1. J & J’s SoulTempo Jam
2. J & J’s SoulTempo Instrumental

Bombay welcomes Chicago based J & J Soultempo to the label, who come with a strong Gospel influenced late night slammer for the dance floor.

Featuring vocals from the renowned Terry Moore combined and with the soulful Chicago acid house production of J & J Soultempo, this has all the right ingredients to be a monster!

This release has a real early nineties murk deep house sound with modern production. Jason Ferguson “Jaycee” and Jere McAllister are emerging from a strong community of new generation of producers and musicians based in Chicago that will be turning heads in this genre. Some Kinda Good agrees with the New York vibey heads as well as the Chicago and Detroit kids, with its powerful vocals and lyrics, jelled with an infections dirty groove. This is pure classic house!

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If you would like some more information or you want to preview or review this release and would like to receive a promo copy, please contact lou@rocketsciencemedia.com or glenn@rocketsciencemedia.com

The Kills: Tape Song

‘Time ain’t gonna cure you honey, time don’t give a shit’ sings Alison Mosshart on the new single Tape Song by The Kills, released on the 24th of November. The bitter rock song is back, and The Kills are doing it in their dirty, sexy way.

Taken from The Kills‘ third album (Midnight Boom) released back in March, Tape Song features Mosshart’s American vocals over British guitarist Jamie Hince’s spurting guitars.

Mosshart’s voice is double layered and breathy in the verse (almost like Madonna) whilst it cracks in the more wild chorus (more like Duke Spirit’s Leila Moss). Hince’s guitars, meanwhile, are sparse and the bass simple, before becoming Franz Ferdinand-esque in the chorus.

All of this is set over laptop drums, which finally break out into resonating snares as the other instruments explode.

The contrast in The Kills‘ Tape Song is fascinating, yet even more interesting is the way that despite the burgeoning  expression that the chorus promises, the mechanical drums and vocals never fully disappear, and always appear to be repressing full out emotion.

This all creates a resignation, echoed in Mosshart’s insightful lyrics and her poetic way of playing around with her own phrases  - ‘Tape ain’t gonna fix it honey, it ain’t gonna stick’.

Tape Song is backed by London Hates You, where the lyrics are less insightful, but where another, softer side of The Kills is shown, with the strong influence of The Velvet Underground becoming apparent.

Visit their MySpace. Tape Song is released on Domino Records on 7″ and digital download.

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A State Of Trance (often abbreviated as ASOT) is the title of a weekly radio show hosted by popular trance DJ Armin van Buuren. First airing in March 2001 on ID&T Radio (the predecessor of Slam!FM), the show takes the format of a two hour mix in which he plays new trance music, both promotional and commercially released. Selected tracks are announced during the show in order to help promote new artists and releases. Its radio-show/website combination has proven popular internationally, as fans . while listening to the radio-show . will converse in the website chat-rooms and forums, such as DI.FM, during the broadcast. Internationally, the show attracts more than 6,000,000 listeners each week.

Tracklist:

