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Parages Music 008

Jex Opolis Presents: In The Nite--"Look At My Car!," a versatile new EP featuring three cosmic cuts from Jex and Ian D. Knight, a St. Louis-based performance artist. Knight features most prominently on the Compass Point-tinged "Look At My Car!," a Paean to the joys of both consumerism and rampant motorism. On the flip, Jexy whips out the Strat for some Chic-inspired licks on the chugging "Guitar Sands," with the Italo-bumping 120 BPMer "Rimini Nites" along for the ride, too.

re:discovery records is happy and proud to honor a beloved and missed amazing electronic producer Jake Stephenson. Sadly, Jake passed away in 2005 but his music lives on with us forever. A prolific producer with hundreds of credits under many names and many styles. On the record insert inside this EP, his brother Silas and fellow producer and friend Brian Trower share some special stories of Jake as a person and a musician. An eccentric hippie of sorts, music historian and audio savant certainly, Jake was truly a unique, talented and special person. While a 5 track EP hardly scratches the surface, we at re:discovery wanted to honor an artist who impacted the label owner and the history of chill out music more than maybe some know. 50% of the proceeds to go the charity Silas picked to honor his late brother.

On 12” for the first time, Cloud’s ‘Visions’ featuring four versions mixed by Sean P from the original 1983 multi-track recording.Standing somewhere between the sounds of early 80s disco club land, electro-funk and synth-pop, the ‘Visions’ recording session has remained silently spooled amongst the tape archives of producer Alan Osbourne since it’s first mix-down. Previously released in 1983, a stripped-down cut of the recording appeared on the segued track compilation Designed For Dancing Volume One (Design Communications) blended with the tail end of Toney Lee’s ‘Love So Deep’.Recorded two-months before Cloud’s final single ’Steppin' Out’, the band had a new line-up and a new sound; Shelley Law on lead vocals, Mark Mansfield on bass, Mitch Keene on guitar and Mike Allen on keyboards, with Alan Bateman on sax. and Cloud’s original drummer Paul Holmes.By this time, a younger underground scene had emerged, and electro-funk was at the forefront. David Joseph’s ‘You Can’t Hide Love’ topped the disco charts and popular b-boy anthems ‘Hip Hop Be Bop’ by Man Parrish and ’Jam On Revenge’ by Nucleus got UK releases. Along with the changing sound of brit-funk related bands and artist aspirations to produce popular records, the Mansfield and Law writing team were a good combination for Cloud. The result was a more contemporary 'sound of Swindon' that kept it's jazz funk roots under the musical direction of Osbourne.

Welcome to BM-18 the biokinetic realm created by Dana Kuehr, a lush audio environment where organic and synthesized matter coalesce. As we float disembodied above this verdant pixel plain, Dana offers us shifting repetitions and sequences in disguise, each track a landscape within a world created in the utmost detail, from the minute bleeps and chirps to the enveloping and bumping bouncy basslines. Flickering drums explode like dandelion seeds in a breeze, searching for a place to lay, grow, and flourish. Sounds are captured (fingers tapping, rain patter, Belgian parakeets released from a '70s zoo, vocal oohs and ahhs) and hybridized with patterns, samples, and musical manoeuvres (jungle breaks, west coast hip hop, layered drums, IDM crunch and twinkle, reverb, delay, '90s R&B, underwater video game soundscapes).