Glenn Underground
House Music Will Never Die

Jon Jones is first to contribute to the DS global frequency database, with a blissed-out 3-track EP, 'Hyla'. In this program, we are situated in an open-world environment with a densely populated 3D rainforest installed. Here we will explore the realms of cybernetics and it's correlations between ourselves and the natural world.Program A is a transcendent journey, dosed with a utopian vision. Organic progressive breaks and a mycelial 303 acid line, infused with euphoric beauty, all maintaining the organic touch that really defines Luke's music. 'Gateway' is best defined as a simulation of ascending the stairs to the higher plane.Program B1 'Nor Heaven, Nor Hell' is a deep, swirling cosmic trip. An echoed inward spiral driven by an earthy groove and beautifully weaved percussion, all lifted with blissful pads. This program is optimised for forest use.Program B2 is a soundtrack to your personal interpretation of paradise. Tune in your frequency and imagine. Thoughts of luscious glades with water reflecting the sun at it's highest, drifting weightlessly above a natural utopia.

Following Ben UFO and Four Tet’s selections last year, Hunee helms volume three which includes three tracks, this time including music from Digital Justice, Dorothy Ashby and Frantz Tuernal. First press comes with a folded A2 insert with words from and about the artists.In his own words : "These three distinct pieces of music tap into different layers of my memory. One being part of the imagination, the other two rooted in the memories of a special morning in the woods of Houghton (and other times and places).On one side we have a beatless ecstatic piece of electronic music by Digital Justice called Theme From “It’s All Gone Pearshaped. Originally released in 1994 on Rob Gretton’s (ex-manager of Joy Division and New Order) label Robs Records, Pearshaped is a 13 minute live jam from two friends messing around in a loft studio full of synths, inadvertently creating magic that can “take many shapes and forms in the hands of a DJ and the movement of a dance floor, whilst its harmonic counterpoint shines through the wildest mixes and combinations”On the flip, we have Dorothy Ashby’s spiritual piece featuring Koto and spoken word “For Some We Loved” from her classic album “The Rubaiyat Of Dorothy Ashby” originally released in 1970 on Cadet and Frantz Tuernal’s “Koultans originally released in 1986 by l’AMEP (Association Martiniquaise d’enseignement Populaire) which was also a school in Martinique.

Highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan.Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada’s first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.

Inspired by an Ecuadorian upbringing, percussion is at the heart of how Nicola operates, with his style finding a natural home on the London label. Presenting 5 expansive efforts equally indebted to traditional drumming as they are to contemporary club sounds, ‘Subtropique’ remains sonically cohesive without feeling the need to settle to a definable style. The tracks are tied together by a lucid psychedelic thread, which despite challenging the expectations and fundamentals of electronic dance music, demand movement at a time where we yearn for it.