MUNGOLIAN JETSET - Moon Jocks N Prog Rocks (Todd Terje Mix)

Pre-order on iTunes: bit.ly/LikeAMachineiTunes
Pre-order on Amazon: bit.ly/LikeAMachineAmazon

http://www.facebook.com/theemperormachine

The Emperor Machine - The Point

What better way to follow up Andy Meecham's (Chicken Lips / Emperor Machine) huge Gino Fontaine originals than a duo of remixes from Balearic chieftains Pete Herbert and Stratus. As one half of Reverso 68 alongside Phil Mison, and in his own right Pete has been behind a ton of mesmerising sunrise and sunset workouts, and he's more than delivered here - crisp and club ready percussion, those stark punk-funkin' guitars and his trademark synth work all conspire to cook up a storm on the floor. Martin Jenkins and Mat Anthony's Stratus outfit (remember their superb "Spring Tide EP" on Aficionado last year?) take a pop at the sublime Konkondo on the flip, and what a masterpiece it is! A ten minute, utterly absorbing and expertly evolving piece, which flips the darker elements of the original into a mesmerising, cinematic, early 90's style Balearic epic.

THE GINO FONTAINE "REVNOREV" PETE HERBERT REMIX

https://www.juno.co.uk/products/a-vision-of-panorama-seaside-tune/572552-01/

After a killer vinyl debut on Piccadilly favourites Aficionado and a serious sophomore release on Music For Dreams, A Vision Of Panorama returns on his own Mellophonia imprint with six coastal grooves for summer moods. "Floral Rhythm" opens the set with blossoming keys, lilting rhythms and a bouyant bassline, overpowering your senses with the lush atmosphere of tropical horticulture. "Seaside Tune" sees the producer slow the tempo and indulge in a spot of diasporic downbeat, layering the yearning chord progression with a combination of Chinese and Caribbean melodies. Closing the A-side out with the dancefloor in mind, Mikhail delivers "Blues 909", a head nodding fusion of compass point instrumentation and pitched down proto house that'll loosen the early doors crowd up no problems before "Heartbeat" takes the night to its next level. A solid beat underpins layer after layer of killer melody played on xylophone, marimba, guitar and arp, while the irresistible Burrell-esque bassline moves those hips like an orthopaedic surgeon. "Message From Library" follows on with the leftfield funk and steady backbeat you'd expect of a KPM classic, marrying stargazing vocoder with cinematic strings, before the stunning "Mosaic Xylos" closes the set out. As beautiful as its name, this Balearic dream brings to mind "C'est La Oate" and "TV Scene" with its sunkissed groove and future primitive instrumentation. Classy, cool and refreshing, this EP is the perfect soundtrack for summer, and yet another essential release from A Vision Of Panorama.

iTunes

Floral Rhythm

An Der Beat - !Knuf

2-—-turquoise-wind-—---(safe-+-poetic) 2.mp3

Delia

MIDNIGHT MAGIC DROP ME A LINE

One half of defunct Aussie duo Riot In Belgium - now producing under the Nile Delta pseudonym - pops up with a rather tasty release on Cut Copy's Cutters imprint. The sun-drenched house-isms of "Channel" roll elegantly into "All This", which sees some remix action on the flip. The Chicken Lips malfunction is an acid tinged chugger, while Australian producer Tornado Wallace chimes in with a boompty mid tempo house workout.


NILE DELTA - CHANNEL

* Watch on YouTube : https://youtu.be/ukx0nXdNHwA
* Read more :  http://bit.ly/2p8rsNj

The fourth EP in Whiskey Disco spinoff Lovedancing's catalogue comes courtesy of Israeli duo Rabo & Snob - @raboandsnob (themselves regular contributors to WD). R&S, which consists of DJ/Producers Obas Nenor and Eyal Rob, is best known for their sneaky re-edits of the global disco variety, often leaning heavily on Middle Eastern sample material. The Yawumna EP shifts the sonic focus to West Africa, building on a trip taken to Ghana and seamlessly integrating collaborations from local musicians.

