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Review: Oh yes, we love it when Theo represses some of his most sought after tracks and this one is particularly well-timed. Leron Carson is still an unknown figure, a kid who used to make viciously raw and futuristic techno tracks in the late 1980's! "China Trax", alongside the rest of his tracks on a different Sound Signature double 12", is totally ahead of its time and if it was truly made in 1987 then it is nothing short of amazing. Of course, it's not just the year it was made in that's interesting but also the fact that it's music without an age, able to be appreciated by any generation of techno freaks. Theo's own "Insane Asylum" on the flipside is also pretty monumental; rigged beats, off-kilter grooves and that familiar spontaneity so heavily associated to the label.

Review: Long stretched and building house grooves by Theo Parrish & live band.

Review: Classic party starter by George Logions and Walter Gibbons. A hybrid of early 80s disco and electro. Feel the 808!!

Review: Well, we couldn't really be happier. In fact, there is almost nothing to say about this album apart from the fact that it is absolutely, downright essential. Originally released in 1986 on Rough Trade here in the UK, it has been reissued a few time over the years but has always vanished in the blink of an eye and reappeared on the EBay and Discogs circuits for big bucks. Finally, you can indulge in a beautifully remastered version on virgin vinyl. In what is seen by many cultic Russell fans as perhaps his biggest achievement, the LP drifts in and out of light and shadows with utter ease, truly portraying the genius of the man who paved much of the way for modern electronic music generally. From start to finish, it's an ethereal mixture of sparse beats, effect manipulations and folklore, charismatically told by one of the only artists in the history of experimental music to really combine and successfully bind so many unexpected musical terrains. We are only mere mortals, so we won't describe the music to you...just get yourself a copy and see...

Review: Omar S adopts a new style for his new Side Trakx project. Detroit house meets sample based hip hop... and it really works. Possibly inspired by the passing of the late Jay Dilla, this music is perfect for relaxing and kicking back, or even warming up the early hours of the club. While Detroit hip-hop producers already proved that there's a mutual creative interaction between the cities house, techno and hip-hop scenes, it's now one of the cities hottest house producers laying down some smoked out, next level instrumentals in the vein of the late genius Jay Dilla, Madlib or Underground Resistance's Hipnotech sublabel.

Review: 80s mega classic getting a re-issue.

Review: Classic disco re-issue! A couple of nice Miami disco numbers from Jimmy Bo Horne, getting on the spankwagon on the A-side with a pumping club track, but not letting up on the flip either, another crisp number guaranteed to keep the disco burning!

Review: High school band directors used to press up their bands' performances to vinyl, & none made as much sweet noise as this "Texas Thunder Soul." Deluxe gatefold package as well as some previously unreleased live music, plus a bonus documentary.

Review: Minimal electronic house tour de force here as Border Com's James Holden teams up with the UK's Jon Tye (aka Milky Globe) here on the A-side, while on the flip Nathan Fake and Milky Globe join forces for the Dusty Cabinets mix of "Lava Flow". The "Sun Spots" cut is a deep slice of electronic dub combining Holden's ever-shifting palette of abstract tones and crisp percussion. "Lava Flow" takes Nathan Fake's signature keyboard work and stretches it out over a sweet low-end groove.

Review: Superb new 4 track EP from Germany's Move D (aka David Moufang of Source Records, KM20, Warp, Liebe*Detail). If you remember his legendary "Kunststoff" album and all his warm analogue techno, house and deep ambient works and you may will have a deja-vu. Pure class!

Review: Another two club bangers from The Invisible Session's album repertoire, as remixed by the hugely influential UK DJs, Phil Asher and Faze Action (aka the Lee brothers). The two club re-works are in slick UK dance style. The appeasing feeling in the song "I Knew The Way" remains, although it is elegantly transported to the clubs' atmosphere courtesy of the touch given by veteran DJ/producer Phil Asher. Even though the bass drum is in 4/4 the result is always soulful, ever groovy and never predictable - as proved by Mr Asher’s care for details and sound effects, as well as the twiddled keys by non-other-than Mark De-Clive Lowe. This vinyl presents the vocal piece in fine soulful-house style on Side A, whereas on Side B is to be found the remix of an instrumental piece in the album "Heroes Of The Conquest". More driving and faster than the other 2 instrumentals of the album, "Invisible Blessing" and "Three For You", this re-work of it by respected dance-duo Faze Action is rich in bongos, sound effects and delays. In a smart way the powerful horn section of the original piece is here, led to impress and shake the tune to a possibly even higher extent, melting the Latin-jazz influence into a strongly rhythmic club tune. Tip!

