Search "nas+life+is+good" 117 Items

Record is close to NM.

Following the reissue of the V-Neck EP Auto, Emote have sprung back to life with some lost DAT recordings of the band from the late 1990s. These semi live recordings made at the Spike Studios in Fulham where a back to basics project and a deliberate move away, from computer programmed music. The project was heavily influenced by the albums Drastic Season by African Head Charge and Get Up With It by Miles Davis. The tracks contain an array of random procession instruments ranging from African pianos to kitchen utensils, vintage synth tones and drones are provided by an Arp Odyssey and a Korg Ms-20 The tracks where then recorded on to a 8 track real to real Akai X-1810d By the time the delayed Dub Fiction album came out in 2000 the duo had decided to go their separate ways and the project was abandoned. Your record collection will have to be modestly far out not to find this record modestly far out! Supported by Alex Night (Fat Cat Records) and Chloe Alice Frieda (Alien Jams)

Vinyl with a couple of light scuffs

Life Notes returns with its 3rd transmission, with label owner Life Recorder welcoming two of his favourite producers on board: Birmingham based Jayson Wynters (Phoenix G) and Perpetual Rhythms co-founder Taelue. Guided by a natural artistic connection, they take the opportunity to present their vision of deep, meditative house/techno speaking to the mind and the dance floor.

Luv Jam, Maxim Lany, Katorski, Scott Ferguson are the peeps doing good here!

Last remaining copies of the Colundi Benelux Tour Album! 10/23 eve to 10/26 eve: Thesmophoria-Old Greek festival commemorating the transformation of Goddess Kore (Queen of the Living) into Persephone (Queen of the Dead), when She eloped to Elysium with Her partner, God Dionysos/Plouton, accompanied by Goddess Hekate and spirits of the dead. At Eleusis, Dionysos was considered the life aspect and Plouton the death aspect of the same Deity, just as Kore was considered the life aspect and Persephone the death aspect of the same Deity. Dionysos was wild, and subject to excess drinking, dancing, and sex. While Kore, Gaia, Zeus, and Helios considered Him to be a marital prize, Demeter thought otherwise. Consequently, She mourned their union by striking the Earth with famine.

Red Vinyl.

Record is close to NM.
Upper edge with beginning seamsplit, otherwise VG+.

Clear flexi vinyl.

Original inner sleeve included.

- "Ain't I Been Good to You (Part 1 & 2)" sampled by UGK for "One Day"

Vinyl with scuffs and hairlines. caover has writing on front.

Lamination lifts. Seamsplit on Top. Record is close to VG+.

Still sealed with hype sticker. White vinyl Limited edition.

Copy closer to NM. Clear vinyl.

Original US Santa Maria pressing. Original inner sleeve. Tiny writing on back cover.

Embossed cover has slight wear, With insert. Japanese pressing, OBI is missing. Records need proper cleaning (foxing), probably a good VG afterwards

With insert. Tiny wear. Vinyl is close to NM.

Sleeve is used but in good condition.
Red vinyl version.

Limited Pressing.

Invisible City Editions returns with an official repress of a fantastic double-sided private press rarity from 1989 Detroit. Featuring two legendary Inner City alumni Producer/keyboardist Engineer Art Forest and Inner City background vocalist dancer/singer Shawn Pittman. On the A side a lush slow modern soul slow burner “Dreams'' features a deep,spatial throbbing bass line with glistening synths floating underneath cool angelic hypnotic vocals by Ms Pittman.” 'Dreams are only Dreams till you make it real' chants Shawn Pittman and we’re lead down a dazzling maze of mirrors. With “I'm Losing Control (Extended Bass-ment Club Mix)” on the flipside a wild late night warehouse dub remix features sci-fi vocal effects,fostex tape loops and ultra-heavy bass and driving drum machines. Minimal lush soul perfect for early mornings and the post-club world and a wild sci-fi house winner for late night club sessions. An IC fave! Remastered by Brandenberg/The Carvery (Note: we’ve also removed the drum machine going out of sync that was on the original press) Official Repress via Art Forest and his label Wildboy.Essential stuff!

