Suche:dr robert

On the first day of Spring 2025, LNFG are proud to plant, into your musical
consciousness, The Instant Garden by Dr Robert (The Blow Monkeys) & Matt
Deighton (Mother Earth)The Instant Garden is a sonic assortment of open
tuned acoustics and ferocious electrics with psychedelic melodies and bells
and bass
Imagine Fred Neil & Marc Bolan bonding over Five Leaves Left and you might conjure
something close to the intimate beauty of this record.
On the first day of Spring 2025, LNFG are proud to plant, into your musical
consciousness, The Instant Garden by Dr Robert (The Blow Monkeys) & Matt Deighton
(Mother Earth) - The Instant Garden is a sonic assortment of open tuned acoustics
and ferocious electrics with psychedelic melodies and bells and bass - Imagine Fred
Neil & Marc Bolan bonding over Five Leaves Left and you might conjure something
close to the intimate beauty of this record.

On the first day of Spring 2025, LNFG are proud to plant, into your musical
consciousness, The Instant Garden by Dr Robert (The Blow Monkeys) & Matt
Deighton (Mother Earth)The Instant Garden is a sonic assortment of open
tuned acoustics and ferocious electrics with psychedelic melodies and bells
and bass
Imagine Fred Neil & Marc Bolan bonding over Five Leaves Left and you might conjure
something close to the intimate beauty of this record.
On the first day of Spring 2025, LNFG are proud to plant, into your musical
consciousness, The Instant Garden by Dr Robert (The Blow Monkeys) & Matt Deighton
(Mother Earth) - The Instant Garden is a sonic assortment of open tuned acoustics
and ferocious electrics with psychedelic melodies and bells and bass - Imagine Fred
Neil & Marc Bolan bonding over Five Leaves Left and you might conjure something
close to the intimate beauty of this record.

For RE:WARM 006 we present a collection of music from one of San Francisco’s best kept secrets, Dr Robert Blackman. “The Unimaginable DreamWorks” is a collection of five tracks from three musical masterpieces he put out between 1983-1985 on his own ‘Riverwinds’ imprint. A practising chiropractor by day with his own holistic health centre in San Francisco, these songs became his love, passion and focus. Together with Michael Pluznick, a very accomplished percussionist they painstakingly put together an ensemble of musicians to bring the tracks to life. The melting pot for this body of work was Hyde Street Studios which still today is based in deepest San Francisco and has seen names such as Neil Young, Earth Wind & Fire and John Waters to name a few grace its studio space. Singers and musicians alike came together from all over the world to bring Robert’s vision to reality. This included an Australian didgeridoo player, an electric violin and piano player from Paraguay as well as singers and a choir from the surrounding local churches. Together through Dr Robert Blackman’s eyes they created a fabulous sound of twisted disco punk funk like no other that still sounds relevant today as it did back in the eighties. The energy and the stories are clear to hear throughout the five tracks which make up “The Unimaginable DreamWorks” of Dr. Robert Blackman 1983-1985. Artwork was key to the releases and the “Peace Is Alive” painting incorporated on the label of the release appeared in TIME magazine in 1984 when Dr Robert Blackman was treating combat vets, suffering from PTSD and this was the name of the job fair for veterans he set up. To promote the album at the time Dr Robert Blackman flew up over San Francisco in a single engine prop airplane loaded with 50,000 leaflets

- All Songs are New and Exclusive Recordings to this LP and the Movie. The inside of the album features Rare Photos of the Record Session.

Collector first-ever and worldwide release of the original soundtrack of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, (2019) about the legend Robert Mitchum, directed by the famous photographer Bruce Weber (Let's Get Lost about Chet Baker). Soundtrack directed by Bruce Weber, on a 33 rpm with gatefold, mastered by Translab Mastering. Limited to 600 copies.

Vital Sales points

The exclusive release of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, about the film legend Robert Mitchum, immortalized by the eye of phographer Bruce Weber.

Directed by Bruce Weber himself, the soundtrack includes melancholic and jazzy unissued tracks performed by Robert Mitchum, along with the performances of Marianne Faithfull, Rickie Lee Jones and Dr. John.

Score entirely mastered by Translab Mastering.

Sleeves designed by Nathan Kilcer. Printed inner sleeves with stills from Bruce Weber.

Limited edition, 600 copies.

Album features Ernie K Doe’s ‘Here Come The Girls’, The Meters, Eddie Bo, Professor Longhair, Lee Dorsey, Wild Magnolias and more.

This is the definitive collection of New Orleans Funk featuring acknowledged masters next to some of the earlier artists who shaped the meaning of funk. The album is also filled with many rare, sought after and undiscovered funk tracks. It covers the period from the emergence of New Orleans Funk in the early 1960's through to the mid-seventies.

The record is an essential part of anyone in any way interested in Funk's record collection. It has some vital ingredients in it that you can't find elsewhere. With the sound of the New Orleans Funeral March Bands, Mardi Gras Indian Tribes and Saturday Night Fish Fries all as inspiration New Orleans Funk developed into a unique sound.

New Orleans is a port town. Originally owned by the French, this was where many slaves were brought from the West Indies. Many of these slaves came from Haiti and brought with them the religion of Voodoo and its drums and music. It became one of the first parts of America to develop a strong African-American culture leading to the invention of Jazz in the early 1900's.

A main feature of Jazz in New Orleans were the Jazz Funeral Marching bands. Solemn Brass bands accompanying a coffin would, on burial, be joined by a second line of drummers and dancers which would turn the event into a celebration of the spirit cutting free from earth. This African tradition is strong in New Orleans and still goes on to this day. The backline drums play a syncopated style that is neither on the beat nor the off-beat. It is these rhythms that are the basis of New Orleans Funk.

The album comes with a booklet presenting a historical explanation to how and why this music came about, and with lots of information about the people involved.


Reviews: "A Perfect Primer For Funk Fans" Q (Top 5 albums of the year). "Probably the finest compilation that Soul Jazz has released. Essential" Time Out.

Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.

Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides with the publication of ‘A Cross-Worlds Angel,’ a 300-page book of O’Grady’s work by Phillip Zimmerman. The record includes an insert featuring liner notes, lyrics, and photographs. Celebrate Camille O’Grady, the artist Jack Fritscher described as an “earth mother, a leather lioness of the arts.”