Review: The main track here shows a slightly different facette of Omar S. Thirteen/Two/Eight, released on FXHE, has a handclapping, twitching beat with a quirky lively synth melody, classic italo disco and early 80 boogie sounds from a Detroit point of view. A vivid techno track and a darker ambient outing keep the quality high.

Review: Poker Flat presents "Moan", lifted from Trentemoller's incredible debut album "The Last Resort".

Review: "Ruff Draft", originally released in 2003, is a sought-after album that remains the elusive key release in J Dilla's catalogue. This has freewheeling, in-your-face synthesizers, and an uncharacteristically sample-heavy approach that is as banging as it is experimental.

Review: Omar S brings "The Grand Son Of Detroit Techno!". This amazing, deep and hypnotising house track features live percussion from Theo Parrish.

Review: Another great gem from Casablanca. D.C. Larue is a songwriter and instrumentalist who emerged in the mid-'70s with a series of heavily orchestrated, disco-
orientated instrumentals with vocal refrains. 'Let them dance' is one of the records you should have in your collection. b/w Dennis Parker's 'Like An Angel'.

Review: Motown presents Eddie's 'Girl You Need A Change Of Mind', a mind-blowingly anthemic number, the kind of cut that burnt up dancefloors
when it first came out, and which has continued to please countless generations, through house, hip hop, funk, and beyond!

Review: "Blackout" was created by a collaboration between Black Mustang and the magical Kerrier District (Luke Vibert), Cornwall's answer to Metro Area. Kerrier Distract provided the chunky disco beats over which the Mustang stacked layers of Moog and tripped out dub vocals. This LoEB release with scare the hell out of your ears.

Review: The Budos Band are the quintessence of Staten Island Soul. Since the release of the 2005 debut, their exciting new afro-influenced take on the instrumental music has been captivating listeners across the globe. "The Budos Band II" is an amazing release on Daptone.

Review: Of all the artists past and present who claim to let their music do their talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand. Yet despite this, his music speaks loud and wide, and the world has been listening ever since his 'South London Boroughs' EP debut on Hyperdub in March 2005. His eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many 'best of' polls. Now Burial returns with 'Untrue', a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with the debut's crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Kicking off with the skittering 2step syncopations and vocal science of 'Archangel', 'Near Dark' and 'Ghost Hardware', before long it descends into a space of radiant divas and ambience. Where 'Burial' first was humid, suffocating and unrelentingly sad, 'Untrue' is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria typified by the epic, muted optimism of the album's last track 'Raver'. Forget central heating the radioactivity of this album is all that you'll need to keep you warm this winter. 'Untrue' is available as full 13 track digipack CD, including recent underground hit 'Ghost Hardware', and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.

Review: "45:33" was originally recorded by James Murphy (aka LCD Soundsystem) as a continuous album-length disco symphony. It is the result of Murphy's desire to create a piece of music outside the typical commercial constraints. Don't miss this DFA release.

Review: GrandMagnetto, masters of skanking pop reggae covers,
return with 'Everybody's Talkin' by Harry Nilsson, off of
the Midnight Cowboy soundtrack. Blundetto transformed
the track into a killer deep dubby hit. Both tracks are storming.

Review: Gothenburg, Sweden, is a hotbed of diverse and escalating musical talent, now boasting the dynamic, organically soulful pop sounds of Little Dragon. Featuring radiant vocalist Yukimi Nagano and her close high school friends Erik Bodin (drums), Fredrick Kallgren (bass) and Hakan Wirenstrand (keyboards), Little Dragon stepped into the spotlight with releases on Peacefrog. "Little Dragon" is their debut album.

Review: Lowfish originally released his 'Burn The Lights Out' LP in 2007 on the US label Satamile but we have found some copies of it in the warehouse. Synth-pop meets breakbeats in an electrifying fusion of emotive melodies and bass-heavy beats across all four sides of the long player with ten then-new tracks and two classics from his Sat.31 EP. They all show that his music, complex yet accessible, evokes images of Blade Runner, Wave Noir, or William Gibson. It is post-modern in approach as it skilfully blends past and present styles to create a sound uniquely his own, seamlessly bridging the gap between eras while pushing the boundaries in his own way.

