Cerca:2 elements

Darling West decamped for a tiny island on Norway’s west coast to begin writing what was to become Cosmos, their fifth studio album. For the first time, the band’s core – married couple Mari and Tor Egil Kreken – have included band members Thomas Gallatin and Christer Slaaen in the songwriting and production process. As a larger united, Darling West has really evolved. Cosmos is indeed the sound of expansion. West coast, cosmic folk, americana… Call it what you will – there are even hints of afro blues on here – but where the band once fit firmly in the folk/americana category, you might as well just call it pop these days. Cosmos was recorded and produced in its entirety by Darling West. Vocal guests on the album include Matthew Logan Vasquez (Delta Spirit) and Jarle Bernhoft, while David Wallumrød, Lars Horntveth and Torjus Vierli all excel on keys. Finally, the one and only Rob Moose (Paul Simon, Bon Iver, Sufjan Stevens, Phoebe Bridgers) provides strings on “Till Night Turns to Day” and “Old Man”. The listener is also awarded plenty of what we’ve come to love from Darling West: Mari Kreken’s gorgeous voice and Tor Egil Kreken’s incredibly versatile playing (guitar, bass, banjo, etc.) playing. The sum of these parts makes up a magical record, with songs and melodies that will stay on your mind for the unforeseeable future. While many struggled to keep their heads up during the pandemic, the band did their best to contribute positively, and came out on the other side with a growing, dedicated fanbase, due to their incredibly popular “Family Sessions” on Youtube. A recurring concept where they featured a host of friends and other artists, thus creating a community – or family – which is still going strong. The music on Cosmos searches outward, while the lyrics look inward. The resulting record includes elements of pop, while it pushes the envelope for what Norwegian americana can sound like. Cosmos is also about loving yourself, and there are of course a handful of love songs about shaky relationships – as we’ve come to expect from Darling West. The band continues to develop their unique musicianship and Cosmos is indeed another masterstroke from the band.

Steve Gunn and David Moore's Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration. A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other's work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar-guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth. The exchange began remotely as Gunn and Moore responded to one another's solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. "We were both fans of each other's music and this was a chance to try a different process which was much more open," says Moore. "It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else." Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: "I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things." Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more "detail-oriented" approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination. "We didn't know it was going to be an album," Gunn explains. "There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back_ to arrive at a project after the fact." Calibrating their focus to connect with a spectrum of inner and external emotional realities, the duo found their way into a world where the most subtle of gestures can eternally flow. Let the Moon be a Planet is an ode to experimentation over outcome; it holds a candle light to the corners of introspection and captures the patterns that flicker within. Cast across the compositions of the album is a gritty, filmic grain _ a quality that emerged partially from recording "without the greatest microphones" or their usual studio environments. For both artists, this lo-fi sensitivity felt integral to the record and its production, and they worked closely with engineer Nick Principe to preserve its otherworldly haze in the final mixes. Across the record's eight compositions, the rippling impulses of Gunn and Moore's inner worlds converge in the spirit of two strangers wandering the same path, engaged in a daydream state of natural back and forth. Melodic tableaux arise, drift and disperse across serene open spaces, painted in earthy hues of nylon string and balmy, undulating keys _ side by side, the duo converse in tessellating motifs and gestures of lucid introspection, cultivated by a shared desire for intuitive play. "This project was such a simple idea," says Gunn. "It got down to the very core of where I am or where I was, and where I'm trying to be as a musician. Making this record became a very beneficial ritual for me, almost a meditative process." As Moore recalls, "Our only motivation for making these tracks was that it felt good to make them and there was nothing else behind it_ I don't know that I've ever made a record that came about so naturally." While Let the Moon Be a Planet was envisioned through a deeply collaborative process, it uncovered a path for Gunn and Moore to respectively return home as musicians. Imbued with the forces of interconnection and balance, the record is an exploration of creative synergy while following the currents of inner experience _ of looking outwards to arrive at one's natural self. Steve Gunn and David Moore's Let the Moon Be a Planet will be released March 31, 2023 in LP, CD, and digital editions. The album represents the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl. A portion of the proceeds from this release will benefit St. John's Bread and Life, whose mission is to respect the dignity and rights of all persons by ensuring access to healthy, nutritious food and comprehensive human services resulting in self-sufficiency and stability.

Emotional Response is delighted to present elsewhere LVI. The 4th of soFa's compilation series, this double LP takes us to the darker side of the elsewhere ouvre, via another 12 artist / 12 track travelogue.