Art Forest is an Electronic Engineer and production wizard from Detroit Michigan. He originally recorded 2 of Inner CItys’ Biggest Hits “Good Life” and “Big Fun” and continues to record to this day. Art Forest still finds and repairs equipment to add to his studio today. He also recorded for Paula Abdul “Straight Up” and Madonnas’ “Justify My Love” Shawn Pittman was a singer and dancer from Detroit who was a good friend of Inner City vocalist Paris Grey. Shawn Pittman sang backing vocals and harmonies on “Good Life” and “Big Fun”.

Record is close to VG+. Sleeve looks good but has writing and sticker on front cover.

Vinyl close to near mint, Cover has one corner cut, otherwise in good shape.

1978 reissue.

Cover with minor lamination lifts and tiny tear at the opening side.
Record is close to NM.

US pressing.

- "Have Your Ass Home by 11:00" sampled by Def Jef for "Give it Here",
Nice & Smooth for "Ooh Child",
ODB for "Shimmy Shimmy Ya" and
Tupac for "Late Night"

- "Flying Saucers" sampled by Jeru for "Thoughts of a Frustrated Nigga"

- "Niggers vs. the Police" sampled by NWA for "Appetite for Destruction"

- "The Back Down" sampled by Eazy-E for "Eazy-Duz-It",
King T for "Act a Fool",
Thug Life for "Don't Get it Twisted" and
Tupac for "Heartz of Men"

Landing on Delsin with a highly developed strain of emotionally inquisitive electro, Reedale Rise presents a new four-track EP which builds on his growing reputation for beautifully rendered headphone escapism. Since first appearing in 2015, Liverpool-based Simon Keat has released on such respected outlets as Frustrated Funk and 20:20 Vision, while last year he released This Beautiful Life, an LP for Assemble Music. From the twinkling melodic mystery of 'Littoral Zone' to the playful synth flourishes of 'Globular', 'Driftwood's plush, expressive layered lines to 'Artemia's deep-diving introspection, this latest release confirms Keat as a leader in the field of contemporary electro, delivering tracks with pristine production but crucially placing feeling as the priority ahead of the considerable technical finesse.

This release is limited to 350 copies on 180 g black DMM cut vinyl in a high gloss gatefold sleeve with 3 postcards (signed), poster, and sticker. “Electric sound-waves that pulse through our sleep …and our dreams”. Quieter Than Spiders release their long-awaited debut album Signs of Life. The Chinese-Anglo band was formed in Shanghai in 2012 and has been quietly rising to prominence among the electronic music community with what the group self-styles as ‘Shanghai Synthpop’. Online music magazine The Electricity Club included Quieter Than Spiders in a list of their favourite new artists and described them as “What OMD would sound like if they formed in the 21st Century”. The album was recorded in both Shanghai and the UK and was mastered in Germany by Stefan Bornhorst (aka The Silicon Scientist). The group did not use a formal recording space which gave them the opportunity to experiment. “We used minimal equipment which gave us the opportunity to record songs in a variety of places. We even recorded parts in an old deserted Shanghai building earmarked for demolition, and in an overgrown tunnel that we found deep in the English countryside”.

Vinyl with scuffs and hairlines. Cover with seam splits and ring/shelf wear

close to NM. 2012 reissue

Label sleeve.

incl. Bodyjack Remix

The thirteenth release maybe unlucky for some, but not here. With label head Oli Furness delivering the Weather Underground EP featuring a shudderingly good Bodyjack remix. Music is Love Records make their own luck as always.

Comprising of the standard format from Music is Love with includes 3 tasty originals paired with a killer remix. The crew deliver just that.

Crash Gordon opens the vinyl with a BANG. It's off kilter groove is an instant head nodder and super infectious. Oli always pushing the boundaries with his production and with this we get a nice display of his skills, bringing out the tone and life in the sounds. Bodyjack has the task of remixing Crash Gordon and steers the off kilter track into much heavier territory. Something Bodyjack does so well, heavy and rolling whilst keeping you firmly locked in.

The B side opens with a big party track entitled Big booty girls, a track ready to make any party lose their Sh*t. Heavy machine drum grooves as are often found on the Music is love boss's tracks and yet again they are central here, a heavily distorted 707 cowbell driving the frenzy is the most notable. Killer stuff.

