Suche:allstar

Greetings and welcome from Axces. We're a small local Copenhagen community of friends and curious souls. This is our very first record. Alfredo92 and Kasper Marrot run the label, and they've produced two tracks with help from our good friends Carl Emil and Lauge.

The record was created in 2017 at the professional facilities we've come to know as Nordvest Auto. On both tracks, you'll hear a lot of drums, some bass, effects, samples, vocals and sounds from beyond, we don't know how to describe. They've been tested on various sound systems during the past year, and we can ensure you that a flat EQ and max volume will suit the tracks almost anywhere.

We really hope you enjoy our effort. If you should ever find yourself in Copenhagen Axces will provide counselling and guidance at own risk.

“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.

Dexstar recordings returns with its 6th release, this time going for its first Dexstar Allstars (various artist), this one includes Sterling Moss, Nesbit, Maraxe and Matter of Phat (Sortek, Paddy Kearns & Sam DFL).

Mit „The Sermon!“ erscheint ein Jimmy-Smith-Klassiker in der Blue Note Tone Poet Serie. Die 1957
und 1958 entstandenen Aufnahmen bringen die ungezügelte Energie einer Live-Session ins Studio und
zeigen den Hammond-B3-Meister in Bestform. Unterstützt wird Smith von einer außergewöhnlichen AllStar-Besetzung mit Lee Morgan, Lou Donaldson, George Coleman, Tina Brooks, Kenny Burrell, Art Blakey
und weiteren Blue-Note-Größen. Das Album besteht aus nur drei ausgedehnten Stücken, die den Musikern reichlich Raum zur Entfaltung geben. Der bluesige Titeltrack nimmt die gesamte erste LP-Seite ein,
während das treibende „J.O.S.“ und die eindrucksvolle Ballade „Flamingo“ – mit einem herausragenden
Lee Morgan – die zweite Seite bilden. Soul Jazz und Hard Bop in Reinkultur, brillant eingefangen von
Tonmeister Rudy Van Gelder.

Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.

Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.

There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.

Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.

Mit TechnoBase.FM Vol. 6 geht die beliebte Compilation-Reihe auf Vinyl in die nächste Runde. Die limitierte Pressung bringt den Sound von TechnoBase.FM direkt auf den Plattenteller und verbindet aktuelle Dance-Tracks mit dem typischen HandsUp-, Dance- und Electro-Sound der Reihe.

Für Fans elektronischer Musik und Vinyl-Sammler ist auch die sechste Ausgabe ein Muss. TechnoBase.FM Vol. 6 – einfach das Beste für den Plattenteller.

Analoge Eleganz trifft auf urbane Gelassenheit. Jeder Track auf diesem Album fängt die Magie des Moments ein - perfekt für urbane Nächte, fokussiertes Arbeiten oder den stilvollen Ausklang des Tages. Ein musikalischer Zufluchtsort, der sanfte Melancholie mit beruhigender Wärme verbindet und die Vielseitigkeit in ein modernes, elektronisch angehauchtes Gewand kleidet. Jetzt die limitierte Edition sichern und den perfekten Soundtrack für die ruhigen Stunden des Lebens nach Hause holen

Im September 1964 war es Miles Davis endlich gelungen, den Saxofonisten Wayne Shorter von Art Blakeys
Jazz Messengers abzuwerben und mit ihm sein Second Great Quintet zu vervollständigen. Shorters Solokarriere schien darunter nicht nur nicht zu leiden, sondern sogar noch beflügelt zu werden. Und zwar so sehr,
dass Blue Note mit dem Veröffentlichen seiner Soloalben kaum nachkam. Eines der Alben, die zunächst
archiviert wurden, war “The Soothsayer”. Es wurde im März 1965 mit einem Allstar-Sextett aufgenommen,
erschien aus unerklärlichen Gründen aber erst 1979. Denn laut AllMusic gehört es zu Shorters “besten
Werken aus dieser unglaublich fruchtbaren Zeit”.

Earlier in the year, Washington, D.C-based Sol Power Allstars launched the Sweet Breeze Sound imprint, seemingly as a vehicle for oddball re-edits and nostalgic, sample-rich productions. Handling side A on release number three in San Fran's King Most, who crafts a hybrid 80s electro/proto-house jam out of echoing electronics, bobdypopping beats, and all manner of effects-laden samples (including a wealth from InDeep classic 'Last Night a DJ Saved My Life' ). Over on side B, Sol Power's own Marc Meistro takes over, laying down his own sparse, lo-fi, analogue-rich tribute to electro-era synth disco that once again nods to a variety of cult classics from the early 1980s.