01. Armin van Buuren feat. Jacqueline Govaert - Never Say Never (Omnia Remix) [Armind]
02. Simadith Project – Dirty Volume (Lemon & Einar K remix) [Avanti]
03. Dash Berlin feat. Jaren - Man On The Run [Tune Of The Week]
04. Myon & Shane 54 feat. Carrie Skipper - Vampire (Gareth Emery’s Garuda Remix) [Armind]
05. Sonic Element - Paint The Blue (Store ‘n’ Forward Remix) [MPFS Records]
06. Orjan Nilsen - Moving Guitarra (Armin van Buuren Mashup)
07. Talla 2XLC - Dante’s Peak (Jerome Isma-Ae Remix) [Tetsuo Hybrid]
08. Blake Jarrell pres. Trasher – Hosoi (Simon & Shaker Remix) w/ The Man With The Red Face (Saxophone) (Armin van Buuren Mashup)
09. Starchaser feat. Lo-Fi Sugar - So High (Martin Roth Remix) [Vandit] [Future Favorite]
10. Ohmna feat. Nurlaila - The Key Of Life [Cyber]
11. Markus Schulz - The New World (Markus Schulz Return To Coldharbour Remix) [Coldharbour]
12. Mat Zo - Our Self [Intuition]
13. Stan Void - Transience (Jorn van Deynhoven Remix) [Solaris]
14. Niklas Grosswald pres. Soundbite - Sparkles [Conspiracy]
15. Dinka - Tempation (Paul Trainer Remix) [Vandit]
16. Vengeance - Unexpectation (Denga & Manus Mix) [A State Of Trance]
17. Ronald van Gelderen – Rush [High Contrast]
18. Michael Angelo feat. Danny - Test Drive (Nitrous Oxide Remix) [High Light Records]
19. Paul Miller pres. Motion Blur - Curler [Addictive Global]
20. Signum feat. Scott Mac - Coming On Strong [Jinx Records] [ASOT Radio Classic]

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A benefit for urban agriculture charity Just Foods – dedicated to sustainable community agriculture in NYC – turned out to be one of the best triple bills of the year so far. Maybe the energy of the election is still bouncing around. Whatever the case, it was a night for serious dancing. Thy Burden were recently mischaracterized here earlier as an Irish band (while they’d no doubt do a great job with it, our spies gave us bad information: sorry). What they are is the missing link between Bill Monroe and Gogol Bordello. With acoustic guitars and rhythm section, banjo, fiddle,mandolin and sometimes harmonica, they delivered a deliriously fun, frequently psychedelic show. They like minor keys and get the fires burning most brightly playing in them. They also like their tempos lickety-split, giving all the players a chance to show off some sizzling chops. The mandolin took most of the solos. Frequently they’d jam out on a tune for a few minutes before launching into the verse, which worked especially well on Friend of the Devil – done oldschool rather than the Grateful Dead way – and the Hank Williams classic Ramblin Man. At times, they’d add just a little Balkan tinge to the mix, which really hit the spot. There hasn’t been a bluegrass band this fun here in town since the Dixie Bee-Liners vamoosed for the hills of Virginia, or maybe even since Brooklyn Browngrass split up.

Female-fronted ska rockers Across the Aisle were next, blending ska with a brassy, chipper, cheery, occasionally sarcastic pop feel - imagine No Doubt without the weight of the corporation beating down on them, and with a horn section so tight you couldn’t fit a piece of paper between the sax and the trumpet. Everything they did was infectious: the sly Born Dirty, their signature song Across the Aisle which they began at hardcore speed, the impossibly catchy Out of Sight, Out of Mind, the sexy urban tale 59th and Lexington, a straight-up reggae number and the sardonic Everybody Lies: “Don’t be fooled by assholes,” Megg their frontwoman grinned. Thy Burden were a hard act to follow, but the party didn’t let up til Across the Aisle left the stage. All they need is some college radio exposure and this band will be huge.

One of those choadmonkey corporate bands was next, “choadmonkey” being the marvelous term coined by System Noise’s bass player to describe pretty much any loud Nickelback wannabe (a choad being something small and disgusting from the nether regions, either a dingleberry or some other short stubby thing). This crew had a lot of stuff on tape, might have been lipsynching and didn’t seem to have any fans either. Finally, System Noise took the stage and delivered a set that was as ecstatic as it was eerily intense. They started with the party set and eventually segued into the dark, disturbing set, which somehow still felt perfectly natural. Their frontwoman Sarah Mucho is a bonafide star on the cabaret circuit (she won a MAC award if that means anything) and a wiseass onstage, and she was on top of her game tonight, playfully berating her band when they insisted on playing a new one she clearly didn’t feel up to. But she nailed it and then some. When she suddenly stopped wailing, leaving a pregnant pause and then unexpectedly picking up right where she left off, the effect was spine-tingling. The guitar alternated between sly, catchy funk and scorching, chromatically-fueled noise, the rhythm section in particularly ferocious, pummeling mode tonight, even on the catchy, funky stuff like Shitkickers and Everyday Hustler, the two songs that opened the set.

