A ‘lost’ Metro Area track from 2002
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Our new one is out today . Nice little jazzy one for the end of Summer 
Some download codes here for TP fam. Just please leave a comment on Bandcamp if you grab it x
https://shadesofsoundmusic.bandcamp.com/yum
vvt8-uwua
7gzy-54a7
v22z-7p35
fmmz-vncf
mb8k-6e4a
bvnu-k7eb
5f5a-6vfw
ba78-kk54
d753-y9na
s57m-79v7
pr5f-vzz5
kz7j-e7pq
uy57-3e7t
vt8a-cup7
9zzr-x575
n3t5-5raf
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Thanks Joe x
Thanks Joe!
“A clean jazz funker with musicianship that is lacking in 90 percent of modern music. While not pretending to be groundbreaking, this is that funky smooth sound that was rather groundbreaking back on albums like Herb Alpert’s North on South Street. Joe Morris’ mix would have been the standout track on Guidance Record’s late 90’s Hi Fidelity House Imprints which, for those that know, places it in rather exalted company.”
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I’ve got this on the gdm record but couldn’t resist the digi today.
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Cheeky Bandcamp Friday action from Talking Drums
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The full release is out today. Loving the Dub Dub version
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Sublime. My tune of the summer. Harvey will surely play that at Pikes 
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On the same label at Juno for next to nothing - Archeo Recordings Italy – Juno
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Sth notional for 3 quid!
Been like that for ages. Must have bought more than there are in the balearic army at some point. Anyway, you should all buy it if you haven’t. Less than the price of just about anything I suppose.
Here’s my new EP! Out on SlothBoogie Recordings today
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Weird that they didn’t issue this with the killer flip. In my opinion that’s the better tune. Not too hard to source on original 12 inch.
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Big dump of edits from the Universal Cave crew!
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Beautiful new album of ambientish guitar from David Cane-Hardy on Chris Coco’s label, sublime stuff…
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Love the bio 
While he worked as a sound editor for DEFA (Deutsche Film-Aktiengesellschaft), Martin Zeichnete spent eleven years leading a secret, parallel life writing electronic music to train and inspire East Germany’s athletic elite.
Alongside project Kosmischer Läufer, Martin used unsupervised late night studio sessions to record his own, more personal work. Side one of this record contains a selection of these tracks.
‘Galaxis’ (1978) was originally written for Zeichnete’s short lived teenage band Die Weißen Tauben. Formed in Dresden in 1969 they disbanded soon after as they could not obtain a performance permission. Years later the somewhat contentious lyrics were replaced with this new synth arrangement to create a censor-evading instrumental.
The bucolic ‘Die weiße Rose’ (1977) was intended for the Jahre der Ruhigen Sonne project and is dedicated to the artist’s mother.
The brooding, mysterious ‘Finsternis’ (1979) evokes Martin’s childhood memory of a trip with his grandfather to Bulgaria where they observed the February 1961 solar eclipse. The music captures the unnerving atmosphere he felt as darkness fell, followed by the uncanny, dreamlike vision he experienced of strange objects falling to Earth as the light returned.
Back then, in the studio, every effort was made not to waste precious tape. Any reel with a couple of minutes left at the end would be used to record sound collages, test new instruments, or for sonic experimentation. The aptly titled ‘Staub’ (1974) is one of these ‘end songs’.
Side two contains the eleven-minute epic ‘Flug 164’ (1977). This mechanical motorik marvel sees Zeichnete back at the day job with one of his finest, most mesmerising running accompaniment tracks.
Zeit zum Laufen!
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More dubby weirdness from Tutu Ta. Love it.
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Nice. Loving his stuff.
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New album from Mark Barrott;
'This is a story. A story of life and ultimately death. A story of two lives coming together through a chance meeting on an aeroplane and spending the next 20+ years together via the craziness of Berlin in the late 90’s to Northern Italy, South America and finally the tranquillity of rural ibiza.
The story of how life can change and be snatched away in the blink of an eye. But this is not a sad story, it’s a story of joy, love, grief and gratitude for what was. It is also my most ambitious album to date, conceived in the weeks after Sara’s death, as I worked with orchestras and choirs across Europe, trying to find the right sonic language to portray the Tsunami of emotions that were running through my body, mind and soul…’
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