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Highly anticipated would be an understatement - so influential are his releases to date, it's difficult to believe he's never released a full length project. The name of the mixtape may already be familiar - an evolution from 2019's acclaimed "Slipping" EP and also the name of a Joy Orbison curated radio station ("Still Slipping: Los Santos") within Grand Theft Auto's immersive world - but in terms of scope and ambition, "still slipping vol.1" is without doubt O'Grady's boldest and most expansive project yet.

First coming to prominence in 2009 with his debut single “Hyph Mngo” - a track that became a bonafide phenomenon and changed the dance music underground forever - the London musician, DJ and producer is undoubtedly one of the most renowned, respected and influential electronic artists of his generation. Whether through his own game-changing releases such as “Ellipsis”, “GR Etiquette”, “Big Room Tech House DJ Tool-TIP!” or the “Slipping” EP, collaborations with the likes of Mansur Brown, Overmono and cutting edge Japanese clothing label Cav Empt, a run of genre-defining releases on his Hinge Finger label, a BBC Radio 1 residency and live appearances that span the most credible underground nights to festival headline slots around the world, the name Joy Orbison has been a constant byword for understated, uncompromising quality. "still slipping vol.1" is the next evolution in his journey. Fans of Joy Orbison's DJ sets and radio shows will already be aware of his diverse tastes and inspirations, represented here through a roll call of delicately curated, mainly UK, collaborators that include Herron, James Massiah, Bathe, Lea Sen, Goya Gumbani and Tyson. Just as important are the voices Joy Orbison's family - mum, dad, sister Sarah, uncle Frankie, uncle Keith (recently departed), auntie Helen and cousins Lola, Mia and Leighann, who was the first person to introduce O’Grady to drum and bass and garage as a kid and stars on the mixtape’s cover art. They appear throughout the record via a series of voice notes, his only contact with his family during this year of worldwide lockdown and an intimate, vicarious glimpse into the personal world of an artist who has generally side-stepped the public gaze. The result is Joy Orbison's best music to date and a powerful distillation of his musical career so far. Recorded in his Walworth Window studio in south east London, this is serious, future-facing sound system music cut through with a sense of warmth and playfulness much needed for these times. In O'Grady's own words, "I made a point of making it feel really human. I wanted it to be quite light hearted and humorous so that the weirder bits of the record didn't seem too wanky or self-indulgent. In my head it’s a soul record but I'm not sure that's how people will hear it”

Schon seit seinen Teenager-Jahren gehört Peter O’Grady, alias Joy Orbison, zu den treibenden Kräften der elektronischen Musik-Szene, der er immer wieder mit seinen Veröffentlichungen neue Wege aufzeigen konnte. Nun erscheint endlich sein erstes Mixtape „still slipping vol. 1“, das beweist, dass er auch in 2021 nichts an Relevanz oder Aktualität verloren hat.

„Heiß erwartet“, trifft es hier wohl, wenn man sich vor Augen ruft, dass Orbison bisher noch kein Album oder mehr als eine EP in seiner Karriere veröffentlicht hat. Der Titel erinnert dabei an die gefeierte 2019er EP „Slipping“ sowie an seinen kuratierten Radio-Kanal „Still Slipping: Los Santos“ in der Grand Theft Auto-Gaming-Welt – gleichzeitig ist dieses 14-Songs umfassende Mixtape die wohl ambitionierteste Veröffentlichung Orbisons bisher und ein Meilenstein in seiner Karriere. 2009 begann diese mit der Debüt-Single „Hype Mngo“, mit der der Londoner Musiker, DJ und Produzent hohe Wellen im Dance Music Underground erzeugte. Es folgten weitere Singles, EPs, Kollaborationen mit Acts wie Mansur Brown oder Overmono, eine BBC One Residency, DJ-Sets und Live-Auftritte in Clubs und bei Festivals auf der ganzen Welt. „still slipping vol.1“ zeugt wie gewohnt von den mannigfaltigen Einflüssen und Strömungen, von denen sich Joy Orbison treiben lässt und rollt den Teppich aus für Kollaborationen mit Acts wie Herron, James Massiah, Bathe, Lea Sen, Goya Gumbani und Tyson. Daneben bietet es einen intimen Einblick auch in die persönliche Welt des Künstlers während den vergangenen Lockdown-Monaten, beinhaltet das Mixtape doch auch einige persönliche Voice Messages seiner Mutter, seines Vaters, der Schwester und Cousinen.