Nu Vision is the latest project of Duke Cooper, band leader and label boss of Nation, Kode and DirtyBlends. There are three humans who make up Nu Vision, and they all have their own stories and discographies, records released on labels you might know, gigs played in Chicago or Berlin or someone’s loft, lives lived, friends made, sleep lost - fighting for theirart, standing by truths, defending voices, honoring progenitors, whilst pushing a new paradigm. Time is both fleeting and heavy for us all, but it is not without receipts.

Nu Vision is a band in the classic do-you-believe-in-alchemy sense - equal parts rhythm, damage, and deep feeling. Drenched in nostalgia and futurism, The Seed is a singularity of sound + vision; as if heavily rotated by VJ Dave Kendall on MTV’s 120 Minutes but materialized via today’s technology.

The Seed 10 inch provides additional music inspired significant icons Section 25, Liaisons Dangeruses and Adrian Sherwood having paved the way with their prior successes..- this package of The Seed is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A NU VISION.

The Seed 10 inch provides additional music inspired significant icon band: Section 25 from the period of 1981-1984 with a more electronic-dance direction, process which culminated in the album ' From the Hip ' and remix single "Looking From A Hilltop", both released in 1984 as "Insecure Man is about being true to manhood with Robert Lane leading the charge with his vocabulary message of the current state of society.

Insecure Dub focuses on the period of 1981-1984 with an alternative electronic-dance direction process as an inspired blueprint from Nu Vision inspired from Adrian Sherwood having paved the way with his individual success.

Inspired from electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics Liaisons Dangereuses created a unique style anything other than a Berlin or Düsseldorf ‘thing’ – that was propelled to an international underground phenomenon of fame.

Nu VIsion was inspired to create a blueprint from the period of their productions of 1981-1982 with an electronic-dance direction paying homage with passionate craftsmanship utilizing what equipment was possible in the studio at the time of this recording featuring new members; Zoe Murphy & Fletch The Stranger on vocals and James Chazz on Saxaphone with a Ring Modulator.

Phill Niblock completed BLK+LND in late November 2023. It is one of Phill Niblock's final compositions and was commissioned by bassist Robert Black (who passed away in the summer of 2023). The piece is based on recordings of acoustic bass and bass clarinet performed by Neil Leonard and Robert Black under Niblock's direction in 2021.

Phill Niblock (1933-2024) as an artist whose fifty-year career spanned minimalist and experimental music, film and photography. He has been a maverick presence on the fringes of the avant-garde. In the history books he is the forgotten Minimalist. Since 1985, he served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, his signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. He said: 'What I am doing with my music is to produce something without rhythm or melody, by using many microtones that cause movements very, very slowly.' In 2013, his diverse artistic career was the subject of a retrospective realized in partnership between Circuit (Centre d'art contemporain Lausanne) and Musée de l'Elysée (Paris). The following year he was honored with the prestigious Foundation for Contemporary Arts John Cage Award. Since 1968 he also put on over 1000 concerts in his loft space in New York.

"On January 6, 2024, two days before his passing, Phill called me to discuss the premiere and tour of BLK+LND. To distract him from his rapid decline, I engaged in his touring plan, only for him to reveal that all the details were still in his head and none of the events had been confirmed. He was entrusting the project to me. Phill would have been thrilled and honored by this concert at the Donaueschinger Musiktage. The thought of one more performance with Robert Black, whom he greatly admired, presenting his new work for low-pitched instruments that he was particularly fond of, andreconnecting with old and new friends in Donaueschingen would have meant the world to him." - Neil Leonard, Berklee College of Music, Boston

Lone Ark and The 18th Parallel join forces again! Five years after the critically acclaimed debut ‘Showcase Vol. 1’ (2021), the two spearheads of the European roots reggae scene return with the second volume of this showcase series. Recorded on 2” tape between Geneva, Switzerland and Cueto, Spain, this new project is another masterpiece of production. It dives deep into the roots sound and playing of the 70s and 80s Jamaican reggae with heavyweight drums and bass, razor-sharp rhythm section, and sophisticated horns, flute, synth and vocals arrangements. Roberto Sánchez, the voice behind Lone Ark, sings about themes more relevant than ever such as activism through music (Ammunition), the absurdity of ongoing wars in the world justified by religious beliefs (Man Kill Man), anti-capitalism (Money) and the appreciation of life’s blessings (Morning Blessing). The six songs of this ‘Showcase Vol. 2’ are followed by their dub counterparts expertly mixed by Roberto Sánchez himself. In the age of AI, this album takes the opposite direction. It is all about the human touch and the analogue warmth. No trick here, this is 100% real organic roots music!

ATA00BS will be released in a Number Stamped Edition, with Full Cover Art made by Pepe and will be Sealed / Shrinkwrapped.

'Keep it simple' 103636;"Reissue- Tracklist A1. Unknown A2. Pain Is Full B1. Damaged Memory B2. Damaged Memory ( Iori Remix ) Shortinfo: Roberto Bosco has selected Kiny's music to better prepare his first 12, consisting of four tracks, named 'Damaged Memory'.The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visonary component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this helps to shape a bad presage that fades away into the mystery. On the same side we find Pain Is Full (A2) that, according to the producer, was born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival. The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks. The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori, Damaged Memory (B2), on the same side.

Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.

After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.

"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.

Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.

Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.

From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.

During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.

Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis

Ralf Hildenbeutel is an award-winning producer and film composer. His style is shaped by his eclectic background as of his classical education in piano and composition and his obsession for electronic music since the late '80s.

In the 1990s he collaborated with Sven Väth on Väth's major albums, released a countless number of club classics and founded his electronic live-project Earth Nation. He has been touring across Europe and playing at the Montreux Jazz Festival, London's Brixton Academy, Tribal Gathering Universe and others.

In that time he also produced various remixes for artists such as Anne Clark, Robert Palmer, Enigma and Yello and was awarded with the "Viva Comet" as Best Producer from Germany's music TV channel VIVA. His film music for the movie "Hommage á Noir" received the golden medal at the New York Festivals in 1996.