Review: Elektra repress with original artwork of Womack & Womack's 'Baby I'm Scared Of You'.
with Dee Dee Bridgewater's 'Sweet Rain (In A One Night Love Affair)' on the b-side.

Review: Original live techno duo, System 7 stamp their mark on the dancefloor once again with their new single on A Wave, 'Space Bird', lifted
from their forthcoming album, 'Phoenix', which opens the label's musical account in 2008. Just starting to escape on promo, this buzzing
atmospheric instrumental sees System 7 push the envelope for a minimal sound that embraces trance in truly hypnotic dancefloor style.
'Space Bird' is the first of the two Jam El Mar collaborations on the new album, and straight out the trap is man of the moment, Dubfire's
excellent minimal trance and brooding tech house remix. Liquid Soul toughens it up with a charged, stripped-down affair that rocks the floor,
fuelled by spacey loops; and rounding off is the original version. Its chunky beats underpin the seductive musical loops building into a
full-on floorfiller that's about to start ripping up floors in Europe.
System 7 continue to defy constraints of the 'trend' side of the music scene, having appeared live at a large number of festivals this year.
Highlights include playing twice at Tokyo's Nagisa Festival, this year with Derrick May and Joaquin Joe Claussell; another mighty appearance
at the Glastonbury Festival West Dance Tent in June with A Guy Called Gerald & Trentemoller; the Main Stage at the Glade Festival with
Longrange, Digitalism & Richie Hawtin; as well as Italy's Sonica festival, Harmonia Festival in Spain and Devon's Waveform event with
Eat Static & Banco De Gaia.

Review: In 2008 the Masterpiece compilation series continues with 'Masterpiece Volume 6: The Ultimate Disco Funk Collection'. Again a very special collection of 12 inch mixes of the eighties. You will find great 12 inches of Bar-Kays, Roy Ayers, Dynasty & Love Club and less known (but not less loved) long versions of Kathy Buck, Up Front and Evan Rogers. All tracks have been digitally re-mastered for all 80’s disco funk lovers.

Review: 'Les Gans' out on Musique Risquee, is the first of the two singles taken out from the stellar album 'Face a L'est' by Guillaume & the Coutu Dumonts. On the A side, you'll find the original version of 'Les Gans', a beautifully crafted moody house tune. It's melancholic but none of the less cheerful tone provides the listeners with a feeling that tomorrow might not be so dark after all. 'Les Gans', with it's afro jazz sensibility, represents the underlying theme of Guillaume & the Coutu Dumonts album Face à l’est. Organic drum patterns topped by a persistent saxophone line (played by [iks] saxophonist Sebastien Arcand Tourigny) result in a complex composition that unfolds slowly, leading the minds into profound hypnosis. On the B side, Audio Werner (Hartchef, Perlon, Hello Repeat) takes us deep into his foggy mind. Known by the public for his versatility, it's the first time he dives so deep into the dubby side of things. Setting the mood with the most massive bass ever, he then proceeds to reveal all the elements slowly over an amazing 12 minutes of pure delight. As an answer to the original melodic line, Audio Werner brings in the saxophone of Hayden Chislom, collaborator of Burnt Friedman and member of Root 70. The result is pure pleasure and Musique Risquée is now happy to share it with you