With certain future-retro feelings, this is club music for the open minded. An album that roams from dreamy ambient territories to rhythmic patterns - internationalism for the adventurous DJ.

Rusty slow-mo bangers and post-industrial synth-wave kidnap the listener to a dystopic and shady wasteland. Elements of ethnic folk, vintage vocoders and Gamelan samples all united on one homogeneous selection.

With artists now known to welcoming new brethren, this is an audio trip to leave reality behind. Exotic, hypnotic, tactile, trance-inducing meditations, washed down with a spoonful of magick.

yellow marbled vinyl

Kicking off the release in style, ASC serves up a thunderous atmospheric amen break assault with The Arcane. A calming intro with clean breaks and swirling fx, welcome eerie keys before heavy kicks thrust the track into life with crisp weighty amens snatching your attention. The undertone bass complements the break work perfectly, and the atmosphere gradually ratchets up over a subtle backdrop of effects and pads. A true aural statement.

Dreamy synth-work, lush pads and an understated bassline punctuate State Of Mind, before the apache takes centre stage amidst mournful melodies and echoed snares, setting an unforgettably melancholic tone. A subtle but bliss love letter to yesteryear.

An impeccable, ever-building composition up next, as stabbing breaks and synths, introduce Force Majeure. A moody bassline sets the tone before 'whooshing' soundscapes flood the senses. Myriads of elements are frequently added into the mix, as the atmosphere envelopes relentlessly throughout, resulting in a production masterclass.

Closing the EP is the cleverly titled Threeform. A chilled-out treat dialling back the intensity with a luscious calming vibe over freestyle 3/4 time signature jazz breaks. Infused with relaxing brass samples and a laidback approach, ASC provides yet another example of his production skills.

Words by Chris Hayes (Spatial / Red Mist)

After the ambitious A Distant (Dark) Source (2018) and the subsequent artistic triumph of its live recording in 2021, French avant-garde metal outfit HYPNO5E return with their sixth studio album. Once more, these four visionary musicians and cinematographers take us back to the lost shores of the palaeolithic Lake Tauca, where we dive deeper into its dark source to fnd vibrant visions of a memory both distant and hazy as well as warm and evocative. Sheol shows HYPNO5E at the top of their game, revealing the epitome of their idiosyncratic sound while also exploring new and exciting aspects of their artistic identity. Since 2006 HYPNO5E have been taking grand strides in honing their brand of cinematographic metal, with each of their albums developing elements that would become essential building blocks to their sound. Their 2007 debut album Des Deux l'Une Est l'Autre harnessed a raw, chaotic energy, while the following Acid Mist Tomorrow (2012) saw them apply a hazy filter to their ferocious sound. On Shores of the Abstract Line (2015) HYPNO5E already transformed into the true modern metal grandmasters they are today, while the special soundtrack album Alba - Les Ombres Errantes explored a more subdued acoustic side of the band. Sheol sees the band sounding warmer and brighter than anywhere else in their storied discography, and the arrival of new drummer Pierre Rettien and bass player Charles Villanueva adds a fresh touch the classic HYPNO5E sound. The sweeping finales of «Lands of Haze» and «The Dreamer and His Dream» as well as the pastoral qualities of the quiet finger-picked parts on «Bone Dust» and «Lava From The Sky» hearken back to the old prog rock records of the seventies, albeit with an updated sonic palette and modern production parameters. Besides, these eight tracks also see the band carefully exploring new patterns, shapes, and forms within their own musical universe: from the alternating use of ritardando and accelerando on the aforementioned rim-clicks to the increased employment of string sections and vocal harmonies. With the addition of a whole new palette of warmer and brighter tones, HYPNO5E superbly bridge the sounds of the modern progressive metal and retro prog-movements creating an evocative sonic experience. FOR FANS OF Gojira, Opeth, Periphery, Uneven Structure, Steven Wilson Limited (100 copies ww) Single Colour (Gold Vinyl) Edition!

White Vinyl
300 copies, red cardboard folder, foil embossed, incl. 6 prints & 17-minute digital bonus track
arbitrary presents »Delirious Cartographies« by composer, improviser and synthesist Richard Scott. Part of the Danish imprint’s Framework editions, this release includes three pieces on 12” vinyl and 6 printed drawings – as well as a text by Scott – published as a limited edition portfolio folder.