Galvanica: a voice with unusual qualities, refined and balanced, also high-pitched, sensual, embellished by an orgasmic inspiration with fluid and spaced solos in hypnotic rhythms that often change scenery. ‘Nightlights in Japan’: an extraordinary piece of pure and profound creativity where each version seems to have been built apart and where the West meets the East. A splendid interpreter for a truly stunning piece, as fresh and far-sighted as the day it was recorded at Studio Emme in Calenzano by Marzio Benelli with the Yamaha DX7 synth and Linn 9000 drum sequencer that are at the base of the piece - made and re-interpreted in the four original versions, all sung in the Eastern Asian pentatonic scale. ‘Nightlights in Japan’ was also written by Massimiliano Orfei, at the time collaborator in the advertising projects from label Smash One Music of Pino Toma, the producer who drew new inspiration to venture into the record market, which, in 1987 became everyday more difficult and this song was considered out of fashion - even if each version seems to have been built as a unique composition and it was expertly arranged by the talented Giorgio Costantini (Giokost as composer). We’ve clarified as to whom Galvanica's velopendulus belongs, to rightly consider this artist as a contributive voice of disco music, despite being part of the ‘second wave’ of the Italo-Disco scene having contributed to it as Otero, Belen Thomas, Angelby and previously with the disco-project Plustwo creating ‘Melody’ (which after 40 years gets a new extraordinary success with 134 million plays on TikTok and around 18 million streaming).

A child agrees then screams the name. Kid-o-suke. Did you hear that right? The music trickles in. It sounds like it was made in a toy factory. Hold on. Let me reach for the button over there. Childhood memories. The magical sounds of a roundabout sending you to sleep. The wonders of the world seen through eyes that don’t yet fully comprehend and ears that find musical potential in everything. Two kindred souls find each other, distance never the issue, they share and laugh the only way they know how.

The wonderful pixelated world of a video game. Where does reality end and where does the imagination start? Somewhere in the distance an explosion can be heard, or was it a booming bass drum? There are birds singing a crystalline melody. One I heard before, in a dream perhaps. All of a sudden a child exclaims ‘come, let’s go’. Where did he come from? Is he real or another pixelated fragment of imagination?

Yokatta desu. There’s a castle in the sky. Two boys team up to reach it, carried by the power of their dreams. The same dreams that marked their childhood and brought them to be men. If ever there was music worthy of becoming the soundtrack to a Ghibli movie this could be it. There’s a girl asleep on a plastic deer, going around and around. She reminds me of the hand drawn versions of the pixelated heroes of my childhood. I imagine her dreams filled with exciting adventures.

I swear I heard the sounds of Tokyo’s public transport. It told me we’d arrived at Shibuya yet I can’t see the neon bright lights when I look around. Oh well, I’ll just have to imagine them.

It’s an album, so of course it’s real. The music is the result of a desire to create regardless of outcome, for the simple fact that there is a story to tell. People will consume it whichever way they want. Is it this sound or that sound? Does it really matter? Stop for a minute and enjoy the music for what it is. A synthesis of two aesthetics joined not just by a love of music but also a love of the abstract and the childish, the things that remind us we were all young one day and things were simpler. Things like dancing as if no one was looking or making music as if the outcome never mattered.

Kidsuke is a collaborative project between the UK’s Kidkanevil and Japan’s Daisuke Tanabe. Their self-titled debut is released by Project Mooncircle in November 2012 on double colored vinyl LP and digital.

Limited edition of 300 copies on curaçao blue wax.