Review: Steel pan, disco and dub from the 1970s in Steel An' Skin's 'Reggae Is Here Once Again'. Yet another lost gem from EM. Ultra-postive consciousness from Afro-Caribbean London, circa 1979. Members of the legendary 20th Century Steel Band (one of Grand Master Flash's favourites) sailing Trinidad-wise over gratifyingly intricate African ritual rhythms. Strong vocals compliment reggae, funk, disco and soul influences to form a relentless groove machine. Steel 'n' Skin, a unit composed of young nightclub musicians born in Ghana, Nigeria, St. Kitts, Trinidad and the U.K., who once performed with Ginger Johnson's Afrikan Drummers, a highlife band under the tutelage of the late Ginger Johnson and played at Johnson's Iroko Country Club in Hampstead, London. Steel 'n' Skin began performed concerts and workshops in London schools, expanding nationwide to schools, prisons, psychiatric hospitals and summer festivals, including the world-famous Notting Hill Carnival. The group combined a mix of musical forms with community outreach, non-cynical and untainted by preachiness or "social work." Good feelings from good hearts. This EM reissue consists of Steel 'n' Skin's 1979 debut 12 inch single "Reggae Is Here Once Again", featuring "Afro Punk Reggae (Dub)", a fine disco-dub workout, plus 2 tracks from their 1984 LP ACID RAIN as well as one un-issued track. Also included is documentary DVD by Steve Shaw featuring commentary from Steel 'n' Skin's founder Peter Blackman, killer live and rehearsal footage of the band, workshop scenes (check out the 1970s suits and parkas!) and devastating views of inner-city Liverpool. Steel 'n' Skin soars above the 1970s ruins.

Review: The album that everybody is talking about. 'Sexuality' is produced by Sebastien Tellier, alongside Daft Punk's half Guy-Manuel De Homem-Christo.

Review: Theo Parrish's masterful Sound Sculptures Vol 1 on triple LP format gets a timely repressing!! In total here there are 9 of the 27 tracks from the full double CD version but these still run the gamut of Theo's inimitable talents, from rough and tumble disco edits to saccharine soul, raw beatdown and leftfield esoterica. Be sure to check the Omar S- featuring "Synthetic Flemm" and long time Juno favourite "Flotation Device". If ever there was a selection of tracks that fully showcased the incredible breadth of production talent this man has, this is it. Not to be missed!

Review: Carpark gives you 'Devotion' the second album from the dreamy pop duo from Baltimore, Maryland, Beach House. Includes original songs as well as cover songs
like 'Some Things Last a Long Time', by Daniel Johnston.

Review: It's hard to untangle this hopelessly sad anthem from the equally tragic death of Joy Division singer Ian Curtis, but if we had to put a bet on it we'd say it would still be hailed as the masterpiece it is now without those unfortunate events. Coming, as it did, after the two albums from the band, it's the perfect half way house between their powerful, guitar-powered sound and the futuristic synthesiser waves that informed New Order not long after. Plus, it's a heartbreakingly brilliant song with lyrics that have spoken to subsequent generations without fail.

Review: Minimal Wave have done the right thing here and repressed HSTA by Das Ding, undoubtedly one of the most popular heavyweight reissues of their reign thus far. Das Ding is of course Dutchman Danny Bosten, active in the mid 1980s from his Southern Holland base releasing his pioneering brand of electro as well as his friends' music via his own Tear Apart Tapes cassette label. HSTA refers to the Highly Sophisticated Technological Achievement tape Bosten released on the STUM label from which Minimal Wave also took several tracks including the title jam, which you're likely to hear Funkineven dropping these days. It's worth investing in this for "Take Me Away" alone, which sounds likes its been beamed down from the future despite its three decade vintage (Weatherall's a big fan of this one) and the remaining six tracks are just as thrilling.

Review: Black Sands, the eagerly anticipated fourth album from Simon Green AKA Bonobo, is no revolutionary change from his signature sound but does come with perhaps even more subtlety and complexity than his previous offerings. Having constantly instilled a degree of integrity and value back into chill out music following the influx of Cafe Del Mar and Coffeeshop compilations, Green once again displays a musicianship that sets him apart as a true artist and producer amongst a sea of downtempo and chillout DJs.
His undeniably clear understanding of composition and arrangement of live instruments has enabled Green to make an album that reaches out through diverse styles, taking influence and inspiration from wherever possible. On Black Sands, Green delves into electronic music and bass more than he did across Animal Magic, Dial "M" For Monkey or Days To Come but does so with enough subtlety and finesse to refrain from causing a radical shift in his product. Tracks like "Kiara," "We Could Forever" and "All In Forms" all utilise beats and bass in a more contemporary outlook than we are used to with Bonobo. Of course the instrumental feel is still there for all to see. Title track "Black Sands" takes this position for almost seven minutes of a horn infused waltz whereas "Kong" assumes the traditional soul-jazz Bonobo take and "Animals" lets delicate drum patterns guide us through pleasing tempo shifts.
The instrumental vibe is highlighted further in the album's approach to vocals. Unlike his last album, Days To Come which was littered with vocals, Black Sands houses only three tracks that contain vocals. The breathy vocals of Andreya Triana complete tracks like "Stay the Same" and "The Keeper" turning them in more traditional songs. Black Sands is another loving crafted offering that uses orchestral arrangements but this time merged with more of a dance aesthetic. As he continues to make chillout more credible in his experimental way, it's no wonder that Bonobo is one of the biggest artists to come from the excellent Ninja Tune.

