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His body was next to hers again, his breath puffed out against her neck. Her room lit up for a split second as lightning raced across the night sky. It was getting closer. Thunder rolled, a little louder than before. His tongue darted out to curl at her earlobe, sucking it between his lips as a finger pressed down on her most sensitive place at the apex of her mound. She mewled and he smirked. Circles, soft and teasing, were drawn around her hot little button.

There was a pause as his fingers dipped and ran along her velvety folds, feeling the moisture that began to gather. She bit down on her lip as he found her pearl again. She opened her eyes and turned her head to look at him. A heated, mismatched gaze met hers and he took in the expressions that flittered across her face; a subtle widening of her eyes or a twitch of her lips as he worked her clit.

A naked torso, hot and hard, was pressed against her side and she looped her arm around his, feeling the muscles in his forearm move as he flicked slick fingers over her. His mouth silenced hers, drinking down her sighs and moans as the thunder grew louder. He was stealing her breath and her lungs ached for air no matter how sticky and humid it was, but he would not let her go, not until -. He pulled away leaving her gasping for air, her toes curled and her hand gripping his arm as a wave of ecstasy crashed over her.

Wind swept through the window and there was an airy whistle as it pushed through the other cracks in the building. Thunder boomed chasing the lightning that split the sky.

There was a soft pitter-patter as the first rain drops fell to the earth, splattering against rooftops, trees, and the parched soil. Her hand reached for his face and then his body was moving to cover hers, burning skin atop burning skin and his touches - gentle, sensual, searing - were everywhere. The rain began to fall more freely.

His face buried in the crook of her neck. She could feel the slight stubble along his jaw as he smoothed his lips along her skin. The blunt tip of him bumped against her thigh. He was hard and she was ready, she teasingly rolled up against him. With fingers threaded in her silky pink tresses and his lips brushing hers, he moved. He groaned as her slick folds parted and her gloriously tight, wet, heat accepted him.

He murmured a curse under his breath as he buried himself in her completely. Her voice was soft, his name played like a passionate serenade and gods did he want to make her sing. He started to pump his hips, moving with deep purposeful thrusts. Her legs circled him and she matched his movements, panting beneath him. He hissed and whispered harshly in her ear that he was happy to be back, how he had missed her and that fuck, she felt so good.

She only whimpered in response, her nails biting into his shoulders as he bumped a spot deep within her. Sweat beaded along his forehead and neck and she reached to kiss him. She could feel herself being pulled and shifted but she was so lost to the feeling of him inside her to really care. When the dizzying kiss broke, Kakashi lazily smiled as he watched her realize the position they were in. Her legs were still wrapped around him as she sat in his lap. He pushed damp hair off her neck and latched his mouth to her. She snaked a hand into his thick hair and rocked her hips, steadily growing faster.

Sakura let her head fall back as his mouth traveled across her collarbone and she continued to roll and grind against him. Given that it's been unavailable on wax since then, and second hand prices have shot through the roof, this is undoubtedly a good thing. It remains one of the legendary duo's standout albums: There are moments of eyes-closed calm "Silverside" , bubbly, melody-led workouts "Montreal", "Slip" , far-out electro missives "Glitch" , and the odd icy epic the brilliant "Further". Since slipping out in , Midori Takada's debut album, Through The Looking Glass, has become something of a sought-after item amongst ambient enthusiasts with hugely inflated online prices to match.

Happily, Palto Flats has decided to reissue it, allowing those without overblown record buying budgets to wallow in its gentle, humid majesty. Remarkably, Takada not only composed and produced it, but also played every instrument, including marimbas, recorder, vibraphone, harmonium, and all manner of things you can hit and shake. The resulting tracks remain hugely beguiling, sitting somewhere between a dreamy take on traditional Japanese music, the classic ambient albums of Brian Eno, and the gentle, sweat-soaked explorations of The Chi Factory.

Orchestra Of Bubbles 2xLP. Just four months after the release of the long-awaited Syro, Richard D. James has dropped an EP of all-new material, more than making up for his 13 years of radio silence. Computer Controlled Acoustic Instruments Pt 2 is an album comprised of music that's just that, making for one of the most unique collection of Aphex Twin tracks of James's entire career.

From intricate piano miniatures to almost jazz-inspired drum rhythms, it's essential listening for those willing to delve deep into the strange sonic world of the producer. Arriving with some truly mind bending artwork from controversial guro manga artist Shintaro Kago, the new Flying Lotus album You're Dead! Is quite alot to take in upon first listen. Some nineteen tracks deep, Steven Ellison uses all the available space to draw you deep into the afterlife as he sees it, veering through heavily psychedelic jazz passages and next level beat explorations that demand you pay full attention. Aphex Twin is either having a breakdown, or simply making up for lost time.

Since dropping his first album in a decade, Syro, he's become strangely prolific, giving away vast amounts of music on Soundcloud and dropping EPs left, right and centre. This latest offering serves up the predictably hard to pronounce "Machromt30a Edit 2b 96", a blissfully melodious, Selected Ambient Works style slice of electronic beauty that was originally only available on the Japanese version of Syro.