At the end of the '90s and first years of the 2000s it was the time for new directions and Hildenbeutel started focusing on artist-related productions and songwriting. He founded the production company Schallbau with Stevie B-Zet and A.C. Boutsen. They produced and co-wrote for artists such as Laith Al-Deen, Andreas Bourani, Yvonne Catterfeld, and Simon Collins (son of Phil Collins). That time they archived several top-ten entries and gold or platinum records.

In 2010 Hildenbeutel moved away from pop productions and focused on film music. He worked on feature movies such as "Vincent will meer" ("Deutscher Filmpreis", 2012 – German Film Academy Award) and international productions such as the Italian mini-series "Maltese".

His film music for the short movie "Momentum" (by Boris Seewald) received various awards such as "Cinedans" and a nomination for best music at the Newport International Filmfestival in the UK in 2014. In 2017 he won the "Goldene Reiter" at the esteemed Filmfest Dresden for his score for the movie "Eine Villa mit Pinien".

Hildenbeutel currently works on several international and German productions. He also collaborated with Chris Liebing on Liebing's latest solo album "Burn Slow", which has been released worldwide on Mute Records.

Following July's remastered reissue of Robert Hood's "Invincible", M-Plant's Perpetual Masters series continues with "The Metronome" set for a vinyl release in September, coming after the digital versions which dropped in the summer.

Robert Hood's "The Metronome" distils techno to its barest, most hypnotic pulse. Over the two tracks, Hood strips rhythm down to ticking hi-hats, lean kicks and looping motifs that feel mechanical yet human. The grooves are relentless but never cold, building tension through subtle shifts instead of excess. Originally released in 2002, it remains a masterclass in minimalism: precise, cerebral and intensely physical that still sounds futuristic more than two decades on.

Like other releases in the Perpetual Masters series "The Metronome" has been remastered by legendary German producer, Thomas Heckmann.

From the co-writer of the iconic Hardcore Uproar, Suddi Raval arrives on Hello World Records with his debut EP — a five-track electronic journey that moves effortlessly between disco, electro, experimental electronics and analogue-fuelled psychedelia.

At the heart of the release is “Laser Beams and Mirror Balls”, the EP's titular track, reimagined by superstar DJ and producer Justin Robertson, who takes the neon-charged original and pushes it into new disco dimensions with his unmistakable production touch.

The journey begins with Robertson's remix before moving into the original French-vocalled version of “Laser Beams and Mirror Balls” — a hypnotic, pulsating slice of electronic disco that sets the tone for what follows.
On the flip side, “Oni Strangler” takes a darker, more hypnotic and exotic turn, drawing the listener deeper into Raval's richly textured electronic world. “Robot Computer” follows with a growling bass machine of electronic stabs, warped drones and relentless low-end energy.

Closing the EP is “Zub Sierra”, a spaced-out voyage through a dubbed-out otherworld before descending into deep, resonating electro synths — the kind of beautifully unpredictable analogue textures that only an analogue Odyssey can deliver.

Across all five tracks, Raval combines electro-flavoured rhythms with a kaleidoscope of electronic textures, forging pulsing basslines, hypnotic melodies and richly layered soundscapes. It's an EP that feels both rooted in the electronic music traditions that have influenced him and entirely of its own time.
Five tracks. One electronic journey. From laser beams and mirror balls to analogue odysseys and robot computers.

Welcome to the new electro world of Suddi Raval.

“Sacred Aeolian music capturing and harnessing the divine power of the wind”

Aeolian Harp is somewhere between a string instrument and a receiver. Its strings are agitated by the wind without any human interference, producing tones entirely of its own volition. Archer toured the British Isles setting up his harp in various sacred and loosely mystical locations. Where he let the Devaharp transmit an otherwise unknown sacred music that has ALWAYS existed around us.

Listening to the natural swells of the strings and their unusual tonalities, the billowing wind and bird song overhead, it feels divinely calm and comforting. Something like tapping into the natural resonance of Mother Gaia or being back inside the womb.

DELUXE 2LP REISSUE
Housed in it’s original gatefold sleeve with original inserts, 2 new special colour inner sleeves, a new 2026 insert and a BONUS UNRELEASED album recorded in 1983 on Robert’s previously UNHEARD pyramid-shaped Aeolian harp the DEVAHARP 2.

Over the last two decades, Ste Roberts has quietly established himself as one of the UK's more distinctive underground electronic producers. Drawing equally from house, techno, electro, IDM and experimental electronic music, his productions blur the line between dancefloor functionality and sonic exploration. His debut release for Cyphon Recordings continues that trajectory. Four transmissions exploring machine rhythms, synthetic environments, and fractured dancefloor architecture, where melody emerges through corrosion and groove survives mutation.

- 180 GRAM AUDIOPHILE VINYL
- 4 PAGE INSERT WITH RAP LYRICS
- FEATURING THE CLASSIC HIP HOP TRACKS TRUE
FUSCHNICK', RING THE ALARM' AND LA
SCHMOOVE'

Even before they made it to the record bins, three-man New York crew Fu-Schnickens created quite a buzz in the hip-hop community with the oddity of their group name. Once they dropped their debut album, F.U. Don't Take It Personal, their music turned out to be every bit as curious and intriguing.

F.U. Don't Take It Personal is the debut studio album from American hip hop group Fu-Schnickens, released February 25, 1992. Recording sessions for the album took place at Battery Studios in New York, New York.

The album peaked at number sixty-four on the Billboard 200 chart. By late 1992, it was certified gold by the RIAA, for shipping 500,000 copies in the United States. The album spawned three popular singles, including Ring The Alarm', True Fuschnick' and La Schmoove'.

In The Village Voice, Robert Christgau praised
Fu-Schnickens' ideas and illusory rhymes, calling the group 'rappers whose visions of fun, agape, and aural conquest remain open-ended, playful, and, face it, silly'.

