guide us tonight, across the great sea.......... The Desert. "

Still In The Desert [Dj Mix]

"Contact" is a 1978 disco single by Edwin Starr. The hook line is in the chorus, eye to eye contact.
The single was Number 1 on the disco chart for one week, early in 1979. The single crossed over to the Billboard Hot 100, becoming his highest charting pop single in seven years, peaking at number sixty-five. "Contact" also made the top 20 on the soul chart, peaking at number thirteen.

( release next year ) 

hope ya like .......
Chewy

Contact (Chewy's  Get Up And Dance  Rub)  -  Edwin Starr

Pierre Henry
Malefices
6CACK
Often evading the composer ’s official discography lists Cacophonic present this outstanding, commonly undetected Pierre Henry film score providing fans of early electronics, femme vocal manipulation and horror soundtracks with an indespensable "dream record" that ticks every box and crosses out every line in the rule book. Widely recognised as one of the original sonic architects of the movement known as musique concrete, having joined Pierre Schaeffer's forward-thinking initiative as early as 1949, Pierre Henry was arguably the first musician to entertain the notion of this defiant musical revolution coexisting with traditional and poplular music. Initially using the mediums of modern dance and spoken word as a platform to contextualise his tape-music mutations (notably in unison with Maurice Bejart) Henry's foresight to fuse accademic with thematic ideas lead to the birth of electronic sound design for film and theatre, expemplified most prevalently in the macabre.

The missing link between his earliest avant garde recordings and his later celebrated pop experiments with Michel Colombier and Spooky Tooth and rivaling the likes of Daphne Oram's uncreditted SFX work for The Innocents this rare score to the 1962 Juliette Gréco vehicle Maléfices (aka The Hex or Where The Truth Lies) hears Henry at what is perhaps his most melodic, fragile and enchanting (especially for this unforgiving sheen-free formative era). Layering vocal tape loops and gossamer feminine voice treatments with plucked strings, white noise wind and brooding industrial treated piano textures Henry provides a series of conceptual poison peons to magnify this films intoxicated halluciogenic narrative. This concise set of complete set themes is presented here fully remastered for the first time alongide rare excerpts from two of the composer's very earliest and least obtainable forays into theatrical sound design with instrumental parts of Henry's first stereo reconstruction of Bejart's Orphee from 1961 and his seldom heard concrete interludes from Darius Milhaud and Max Gérard's Mariage De La Feuille Et Du Cliché from 1958, both of which command rapidly increasing ransom fees amongst serious electronic music collectors.

La Mort Musique - Pierre Henry

Alwin Nikolais
Choreosonic Music Of The New Dance Theatre Of Alwin Nikolais
10CACK
Choreosonics was the name of the music for the choreography of Alwin Nikolais - a unique theatre exposition that was described in the late 50s as “the new theatre of shape, motion, light and sound.” In 1953 Nikolais attracted people interested in new art to his dance concerts at the Henry Street Playhouse in New York City. In these concerts dancers became colourful motivating sources for sculptural shapes; moving in changing atmospheres of light and sound their relationship carefully integrated into a new kind of audiovisual abstract theatre art. The sounds created for this were not conceived from traditional music points of view but were designed to share and support the total visual dynamics.

Such a creation was possible because of Nikolais’ background as a musician as well as choreographer. At sixteen he was playing piano and organ for the then disappearing silent films, improvising and coordinating music four to six hours daily to the dramatic content of the movie. With this profession obsolete, he turned his skill into accompaniment for dance. Through this his interests led to his study of percussion accompaniment and exploration of new sounds. These ideas were stimulated by the kind of dance accompaniment introduced by the famous German dancer, Mary Wigman. This, in turn, induced Nikolais to study dance and ultimately to switch his career from musician to dancer and choreographer.

Nikolais was soon heralded as one of the leading figures in modern concert dance, he is credited with bringing about revolutionary ideas opening up new vistas for dance and theatre. Nikolais' activities were centered at the Henry Street Playhouse in New York. His work was created there with his assistant Murray Louis; sound engineer David S. Berlin; artist George Constant and members of his Playhouse Dance Company. All of whom had a hand in the final productions. Performances with names like Prism, Cantos and Totem were met with positive critical view for their multidisciplinary achieve- ments. While his collaboration with Harry Partch on The Bewitched established his name alongside another true maverick of American sound design and forward-thinking composition.

Some of Nikolais' dancers were also trained as percussionists who improvised on a curious assortment of sound producing instruments and objects while other dancers worked through the choreography. David Berlin, who assembled and constructed the sound recording equipment, would operate from the sound booth from a window overlooking the stage. Nikolais would direct the experiments and improvising.

Within any performance there would be numerous tests of the original sound and their possible electronic conditioning, including many playbacks of short phrases tested to the dancers’ motion. When the sound phrase proved satisfactory the next cut was started. Sounds were cut down, enlarged, replaced and then the whole piece would be linked together and given final editing much the same as a filming process. Nikolais generally tried to avoid any identification of the sound sources, thus inviting the ear to perceive the sound itself divorced from its initial derivation. This, however, was by no means a final criterion, the ultimate one being the value of the sound to the theatre idea at hand whatever its source or manner of conditioning was. The objects used to pro- duce these sounds were without limit except for practical material size. Within the collection many percussion instruments were used: drums of all kinds, rattles, bells, gongs, cymbals, wooden blocks, etc. Also whistles, tubes, pipes, pieces of wood, alu- minum, steel and tin containers were utilised alongs-ide glasses, elastic bands, coils of wire, etc. The back of an upright piano in addition to a grand piano were also often at hand. The human voice would be used freely, hand clapping, foot stomping and any sound producing device whatsoever that might served a purpose.

Lythic - Alwin Nikolais

letthemusicplay Feat. Kate Tempest - Our Town (Lennie De Ice Remix)

The original of Our Town was released back in September. Released this week on Beatport - Our Town + remixes from Joe Goddard, Lennie De Ice & Sister Bliss vs I Said No. Don't forget this is available on limited 12" white label.

Get it here on 12" vinyl: http://www.surus.co.uk/music-player/index.aspx?fdAlbumId=23664

Get it at Beatport: http://www.beatport.com/release/our-town/1249560

Watch the video: http://www.youtube.com/watch?v=FKOnFyQ0CrA

www.greco-roman.co.uk


Surfin' with Santa

muddy mike