CISUMMI flips ‘Wonderland’ into a gloriously warm and fulsome house groove. The drums are deep, the melodies harmonic and the percussion sprinkled over the top brings a real lightness to the groove as the intimate vocals add tenderness. Rich marimba and piano sounds bring another layer of musicality and the subtle nature of the whole track means it really hits on a powerful emotional level and leaves a lasting impression.

Chambord - Wonderland (CISUMMI Remix)

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With a brand new album just about to drop via @localtalk @tomlaroye has the rather mouth-watering single Grateful out right now as a taster for album which you can grab as a Traxsource promo.

As we have come to expect time and again from Laroye the production is next level. Featuring the rather stunning vocals of Jerry Clavier Grateful is a sumptuous broken beat house affair. The audio equivalent of a loving embrace, it’s a stunning glimpse of the album to come.

Check it here and you can find more info on LV via: https://levisiteuronline.com/music/laroye-grateful/

Grateful With Jerry Clavier

LV Premier - Laroye - Grateful With Jerry Clavier [Local Talk]

Dreems & Jagma - We Shall Be Found (Instrumental Dub)

Whisper it quietly, but Andrew Meecham’s ninth album as The Emperor Machine, Island Boogie, may well be the long-serving producer’s strongest set to date. Of course, all his albums ripple with vintage synth sounds, colourful lead lines, dub-flecked electronic disco and lashings of cosmic intent, but this one just feels a little more special.

Island Boogie is certainly special. Meecham’s “most personal” full-length to date was inspired by his experiences at the Rotation Garden Party – a beloved micro-festival promoted by a group of friends (including sometime Bizarre Inc and Chicken Lips partner Dean Meredith), renowned for the quality of its custom-built Klipschorn soundsystem. “The album’s title sums up the vibe that you get from Rotation,” he explains. “It may be held in a landlocked venue but it gives a wonderful sense of isolation – it is an audiophile paradise.”

Meecham road-tested rough versions of the album’s eight tracks at Rotation 2023, with the feedback and dancefloor reaction guiding the sound and arrangement of the final mixes. Fittingly, Meecham will return to the event to showcase the album at Rotation 2024 this July. Given the inspiration he’s drawn from previous editions of the festival, that will be a very special occasion.

Musically, Island Boogie offers the most fully functioning and expertly constructed expression of The Emperor Machine sound yet, a style Meecham describes as “electronic cosmic disco-boogie”. It’s a sound that takes cues from early ‘80s NYC punk-funk and dub disco, vintage electro, proto-house and left-of-centre synth-boogie, but one that’s instantly recognisable to those who have followed Meecham’s career over the last three decades.

Island Boogie also sees Meecham continue his blossoming working relationship with Séverine Mouletin, whose stylish and distinctive vocals previously graced his popular ‘Dance Par Amour’ and ‘Your Own Style’ singles. Here Mouletin features on four tracks: the acid-flecked retro-futurist wave-boogie of ‘La Cassette’ (featuring additional percussion by Rupert Brown); the infectious, bleep-sporting headiness of recent single ‘Dévoilez-Vous’; and the squelchy analogue synth-funk of ‘Wanna Pop With You’ and ‘Vas-y-Le Chat’.

Meecham also finds space for a cover of Fox’s 1976 pop-rock classic ‘S-s-s-single Bed’, one of the Stafford-based artist’s all-time favourites. His version, featuring lead vocals by Michelle Bee and guitar from Dave Atherton, re-imagines the track as a subtly Chic-influenced slab of infectious electro-pop rich in kaleidoscopic synth sounds, sing-along choruses and shuffling drums.

The instrumental foundations of the classic Emperor Machine sound come to the fore on the album’s three other cuts. There’s the jazz-funk-flecked warmth of the LP-opening title track; the sparse squelches, bleeps, TB-303 style bass and brightly coloured electronics of ‘Walk The Dog’; and the exotic, slow-motion cosmic electronica of ‘Cha Murrah Etem’, a warm but poignant affair dedicated to his late father. Heady and intoxicating, with hints of Balearica and digital reggae, it offers a fittingly beautiful and tactile conclusion to Meecham’s most expressive and accessible album yet.