To round up the ep we find the track 64. This is a continuation of the party vibes of the B1 but done in a very different style. Here we find the vibes of late 80's Miami, Booty shaking 808 drum patterns and funky ass loops. Staples of Mr. Furness's Sound.

Reissue of the 1994 debut from Phil Western and Dan Handrabur's 'Off & Gone' project. A hallucinating document of the pair's initial jam sessions and what would become the genesis of a fruitful collaboration between two key members of the West Coast electronic music scene of the 90s/00s. Four tracks of deep, psychedelic techno, including the now-classic 'Namlohssa'. Re-mastered from the original DAT tapes. From Dan Handrabur [Dreamdoktor, Shukar Collective & 1/2 of Off & Gone]: I met the late Phil Western in the fall of 1992 on a visit to his record store, Oddysey Imports. There was always good music playing there, so I ended up hanging out for many hours, almost every day. It was very clear we had similar taste in music, be it the new electronic wave at the time or older music like Eighties British guitar pop, and vintage rock, not to mention ambient and world beats. A mutual friend, Robert Shea [Map Music/ Discotext], suggested we get together and jam; there was a trend going on to bring one's favorite synth to a buddy's studio and tweak knobs. We ended up making a couple of tracks which we showed Robert, a man with many connections in the new music business, by that I mean independent, forward-thinking labels from around the globe. His reaction encouraged us to release them. At the time, I was working on making a CD of my own music and tracks I had made with other tech- heads. Somehow the two cuts fitted quite well into the vibe of Outersanctum's "Frequencies From The Edge Of The Tektonic Plate" which we released in April of 1993. Sensing the possibility of a collaboration, we decided to move my equipment to Phil's place [he lived in a more permissive part of Vancouver where it was ok to work at a louder level]. Armed with two Atari 1040st with midi and various synths, samplers, and drum machines, we started crafting what was to become our most important body of work of the mid-nineties, Off and Gone, Floatpoint and others. After a visit to Lopez island where Mike Kandel [1/2 of Exist Dance] had his studio, the three of us decided on the name [Off and Gone] and set a release date for our first EP. Needless to say, we were ecstatic about it since we were both very fond of the music Exist Dance was releasing. This was the incentive we needed and also a psychological push to work on more material. Our sessions were lengthy; there was not much talking and a lot of playing. Programming in Notator (now Logic Audio) was tedious but rewarding; mixes were tracked to DAT tape. Some gear without memory had to stay on for days until we were satisfied with the mixes. Occasional overheating and power outages were our biggest enemies and guests to the studio who carelessly pushed keys on synths, thus ruining arpeggios... We never used limiting or compression. We didn't own any of that gear, relying solely on the power of our sound generating devices. No audio editing was available back then, at least not to us. A few times, we snuck into Skinny Puppy's studio to play with their Pro Tools rig and track guitars and violin through the Eventide, which we resampled and used in tracks. At the time, we had the feeling of doing something important for the Vancouver electronic music scene, inspiring other musicians to build studios and strive to create new, interesting music, away from the industrial sound that defined the city for several years, for which we had the utmost respect. All the music we made together was purely for the joy of sound creation and a sincere love of dance and ambient music; without any desire for affirmation or commercial success. Throughout our relatively short but productive collaboration, there was a feeling of completing each other's ideas very easily, without arguments, in an almost telepathic way, something I personally have never experienced again with another musician.

Ships in a label sleeve.

Japanese pressing without obi | Record needs proper cleaning, after that the record should be in very good condition | Foxing inside gatefold

20th Anniversary Purple Swirl & Smoke Vinyl Edition.
Still shrink wrapped but opened.
Cover as new with slightly dented corners.
Records are close to VG+
Includes OBI.

Sealed copy!

Only Side A/B!

Audible scratch on track A1, all the rest is in very good condition.

Nice copy considering its age, with some yellowing and light ring wear, but artwork still looking good. Clear signs of use and slightly worn grooves, however plays fine, with just minimal surface noise audible only in some quiet sections.