Review: Torsten Profrock’s T++ project has continually spread its wings since conception in 2005. Championed by fans of techno, dubstep, experimental and drum & bass alike, his latest EP for Honest Jons (and rumoured to be his last under this monkier) showcases the amalgamation of styles and sounds that has earnt the German such a far reaching fanbase.



If it does prove to be the final T++ release ever, then the alias will have left us with the most expressive and energetic of his works. Adding a real sense of personality, Profrock unearthed a handful of samples of the singer and ndingidi player Ssekinomu, recorded in East Africa in the 1930s and 40s in the label’s vaults for this release. Skilfully, the producer works these snippets into the complex rhythm structures, giving his music a human touch that has never been seen before. Profrock looks to the radical fringe of UK garage for the snapping 2 step vibe in these rhythms that remain central to all four tracks on the EP. This results in a clutch of tracks that take on an immensely tribal and subconsciously innate feel. They morph new structures from the forms of 2 step, techno and drum & bass around which Profrock wraps twisted FX and weighty sub bass to create one whole, throbbing organism.
So with quite possibly his final release, T++ leaves us, rather fittingly, with a record that sounds at once both ancient and modern. It has a totally unique tone, like a form of tribal language that can only speak to and be understood by today’s culture through these sub-heavy, atmospheric sounds.

Review: Initially released in 2010, Minimal Wave's retrospective of obscure French '80s outfit Deux remains one of the label's most sought-after compilations. Here, it gets a deserved re-press, allowing a whole new generation of listeners to fall in love with the quirky works of the Lyon-based duo. The album's ten tracks, which were drawn from various obscure cassettes and seven-inch singles, effortlessly join the dots between moody electro, cold-wave, new wave and eccentric synth-pop, reflecting the pair's esoteric approach to wayward electronic pop. This second edition comes in a hand-numbered edition of 999 copies, with Minimal Wave's usual attention to detail present on the weighty packaging.

Review: Twenty nine years ago (can you believe it) Alexander Robotnick released his first album, Ce N'Est Q'Un Debut, featuring what's arguably his most defining track "Problemes D'amour" with the Harajuku-cute vocals of Martine Michellod. It's this album that has influenced countless French synth pop acts and a horde of old school electro lovers, and all this time later it's been repressed (again) by the label that first released it, Medical. Keeping the sacredness of this LP firmly intact by sticking with the keyboard-head artwork, Ce N'Est Q'Un Debut - along with Man Parish's 1982 self-titled debut - should be in all of our record collections.

Review: Instra:mental's Nonplus imprint are set to unleash US based producer ASC's debut album, Nothing Is Certain next month but first deliver a three track taster of this highly anticipated LP. "Phobos" sets industrial noises and sparse, dramatic tones as its backdrop but entwines electronic grooves and micro samples over the top to create his unusual but wholly captivating sound. "Oort Cloud" drops out into some cosmic, downtempo atmospheres of weightless space before "Matter of Time" explores wind-like sounds and melodies, deep oceans of bass and his intriguing use of Oriental sounding percussion. Once listen to this will have you holding your breath for July's LP.

Review: Skylax treat our ears to the second dose of Terre Thaemlitz's musically brilliant schizophrenia in a matter of months. June's "Hush Now" was one of this year's more enduring deep house jackers and on this latest DJ Sprinkles Vs K.S.H.E 12" Thaemlitz doubles the quantity of tracks but retains the quality. "Down Home Kami-Sakunobe" eases you in with the odd but bewitching combination of violin strings, intermittent piano flourishes, overdubbed percussive shuffles and glacial breathing. Cavernous atmospheric abound on "Double Secret" which is dominated by bass notes of true warmth and the tingling interplay between soft piano and haunting vocals. "Fuck The Down Low" completes the proceedings on the A Side with a short but oh so sweet Moodymann esque bumper replete with a sample familiar to Beastie Boys fans. The real gold is reserved for the B Side with "Hobo Train", a raw percussive delight. You will be totally captivated from the early moment that the cavalcade of heavily compressed hi-hats take centre stage.