Galvanica: a voice with unusual qualities, refined and balanced, also high-pitched, sensual, embellished by an orgasmic inspiration with fluid and spaced solos in hypnotic rhythms that often change scenery. ‘Nightlights in Japan’: an extraordinary piece of pure and profound creativity where each version seems to have been built apart and where the West meets the East. A splendid interpreter for a truly stunning piece, as fresh and far-sighted as the day it was recorded at Studio Emme in Calenzano by Marzio Benelli with the Yamaha DX7 synth and Linn 9000 drum sequencer that are at the base of the piece - made and re-interpreted in the four original versions, all sung in the Eastern Asian pentatonic scale. ‘Nightlights in Japan’ was also written by Massimiliano Orfei, at the time collaborator in the advertising projects from label Smash One Music of Pino Toma, the producer who drew new inspiration to venture into the record market, which, in 1987 became everyday more difficult and this song was considered out of fashion - even if each version seems to have been built as a unique composition, and it was expertly arranged by the talented Giorgio Costantini (Giokost as composer). We’ve clarified as to whom Galvanica's velopendulus belongs, to rightly consider this artist as a contributive voice of disco music, despite being part of the ‘second wave’ of the Italo-Disco scene having contributed to it as Otero, Belen Thomas, Angelby and previously with the disco-project Plustwo creating ‘Melody’ (which after 40 years gets a new extraordinary success with 134 million plays on TikTok and around 18 million streaming).

Subaltern Records’ 13th vinyl offering is a kaleidoscopic blend of multiple artists and styles -
many of whom are making their debut on the imprint. These four glorious soundsystem
tunes are sure to be on heavy DJ rotation over the summer before general release in
September.
Alter:
Opening the record is Japanese producer Helktram, who makes his debut on Subaltern with
a relentless hypnotic roller. Distorted drums, tense strings and percussive interludes
permeate this banger, which has proven to mash up the dance every time.
Fibers:
Being the only resident Subaltern artist on the release, D-Operation Drop are proving why
they have returned to Subaltern yet again with this trippy masterpiece. Expect crisp beats
and a distinctively modern dubwise vibe.
Bomb:
Delivering a mighty stomper is German producer ILL_K, who makes his first appearance on
the imprint. „Bomb“ is probably the most accurate track title that this unique banger could
have gotten.
Landfall:
The only collaborative track of the EP, „Landfall“ concludes the record in style - dark and
eerie atmospheres mark the signature sound of German producer Shu and Belgian producer
Zygos.

From a laments perspective you can call this Jahcoozi’s Robot Koch meets Scienz of Life’s John Robinson. However we here at Project: Mooncircle like to see this as two dynamic forces of nature coming together in parallel universes, delivering cosmic opted sonics with science-fiction narrative conventions in a metaphysical tone. Robot Robinson is the FUTURE from Earth to Mars to Venus to Jupiter and Beyond, this project spells out the attempts to bring a different pitch of vocals to the world of Electronic Music. Robinson being no stranger to the scientifical lyrical approach along with Robot’s evolutionary voyage prone soundscapes this one is a sure shot! The Future of Music is in Good Hands.
All tracks produced by Robot Koch. All lyrics by John Robinson.
Artwork and original paintings by Ima One (Japan). Design by Gordon Gieseking.

From a laments perspective you can call this Jahcoozi’s Robot Koch meets Scienz of Life’s John Robinson. However we here at Project: Mooncircle like to see this as two dynamic forces of nature coming together in parallel universes, delivering cosmic opted sonics with science-fiction narrative conventions in a metaphysical tone. Robot Robinson is the FUTURE from Earth to Mars to Venus to Jupiter and Beyond, this project spells out the attempts to bring a different pitch of vocals to the world of Electronic Music. Robinson being no stranger to the scientifical lyrical approach along with Robot’s evolutionary voyage prone soundscapes this one is a sure shot! The Future of Music is in Good Hands.
All tracks produced by Robot Koch. All lyrics by John Robinson.
Artwork and original paintings by Ima One (Japan). Design by Gordon Gieseking.

Infernal Sounds bring their digital series to life with this spicy VA compilation, snipping four of the standout tracks from their first four EP's. The VA presents tracks from all over the world, spanning from Japan to the US, back home to Bristol and bouncing to Barcelona. Karnage, 'Spirit Bomb' kicks things off by slicing and dicing you with mid-range blades and tearing you apart with the heavy trap-style low-end ruckus. Switching things up completely on the A2 is Kodama with the wonderful 'Clear Your Head', entangling you in the beautiful melodies and uplifting mainframe, before Chief Kaya spins you all the way back to '06 on 'Ma'at'. The track brings about an essence of the old-school and a premium beat that you need to feel on a soundsystem. Finally, Khanum drops you in with and takes you under with 'Bun Politician', a strong message for the times, and a forceful track at that.

