Download: http://www.xlr8r.com/mp3/2013/09/new-peaks-tuff-sherm-remix

Download at XLR8R

Eaux "New Peaks (Tuff Sherm Remix)"

Station MXJY

Searching for a Feeling

Kuniyuki Takahashi - Flying Music Rhythm and Trumpet Mix

Get Away With It

Afterlife

Raw Vision

Unspoken Dreams written by Camel Moon 
Lyrics by Camel Moon 

Track produced by Camel Moon 
Recorded by Camel Moon 
Mixed by Stig Breu 
Mastered by Daniel Gold

© all rights reserved

UNSPOKEN DREAMS

A superb edit of Neapolitan great musician and percussionist Tony Esposito. 
Support Pop Air and Spillo [@pop-air ; @spillocivicotre]
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FREE DOWNLOAD ---> Click Buy

Heataly Italian Edits

Tony Esposito - Danza dell'Acqua (PopAir+Spillo Edit)

YPIN

Do U Wanna Freak?

OUT NOW: http://lnk.to/c-y-m-ph93

C.Y.M. is the collaboration between British producer and DJ Mike Greene (otherwise known as Fort Romeau) and LA-based American musician Chris Baio, who releases music as Baio in addition to playing bass in the acclaimed band Vampire Weekend. Their debut, self-titled EP arrives on Phantasy as an elegant pean to the infinite possibilities of kosmische music, driven by a motorik strain of psychedelia. The foundations of a wider project, C.Y.M. speaks not for analogue nostalgia, but a subtle and modern update on imagined futures that are still open to interpretation.

‘Capra’ immediately establishes the duo’s masterful if unsurprising grip on rhythm, a man-machine stomp that persists as the track takes myriad turns, from post-punk guitar licks and processed vocals, through bubbling modular synthesis and culminating in a soaring, cathartic melody.

On ‘Far Gone’ C.Y.M. turn their studio inward for a more brooding and intimate interpretation of their sound, a balearic amalgam of intriguing vocals, feedback soaked riffs and no-wave inspired movement.

The bliss beneath the waves of noise that crash across C.Y.M’s music emerges fully on the driving conclusion, ‘Super-Cannes’. A hypnotic tempo and blistering drums intertwine with whirling organs, and shimmering keys, providing a wistful and warm finale.

Follow C.Y.M.:
https://www.instagram.com/c.y.m.official/
https://www.facebook.com/cymband/
https://www.cymofficial.bandcamp.com/
https://www.soundcloud.com/cymofficial/

C.Y.M.

Super-Cannes

Lucifer is a Flower

Sweet Sins

My first encounter with Maximum Joy was around 2001 when Chris Farrell .. boss of the Idle Hands shop and label there (and still fresher-faced than most) - played me the song ‘Silent Street / Silent Dub’, the lesser-spotted B-side of their Stretch 12”. .. Quite honestly, I've never heard anything that comes close - before or since. Janine Rainforth’s singing, probably my all-time favourite vocal take, seems to combine an ageless English folk sensibility with both a teenager's innocence/insouciance and a smoked-out drowsy jazz maturity well beyond her years. Charlie Llewlin’s drumming is broken beat some 20 years ahead of schedule, Dan Catsis’s bassline is heavy-as, and Tony Wrafter’s free-soaring trumpet channels Don Cherry with aplomb. All bound together and ultra-intensified by Dick O’Dell’s vertiginous dub mix.
Kiran Sande- Blackest Ever Black 

Formed in 1979, Bristol band, Maximum Joy was originated by Janine Rainforth (singer /violin/clarinet) and Tony Wrafter (saxophonist/trumpeter, previously of another Bristol band, Glaxo Babies), Charlie Llewellin (drummer – previously in Glaxo Babies), Dan Catsis (bass – also previously in Glaxo Babies) and John Waddington (guitar – previously in the Pop Group) were also founder members. . In the wake of the infamous Pop Group and taking from the hot bed of musical influences driving the Bristol scene at the time – punk, reggae, funk, soul and Jazz- the band developed their own unique version of the post-punk Bristol sound. Sometimes soothing, occasionally challenging, their groove combined funk, punk, soulful jazz and wild impro with daring and, often, panache. 

Fuelled by Thatcherism, inner city race riots and growing protest amongst young and old, Maximum Joy’s songs and melodies were about getting conscious and waking up to life, « …stay positive, stay plus, pulsate, pulsate no terminate, no end, it’s only just beginning… » ('Stretch'). 

They were quickly signed by Y records, distributed by Rough Trade. Maximum Joy’s first single, 'Stretch' came out in 1981. It was a big underground seller in Europe, Japan and the States, spent weeks in the NME Indie charts and became an underground Post Punk/Funk classic in the fashionable night clubs of New York when the disco re-mix was released on New Yorks '99 Records'. The band’s next single was White and Green Place the slick production was orchestrated by maestro Y Record’s Dick O’dell, string quartet and all, nothing but the real thing! 

Kev (Ebo) Evans joined as bassist and the band went on to record the jazzy, ethereal All in the Air. In 1982, the band brought out their LP, 'Station MXJY', fit was overseen by producer extraordinaire, Adrian Sherwood. Later that year they recruited Nellee Hooper to add to the line up,  Trumpeter Jeremy Hirsh also joined the band at this time. 
Maximum Joy’s last single was a haunting version of Timmy Thomas classic 'Why Can’t We Live Together', on the flip side of which was 'Man Of Tribes'. Produced by producer and prolific musician in his own right Dennis Bovell, he dug the B side song so much that he joined Janine on the choruses and contributed to making it one of Maximum Joy’s best recorded tracks.  The finally released version featured singer Peta on the A'side as Janine had left the band then – (the original version featuring Janine’s vocal was re-mastered recently and released in Japan as a bonus track on Station MXJY on Beatink). 
John Peel was a fan, they recorded a couple of BBC Radio 1 sessions for him & Kid Jensen and they toured Europe extensively.
May the joy be with you!
Any further questions: mail@londonfieldrecordings.com

Searching for a Feeling

Maximum Joy

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