The title track, which sits on the first groove of the record (and was the target of many an ID request during Obas Nenor's Boiler Room set last year) is a haunting mid-tempo groover featuring Soma. "Yawumna" mixes together a pulsating dark bassline with exquisite string (kora, to be exact) and vocal work.

For our premiere today, we have French producer Art of Tones remix (@llorca) of the track. An increase in tempo and added afrobeat flair repurpose the cut for slightly brighter and funkier moods. It's a slightly looser take, integrating an analog bassline, tasty rhythm guitar (wah-wah included) and playful, sustained organ riffs for added fun.

On the B-side "Ifa" (featuring the vocalist Azizaa) is a slice of mean, afro-house badness, with Jacques Renault contributing a slicked out dub version. All of this makes for a nice package of two great originals and two purposeful flips from established vets in the house game. The Yawumna EP hits record stores on May 12th for those needing to scratch their afro house itch.

PREMIERE : Rabo & Snob - Yawumna ft. Soma (Art of Tones Remix)

JOAKIM - Nothing Gold (Todd Terje mix)

Remix Requests  please contact lipstudio2@gmail.com

EMPEROR MACHINE  Biography
Over 30 years since acid house’s summer of love and there are few of 1988’s cast of actors still left standing. Still fewer are those whose music is still resolutely pointing towards the future rather than endlessly looking to the past. In fact, there’s arguably only one candidate left in the UK. While his peers are content with revival parties and classical house nights at the Albert Hall, Andy Meecham is out on his own as one of the few whose gleaming analogue machines are still pointing towards an imagined future rather than an endlessly relived history.
As the Emperor Machine, Meecham’s solo project since 2003, he has been wrenching monumental basslines, strange keyboard figures and luminescent rhythms from his beloved synthesisers, inspired by everything from sci-fi movies and KPM library albums. In some ways, his mission has scarcely altered in the 35 years since he first heard ‘Planet Rock’ in the early 1980s. “That’s the thing that got me hooked,” recalls Meecham. “The fact that it was futuristic sounding.  Anything that was sci-fi: UFO programmes, Dr Who, Star Trek. Stuff that suggested the future.”
While he’s happy to plough towards the future, we still has some serious history to contemplate. Meecham is one of the clique of acts in Staffordshire inspired by house music that included Candyflip, Altern-8, Sure Is Pure and Nexus 21. Meecham’s band with long-time conspirator Dean Meredith, Bizarre Inc, was one of the most successful of their generation and 1991’s ‘Playing With Knives’ was a staple in all self-respecting DJs bag that year. Major label deals, led to swift dissatisfaction; Meredith and Meecham went back to the mixing board to rethink their future. 
As Chicken Lips, they re-emerged alongside peers like the Idjut Boys and Faze Action, to offer their delayed and dislocated rhythms to an audience hungry for relief from the monotony of the four-to-the-floor house rhythm, with joyously dubbed out originals and fiendishly clever remixes for luminaries like Ennio Morricone and Groove Armada to Wolfmother, transforming Love Train from a metallic romp into a disco-dub delight with a bottom-end bigger than a Kardashian. Then there are Andrew’s other aliases (he’s had more than Carlos The Jackal), notably Sir Drew, Future Four, Gino Fontaine, BIG 2000, Randee Jean and Zeefungk.
The Emperor Machine was born out of an online slating of one of his favourite synths, the Roland SH 3A. Indignant at this appalling slight, Meecham set to work on a track only using said Roland. James Dyer at DC Recordings loved it so much, he asked him for another and gave the project its name. Emperor Machine it was.


 As with most of the Emperor Machine music, the methodology goes against the grain of how most electronic musicians approach producing. Rather than reducing it to mathematical blocks of music on a computer screen, Emperor Machine is about long passes, played live and then edited down by a crack team of highly-trained Potteries-based orang-utans, lorded over by merciless taskmaster Meecham.
The key to success is not dancefloor domination, but a far simpler rule, says Meecham. “The music has to make me shudder. So I work on something until I get that tingling feeling. So it’s almost more of a drug thing really. I have to get that out of the music and I can’t get that from full-on 909 four-to-the-floor dance music.”
A shudder and a tingle. And maybe a monster bassline. Emperor Machine redux. 
Bill Brewster