We release our second record, COPPIES002. Another hand stamped white label EP, collecting tunes from thecommunity, for the community. This time with tracks by Kerr Wilson, Salomo, illousion and APRS. Kerr starts on A1 with his "The Key To My Heart". He showed the first version of the track to Robert around 4 years ago in a memorable summer spent together. We made the promise that this will be pressed on record one day and, here it is! Thanks Kerr! It's a melancholic late-summer tune that makes you tear up and feel like the warm euphoria won't last forever, but it will surely return if you're patient. Salomo follows with a similar moody approach on "Say less (on the DF)", even though we can argue about the meaning of the title ;). illousion builds more tension on the flipside with "Masc or Mask". Entering dubby, rolling terrains with more high intensity drum patterns for later moments of the night. APRS is closing the EP with "I Want to Speak" on B2, maybe the counter argument to Salomos desire of a less noisy dancefloor. He crafted a minimal, loopy trip that drags you down the rabbit hole and won't iet you go til the party is over. COPPIES002 is available on vinyl only with digi download option

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

Hallelujah Trial is Tom Roberts (Cranebuilders, Beatowls) and John Canning Yates (Ella Guru): two Liverpool songwriters who knew each other for twenty years before they ever played a note together. Roberts brought a folder of songs to Yates' front room. Yates answered with piano. A weekly ritual of tea and talk became a repertoire, the repertoire became a debut performance at the final La Violette Società, and a few weeks later the songs became an album, recorded in May 2026 in the Gustav Adolf Church, the Scandinavian seamen's church on the edge of Liverpool's Baltic Triangle.

The sound is spacious, stripped back and gloriously melodic: voice, guitar and piano, songs in a room, storytelling that recalls Bill Callahan, Lee Hazlewood and the late Johnny Cash records. Yates' Ella Guru drew a Peel session and 'the best debut album since Marquee Moon' from the Independent on Sunday. Roberts' Cranebuilders recorded two Peel sessions of their own. The pedigree is genuine. The songs are better.

Recorded, mixed and produced by John Canning Yates. Mastered by Jason Mitchell (PJ Harvey, Aldous Harding). Sleeve by Pascal Blua, after a rose from William Turner's herbal of 1568. The closing 'Reprise' carries a hallelujah chorus of friends and family, recorded live in the ch

Celebrating Rekids’ 300th release and 20th anniversary, Detroit legend Robert Hood and Rekids boss Matt Edwards aka Radio Slave collaborate for the first time on the double-A side ‘Radio Hood’.

First appearing on Rekids with iconic remixes of Radio Slave’s ‘Don’t Stop No Sleep’ in 2015, followed by Floorplan remixes of ‘Feel The Same’ in 2017, Hood went on to drop two EPs and the critically acclaimed ‘Mirror Man’ LP between 2020 and 2021. Now, a long-gestated collaboration between the two producers arrives as ‘Radio Hood’ complete with an alternative ‘Version’ mix.

While Radio Slave and Robert Hood are best known for a minimalist approach, ‘Radio Hood’ and ‘Radio Hood’ (Version) flip the script with rich, maximalist textures and sweeping synths. The lead track is spacious, with unmistakable and persistent stabs pulsing from start to finish, whilst Version is an indulgent, nine-minute-fifty-two stunner with sweeping, emotive strings, a subtly growling Reece bassline and serious emotional impact.

Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat

Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat

Die Welt war nie bereit für The Monsters, und The Monsters waren nie bereit für diese Welt. Nach vierzig Jahren, in denen sie zu einem echten Monster aus Fleisch und Blut herangereift sind, präsentieren sie ihr neuntes Album: gut ein Dutzend kompromissloser, wilder, lärmiger und fuzz-geladener Tracks. Ein Mix aus Ein-Riff-Beat, Trash, Garage, "Bern Metal", Boogie, Punk und Grunge - Songs, die einen von innen nach außen stülpen, aufgenommen mit "Miracle" Robert "Worker" Butler und abgemischt von Jim "Dirtbomb" Diamond - ein echtes Garage-Punk-Dreamteam. Vor vierzig Jahren, 1986, war die Jugendkultur-Revolution in Bern (Schweiz) in vollem Gange, Jugendliche und junge Erwachsene wollten sich aus den konservativen Fesseln befreien. Die Straßen brannten, Clubs entstanden und eine neue Schweizer Musikkultur wurde geboren. Dies markierte auch den Beginn von The Monsters. Vierzig Jahre später hat sich der Zustand der Musikkultur - oder vielmehr der Welt im Allgemeinen - wohl eher verschlechtert. Individuelles Denken und Schaffen sind nach wie vor nicht sonderlich anerkannt oder gar erwünscht (Hey KI!). Im März 2026 blieb der Band also nichts anderes übrig, als ihre Instrumente, das Aufnahme-Equipment und ihre Ideen in den Proberaum zu verfrachten. Sie verbrachten einen Monat mit Robert Butler (u. a. The Miracle Workers) und seinem mobilen "Two Cent Recording Studio". Sie schrieben Texte (insgesamt etwa 100 Wörter - mal sinnvoll, mal unsinnig, über das ganze Album verstreut), tüftelten am Sound und nahmen Gitarren in allen erdenklichen Variationen auf. Das Ganze wurde gewürzt mit Percussion, Schlagzeug, Bass sowie obskuren Orgeln und Synthesizern, die sie auf Flohmärkten oder in den Kellern von Freunden aufgetrieben hatten. Nach diesem vierwöchigen Trip schickten sie das gesamte Chaos an Jim Diamond (Ghetto Recorders Studios in Detroit, Dirtbombs, White Stripes, Gories, André Williams... klar, worum es geht, ne?!), um es einem umwerfenden Mix-Abenteuer zu unterziehen. Das Ergebnis ist ein Dutzend Songs ohne Kompromisse, Schwächen oder Stärken. Einfach nur roher, ungeschliffener Lo-Fi-Garage-Punk'n'Roll voller Energie - und das mit vierzig Jahren "Nicht-Erfahrung". Erhältlich sind schwarzes Vinyl und eine pinke Picture-Disc (beide mit Insert & DLC), eine höchst audiophile CD sowie Kassette, die bei doppelter Geschwindigkeit leiert! Für Fans von Reverend Beat-Man, VRR, The Mummies, Oblivians, Billy Childish, Damaged Goods, Monks, very early Hives, Garagepunk, Lo-Fi-Roll, Alternative Beat

British electronic music pioneer Dave Angel returns to R&S Records with “A Time And Place”, his first full-length album release for the seminal Belgian label. Arriving thirty-five years after Dave first joined the R&S family, the album reunites one of UK techno's defining voices with the imprint that helped launch his career, renewing one of electronic music's most enduring creative partnerships.