2026 Repress

We R The Aliens is back featuring 3 intergalactic allstars in Ohm Hourani and his cohorts Ricardo Villalobos and Amir Javasoul. On the A, Ohm presents Barbara, a groove laden with an infectious, plucky lead and tasteful vocal chops perfect for the early morning hours.

On the flip, seasoned harbingers of party Ricardo Villalobos and Amir Javasoul give Barbara a floor forward remix treatment with spacy fx, a thumping low end and a eurorack spin on the original's vocals

Slip My Soul Where A Sweet Sunday brings together four versions by Fundación Tony Manero in charge of three projects from the Catalan jazz scene: The Gramophone All Stars Big Band, The Changes and ·I·. At the hands of these interpreters, the songs by Manero (all taken from “Sweet Movimiento”, their second studio LP) wander through different spectrums of jazz. From the Jamaican-tinged ska of the Gramophone to the dragging, hip-hop groove of ·I· through the swing -more classical or more avant-garde depending on the subject- of The Changes, these four pieces prove that jazz and disco music are family. Or what is the same: that jazz has always been dance music. Slip My Soul Where A Sweet Sunday celebrates the legacy on the one hand, the Fundación Tony Manero, which is retiring from the stage after more than 25 years paving the way for new generations and new projects. Among others, those who now take the baton in this EP.

Mit Africanism Vol. 5 kehrt das legendäre Afro-House-Kollektiv rund um Bob Sinclar zurück und präsentiert ein kraftvolles, globales Club-Statement voller Rhythmus, Identität und musikalischer Verbindung. Das Album vereint herausragende Produzenten und Artists wie DJ Gregory, Moonlight Benjamin, Boddhi Satva, Arkadyan, Jesús Fernández, Bonga u. v. a. in zwölf Tracks, die moderne House-Produktionen mit afrikanischer Energie, traditionellen Instrumenten und organischen Grooves verschmelzen lassen. Von der voodoo-getränkten Intensität von "Zanmi Kanmarad" über die angolanische Tiefenwärme von "Mulemba Xangola" bis hin zum treibenden Club-Momentum von "Block Party (Baron Remix)" oder "Salsa House" liefert Africanism Vol. 5 ein Panorama aktueller Afro-House-Kultur. Die musikalische Bandbreite reicht von haitianischer Soul-Elektronik über pan-afrikanische Percussion bis zu modernen House-Arrangements mit französischer Produktionshandschrift. Ein hochkarätiges Producer-Album, das die DNA des Africanism-Sounds konsequent fortschreibt: international, zeitgemäß, tanzbar und voller musikalischer Identität.

There’s a special kind of feeling when everything falls into place - when the drums bounce easy, the bassline rolls steady, and a bright guitar line cuts through the warmth of tape. That feeling became the heart of the FULLNESS, from Marcus I meets aDUBta. The sound of FULLNESS is built on simple, living elements: real drums, deep bass, a warm sound, and melodies that leave space to breathe. It moves between Early Reggae, Rocksteady, and Roots - sometimes straight and solid, sometimes stretching out into Dub and Echo. With its voice, from singer and lyricist Marcus I, FULLNESS carries the message about gratitude, love, freedom, and the small moments of everyday life. While Marcus’s singing style nods to the great singers, he stays grounded in his own experience, which perfectly complements aDUBta’s production, giving him space to shine. This LP is a complete, warm, balanced, and uplifting experience from start to finish.

FULLNESS grew from a steady musical exchange between Marcus I and aDUBta - two people on different sides of the Alps (Marcus I in France and aDUBta in Germany), finding a shared rhythm. What began in early 2022 with a few Riddims sent back and forth soon turned into a regular flow of songs. Every week brought new ideas, new words, and new melodies. When they finally met in person at aDUBta’s Attic Roots Studio in Bavaria, Germany, it all fell naturally into place. Most of the instruments were played by aDUBta, and the whole LP was mixed live on his Tascam 388, keeping that raw, handmade feel. With several friends helping bring even more color into the music, aDUBta brought in Viti Sanchez to lend his expressive saxophone and horn lines, Michael Salvermoser with his warm trombone tones, and members of the Black Oak Roots Allstars - King HuHa and Jannis Klenke on bass and guitars, along with Morry 'Da Baron' (Dub Inc.) on bass. FULLNESS means the fullness of music, of life, of friendship, of gratitude. It’s what happens when music becomes more than a project - when it turns into a shared space where things just flow.