Island Boogie

LENG SHOP

Emperor Machine - S-S-S-Single Bed feat. Michelle Bee

Jazzy Nights

Kruder & Dorfmeister - 1st of the month pt. 2

“Castles” isn’t about what you see, but about what crumbles when you wake up. It’s a reminder that everything we build—with sounds, with thoughts, with love—is made of the same stuff as silence. What remains when the castle disappears?

https://mommusic4.bandcamp.com/track/castles-original-mix

Spotify

MoM-Castles (original mix)

AC25GET-9

The Drift

Once, it was branch and breath of tree,
rooted deep in memory.
Storm winds whispered, “Come away,”
and broke it free one rain-soaked day.

The river caught it, soft and sure,
a wanderer with no detour.
Through silver stones and meadows wide,
the drift began its timeless ride.

It spun beneath the leaning sky,
past children’s laughter, birds that fly.
It brushed against the moss and reeds,
and learned the river’s secret creeds.

Through roaring falls and gentle bends,
its shape would change, but never end.
Leaves would cling, then drift apart,
like fleeting touches of the heart.

At dusk it dreamed in golden gleam,
at dawn it woke within a stream.
Each turn, each wave, a whispered song—
a hymn to all it drifted long.

And when the river met the sea,
it paused—a breath, eternity.
Then onward flowed, no fear, no plea,
becoming one with what would be.

For wood once bound by root and earth
found motion, meaning, second birth.
A simple drift, yet so much more—
a traveler through the river’s lore.

The Drift

Taken from 'Victor - American Dread' (MFM030)
Buy Vinyl: http://www.musicfrommemory.com
Buy Digital: https://music-from-memory.bandcamp.com/
© 2018 Music From Memory

B1 - Victor - American Dread (Lipelis Extended Dub) (6:18)

« Hôtel Costes presents... » is a collection of exclusive music recorded at STUDIO HC, the hotel’s studio, and here we see the series deliver its second album from Midiminuit, the outfit made up of pianist Julien Quentin, bass player Yonatan Levi and electronic musicians Cesar Merveille & Adrien de Maublanc (Masomenos).

Following on from the ‘Round The Clock’ LP back in September 2019, Midiminuit return with more of their atmospheric electronic twist on modern classical and contemporary jazz. Across the project they deliver hazy jazz jams like the bass noodle, wandering keys and metallic percussion fuelled ‘Kitchen Table’, the baroquely unfolding improvised feel of ‘Loop’ and the snaking dynamic groove of ‘Why Is The Bass So Low’.

The collective also veers into more abstract realms with contributions like ‘Welcome’, which features the ethereal stylings of vocalist Hani, the psychedelic opening piece ‘Do This Thing’ and the minimal modulating feel of ‘Barrio Acido’.

The album also presents some more new age aesthetics via the slowly blooming synthesis of ‘Deep In’ and the cinematic soundscapes of ‘Kindness’ which flutter amidst an intricately crafted rhythmic pulse.
credits

Release on November 20, 2020

Hotel Costes presents...The Key Boost

B5 - Kindness

Born in Berlin, raised in Paris @hotelcostes, and now expanding beyond borders.
STUDIO HC ORCHESTRA is a hybrid entity -part studio, part label, part ever-evolving ensemble founded by Joan Costes and 
Adrien de Maublanc (Masomenos)...A living orchestra without fixed form, shaped by collaborations, textures, light, and places.
It started in Berlin, then disappeared behind the construction dust of Hôtel Costes, where everything  grew quietly, in the in-between.
A studio carved into a building in transformation.
Music composed among unfinished walls, flickering bulbs, and dichroic filtered shadows. Private sessions in a space not yet meant to be seen — or heard. That’s where the orchestra found its voice.
Where silence, texture, and light became instruments in their own right layered not only with sound and silence, but with voices:
Terence McKenna, Aldous Huxley, Graham Hancock thinkers who challenge perception, decode the dream, the orchestra doesn’t just play.It listens, samples, reinterprets, and invites.
In the future: live conversations, unscripted dialogues with minds that bend the frame. This is not a genre. It’s a frequency. An invitation to tune in. Every contributor - sonic, visual, intellectual- part of the composition.