That relationship began in 1991, when R&S founder Renaat Vandepapeliere discovered Angel's ‘Rolling Thunder’ project and invited the young London producer to Belgium. Personally welcoming him into the R&S family alongside a new generation of forward-thinking electronic artists, Vandepapeliere released the landmark “1st Voyage” EP, helping establish Dave Angel as one of British techno's most distinctive new voices. A succession of acclaimed releases followed, including “Stairway To Heaven”, “3rd Voyage”, appearances on the influential “In Order To Dance’” compilation series, and releases on sister imprint Apollo, charting an artistic partnership that helped shape both Angel's career and the wider evolution of UK techno.



Three and a half decades later, “A Time And Place” feels less like a return than the continuation of a conversation left unfinished. Rather than revisiting former achievements, the album reflects the perspective of an artist whose creative journey has continued to evolve. Reconnecting with the label that first championed his work, Angel delivers his most personal and musically expansive statement to date.



Across fifteen compositions, “A Time And Place” reaches beyond the conventions of techno to reveal the full breadth of Angel's musical identity. Drawing on jazz, soul, improvisation and richly textured electronic production, the album balances rhythmic precision with warmth, melody and emotional depth. Reflections on family, heritage, nature and the communities that have shaped his life sit alongside broader observations of the world around him, creating a body of work that feels both intimate and expansive.



That openness is reflected in a carefully chosen cast of collaborators. Celebrated trumpeter Steve Waterman features on both “Réflexion” and “The Yellow Butterfly”, bringing a lyrical, Miles Davis-inspired voice to the album after first catching Angel's attention through his work on Paul Hazel's “Out Of This World”. Elsewhere, legendary Chicago vocalist Robert Owens appears on “Harmony Serenade”, while guitarist Merv Carswell and vocalist Aurii Sky (Dave’s daughter, adding a poignant family connection) add further colour and texture to a record rooted in musicianship and shared expression.



While Dave Angel's influence on British electronic music has long been established, “A Time And Place” reveals another dimension of an artist whose foundations were laid long before techno. Raised in a household immersed in live music and jazz culture, Angel has spent a lifetime absorbing sounds beyond the club, allowing those influences to surface naturally throughout a career defined by curiosity rather than convention.



For R&S Records, the album renews a relationship that stretches back to the label's formative years. For Dave Angel, it reflects both the path travelled and the road ahead. Thirty-five years after “1st Voyage” first announced his arrival, “A Time And Place” reunites artist and label with the same forward-looking spirit that brought them together in 1991, proof that the strongest creative partnerships continue to evolve.

PSR003 – Lorenzo Panico – The Me Inside Forged for dark rooms and relentless sound systems, The Me Inside explores hypnotic textures, raw groove and deep-driving pressure. No compromises. No trends. Just pure underground techno built for those who know. Limited vinyl only. Secure your copy before it disappears into the crates.

Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.

Two tracks extending towards the 10 minute marker, very much in the unique style of Robert Mononom which was already being refined throughout his previous 3 EPs, now culminating in 2 excursions throughout deep hypnotic/psychedelic machine made sounds. A side is built on an aggressive triple and double beat kick drum with a very dubby "big room" presence upon which waves of other nuances in noise get overlayed slowly transforming the 165+ BPM experience throughout what sounds like an extended live mix. B side goes in more spacial/atmospheric direction where hi hats take control over the kick, capturing the witness in a whirlwind of dubbed out overlaying rhythmic patterns. A sound so raw and pure in its introspection, clearly showing Robert's capacity of developing an aesthetic of his own.

Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.

After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.

"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.

Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.

Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.

From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.

During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.

Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis

“Cue Blue”, the latest and fifth studio recording from Australian down under, gritty jazzfunk grooves ensemble Kerbside Collection sees a return to a more classic, stripped back, meat-and-potatoes, home-cooked, quartet formation sound of guitar, bass, drums and brass.


A sound formed on previous, recent recordings (incl. Golden Rules compilation tune “Fleet Streak” etc), seemingly harking back to the approach of the group’s first recordings (2013’s “Mind The Curb”, “Night in Tunisia” etc), whilst embodying inspirations from more ‘true school’, classic, bluesy New Orleans funk and soul groove flavours à la early Meters, Boogaloo Joe Jones, Melvin Sparks, Billy Butler etc. But it’s not all completely ‘retro’ and ‘looking back’, the album definitely taps into some of the current exponents and leaders of the contemporary deep funk sound – The Greyboy Allstars, Eddie Roberts, The New Mastersounds, The Mighty Mocambos, Breakestra and fellow Aussie funksters Cookin’ on 3 Burners, Lance Ferguson and The Bamboos etc.


The lead single and first tune “Shivers” gives us a clear, picture and definitive opening statement to the record with all the characteristics you’ve come to expect from the Kerbside gritty jazzfunk sound: silky guitar line phrasing, rubbery bass-lines, tight crusty drum breaks, and sweet brass arrangements. Then it’s straight into a frenetic, jangly, mod-funk workout complete with Northern Soul & Motown inflections in the surging B sections. “City Park Avenue” conjures up classic New Orleans funk flavours with its strutting brass, slinky guitar and swinging tambourine groove. There’s classic, b-boy funk territory covered in “Coffee Grinder” (a breakdance move) with its razor-sharp drum break groove and chunky riff complete with sizzling trombone solo. Before the pace of the record changes up with the finger-clicken’, hand-clappin’ boogaloo, reminiscent of early 60s Harlem x Puerto Rican Bronx sounds (à la Willie Bobo, Mongo Santamaria, Ray Barretto) loaded with a scintillating baritone sax solo from long standing part of the collection ‘Papa Joe’ Roberts.


“Sittin’ On The Porch” cools the temperature down even more, delving into slight Southern Louisiana Delta blues territory, while suggesting some of the hot and muggy atmosphere and imagery of their home town location in suburban Brisbane Australia, complete with kooky Casio percussion representing familiar yard sounds such as sprinklers (spinning lawn watering devices) and ‘mozzies’ (mosquitos), passing cars indicated by trombone, and guitarist TC Tyler, channelling some bluesy John Lee Hooker, R.L. Burnside guitar flavours - you can almost feel the humidity on your skin.


