The American strip club is known as many things, but rarely (to UK & European ears anyway), as a testing ground for new club music. In actual fact many DJs test their new tracks out in these salacious settings because the girls gotta have something good to dance to, right? Jimmy Edgar's 'XXX' takes the strip joint as a well of inspiration, crafting a late night, low-lit electro vibe with a rich seam of sexy technoid R'n'B tucked firmly in the pocket. This takes the form of Prince-styled machine funk on 'Function Of Your Love', sensual slowfast bounce on 'Midnite Fone Call' or a superbly lubed slowjam on 'Sleep Connexion Date', all sounding very much grown up and refined from Edgar's earliest IDM efforts. That's not to say he's dropped the crafty glitches and complex arrangements, they're still clearly evident as with recent single 'Hot Raw Sex' and the hyperventilated glitch gasps of 'One Twenty Detail' or the Zapp-esque electrofunk of 'New Touch', but this is definitely a more turned on and spruced up approach from Edgar that works a treat.

“Nothing To Wish For (Nothing To Lose)” is a musical collage of colorful noises over a background of extremely sentimental phonetic and idyllic melodies. It is like musical paint full of intense colors, and at the same time like an abstract art with dark disposal. It touches upon the atmosphere and the chaotic intensity of dream pop music and is hiding through post rock paths. It loses a little bit of the noise their previous album “Daylight Storms” had, but it is stronger in composition structures and sentimentally. It has an erotic style that contains beautiful and planned well melodies, full of excellent guitars that they engrave on your skin. The voice of Matt Bartram has something different and gains you sympathy immediately. The sound is old fashioned, but emerges and creates fresh musical ideas. The guitars vary, the rhythm plays extremely with the drums and the dark noise from the keys and the suitable sound effects make the atmosphere light, plain and magic. This is the best shoegaze release after their previous one. No one can reach them they are the best. As I said in the single review they are unique. This Is a Fantastic album.

In the second half of 1977 an Italian group with the name Chrisma (based on the member names, Christina Moser and Maurizio Arcieri) recorded
an album in Vangelis' studios. It is produced by Vangelis' brother Niko Papathanassiou and it has been claimed that Vangelis played on it himself, but this has never been confirmed.

This anthology examines the less-explored corners of post-Otis Redding funk and soul from Memphis. Gathering insanely rare tracks sure to make rare-groove collectors froth at the mouth, it encompasses releases from such esoteric labels as BAR, Fretone, and Enterprise. From the gutbucket funk of Willie Tolliver's "Papa Killed a Chicken" to the soulful soundsof Willie Walker to a rarity from Stax's in-house bard, David Porter ("I Can't Tell No Difference"), MEMPHIS 70 offers a fresh view of the steamy R&B coming out of Memphis from the late 1960s to the late '70s.

Rare tracks in a world of already-rare music – a collection of funky numbers from the Themes International sound library – none of which have ever been released commercially before! The package is a great addition to the realm of sound library funk – and although the names here are familiar from their work for other labels, the tracks are all plenty darn fresh – often a fair bit electric, in keeping with the mid 70s vintage of the music! There's loads of funky beats, bumping basslines, and sweet keyboards lines on most of the cuts – and overall, the work here reminds us of some of the best funk from mid 70s Italian police films, or American cop shows from the same time.

Freestyle's Greatest Beats is a great compliation series for freestyle fans and for those who want to get to know this beautiful, vital dance music. You'll hear TKA's first hit song here "One Way Love", The Cover Girls' first hit "Show Me" and Lisa Lisa and Cult Jam's first hit "I Wonder If I Take You Home."And another great songs: "Running"- Information Society, "The Mexican"- Jellybean, "Silent Morning"- Noel and "No Reason To Cry"- Judy Torres.

Stockholm International Filmfestival awards Krister Linder the “JAMESON MUSIC AWARD" for Best Music in Film 2009 for his score in Tarik Saleh's animation noir paranoia epic METROPIA.

Although strictly speaking a remix album, Missing Deadlines sees Schnauss adopt the role of a master orchestrator or alchemist, rearranging and restructuring the songs of his contemporaries, as opposed to simply adorning each with throwaway beats-by-numbers. The record is a testament to Schnauss’s unique aural vision, showcasing his undeniable grasp of heart-warming, heart-wrenching melody. Schnauss’s telltale signiture sounds are present in each track - whether it be the ever-oscillating synth patterns, the rich, reverb-laden voices, or the euphoric beats – whilst simultaneously remaining true to the spirit of the originals.

Long-awaited 2010 sophomore album from the Dubstep duo. Vex'd's first album, Degenerate (2005), is considered one of the finest Dubstep full-lengths, but the duo have preferred to work solo in recent years. Cloud Seed was never completed, but the two members of Vex'd (Jamie who now records as Kuedo and Roly) have got together to finish it. In the label's words, it's a collection of older material that they were working on for their second album that never got finished plus some other work from that time, a few remixes mastered and put together as a full album.

You can hear it in the opening bars of the opening number. It’s the sound of a real singer, in a proper recording studio taking on the blues and winning hands down. It may be something in the air in Cosmos Studios beautiful live room, but it is definitely something in the voice of twenty one year old Jasmine Kara. Of Swedish and Iranian descent, with a sultry beauty that belies the strength of her voice and an ability to bare her soul. It could be that her time in New York helped her lift her game, gave her a steely determination to make the music that she wanted to, and an idea on how to do it, but a talent like this was always likely to shine through. The Tri-Sound label have taken this talent and given it the setting in which to shine and ‘Blues Ain’t Nothing But A Good Woman Gone Bad’ is the result.