A new one in 6/8 (the one Mucho didn’t want to sing but nailed anyway) began especially ominous, with a watery 80s feel before building to a pyrotechnic, noisy crescendo. They roared through the snarky, darkly pounding, Iron Maiden-inflected cannibalism anthem Good Enough to Eat and followed that soon after with an other chromatically-fueled, even noisier one called Cosmic Monsters. This being a cold night, when they finally wrapped up the set well after midnight, a lot of the crowd had cleared out. Those who remained were rewarded. When the bass, guitar and drums launched into the slow, ominous intro to Daydreaming (our pick for best song of the year for 2006), a murmur ran through the crowd: this slowly crescendoing, titanic anthem is a big hit, and the band hadn’t played it out in a long time. This time out they brought out every bloodcurdling ounce of menace in the melody, Mucho toying with her phrasing on the quieter sections like a cat with a helpless rodent.

The only drawback of the evening was a late arrival meant missing Farm Aid regular Jesse Lenat’s opening set: if what he played was anything like what’s on his myspace, he kicked ass. Check and see for yourself.

Thy Burden’s next show is on Dec 6 at Europa; Sarah Mucho stars in her highly acclaimed revue Subterranean Circus at Don’t Tell Mama on Dec 3 at 8 PM and Dec 9 at 7.

Prime Loops has recently released Dirty Electro Synth Loops, an essential collection for any discerning producer of Electro, House, Breaks, Tech or Future Electronica looking for fresh, dancefloor-ready sounds.

Addictive, filthy nu-house licks, raw wobbly sub-bass grooves, jackin, rude and disgustingly electroholic twisted leads, crystallised sexy electro-flavoured textures, and purified pulsating chord progressions, as the electro house phenomena evolves from the studios to the clubs, dominating the airwaves and seizing number 1’s across the globe, Prime Loops proudly present our hottest producer package yet, with a fresh selection of new electro cuts bursting with inspirational content.

Dirty Electro Synth Loops features

• 160+ DJ-ready Electro House Synth Loops, Bass Loops, Leads and Chord Progressions, all of which seamlessly fuse together to provide solid tools for enhanced electro house music production.
• Recorded using a combination of vintage analogue synthesizers and cutting edge digital synthesis.
• Genres: Electro, Electro House, Tech-House, Breaks, Breakbeat, Electro Breaks, Electronica.
• Available Formats: Wav, Rex2 Loops, Reason Refill, Stylus RMX Loops, Apple Loops, Ableton Live Pack, Akai MPC, Acid Loops, Garageband, FL Studio and more.

Dirty Electro Synth Loops is available for download for £14.95 GBP. A pack of free demo samples can be downloaded from the product page.

Visit Prime Loops for more information and audio demos.

“Anybody my age turning on MTV and seeing Annie Lennox sing ‘Sweet Dreams,’ that was enough right there,” says Matchbox Twenty singer Rob Thomas of the former singer of the Eurythmics. Thomas cites her vocal variety as the key to her greatness. “When she does stuff like ‘No More I Love Yous,’ she gets this ethereal Sarah McLachlan-esque kind of thing that just sounds like a beautiful angel. And then she can switch over the sound of her voice and make it sound like she’s gargling glass. And so many people can’t do that,” he says. Click below for more from Thomas on Lennox and for more from Rolling Stone’s list of the 100 Greatest Singers of All Time.

• 100 Greatest Singers: Annie Lennox, by Rob Thomas

Related Stories:

• The 100 Greatest Singers of All Time

• What Makes a Great Singer? By Jonathan Lethem

• Behind the Cover Video: Alan Light on the 100 Greatest Singers Selection Process

• 100 Greatest Singers: Janis Joplin, by Stevie Nicks

• 100 Greatest Singers: James Taylor, by David Crosby

To Download, Click Here.