Then it’s time for a stroll down memory lane, with their version of a People Under The Stairs hip hop classic “San Francisco Knights”, bringing the tune full circle back into band mode, also with another tasty guitar solo. The album then enters its final stages with a mesmerising, soulful, jazz ballad “Shimmer”, complete with Elliott Parker’s sultry upright double bass, and trombone taking the melody for a gentle stroll down the street. The album finally closes and arrives at its title “Cue Blue”, a classic blue-eyed soul number (penned by bassist Parker), emitting the scent of true school, vintage R&B and soul (à la Donny Hathaway, Marvin Gaye).


An album of funky arrangements and refined compositions, mostly penned by recent new-ish member, guitarist Tyler (for fans of Tower of Power & John Scofield guitar playing) taking the ensemble through their paces with all the usual characteristics of the Kerbside sound, on top a groove that will take you round-the-block-and-back :P Gritty jazzfunk and rustic soul grooves with definite bluesy overtones, some classic 60s, 70s flourishes and down-home funk flavours.

Hamburg's GOME joins the roster of Cinthie's 803 Crystal Grooves Collective Cuts sub-label here with a new fourtrack EP entitled 'Free Refill', featuring a collaboration with James Juke. GOME is shaking up dance floors worldwide with a raw, 90s-inspired House sound infused with Funk, Soul and Disco.

Having built a strong reputation through releases on Heist Recordings and his own Snackwax imprint, GOME has earned support from leading DJs and performed at renowned venues including Robert Johnson (DE), Berghain (DE), Golden Pudel (DE), Shelter (NL), Lofi (NL) or Blitz, to name but a few. Alongside celebrated live hardware performances and the community-focused "GOME + The Gang" events, GOME has become known for an authentic DIY approach, making this new 'Free Refill' project a fitting addition to the Collective Cuts catalogue. Leading the EP is the collaborative 'Keep The Party Going' with James Juke, an apt title for a frenzied five-anda- half-minute House jam featuring swinging, snappy drums, siren-like synth swells, gritty chord stabs and an amalgamation of vocal hooks throughout. 'Extraordinary' follows, employing a gritty electro-leaning bassline, a crunchy off-kilter rhythm section, twitchy arpeggio lines and a loopy, infectious vocal refrain. On the flip-side, 'CONGRATULATIONS' sees GOME lean heavily into House roots, perfectly aligned with the Crystal Grooves sonic aesthetic. Harkening back to 90s rave culture, it combines shimmering piano hooks, squelchy 303 licks, robust 909 drums and murky low-pitched vocals. 'You Make' then closes the EP, a loop-led cut fuelled by circling synth lines, bright strings, a bouncy low end and a fluttering vocal hook.

Kapote presents: ITALOMANIA Vol. 4.

Toy Tonics Italomania Vol. 4 is a compilation dedicated to new ITALIAN DISCO. Not ITALO DISCO.

10 new tracks made by young producers from Italy, exclusively made for Toy Tonics. All songs with Italian vocals.

Made with a lot of love by

Cleeeo, Giorgio Lopez, Magnolia, Juan Soto & Sam Ruffillo, KOKO, Luca Averna, Ricardo Baez, Euro Nettuno, The Cube Guys and Paccone.

The Italomania compilation was initiated by Mathias ‚Kapote‘ Modica. Creative mind behind Toy Tonics and half italian producer himself.

The series is a manifesto to show the status of Italian disco of today.

Kapote invited the most relevant producers to show different new styles of modern Italian disco and house music.

With a wide range of influence: Live disco, indie dance, italo pop, and italo house.

Italian disco is not Italo disco. The last few years saw a big revival of the trashy pop music of the 1980s called Italo disco, mostly with English lyrics.

But this compilation is about something else. It is about this new Italian disco. Toy Tonics wants to show a new way to combine Italianity with dance culture.

The Italomania Vol. 4 Artists

Cleeeo - Come Tocchitu: A sexy and sophisticated disco house track by 22 year old newcomer DJ and producer Cleeeo. Driven by a warm, uplifting groove and strong dancefloor energy. The record is dedicated to Brazil. The vocals move between Italian and Portuguese. This creates a natural bridge between two cultures.

Giorgio Lopez - Italiani Brava Gente: Giorgio Lopez is an important player from the much talked about new music scene from Napoli.

For "Italiani Brava Gente," he teams up with Los Angeles artist Sueño. The track is a tongue-in-cheek take on the stereotypical Italian male. It pays homage to late Italodisco legend Pino D’Angiò. The story unfolds from the perspective of a foreign tourist navigating the contradictions of self-proclaimed Casanovas.

The Cube Guys - Saper Ringraziare: The legendary italo house duo shows their Italian vibes and musical taste with “Saper Ringraziare”. The track captures the warmth of summer and the infinity of urban nights. A combination of early Italo disco elements mixed with their typical groovy beats.

Magnolia - Vesuvio: Magnolia’s “Vesuvio” is a cover version of a song from the 1960s by artist E’ Zezi. While the original is more in a folk vibes, the new version is an irresistible piano house track with groovy, sun-soaked vibes. It is made for the dance floor. This track blends Mediterranean roots with the euphoric energy of modern house. Some might know the vocals already from another cover version by Nu Genea from the previous album.

Juan Soto & Sam Ruffillo - Italomexicano: What happens when a Toy Tonics artist hangs out in Mexico city and teams up with the local scene? The result is here. A blend a Toy Tonics sound and tons of vintage synthesizers and some additional production by Mexican producer talent Juan Soto.

You get "Italomexicano". A fuse of the mystique of Mexican mariachi with the magnetic pulse of Italo disco.

KOKO feat. Elena Moroder - I Can't Understand: This melancholic piano house track is a serious floorfiller! Goosebumps! Italian DJ and producer KOKO teams up with Elena Moroder on "I Can’t Understand". Elena delivers a captivating vocal performance. The track explores the misunderstandings of a relationship where emotions were never fully expressed. It blends an iconic piano melody with warm, uplifting grooves.

Luca Averna - Le Luci Della Pista: Luca Averna is a DJ, producer, and resident at the iconic Pikes Hotel in Ibiza. "Le Luci Della Pista" is an energetic track designed for peak-time Ibiza moments while keeping a strong groove and a playful spirit.

Ricardo Baez - È Venerdì: Ricardo Baez is an Italian-Venezuelan DJ and producer. He is known for his distinctive blend of house, dark electro, italo disco, and leftfield electronics. Well respected in Italy's contemporary electronic scene he has been releasing on labels such as Running Bag, Permanent Vacation, Bordello a Parigi, Correspondant, Mule music, Live at Robert Johnson.

