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Lost Souls Of Saturn

Lost Souls Of Saturn

    R&S present the eponymous, debut, full length album transmission from Lost Souls Of Saturn. Epic in scope, time and space, this multidimensional mind trip is for fans of Mark Leckey’s ‘Fiorucci Made Me Hardcore’, David Morales’ Red Zone dubs, Don Cherry’s ‘Organic Music Society’, The Orb’s ‘Ultraworld’ and KLF’s ‘Space’ and much more besides.  This ambient house masterpiece combines flavours gathered from across the galaxy, stewing them up into a delicious primordial soup. Old sci-fi soundtracks, acid, free jazz, avant garde, musique concrete, world music and more all whirl around an underground-dance-music axis.

    Primarily LSOS are Seth Troxler and Phil Moffa, plus further opaque participants congregating to combine music, imagery, and storytelling into an inextricably linked whole, all wrapped-up in a philosophy of their own making.  Attempting something creatively that’s above-and-beyond, LSOS explore new ways to open doors of perception and challenge the reality vs. simulation paradigm, whilst capturing the spirit of Alejandro Jodorowsky, Philip K. Dick and Sun Ra within their music, live experiences and films.

    These spiritual, psychoactive aural vibrations resonate for a long distance, all the way back to something deeper and more enchanting than the prosaicism of modern life.


    R&S Records team up with London-based label More Time Records for a four track compilation repping their signature sound of forward-thinking, percussion-driven dance music.

    More Time is headed up by DJ/producers SNØW and Ahadadream, their releases reflect an international vision; marrying the sounds of Ghana, Trinidad, Saudi Arabia, The DRC and South Africa with a rugged UK edge that harmoniously circles bass, afrobeats, UK funky, grime and techno.

    SNØW and Ahadadream both deliver club ready instrumentals that draw on their love of UK Funky, GQOM, Kuduro and Afrobeats. Bryte is one of the most exciting voices coming out of Ghana, his track 'Ice Cream' set's the tone for the EP. Produced by regular partner-in-crime, Mina and previous collaborator Tarquin (both from London) - it really summarises the cross contamination of sounds which More Time is a hub for.

    Bala Bala Boyz are a group of rappers from London of Congolese descent. 'Sieta' notches up the tempo on a 808 heavy power soca riddim from Trinidad via Bristol production duo Jus Now (SNØW, Keshav Singh)

    Since R&S relaunched it's supported new UK artists from its London base. More Time Records and the wider global percussive club music scene are releasing some of the freshest dance music in London so we're excited to showcase this sound on Volume 1 of this new collaboration.

    More Time say of the collaboration:
    "We're gassed to be joining forces with and learn from such a seminal label which we've been fans of for a long time. We really appreciate the love they have shown our movement and are really excited for their fans to discover the artists and sounds that we are so passionate about"

    Emerging from the vibrant underground scene in Ukraine, Yansima’s sound takes inspiration from Romanian minimal techno and the skippy drums and deep bass of garage. After a number of tracks and vinyl only EP’s for underground labels in this scene he now steps up to R&S for a three track EP of interpretations of this sound.
    Opener "Tweede Kans" places up a familiar rhythm sample (Heart Of Glass / Ragysh) in a sparse soundscape of throbbing subs, spangled vocals and moonlit funk to create a deep dancefloor nugget between minimal techno and electro. The pulsating electro rhythms continue on "Hold Her Hand", which glistens and glides through the cosmos, gradually unraveling in truly entheogenic splendour. Last but not least, B-side banger "La Kappa" marries the nebulous synthery with a sizzling broken beat, sounding exactly like the track you wanna play at 5 A.M. to offer the dancefloor a moment's respite before the magic hours set in.

    New LP from modern electronic stalwart Space Dimension controller, whose rise from fresh faced R&S signing to world-conquering techno king has been well documented here at Piccadilly.

    For his mother label the Belfast native has conjured up another star-gazing array of electronic tracks that skip through tempos and styles whilst always being accompanied by his trusty machines.

    Following the magnificent, self-released "Redemption Of The Cryonauts", the producer is exploring his new found confidence with an intrepid focus; wandering through slinky, electro-landscapes, hurtling through 5D techno and wallowing in rich soundbeds of synthetic textures.

    There's a narrative and cinematic quality to the album, as if you're exploring deep space with (real name) Jack in the cockpit and you as his trusty navigator as you cruise past disco, kosmische, boogie and electronica waymarkers, all ably reconstructed by the producer's arsenal of outboard. The refined and considered level of musicality is nothing short of breathtaking, and should ensure the album finds plenty of favour outside the immediate dance music / night club-centric worlds in which the producer / DJ has previously inhabited. An absolute masterpiece - recommended! 


    STAFF COMMENTS

    Matt says: He's really finding his stride now. Turning his hand to myriad styles and tempos but always with a cohension and flair that'll be familiar to his followers. He's still got plenty more to give (judging by his fresh faced press shots anyway - Ed) so we're just enjoying the journey with this incredible artist.