"These compositions capture aspects of my personal sonic experience of specific times and places. Extending beyond my usual work with analogue synthesizer, these pieces open the doors and windows to the outside world, incorporating field and live recordings made in various locations and situations. Rather than intending any clear sense of narrative, these are molecular dialogues between elements and geographies which do not necessarily share organic points of connection, other than my own incomplete experience and memory of them."

The final piece »6 Graphic Etudes« (included as digital prints) is intended as a set of visual / sonic sketches, each of which describes a discrete kind of movement or texture. These may have a variety of uses; as musical exercises, as scores, combined as parts of scores, or simply as stand-alone visual propositions / artworks.

The pieces were composed between 2017 and 2021 at Sound Anatomy, Berlin, Spektrum Berlin, EMS Stockholm, NOVARS, University of Manchester University, Boliqueime, Portugal and the Electronic Music Studios University of Huddersfield.

As well as various microphones, hydrophones and recorders, the instruments used on this recording are mostly analogue and modular synthesisers: Hordijk Modular, Serge Modular, EMS Synthi A, various Eurorack modules, Buchla Thunder midi controller, Oberheim Xpander, Clavia Nord Micro Modular, CataRT and maxMSP, Rob Hordijk Blippoo box. On “Thunder, actually bicycles...” Axel Dörner plays a Holton Firebird trumpet with additional live-sampling via maxMSP and a controller interface developed by Sukandar Kartadinata.

Written & produced by Richard Scott. Drawings by Richard Scott. Graphic design by Mads Emil Nielsen. Mastered & cut by Kassian Troyer at D&M, Berlin.

Thanks to Axel Dörner, Rob Hordijk, Beatriz Ferreyra, Ricardo Climent, David Berezan, Joseph Hyde, Richard Whalley, Pierre Alexandre Tremblay, Tim Scott, Andy Adkins, Electric Spring Festival, Sines & Squares Festival, Basic Electricity and Sound Anatomy.

Orange Vinyl
Kero & Steph’s landmark collaboration Syndrome now sees a sumptuous release on vinyl and evocative music video, spinning data into densely layered visual treats.

Steph’s coolly ethereal voice and poignant writing drift in harmonies atop the sliced-up, glitched, hard-hitting precision of Kero’s productions. The unforgettable directness of her compositional sense is here, as her long resume of scores and placements would suggest. It finds an urban-technological counterpart in Kero’s frenetic sounds. The DU label boss is in full force straight from the chilling post-pop of the opening titular cut. “Walk in the park” is a production masterwork, punchy organic percussion against grinding bass. “Who am I to complain” is at once arresting and vulnerable with vocals, but still packs an emotional gut-punch in the accompanying instrumental. “Count down from 7” is more stripped down and urgent, melodic hooks propelled by lo-fi rhythmic mechanism’s menace.

For the remixes, Oberman Knocks unleashes utter digital destruction - computer memory banks dropped through a wormhole. That thoroughly deconstructs Mtch into composite textures -- and opens “Walk in the Park” to near-unrecognizable, yet somehow danceable mayhem.

The new physical and motion elements find a visual language for these sonic strata of imagination and digital construction. From designer Christoph Grünberger, known for his tome The Age of Data: Embracing Algorithms in Art & Design, we get the packed outer sleeve and 2D design. These enshroud a calm-looking Steph in a Shibuya Crossing-style trip inside Defasten’s geometries, opposite a catalog of branching visualizations and glyphs.

Defasten, known for his live AV work fusing virtual reality and performance, here explodes faceted 3D cubes, in the cover and further in the music video. These pulsing crystalline hyper-geometries delve into data as expressive medium, shifting and vibrating with the glowing tones and crisp percussive hits of Kero and Steph’s composition. It’s a rare music video that matches the music in intricacy and form - a world that can only exist in virtual space, but that feels as immersively dreamy as the sound score.

“Sugar coated fabric … in braided covers” and “silver linings” were never so tempting.

solid white viny

There is big news from the camp at Greyscale Records. Greyscale #9 is here!! A well-respected veteran of the dub techno scene Upwellings (Vincent Raude), is the star of this show for the label's prominent's chapter of releases. Upwellings is not alone thought! #9 features stunning remixes by household names with Bluetrain (Steve O'Sullivan) and Ohm & Octal Industries makes this is one of the must have releases in 2023.