Review: There was much talk ahead of the release of Darkstar's debut album as to whether the London based outfit could live up to the promise of their stunning breakthrough single "Aidy's Girl Is A Computer" on Hyperdub in 2009. The answer, in short, is yes. In the course of the past 12 months Aiden Whalley and James Young have morphed from a production team into a band, adding vocalist James Buttery along the way, and North, the fruits of their labour, is a fragile, delicate and beautiful record. Tracks like "Gold" and ""Dear Heartbeat"" showcase an 80s synth pop sensibility, forming the backbone of an album that is steeped in worry and melancholia. Buttery's vocal talents add an extra layer of depth to the music, particularly on the poignant, piano driven opening and closing track "In The Wings" and "When It's Gone". There is much to explore on North, which will go down as one of 2010's most affecting electronic albums.

Review: Minimal Wave presents an exquisite 7" EP release by Martin Lloyd entitled "L'Amant Electronique". Martin is mainly known for his Oppenheimer Analysis (Minimal Wave) and Analysis (Survival Records) projects, yet through the years he recorded over two dozen tracks on his own, most of which never saw the light of day. The four selected tracks were recorded between 1980 and 1984 in his own "Feedback Studios" in Battersea , London. Martin Lloyd delivers vocals via the vocoder and carefully layers synth melodies which range from upbeat and danceable, to what could be the soundtrack to a 1981 post-apocalyptic science fiction film. The record is pressed on white vinyl with a heavy black jacket (spot gloss) and is limited to 999 hand-numbered copies.

Review: More Fries and Bridges on Robsoul means more peak time proper house music with that soulful NJ garage flavour. The Ghetto Mix of "Just Because" ripples with percussive delight, whilst the drop into searing piano riff and uplifting vocal samples that play out the track adds a extra sheen of energy to proceedings - good work Mr Weeks and Mr Morales. On the flip, "Peep Game" rides a heavy bump aided by crisp 808 hits and a compressed disco bassline. There's a healthy dose of infectious EQing on the vocal loop that acts as the core rhythmic pulse too.

Review: Omar S treats us to a second release in the space of a week, with a much deserved reissue of some 1996 Roy Davis Jnr rawness across the A Side. The Stevie Wonder classic "All I Do" gets chopped up, laid over a killer Chi town beat filled with instantly gratifying raw drum edits and augmented by some evil bass thumps. Relentlessly brilliant and sounds just as fresh some 14 years on. Echoing a current trend this side plays outwards from the inside groove. On the flip Omar S teams up with DJ B Len D for the bongo heavy deep groove of "Da Teys" a track that's characterised by melodic keys which increase with curveball drama as the track progresses.

Review: classic 2010 Theo Parrish album Sketches back in stock on CD.

Review: "Besides selling 40 million albums and winning 9 Grammys in less than
10 years, over the years Norah Jones has collaborated with dozens and
dozens of artists from across the spectrum of music. This album collects
Norah's favorite collaborations from 2001-2010 into one amazing
collection: legends like Ray Charles, Willie Nelson and Herbie Hancock,
rock artists ranging from Foo Fighters to Ryan Adams to Belle and
Sebastian, hip hop luminaries OutKast, Q-Tip and Talib Kweli. No
matter the genre however, Norah's enchanting voice is the common
denominator and while the partners are varied, she ends up owning
every song and this album is a wonderful collection that holds together
brilliantly. The album is a testament to Norah's status as one of the most
in-demand and tasteful musical connectors in music. This album will
be an amazing gift item for any Norah fan and will be hard to miss this
holiday season and then again for Valentine's Day.