Melting and dripping, seeping yourself liquid into the machinery. P, his long awaited follow up to Splazsh. It's a compelling image that works in practice too. P creates microcosmic sound worlds within each track: And although it uses much the same, occasionally abrasive sonic building blocks as Cunningham's been developing for many years, the pastoral tones of "Uriel's Black Harp" and the Alva Noto styles of "Jardin" make R.

P a surprisingly graceful album. It may not be techno as many will know it, but Cunningham has never made techno in the traditional sense anyway - and it's clear on listening to R. P that he's only just beginning to realise the musical forms that have been swarming inside his brain for years. Ecoute gram vinyl 12". Having worked with the likes of Don Cherry and Laurie Anderson, there's little doubting the credentials of Ramuntcho Matta. Emotional Rescue have tapped him up for some truly outernational jams that sport African percussion, skronky jazz tones and an engaging minimalism that's hard to resist.

The fretless bass and exotic animal cries of "Ecoute" are especially appealing, while the squelchy sound design in "O Clapo" may well do funny things to all who hear it. It's a startlingly original record that serves as a perfect introduction to a lesser known figure in leftfield music with a great heritage behind him. Kid A reissue gatefold 2xLP. Without wanting to preach to the choir but everything about this body of work remains ahead of its time and on its own.

From those opening robotic purrs and mechanical breaks to those final tubular space echoes on "Rsdio", the whole album still sucks you in with such alien, otherworldly allure. How they made those sounds and arranged them in such a way with the technology at the time blew minds back then and blows even more in hindsight. Naturally, there's been plenty of hype surrounding this new Hyperdub 10", which features Burial indulging his often-discussed ambient influences.

It's a typically creepy and ghostly affair, with the lack of beats - if not rhythmic elements - only serving to amplify the shadowy producer's impeccable sound design and brilliant use of manipulated field recordings. A-side "Subtemple" is particularly paranoid in tone, featuring as it does chilling melody loops, curious vocal samples, looped vinyl crackle and all manner of layered background noise.

Flipside "Beachfires" is, if anything, even more dystopian, with Burial basing the action around the kind of pulsing chords that gust back and forth like an autumnal breeze.

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Dance Dance Dance Dance gram vinyl 12". Hugo Capablanca has been measured in his approach to releasing music of his own.

While his label continues to grow in stature, fresh Capablanca material doesn't come along every day, and this salvo on Disco Catorce is a welcome fix. Lipeli's "Paper Sound Dub" of "Lap Dance" is a killer restrained roller that leans towards heavily percussive disco and bug-eyed 70s sound FX. Since releasing his first Floating Points record back in , Sam Shepherd has constantly surprised. Predictably, he's done it again with Reflections: Mojave Desert, an album created from impromptu recordings of his live band made during a visit to Joshua Tree National Park.

Inspired by their surroundings and the natural environment, Shepherd's ensemble have created a five-track set - and accompanying Super 8 film, shot and edited by the band's traveling visual artist - that's as atmospheric as anything the producer has released to date. While a unique proposition with its own distinctive vibe, the tracks variously touch on ambient, new age, spiritual jazz, woozy electronica, post-rock and the kind of Stockhausen-inspired experimentalism explored on Ragnar Grippe's recently reissued "Sand".

No Return Vol 1 gram vinyl 12". Helena Hauff's label is back, this time presenting a various artists 12" that heralds the start of the No Return series. The release starts on a mystical bent with the Eastern-tinged death electro of "El Carmel", sounding ripe for a Hague-friendly warm-up session. Neud Photo then take over with a dystopian trip through rich synth tones coloured in dark hues for the bleakest of robotic fantasies.

Antoni Maiovvi fills the B-side with the slow grinding bombast of "The Dig", bleeding out a noirish take on coldwave for the darkest hearts to swoon to. Some four years after Swims brought the work of Dan Snaith to the attention of a whole new audience, the London-based Canadian artist returns with a sixth Caribou album entitled Our Love.

Staunch followers of Caribou will know that Snaith tends to adopt different sonic approaches with every long player compare the psychedelia of Up In Flames with the more spaced out Andorra but this latest album feels like a natural development of the club influenced sounds of Swims. City Slang call it Snaith's most soulful set yet, and that's certainly helped by the presence of compatriot Jessy Lanza, and like all Caribou albums there is something new that appeals with every listen.

Jaar has been involved in various projects over the years, such as Darkside with multi-instrumentalist Dave Harrington , while last year he released Pomegranates, a collection of ambient tracks provided as an alternative soundtrack to the film The Colour of Pomegranates. The LP is six tracks that "flow seamlessly" between each other. According to a press release, the album is "Jaar's most topically cohesive and politically-minded record to date. Juno Recommends Leftfield , Mad Moon. Warp's Boards of Canada reissue campaign reaches Geogaddi, perhaps the duo's most expansive if not their most popular record, presented here on a 3LP gatefold edition.

Undoubtedly one deserving of reappraisal. Bobby O'Donnell , Daniel T. Island Oasis limited transparent red vinyl 2xLP.