Euro Nettuno - La Notte Chiama: These guys are hot! Part of the Polyamore Crew, one of the rising italian new disco collectives their sound mixes Italo house from the 1990ies, electro and Pop in a very cool new way.

Paccone - J'Adore Napoli: Vincenzo Paccone is a DJ, producer but also very renowned graphic designer. He is co-founder of NSS. A fashion agency that is by now one of the leading italian fashion crews. He has been also working as a designer for Circoloco Ibiza for many years and organizes some of the hottest parties in Napoli currently. He makes his official debut as a producer with “J’Adore Napoli”. It is a vibrant tribute to the house music culture born in Naples. The track draws inspiration from the late 1990s and early 2000s. And is part of a NSS campaign about the ’new coolness of the city of Napoli“.

Hanne Lippard and Renato Grieco's Today's Special is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices. Lippard's texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener Portrait of a Betrayal, a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco's instrumentation works with Lippard's language art as a form of acoustic typography. "I studied graphic design and I think about how you can express typography through voice," she says. "Renato's use of the viola da gamba becomes like an underline, or a font's brushstrokes, in ways that feel typographical." In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard's voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on Receiver and in conversation for final track The Black Rose. "Hanne's voice is an artist's voice, embodied as the artwork itself," he says. "But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona." In some tracks the structural connections are obvious - the matched tumbling delivery and stepped pitches of voice and piano in Aficionado sounding like two tipsy friends descending a staircase. In others, like the triptych of tracks Three Rungs Ladder, structured with rules derived from nursery rhymes, or cumulative song (akin to the 12 Days of Christmas). For the Colour 1 and Colour 2 pieces, the duo worked from palettes of colours connected to clusters of harmonies, which underlined the power of the word and its articulation. The absurd Labradorable personifies a people pleaser, A Story About Being Blue is an imagined playful monologue from the Deep Blue supercomputer - requesting in sing-song stop motion to be called Debbie, and Larry - as Grieco echoes in factual reportage. Hurtbeat unpacks and recomposes a tweeted non-apology by a Russian art collector about owning a piece of racist art, Grieco shadowing Lippard's generating a third `drop-shadow' performer from the resonances between the duo, typographic re-articulation of the source material. The Receiver includes lines from Robert Ashley's Improvement (Don Leaves Linda), Ashley existing as a spiritual parent of sorts to the practices contained on Today's Special, and here interpolated as if he is being quoted and written through within the audible world of the piece in a palimpsest of borrowed sentences. Closing track The Black Rose contains its own self-aware comedy, a lightly distorted conversation sourced from a Reddit thread about whether black roses exist, recorded as if it were an internet radio or a low budget podcast, the casual exchange stilted in the delivery of platitudes as scripted speech. Today's Special was developed in person over the course of a series of small residencies - at Deutsche Akademie Rom Villa Massimo, Rome; Fondazione Morra, Napoli; Callie's, Berlin. In these limited periods that rarely stretched beyond a week, Lippard and Grieco developed strategies for the works, keeping tightly locked to musical concepts. This, for Grieco, is about maintaining a solid, meaningful connection within the compositions, and committing to everything having a purpose for existing within the work. Each element pulls its weight; has something to say, literally and metaphorically speaking. In the same way that Lippard's work leaves nowhere for her to hide, he wants the music to exist with its own naked purpose: "It's is about exposing nudity via reduced materials," says Grieco. "This is a form of courage we want to embrace. Once we take off everything, it needs to be extremely precise to maintain a connection with the audience. We have a lot of tools to hide behind now, to protect ourselves and our identities as artists, performers, and in life more generally. It's something I don't want to do. I want extreme reduction: no hiding."

More than five decades into one of Brazilian music's most remarkable careers, Joyce Moreno returns with a new collection of songs that reflect the warmth, lyrical sophistication and innovation that have made her one of Brazil's most defining musical voices.

Produced by Joyce Moreno alongside her husband and longtime collaborator Tutty Moreno, the album finds the Rio-born singer, guitarist and composer at her most reflective. Across nine beautifully crafted songs, Joyce pairs intricate guitar work, lyrical intimacy and effortless swing with the musical curiosity that has defined her work for more than half a century.

Invited into the studio by Roberto Menescal at just sixteen years old, Joyce emerged during a transformative period for Brazilian music, releasing her self-titled debut in 1968. She soon established herself as one of Brazil's pioneering female songwriters, writing unapologetically from a woman's perspective at a time when few women were afforded that voice. Her song “Me Disseram” sparked national debate, while later works including “Feminina” cemented her reputation as an artist unafraid to challenge convention.

While some of her politically charged songs were censored during Brazil's military dictatorship, Joyce continued to write with honesty and independence. After studying journalism in the late 1960s, her gift for observation and storytelling became an even more defining feature of her songwriting. Over the following decades she released a succession of acclaimed albums, including the now-classic Feminina and Água e Luz, earning widespread recognition both in Brazil and internationally. Antônio Carlos Jobim would later describe her as "one of the greatest singers", while generations of musicians have drawn inspiration from her fearless artistry and enduring originality.

That same artistic fearlessness remains at the heart of her latest work. The album brings together an exceptional ensemble of Brazilian musicians. Tutty Moreno's expressive drumming underpins Joyce's vocals and guitar throughout, while Jorge Helder's bass, Lula Galvão's guitar and Marcos Nimrichter's warm Fender Rhodes create a sound that is both intimate and expansive. Contributions also come from the legendary Toninho Horta, alongside José Arimatéa, Teco Cardoso, Nailor Proveta, Josué dos Santos and Raphael Sampaio, whose additions add colour and texture without overshadowing Joyce's understated brilliance.

Throughout the album, Joyce balances quiet reflection with effortless rhythmic vitality. “Chovendo na Horta” serves as both a heartfelt dedication and a celebration of Joyce's enduring musical connections, featuring the unmistakable guitar of Toninho Horta. Elsewhere, “Aldeia de Ogum” receives a fresh new arrangement by Nailor Proveta, revisiting one of Joyce's most beloved compositions. Originally released in 1980, the track has enjoyed a remarkable resurgence in recent years, embraced by a new generation of listeners and became an underground favourite among DJs including Floating Points, Four Tet and Danilo Plessow. Now a staple of Joyce's live performances, this reimagined version brings renewed energy to a song that continues to transcend generations.