In true Upwellings form, 'Lark Dub' is a brisk and polished track that has a friendly groove that should delight all listener's while Bluetrain turns the remix to a more 4x4 affair naturally injecting it with a house flair. 'Fed on Dub' is a more stark contrast as the alternate featured track. Addictive sequenced sound elements combust like a scientific experiment gone awry. A deep groove that pulses heavy in the sub range. Ohm & Octal Industries up the tempo in their version while still relishing in the signature sound effects. Adding a bit of a melody in spaces brings in a beautiful soundscape and atmosphere to the overall shimmering track. To have all these excellent producers in support on one release is a true treat. Released on super clean white 180 gram vinyl as well as digital. This record will not leave your crate!

Gaïsha is the collaboration between the Belgian-Moroccan singer Aïcha Haskal and some exquisite musicians, bringing you oriental & psychedelic grooves. Aicha Haskal’s voice is smooth and warm, and switches seamlessly between Arabic chants, parlando and even rap. The diverse background of the musicians (Absynthe Minded, Sylvie Kreusch, Va Fan Fahre, Echoes of Zoo, De Beren Gieren) results in a brilliant melting pot of styles, ranging from cabaret to spaghetti westerns and eastern elements.

Their first album will be released on the 24th of March 2023. In November they dropped the single ‘Ana Aïcha’. An ode to the singer’s name, spreading a clear message: gender equality. The melody translates this protest into a great psychedelic oriental trip.

The previous track ‘Ghalat’ got some promising reviews:
•“Who is a fan of the music of Altin Gün, has a nice discovery with this new single from the Ghent based Gaïsha.” - Indie Style
•“The rhythm, synths and groove seem western, but otherwise everything about this track exudes an eastern melancholy. And when Haskal switches to French, you imagine yourself somewhere in a shisha bar in cosmopolitan Paris.” - Damusic
•“Sounds like: an Arab-psychedelic cracker with a pinch of funk and Serge Gainsbourg” - Cutting Edge

JVXTA is a DJ and producer based in London (UK). He also co-founded the label Hardmatter.
Here, Scissor And Thread, the Brooklyn imprint headed by Francis Harris and Anthony Collins share JVXTA’s new EP - Euston Blues. Elements of free improvisation and experimentation pepper the album, while a strong thread of atmospheric cohesion winds its way through the eight tracks - making Euston Blues a truly rewarding and rich listening experience.
"Euston Blues synthesises deep chords, classic house rhythms and jazz laden influences to chronicle an intimate journey of physical and psychological isolation." says Charles Field, the man behind the JVXTA project. "Scope is relative and this transposition is explored from the seclusion of a single room to the expanses of the Beyond". Euston Blues is available as a four-track vinyl EP and full digital album from March, 24th on Scissor And Thread.

Elias Devoldere is the drummer in bands such as Nordmann, Hypochristmutreefuzz, Suwi, Robbing Millions, and John Ghost. Following an ep, Kaiku, released last summer, Bloomed > Exploded is his debut full length as a solo artist. Besides writing and singing, he composed, played, recorded, and produced the bulk of the ten songs himself. 'Everything blooms', he explains the title of his first album. 'Until it explodes, and something else is able to grow from it'. In this case, what came full cycle is an intimate coming-of-age album of intangible atmospherics, crisp melodies, and understated rhythmical patterns.

BLOOMED >

'As a kid, I just wanted to play football, you know?', says Elias. 'But when I was eight years old, my parents made me choose between drawing school and music school'. And thus began a dedication to rhythm for Elias. At 18, he enrolled at the Royal Academy of Fine Arts in his hometown of Ghent, opting for a jazz education. 'Not because I aspired to become a master 'jazz drummer', but to learn music, to become a good musician'. It was at the academy that, after an impromptu jam session, Nordmann first came together. The exhilarating instrumental quartet went on to win second place at the prestigious Humo's Rock Rally in 2014, and released three albums to critical acclaim, with a new one in the works.

Devoldere, in the meantime, had completed his degree with a craving - ironically - for music. 'I was in over my head with jazz for such a long time, and went on an epic discovering spree. Moses Sumney, James Blake, Kendrick Lamar, Connan Mockasin... Lots of stuff I had missed over the years. In a way, I reconnected with the kind of music I was into before jazz dominated my life. Pink Floyd was my first love, for instance, and later Radiohead proved to be a game changer. Diving back into those kind of sounds, I was feeling the urge to follow my old dreams, of being a solo artist - or something more than 'just' a drummer, anyway. So I bought a guitar, an interface for my laptop, and started writing'.