Kalevala (epic folk metal)

Having come to light on labels such as SD Records and his own Mystica Tribe, Taka Noda heads over to Canadian label Silent Season for his debut album, capitalising on his emergent career in the field of dub-influenced downtempo with his most complete artistic statement to date.

From the spacious stalk of "On The Lookout" to the edgy piano delay of "Peek-a-Boo", this is the work of a man who has immersed himself in the tradition of classic dub music, but not at the expense of bringing things up to date. The loose, live and natural feel of the album is testament to Noda's skills in the production department, not to mention his instinct for a killer sub-heavy rhythm. Given that Junior Boys' Jeremy Greenspan is the man at the controls, it's perhaps unsurprising that this surprise debut full-length from little known Canadian chanteuse Jessy Lanza drips with smooth, synthesized sweetness.

Packed with Greenspan's trademark melancholic, Metro Area-ish synths, but built around Lanza's fragile, otherworldly vocals, Pull My Hair Back is a contender for the best leftfield pop album of the year. Singer, songwriter and multi-instrumentalist Carla Dal Forno was once a member of a number of legendary Australian outfits. He loved her clandestine, atmospheric take on pop - think minimal wave, cold-wave and early Joy Division mixed with contemporary ambience, and leftfield synth-pop - and has decided to put out this debut album.

Comprised of four songs and four instrumentals, You Know What It's Like has a timeless feel; the folksy, Scott Walker-influenced "Dry In The Rain", for example, sounds like it could have been recorded at any point over the last 40 years, while "Dragon Breath" has a genuine Radiophonic Workshop feel. Haller , Leonard Lampion , Fieldhead. Wuhti clear vinyl 10". Firecracker Recordings' Unthank label has been a decidedly intermittent concern since it's eye catching arrival back in with the Parris Mitchell mangling antics of Berlin dwelling Estonian producer Bakey USTL. It makes for somewhat poetic reading that the label's sixth release should usher in the return of a producer whose last apparent production credit was a contribution to the Fudge Fingas cut "Fidgety Friends" way back in !

Quite what the West Yorkshire based Denaji has been doing in the subsequent years is not clear, but your focus should be on his contributions here, with the Wuhti 10" quite sublime. The title track and "Dharma Dharma" are the sort of star gazing boogie and fizzing deep house that fit snugly into the overarching Firecracker sonic canon and do check the wondrous remix of "Wuhti" from Norwegian Sex Tags mastermind DJ Sotofett.

Music From Memory Holland. Earlier this year, Red Light Radio founder Orpheu de Jong stumbled across a cassette, originally self-released in , from an unknown San Francisco musician called Joel Graham. On the strength of the two tracks showcased here, it would be fair to say that Graham was ahead of his time. Hypnotic and minimalist in the extreme, the drum machine and synthesizer workout "Geomancy" - apparently recorded in on pre-midi analogue equipment - sounds like a template for techno. B-side "Night" is similarly inspired, and bears an uncanny resemblance to pitched-down versions of some of the dreamy new age house and nu-Balearica currently doing the rounds.

It's superb, and almost as good as the brilliant A-side. Another superb release from the guys at Music From Memory.

Debut heavyweight vinyl LP. Astrovibe gram vinyl 12". Enrico Mantini and Pepe Villalba already made a sterling start with the Purism label, and now it's time for Retro Activity to step up with some striking diversions from the standard minimal house template.

Drums are the order of the day on "SK-1", and what drums they are - loose, limber, expressive rhythms in a funked up, breakbeat style but certainly not any of the over-familiar breaks you're used to. Juno Recommends Techno , Lumitecc. A collection of nine new songs, the record was written and played by Thom and was produced by Nigel Godrich. Over six studio albums the group have proved that it is possible to make massive creative leaps whilst continuing to grow in worldwide stature.

Their records set new benchmarks for others to aim towards, whilst their live shows reach levels of intensity and exploration that few can match. Sounding fresh and invigorated on their LP for Warp, Kai Campos and Dominic Maker have built on their love of shoegaze indie and brought their component parts into a clearer vision where they used to hide them behind heavy editing and microsampling.

There are plenty of reminders that this is a Kimbie record, not least in the winsome melodies that shape the LP, but the duo have succeeded in shearing away their self-conscious trickery to write full-bodied songs that hit on first listen, rather than ten spins down the line.

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Juno Recommends Leftfield , Joe Montana. The answer is obscure New York musician Vito Ricci, whose diverse and quite stunning discography of private press releases is compiled on this wonderful retrospective I Was Crossing A Bridge. Active during the '80s musical heyday of New York, Ricci description as "one of the unsung heroes of New York's downtown music scene" is fully qualified on this 18 track double LP release, which contains such a dizzying array of musical styles it's tempting to call him a musical genius. The three strong suite of "Inferno" tracks in particular could easily be mistaken for the work of Container, and that Ricci was capable of that as well as some tongue in cheek coke boogie like "I'm At That Party Right Now" means Music From Memory should be applauded once more.