At seventy-eight, Joyce Moreno continues to write with the same curiosity, generosity and quiet innovation that have defined her career from the very beginning. "For me, it's never too soon to try something new, either in music or in life," she reflects - a philosophy that gives both the album and its title their enduring sense of optimism. This latest album is neither a retrospective nor a reinvention, but the work of an artist who continues to refine her voice with remarkable grace, proving that her most compelling music remains firmly rooted in the present.

Following the album's release, Joyce Moreno will embark on a European tour this November, bringing her celebrated live show to audiences across the UK and Europe. A rare opportunity to experience one of Brazil's most influential and enduring artists in concert, the tour showcases a songwriter whose voice, virtuosity and musical vision remain as compelling today as ever.

Shape of the Unknown’ is kind of a double LP that fully embraces the idea of exploration. It is CHLOÉ’s most expansive and immersive work to date. ‘Shape of the Unknown’ is CHLOÉ’s fourth proper studio album. Its predecessor, ‘Endless Revisions’, was released in 2017. Nine years have passed. Nine years during which CHLOÉ has continued digging for music, DJing at internationally renowned clubs and festivals including Rex Club, Robert Johnson, Panorama Bar, Nuits Sonores, Glastonbury and many more, releasing EPs and remixes, while also allowing herself the time to explore entirely new creative paths.


The challenge is to capture the unknown, make it her own, endlessly reshape its textures, and ultimately preserve its mystery.


The first single ‘Drifter’, released back in June, already offered a striking glimpse of the sonic territories the album would venture into, driven by its hypnotically contoured basslines. The album's two other singles offer different windows into her world. 'Shapeshifter' captures CHLOÉ at her most hypnotic, balancing stripped-back techno and melodic house through deep rolling grooves, expansive bass chords and subtle rhythmic shifts that constantly reshape the listener's perception without ever disrupting the flow. Later, 'Repeating The Obvious' takes a more leftfield route, pairing staggered rhythms with retro-inspired harmonics and an understated indie dance pulse that feels simultaneously familiar and unpredictable.
CHLOÉ has ventured into live performance through new formats, notably alongside percussionist Vassilena Serafimova; immersed herself in film scoring with soundtracks for Paris la Blanche, Arthur Rambo, The Mountain, Blanquita, Guru and Unsubmissives; and developed compelling collaborations, from High Season, her project with Ben Shemie of Canadian band Suuns (which resulted in the album The Call), to her own organic, experimental audiovisual performances under the name Slo/Mo AV.


Throughout Shape of the Unknown, CHLOÉ blurs the boundaries between deep house, hypnotic techno, electronica and cinematic sound design with remarkable fluidity. The album unfolds as a continuous narrative rather than a sequence of tracks, moving effortlessly between beatless ambient passages, rolling analogue grooves and emotionally charged club music. Organic percussion, sweeping bass movements, melancholic harmonies and richly textured synthesisers create a body of work that constantly evolves, where no section feels static and every transition reveals another layer of depth. There is an unmistakable warmth running through the record, with grainy analogue textures and spacious production giving even its most driving moments an intimate, almost tactile quality.
The album’s title is no coincidence. It evokes a form that has yet to be named, something language itself struggles to grasp. CHLOÉ approaches it through an organic creative process. Each piece must first be performed in the studio, almost as if it were being played live. The album will be followed by a series of live performances and DJ sets, including a show at the Olympia on March 18, 2027.


She is joined by a handful of steadfast collaborators. Jazz trumpeter David Enhco appears on two tracks, ‘Undertow’ and ‘Inner Bass’. But above all, there are the voices: Ben Shemie lends his unmistakable presence to the radiant ‘More Than Just a Feeling’. Olivia Merilahti, singer, songwriter and one half of The Dø, appears on the otherworldly ‘TWYR’. Working with Olivia’s already hypnotic voice, CHLOÉ has approached it like a sculptor, enhancing its strangeness and dreamlike quality.
And finally, impossible to miss is the instantly recognizable voice of Kittin. A longtime accomplice, she lends her distinctive phrasing to CHLOÉ’s music here for the very first time. The strongest collaborations are often those that take their time, arriving only when the moment is right. Same kind, same bass, same vibe, same pride.


The result is an enigmatic, nocturnal record, drifting between introspective listening and dancefloor functionality, revealing an artist who remains far more interested in atmosphere, movement and emotional storytelling than conventional club structures. It is an album that invites us to dream more deeply and to dance again, both within ourselves and out in the open.

Bosconi Records reissues one of its most sought-after releases: BOSCO004 by the British duo 100Hz (Lee Renacre & James Chapman), a three-track EP seamlessly blending Robert Hood-style minimal Detroit techno with dubstep/techno crossover influences.

At the heart of the record is “The Field”, a rediscovered DJ-favorite driven by a deep, trippy groove and the magnetic vocals of Patrick Stanley (AKA “The Voice”), accompanied by the sleek, suspenseful atmospheric vibe of “Tension”. Rounding out the EP is “Cinqo”, a timeless 137 BPM avant-garde smasher originally released in 1995 on Format Records that bridges the gap between Benga, Tobias, and Marcel Dettmann.

Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.

Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.

For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.

On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.

The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.

Children, the one and only instrumental song that breaks all the rules, created by Robert Miles. The netherlands producers Tinlicker signed the new remix of Children.

Bio:
Tinlicker are Utrecht based duo Micha Heyboer and Jordi van Achthoven who have been crafting their computerized soul together since 2013. Before joining forces, they individually honed their skills as part of world renowned drum 'n bass act Black Sun Empire (Heyboer) and as producer, songwriter and music editor for many artists (Van Achthoven). Their previous experience was apparent from day one of their collaborative project, resulting in an impressive
string of highly mature and deeply emotive tracks. Since starting working together they’ve quickly become a household name in the world of electronic dance music previously releasing on Armada,
mau5trap, Anjunafamily and Astralwerks. They have released their first full length album 'This Is Not Our Universe' last fall and released their remix album this past spring from the likes of Dosem, Joris Delacroix and Grum.