TRACK LISTING:
1. Love Me - The Little Willies
2. Virginia Moon - The Foo Fighters featuring Norah Jones
3. Turn Them - Sean Bones featuring Norah Jones
4. Baby It's Cold Outside - Willie Nelson featuring Norah Jones
5. Bull Rider - Norah Jones and Sasha Dobson
6. Ruler Of My Heart - Dirty Dozen Brass Band featuring Norah Jones
7. The Best Part - El Madmo
8. Take Off Your Cool - OutKast featuring Norah Jones
9. Life Is Better - Q-Tip featuring Norah Jones
10. Soon The New Day - Talib Kweli featuring Norah Jones
11. Little Lou, Prophet Jack, Ugly John - Belle & Sebastian featuring Norah Jones
12. Here We Go Again - Ray Charles featuring Norah Jones
13. Loretta - Norah Jones featuring Gillian Welch and David Rawlings
14. Dear John - Ryan Adams featuring Norah Jones
15. Creepin' In - Norah Jones featuring Dolly Parton
16. Court & Spark - Herbie Hancock featuring Norah Jones
17. More Than This - Charlie Hunter featuring Norah Jones
18. Blue Bayou - Norah Jones featuring M. Ward"

Review: Omar S teams up with Atlanta based producer Kai Alce for this killer new 12", with the FXHE boss openly suggesting the second B-Side offering is 'ringtone worthy'! The Jive Time EP features three original productions - "Not Phazed", which takes up the whole A Side, while the EP's dancefloor-friendly eponymous track shares the flip with ambient house track "Incognigro". Alce, a Detroit native who now resides in Atlanta, has had a fine year, releasing a tidy little 7" on FXHE back in April as well as a collaborative EP with Englishman Phil Asher and Atlanta vocalist Kayenne. Killer release.

Review: Jetaime, staying true to our name, drop yet another large helping of sensual beats, with Volume 2 of our 'Love Session' series.

Today's lesson's in love, are provided by some of our closest friends and label regulars. Each delivering a scorchingly hot original, set to send you into sensory overload.

First up is Okain who, having brought us the incredible 'Acrobat' back in January, steps up again to reveal, what for us, is one of his finest works to date. 'Corner Boys' couldn't be more fitting for 'Love Session'. Its classic beats, sexy vocal sample and hip-grinding, oldschool bassline make it, ok not 'love', but most definitely, SEX!!

Alex steps up himself on track two, and brings us the deliciously sweet and creamy, 'Sundae'. Inventive and ever so tongue in cheek, Alex matches iconic hip-hop, with his modern Parisian beats, to create a perfect party anthem.

From the house-party, to the rave on track number three from, Varoslav. As its name suggests, 'Dancin' Like Ghosts' has a spooky and hypnotic feel. The constant pulse of delicate synths, pierced by hollow beats and piercing hats, together with its demonic vocal, make it a perfect number for those dark cellar gigs.

Finally, and rounding out the EP is Yakine, who delivers a fresh slab of Chicago-inspired house with 'U Dance'. Its killer B-Line, filtered Rhodes and spoken vocal, warms the heart as well as the feet, and make it the perfect track to round out the EP.

Overall a quite stunning collection of tracks, that we are extremely proud of. So come and join us, and get down to some serious lovin'!!

Review: James Blake's debut album is undoubtedly one of 2011's most keenly awaited releases, and its arrival via his own (major label funded) Atlas imprint ensures their is no lull in momentum for a producer who enjoyed a watershed 2010 with releases on Hessle Audio and R&S. The results here differ wildly from his previous sonic excursions - gone are the shimmering R&B soaked melodies of "CMYK" and the sheer experimentalism of the Klavierwerke EP, which saw the young Londoner depart from the confines of the dancefloor and enter a realm where there was only a passing reference to rhythm-based music. Instead we are treated to Blake's own yearning, raw voice, delicate pianos and an underlying sense of melancholy. Ubiquitous single "Limit To Your love" and the crackly sonic terrain evoked on "The Wilhelm Scream" are among the most immediately pleasing moments, but there is much to explore here. It's a fascinating opus and surely the catalyst to a long and fruitful career at the top.

Review: Absolute beast of a track from Omar S here - a real statement of intent for the FXHE boss and a shoe in for those end of year lists we all like to indulge in. "Here's Your Trance Now Dance!" is a pretty self explanatory title as the waves of glistening synth patterns that rise throughout are truly trance inducing. Beneath this constantly ascending processing of gleeful melodic touches is simplistic yet delicious sounding crisp machine rhythms, subtle arpeggios and infectiously warm bass nudges. This is a track that bears repeat listen through headphones to let the magic fully seep in so imagine the devastation it will cause at 2am in a sweaty basement somewhere. Essential.