The tracks on this EP have had heavy support from the likes of Truth, N-type, BunZer0, Sicaria Sound, Deep Tempo, Hamdi and many more.

Originally produced exclusively for the Japanese domestic market. All six tracks in their full length versions, totalling 50 minutes of music not previously available on CD, packaged in full size jewel case with Japanese obi-strip overlay.

after our last release with Dub Keyboarder Ao Inoue from Dry&Heavy Tokio/Japan we now are super proud to announce; Our next Ep coming up in November is done by Turmspringer + 2 heavy weights Producers. Quenum labelhead of Cadenza delivered an superb minimal 80´s sounding remix and we could convince no further then Neil Fraser aka MAD Professor to join the Mole Audio Project He´s done a few “versions” on his old smokey dusty console which will come out within the next few month , Keep your ears open for this !

Steppas Records presents ‘Osaka Steppas’ Vol. 3, the third in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Hiroshi and Roots Masashi in collaboration with Spanish producer Ojah and well-respected UK singer Rudey Lee. The Osaka Steppas’ raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems. Presented in a beautifully designed full colour sleeve inspired by the works of the legendary ukiyo-e woodblock artist, Hokusai. This release is not to be missed.

Available digitally and on limited chrome cassettes (with digital download code), we are releasing a series of albums and EP’s from talented and promising artists. Expect all facets of instrumental hip-hop, future beats and electronic beat music….

Good Paul has been searching for that right sound ever since his career started. Never confining to only one genre or branch of music, he has been looking in various genres, but especially in the gray area between hip-hop and house, drum and bass and dub-step, always being attracted by soulful emotion with bass and broken beats. In these last 14 years he was unable to find that one special sound. This EP, however, is his solution for this neverending search.

In his own words:
“To live well we need to learn and know about a lot of different things. Draw your plans in an attempt to consciously create the future. It turns out that often the decisive moments in our life are found. I have never sought music by artists or genres, but instead, I am just trying to find music that gets to me in terms of emotion.
I hope there will be people who find the music from this EP, because that music found me.”
The artwork was created by Mateusz Kolek, who is known for his playful, psychedelic and dreamlike illustrations, heavily influenced by Soviet science fiction flicks and Japanese anime’s.

Bio:
Good Paul from Krakow, Poland, has spent already 14 years behind the decks and is well known for his musical selection and technical skill. Being a Red Bull Music Academy alumni (Toronto, 2007) and lecturer (Warsaw, 2012), he self-released a free EP entitled „One More Time“ and has been remixing various projects in the advanced futuristic music scene in Poland, in particular for U Know Me Records from Warsaw.

Infernal Sounds are back with their 6th release on the label, this time with the combined minds and talent of Japanese based artists, Karnage and the infamous Rider Shafique on vocals. The A side, ‘Realise’ providers a weighty influx, featuring the elemental voice of Rider, backed by a rugged roller in the form of ‘Bayside Shakedown’ on the B side.

Even in the land of the rising sun, during the last months the enthusiasm for eccentric rhythms has increased. More and more young beat maker in Japan emulate their models J Dilla, Flying Lotus or Hudson Mohawke. This new generation of beat smiths understood Hip-Hop not as a mere pose, but as an aesthetic principle, in which it is explored, where the boundaries of this music style lie. The artistic crucial questions are therefore: How can you make known subjects in other contexts? How abstract can it be? Some of these emerging artists, we can now gather on this download Compilation. It’s a good way to become familiar with these extraordinary artists. So the Compilation shows the wide range of this emerging beat music scene, the originality of each artists. The title of the records tries to reduce very different types of artists to a common denominator: Finest ego.
The compilation includes BudaMunk, a.z, Daisuke Tanabe, The Astronotes, Dj Olive Oil, FERRARI, RLP, SATO, Ogiyy, ichiro_, Eccy & Himuro Yoshiteru.
Design by LGB5. A&R by Akira Inagawa & Gordon Gieseking. Mixed & Mastered by Sven Friederichs.

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