EXPLODED

When he released his 5 track ep Kaiku in the summer of 2021, it summarised a lot of firsts for Elias. First time writing lyrics, first time as a lead vocalist, first time recording his own songs all by himself. The songs had been around for a while, but taking those leaps took a long time. 'Making the ep helped me to find my voice, in every way possible'. Still, in the aftermath of the pandemic, the songs on Bloomed > Exploded sprouted in a time of upheaval. 'Musically the album is quite serene, gentle even. But the themes speak of internal unrest and uncertainty. There are a lot of questions on the album, as it turned out. Duality, as the title suggests, coming from the struggle between a wish to turn everything upside down and a search for peace. Honestly: the prospect of my 30th birthday was messing with my head too'.

Recording during a period of solitude in France, Elias initially relied heavily on synthesizers and drum machines. 'Explode / Boalis was one of the first songs I wrote for this album, and pivotal for its atmosphere, based mostly on electronic elements. Later, I did use 'real' drums on most of the other songs, though, and contributions from other musicians, but the overall mood is very cohesive'. 'Pure', that's how Bruno Ellingham, the UK engineer who mixed the album, described it. Much to the delight of Elias, who reached out to Ellingham because of his previous work with bands such as Massive Attack and Portishead. 'Hearing the end result, I thought he really captured the essence of the original demo's. For me, that adds to this album being a sincere reflection of my true self. 'Take a dive/ Into the place where it's more quiet', as I sing in the last song, that kind of sums it up for me'.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- 30TH ANNIVERSARY OF THE LEGENDARY ALBUM
- REMASTERED AUDIO

Fishbone was one of the most distinctive and eclectic alternative rock bands of the late '80s. With their hyperactive, self-conscious diversity, goofy sense of humor, and sharp social commentary, the group gained a sizable cult following during the late '80s.

Truth and Soul is their second album, originally released in 1988. The album features a wide array of genres including punk, ska, reggae, soul, funk, elements of hard rock and blues. Truth and Soul contains a cover version of Curtis Mayfield's Freddie's Dead', originally from the soundtrack of the film Super Fly and it is the first single of the album.

Three other tracks were released as singles Ma and Pa', with a video directed by Mike Lipscombe, Change' and One Day'.

The album was awarded four-out-of-five stars in 2004's The New Rolling Stone Album Guide. Music critic Tom Moon called the album one of his 1000 Recordings to Hear Before You Die' and Robert Dimery listed it as one of his 1001 Albums You Must Hear Before You Die'.

This year we are celebrating the 30th birthday of Truth and Soul. The album is finally available again on vinyl and includes the original insert with lyrics and liner notes.

Inspired by three movies of avantgarde cinematographer Maya Deren (At Land, Ritual in Transfigured Time and A study in Choreography for Camera), Francesca Bono (vocalist, performer, founder of Ofeliadorme and member of the Donnacirco collective) and Vittoria Burattini (percussionist, multi-faceted drummer and member of influential Italian avant-rock band Massimo Volume) created a dense hypnotic transfixing collection of songs based upon the sole use of the Juno 60 synthesizer and the organic linear pulsating sound of a drum kit.

These apparent limitations set the scene for an incredibly rich and rewarding voyage that immediately establishes a strong identity that oscillates between circular dream soundscapes and psychedelic rhythmic architectures. Bono / Burattini excels in threading magical images where objects transform without warning (Your House Is A Ghost) and collapse into kosmische grooves (La Trama Del Desiderio) or when humming electronics mold into temporal dimensions (Sogno Nel Vigneto). Burattini’s astonishing use of the drum kit and her mallet driven timbre produce space and tension (Dinner Illusion) perfectly complementing Bono’s synthesized realm made of nuance and reflection (Dancing Demons). One of the album’s key elements is the sparse use of Bono’s singing, an intricate mix of measured phrasing, breathing, spiral structures and extrasensorial-like choirs that seem to reference the rich Italian tradition of cosmic jazz, library music and the unmatched work of the RAI engineers in the 70s working with Gruppo Di Improvvisazione Nuova Consonanza, Morricone, Daniela Casa. The driving Can-like pulse of Le Ossa shows force and flow while Stella’s haunting piano recreates a futuristic horror-movie OST.

Suono In Un Tempo Trasfigurato is beautifully recorded and mixed by Italian composer Stefano Pilia, a perfect match for Bono / Burattini’s sonic explorations and for a record that intersects experimental wave, alien grooves, contemporary electronics and futuristic sci-fi. Their blend of analog electronics and organic pulses place them in a time out of joint where dancing remains the one constant ritual.