Burnski's Instinct label kicks on with more filthy low-end wobblers, this time with Killjoy the man behind the buttons. He opens up with 'Proud' (feat Kwam) which has a dirty low-end sleaze and blasts of busted bass topped with grimy bars and razor sharp percussion. It's pure filth for lip-curling disgust. Then 'Fever' drops into punchy speed garage energy with hustling drums and more warped bass and 'Allstars' gets lose on a glitchy two-stepper. The flip side shows yet another look with 'Lovestruck ' packed with pitched up vocal hooks and slamming drums and 'Shout' rounds out with icy cool.

4 tracks taken from this years digital only releases alongside 4 original compositions.

‘The Jamaican Recordings Allstars’ have gone back to the Reggae heydays of 1968 / 1969 as a strong influence on their snappy instrumental track. The flash points of Harry J Allstars ‘The Liquidator’ and Dave and Ansell Collins ‘Double Barrel’ come to mind. No reggae 7” single would be the same without its version b-side, so please flip the single over for part two where the beat is pulled up to the fore. Hope you enjoy rocking to this future classic !!!!

Flash Atkins has pulled together a crack team of musicians for Sanza Mibale Ya Bo Pemi.
It is a tribute to the golden age of Afro-Disco, when the sounds of 70's New York found their way to the continent and fused with local musical styles and rhythms.
Felix Ngindu sings in his native Lingala language from the DRC over a locked bass, congas, keys, percussion, rhythm guitar and a brass section from Haggis Horn's Atholl Ransome and Malcolm Strachan.
Funk, disco, soul and jazz all blend for a peak time jam.

The Flash Dub strips things back to the rhythm section for heads down, dubby action and a tracky take that still packs a dance floor punch.
The incomparable Bosq steps up for remix duties and knocks it out of the park. Layered drums and percussion give things a more Latin swing before the beats break, piano enters the fray, and it's a tropical-funk party-starter all the way. The dub does the beat thing, rocking a hard groove for the dancers.

Hands in the air? F**ck yeah!

LTD Edition in individually sprayed sleeves !

Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. When we set sail in 1993, we never would have dreamt that our journey would still be going on after more than three decades and with 500 releases to date.

In our fast-paced business, the 500 mark is rarely reached, so we want to celebrate it with a lavish 5LP box set. In a democratic process, we have selected 50 pearls from the thousands of tracks released over the last 33 1/3 years and pressed them onto 5 brightly coloured vinyls. Alongside many Kompakt evergreens, there are also some real rarities from the early ‘Kompakt Sound of Cologne’, which have been lovingly remastered here to shine in new splendour.

The box also contains a 144-page book that tells the story of Kompakt from 1993 to today with detailed texts and images. In addition to the manifold musical and graphic achievements of Kompakt, the multidisciplinary links to the visual arts are also highlighted here.

The Bonus Picture Disc opens with the symbolic tolling of 500 bass drums, followed by 50 locked grooves from the 5 Kompakt founders, looping into infinity at 133 1/3 BPM, and the ‘33 1/3 Years Loop Opera’ – in which the loops are combined into one track that, in its reduced essence, is more than the sum of its individual parts. The magic of groovy loop minimalism and the ‘art of omission’ are once again brought to the proverbial point.

On 23 May 2025, the big KOMPAKT 500 art exhibition will open at the venerable Kölnischer Kunstverein to coincide with the release. The entire visual cosmos of Kompakt will be shown here in an unprecedented way on three floors, with the participation of many renowned artists. Of course, there will also be dancing and partying at the vernissage party, with DJ sets and live shows by the Kompakt Allstars.

The last one turns off the bass drum.


Im Laufe der Jahrzehnte hat sich in unseren Köpfen das Bild von Kompakt als Piratenschiff festgesetzt, das den Gefahren der sieben Weltmeere des Musikmarktes trotzt. Mal gleitet es mit Rückenwind durch ruhige Gewässer, mal muss es heftige Stürme überstehen. Als wir 1993 die Segel setzten, hätten wir uns nicht träumen lassen, dass unsere Reise nach über drei Jahrzehnten und mittlerweile 500 Veröffentlichungen immer noch andauert.