    FORMAT INFORMATION

    2xColoured LP Info: Purple vinyl.

    Berlin-based producer Adam Longman Parker's "Colored", his first full-length LP as Afriqua for R&S Records, is a celebration of the unifying power of Black culture through the prism of electronic music. After releasing successful singles "Soul Correction", and "Chronic Cool", and the back-to-back "Aleph" and "Vice / Principle" EPs, a full-length album was the ideal format for Parker to expand on the sounds typified in his dancefloor productions. "Colored" is a natural culmination of Parker’s stylistic spectrum, spanning from house and techno to experimental and abstract electronica.

    His heightened attention to production quality was inspired by seminal records in the canon of Black music, including work by Quincy Jones, Roy Ayers, and Weldon Irvine (who also hailed from Hampton, Parker’s hometown in Virginia). "Colored", however, is a distinctly 'un-nostalgic' album and these classics served more as archetypes of musical achievement than bases for imitation. 'To the extent that it hearkens back, it does so in the sense of the sequencing and arrangement, in the pursuit of sonic accomplishment across the record,' says Parker.

    Growing up in Virginia, Parker was exposed to a niche of local electronic music pioneers including The Neptunes, Timbaland, and Missy Elliot, artists whose early-2000s contributions to the movement are often overshadowed by their pop leanings. 'The Virginia sound,' Parker says, 'is far more intrinsic to the process than the oft-replicated models of American house and techno: Black electronic music doesn’t have to be from the Midwest - this isn’t from Detroit, this isn’t from Chicago. It’s from Virginia.'

    From the ritual chants on “Shout,” to Motown’s African roots on “Upstream,” and the George Clinton-era psyfunk of “Space Dookie,” "Colored"’s diverse musical influences read like a lesson in Black music history. This panoramic approach extends to the album’s collaborators as well - lyrical wizard and J.Cole collaborator Salomon Faye, Belgian Afro-pop vocalist Zap Mama, LCD Soundsystem bassist Tyler Pope, and Parker’s brother, producer and songwriter Ruven. "Colored" was recorded at a number of studios across Europe and the U.S., including Octagon in London, moon in Brooklyn, Funkhaus / Saal 3 in Berlin, and ICP in Brussels. The bespoke album artwork was created by Atlanta artist Eric Mack.

    Parker spent two years composing and assembling "Colored", which thematically bridges the past and present milestones of Black music from their Southern roots to their most modern incarnations. 'The overarching theme,' he says, 'was reconciling this branch of the Black musical tree with its origins. It's not divisive, it's about celebrating the rightful origins of the music we all enjoy.'


    As the title suggests, Rejuvenate marks a rebirth for South London musician Paul White. Abandoning sampling altogether, White wrote, played and produced all of Rejuvenate's music himself, and the result is an album of playful, psychedelic pop.

    It would have been far easier for White - previously described as a 21st century DJ Shadow, often compared to Madlib and best known as Danny Brown’s go-to producer - to construct an album of loop-based, hip-hop-orientated beats. Instead, taking an ambitious left turn, he worked on honing his songwriting and instrument playing abilities and embarked on creating a totally original record worthy of sitting alongside those he’d usually sample.

    Rejuvenate’s broad sonic palette includes cosmic rock, ambient, electronic, jazz, folk and more. Retaining a groove-heavy, psychedelic aesthetic throughout, White successfully melds these various influences in to his most cohesive, fully-realised offering yet.

    Paul White is joined on this sonic trip by a trio of likeminded souls; British-Jamaican singer Denai Moore adds heartwarming, crystalline vocals to the aptly named Set The Tone and See Through, Zimbabwean musician and poet Shungudzo (aka Shun) shares nuggets of wisdom on Spare Gold and dreamy, melting vocals for Ice Cream Man. White reunites with his sister, Sarah Williams White, and the pair draw on childhood memories for Laugh With Me and All Around.

    Paul White’s previous output includes a treasure trove of mostly instrumental solo records, plus collaborations with Charli XCX, Jehst, Homeboy Sandman, Guilty Simpson, Jamie Woon, Obongjayar, Eric Biddines (as Golden Rules) and Open Mike Eagle. More recently, White reconnected with frequent collaborator Danny Brown, producing most of the Detroit rap maverick’s mind-blowing Atrocity Exhibition album.

    Aphex Twin

    Classics

      As the title sugests, this album is a collection of those early 90s Aphex Twin classics from his R&S days. Released at the height of rave, the set includes such gems as the massive single "Digeridoo", "Flaphead", "Phloem" and "Analogue Bubblebath 1". If you're expecting the lushness of "Selected Ambient Works", think again. Instead imagine a barn-full of Cornish folk jumping around listening to the hardest hardcore techno and rave they could get their hands on, and that gives you an idea of the sound here!


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