“These things happen,” says K. Leimer of LUYU. Listen Until You Understand is a test drive through an obstacle course designed for new instruments, arrangements, juxtapositions, and real-time experiments dedicated to leaving the original impulses untouched and unadorned. Joined at times by digital percussionist Dolphie Stein, the music throws itself against itself without loyalty to genre or form, mashing granular particles into a tremulous spectrum of soundwalls, transitions, noise, distortions, and the occasional clearing. As close to live improvisation as one can get in a multitrack studio setting, LUYU takes generative techniques and drops them into short-form events by building its soundstage in thickets of shifting elements, collapsing phrases, broken signatures, and implied patterns. An outlier in Leimer’s catalog of general stillness and subtle detail, LUYU revels in the bare sound of things usually hidden in the mix.

Kerry Leimer founded Palace Of Lights in 1979. Leimer’s work has also been issued by Abstrakce, Autumn, First Terrace, Les Giants, Invisible Inc., Origin Peoples and RVNG. His work is included in the Cherry Red Noise Floor compilation series and his early cassette work is featured in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s—his current catalog includes twenty solo albums plus collaborative albums with Savant, Marc Barreca, and Three Point Circle. Recent soundtracks include work for video artists Cristiane Bouger and Fred Birchman, HBO’s How To With John Wilson and the Netflix documentary John Was Trying to Contact Aliens. His work is included in the collection of The British Library.

12” Reissue of the Hard House legendary classic from 1998 with a new remix from Fergie on the B side. Tony De Vit & Fergie met in the early 90s when Fergie was DJing at age 14. Tony then went on to become Fergie's mentor and they both rose to fame in the 90s by bringing hardcore/hard house and techno into the mainstream. For 2023, the mentorship comes full circle, with Fergie taking on remixing Tony De Vit's beloved track 'The Dawn', giving it fresh modern Techno vibes. TDV unfortunately passed away in 1998, so this remix is a real special heartfelt project that Fergie has created. The Dawn is easily Tony’s most iconic track in not only Hard House but electronic music. Originally was released in 1998 and featured on disc two of the Trade EP. Elements of trance, house and techno can all be found in this historic track that brings the listener on a mesmerising journey.

Last year, Tony become the first DJ in history to receive the illustrious honour of a Blue Plaque Memorial. It’s located on the site of the Custard Factory recording studios where Tony produced and remixed more than 100 tunes between 1994 and 1998 — including 11 UK singles chart hits under his own name. It was an official recognition of the cultural and social impact of '90s clubbing as spearheaded and symbolised by DJs such as Tony de Vit, who did much to break down barriers in society.

Cansu Ak, Tolga Horasanli and Mehmet Koray Erol came together in 2019 to produce their own music with creating the band "oldu o zaman". Since they gathered as a band, 2 songs written, composed and arranged by them have been released by Avrupa Müzik. After that, the band decided to make their mutual dream which is covering and arranging Turkish traditional well-known folk songs with psychedelic and electronic elements to create a unique sound with their own touch. There was a psychedelic music trend in 70"s used in traditional Anatolian folk songs. Oldu o Zaman rearranged famous tavern song "Sigarasi Yaldizli" and a well known Turkish gipsy song "Mastika" by using this trend in electronic form.

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

Lonely Planets Rec re-welcomes stargazer Jack Roland for its 8th release. The Amsterdam-based producer blasts off with an irresistible fabric of futuristic Midwestern electronics. Each cut is programmed in a disc- scratched techno dreamscape, smearing elements of braindance and electro into a shoegazy gauze. Warping us through a totally fabricated time bending vision, destining us into a final recollection of irony and elegance. It felt like a kiss.

The new album of Swiss artist Martina Lussi joins what no longer is conjoined. Conceived and realized over a period marked by major changes in both the private sphere and the world at large, Balance brings together the before and after. The album is held together by a common feature: Lussi’s voice, with which every composition began. Her singing, modified by effects, is supplemented by other sounds, which are light at times, bittersweet at others, and sometimes replace her voice altogether, like on the album’s fulcrum “Fragments of Attention.” On the first half of Balance, Lussi’s singing plunges “Meditation on the Multitab” into a cosmic soundscape; occasionally a rhythm irrupts into it. On “Time Laps,” a track from the album’s second half, the artist’s singsong articulates rhythmical elements and propels them towards a reluctant euphoria.
Balance appears open and fragile, at times even vulnerable, but Lussi’s relentless openness derives from the immense strength needed to weather changes both small and large.