Die 500 ist in unserem schnelllebigen Geschäft eine selten erreichte Katalognummer und soll daher mit einer üppigen 5LP-Box gebührend gefeiert werden. In einem demokratischen Prozess haben wir aus den tausenden Tracks der letzten 33 1/3 Jahre 50 Perlen ausgewählt und auf 5 knallbunte Vinyls gepresst. Neben vielen Kompakt-Evergreens finden sich auch einige echte Raritäten des frühen “Kompakt Sound of Cologne”, die hier liebevoll remastered in neuem Glanz erstrahlen.

Die Box enthält außerdem ein 144-seitiges Buch, das mit ausführlichen Texten und Bildern die Kompakt-Geschichte von 1993 bis heute erzählt. Neben den mannigfaltigen musikalischen und grafischen Errungenschaften von Kompakt werden hier auch die multidisziplinären Vernetzungen zur bildenden Kunst beleuchtet.

Die Bonus Picture Disc wird mit einem symbolischen Glockenschlag von 500 Bassdrums eröffnet, gefolgt von 50 Endlosrillen der 5 Kompakt-Gründer, die sich bei 133 1/3 BPM in die Unendlichkeit schleifen sowie der “33 1/3 Years Loop Opera”, in der die Loops zu einem Track zusammengefügt werden, der in seiner reduzierten Essenz mehr ist als die Summe seiner Einzelteile. Die Magie des groovenden Loop-Minimalismus und die “Kunst des Weglassens” werden einmal mehr auf den sprichwörtlichen Punkt gebracht.

Am 23. Mai 2025 eröffnet parallel zum Release die große KOMPAKT 500 Kunstausstellung im ehrwürdigen Kölnischen Kunstverein. Der gesamte visuelle Kosmos von Kompakt wird hier unter Beteiligung vieler namhafter Künstler*Innen in nie gesehener Form auf drei Etagen gezeigt. Selbstverständlich darf zur Vernissagenparty auch getanzt und gefeiert werden zu DJ Sets und Liveshows der Kompakt Allstars.

Der Letzte macht die Bassdrum aus.

Repress!

There was huge demand on the first issue - now released in a standard edition. Limited. Be Quick!

Hot double LP of beats and scattered rhymes (JPEGMAFIA, Retro X & Jeshi feature) from this highly inventive producer. Having gained notoriety for his work with Frank Ocean and Travis Scott among others, Only Diamonds Cut Diamonds is overjoyed, heady and nervous at once. It offers a proper introduction to the massively imaginative sound of Vegyn.

Caribbean contributions to British arts and culture are profound and everlasting, particularly through the music brought by the Windrush generation. As the first Caribbean settlers stepped foot on the shores of Albion, millions of Brits were introduced to roots music and sound system culture. In the 1970s, along the coast of Southend-On-Sea, the P brothers—enthralled by the legendary sounds of Jah Tubbys, Channel One, and Jah Shaka—immersed themselves in the world of reggae. This deep-rooted passion was soon passed down to their young prodigy, Charlie P, their son and nephew.

Charlie’s musical journey begins with the sounds of Dennis Brown, Hugh Mundell, and Ranking Dread echoing through his family home. From his early stage performances with the Goldmasters Allstars to his involvement in the sound system universe, his foundations are strongly embedded in roots music.

After over a decade of perfecting his craft and earning the title of ‘dub controller’ he now reconnects with his roots through an album that celebrates the essence of pure, introspective, undiluted reggae.

Staying true to the genre’s traditional blueprint, the compositions by Rico O.B.F and Charlie P were meticulously brought to life by a full live band. Recorded at London’s Room-In-The-Sky studio, the credits feature a stellar lineup, including Horseman on drums and Megahbass on bass guitar, delivering a sound that is both fresh and authentically raw.

Entdecken Sie zum ersten Mal auf Vinyl, das 4. Album der großartigen Crew von Yellow Productions: Africanism All Stars. Unter der Leitung von Bob Sinclar und mit dJ Spen, Federico Scavo, Roger Sanchez, Eddie Amador, Bt&Baker, Martin Solveig, DJ Gregory...

Discover the emblematic first album of the Africanism All Stars collective led by Bob Sinclar and featuring, among others, Matin Solveig,DJ Gregory,Lego and Eddie Amador... Includes the hits : " Tourment d"Amour ", " Block Party " and " Edony (Clap Your Hands

LET’S be frank, it was only a matter of time before we nabbed Dan Piu. Many years in the game with his own uber-respected labels Moto Music and deepArtSounds, in demand as an artist under his many guises (Allstarr Motomusic/George Btp) and collaborative projects (The WineLambs, Zarenzeit and Theory Of Movement, which he shares with deep house don Grant aka Anthony Collins), Piu may be old school but his recent renaissance has turned many heads including ours. His analogue alchemy is right up our strasse so we are beyond thrilled to be able to present the Zurich-based producer’s Technological Singularity EP here at Hizou.

From the celestial groove-heavy Quantum Computing to the angular electronica of Robots In Rage and from the melodic techfunk of A Machine Will Never Do X to the soul-warming F#uk The World To The Core, aficionados, followers and fanboys will not be disappointed.

We think our 6th release – not counting the überdrüber
‘sizzling hot edits’ – is a good display of the rtct.records
variety. Four artists from all over continental Europe are
showcasing their eclectic styles, fully exploring the richness of
house music front to back and old to new. Whether you hated
or enjoyed the record, let us know what you did with it. And, you know, just for reasons of SEOability, here are artist names again: PARADISO RHYTHM!
MUTENOISE! GUS NOBEL! LEO WOELFEL!

When Perlon started releasing their 'SuPERLONgevity' compilation series in 1999, it was not evident that the name, which had initially been chosen just for pun, would become a self-fulfilling prophecy. Now, Perlon is in its 20th year, indeed, and preparing the celebration of this anniversary, the label invites its listeners to enter the sixth round of illuminating expression, once more driven by playfulness and fluffy swingtime. This time, the journey extends to eight sides with no guidepost except maybe the order to set the controls for the heart of the potoo. 18 tracks unfold their magic formulas to release a cascade of funky blobs. The collection reflects the label's unique interpretation of sound and vision, of caring and sharing, of 'glitches and itches' - by forward and froward thinking artists who set landmarks and break standards for the sake of the sound of the extraordinary. Here's what you will find in this brand-new Perlon toy box that adds one more shade to the corporate colour scheme: House bubbles that sound like they come straight from a 'Bällchenparadies". A motor drive with a sexy beat. Tribal dances, warped ballads, romantic fantasies. Heavy bass fundaments with aerial notes that hover above like helium balloons. A meditation machine, chilly chimes and future clockworks. Speaking things with nonsense as a foreign language.

That sound reaches a new height with her fourth solo record, Fireflies. Recorded with producer Tony Braunagel in Nicole's hometown of Kansas City, it's not just a record about roots -- it's about the growth that occurs when reflection, resilience, and real artistry all combine. From nostalgic tracks like "Take Me Back" (featuring North Mississippi Allstars' Luther Dickinson) to empowered anthems like "Gaslight" and "Tug of War," Fireflies burns bright, deepening Danielle Nicole's exploration into soul, R&B, and the rich tapestry of American roots music.

,Giraffe" ist das neue Gemeinschaftsprojekt von Dave Harrington (Darkside), Robert Walter (The Greyboy Allstars), Spencer Zahn und Kosta Galanopoulos (Rio Kosta). Ihr Debütalbum ,The Towering Inferno With Bongo Drums" vereint spacige Psychedelia, jazzinspiriertes Zusammenspiel und freie Improvisation zu einem fließenden, experimentellen Hörerlebnis. Das Album wurde an einem einzigen Tag bei 64 Sound in Los Angeles aufgenommen und fängt vier versierte Musiker ein, die sich in einem instinktiven Groove vereinen.

One original mix, never before released on vinyl, alongside three brand new remixes from Claptrap Allstars.

Francisco D’Argento may not have been a pioneer of the Italo Disco movement that emerged in the late 1970s and early 1980s, but his sun-soaked, refined approach captured the spirit of the era with unmistakable charm.

While D’Argento received critical attention from local press and music journals, his work unfortunately never connected with a wider audience. In later years, his output gradually slowed, and his early recordings slipped into obscurity.

With the support of the D’Argento estate, this forgotten gem has been lovingly restored and remastered from the original ½-inch tape, bringing new life to an overlooked piece of Italian electronic music history.

This release presents the original version, an uptempo, high nrg direct italo cut featuring D’Argento’s own vocals, alongside the voice of his second wife, actress and model Eleanora D’Argento.

Donald Dust delivers a powerful and thumping rework for the A2 the “Squish Mix”, a stretched-out, dubbed-out interpretation built for those late-night, hot and heavy dancefloors.

Dr Valentine takes things into the cosmos with the “Nello Spazio Mix”, slowing the tempo and drifting into hypnotic space.

Closing out the EP, Vanity Project presents a darker Robotalo Remix, stripping away the original’s outer layer and revealing a shadowy, dark-disco driven version.

Buon ascolto!