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Layton Giordani steps up for his first solo EP of 2018. In terms of pedigrees, it doesn't get finer than Layton Giordani.

The Brooklyn-born DJ/producer followed up his lauded debut album of 2017, with a collaboration with Danny Tenaglia to close out the year and marked the summer of 2018 with a three-way collaboration with Adam Beyer and Green Velvet, 'Space Date'.
The period has been a big one for Layton personally, also. From humble beginnings in his native NYC as an Output resident, to being thrust into the bustle of the European club and festival circuit, he's enjoyed a stint living in Amsterdam, growing and developing over this time. All these experiences have had a fundamental influence on him and his music.

The four-track EP 'Phase II' represents a new chapter for this exciting talent. Beginning with 'New York to Amsterdam', a track that draws inspiration from the Yves Deruyter's classic 'Back To Earth', Layton's work packs a memorable punch as tough acidic undertones and brain scrambling synth effects undulate raising the intensity, making it a perfect opener for Adam Beyer when he played Berghain earlier this year. Following this, 'Enter the Stratosphere' is steely electro-tinged techno paired with atmospheric licks of melody, awhile maintaining the artist's trademark low-end chug. On the B side, 'Body Language' follows, a track written when Layton was scrubbed out of touring for a month courtesy of a shattered elbow from a skating accident. Not wasting the downtime, he's crafted a cut that's sleek, sexy and smart, with a seductive vocal and rousing melodic riff that runs throughout. Closing out the EP, 'Black Mirror', stays true to its dystopic name, a stomping rave cut that pummels dancefloors with a menacing lead synth that's purpose built for the cold months ahead. A classy conclusion to an EP from one of techno's brightest talents.

Music From Memory return with a further six tracks from Dutch musician Richenel. Continuing with recordings taken from his debut album 'La Diferencia', originally released in 1982 on the cult Amsterdam cassette only label Fetisj, the tracks on Music From Memory's second EP 'Perfect Stranger' includes alternate takes drawn from Richenel's personal copy of the album alongside a further composition which didn't make it onto the original Fetisj cassette.
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Studying set and costume design whilst making a name for himself as a singer and performer in Amsterdam's underground clubs, Richenel played with several disco acts and cultivated an extravagant cross-gender stage persona before connecting with members of the local label. Hooking up through their time together at the Rietveld art academy in Amsterdam, Fetisj was an experimental multi media collective which revolved around a loose mix of various young artists and musicians. Having developed a house band with artists going by a number of different pseudonyms the label set up their own small makeshift studio and would produce and sell the cassettes through their distribution network and at events across the city. Recorded amongst the turmoiled punk and squatter scene of Amsterdam against a backdrop of drugs and social unrest, the 'La Diferencia' sessions reflect a unique mix of punk aesthetics with a synthesized bedroom funkiness.

A somewhat illustrious figure in Dutch pop history with his flamboyant appearance as well as having one of the more exceptional male voices to come out of the country, Richenel would go on to record a number of successful albums and hit singles in the Netherlands and beyond. This largely unknown album on Fetisj however, seems to embody the spirit of another time; a particularly unique and richly creative moment in Amsterdam's musical and cultural history and one that is deserving of a much wider audience.

'Perfect Stranger' is co-compiled by Orpheu De Jong

comes in deluxe gatefold edition with lyrics sheets and colored vinyl limited to 500 copies

Early 20th century. Barbarism on an industrial scale. After the final shots had rung out Europe was left a husk, a shell to be rebuilt. And she did rebuild. Slowly, but surely, normality returned. Different zones. Different ideologies. One Europe. Yet not everyone was happy. Within this struggling continent there were those who saw the hand of authoritarianism at the wheel, past criminals ruling and lands being led back to dictatorship. The solution: the sub machine gun.From Reason to Ritual is Rude 66´s most ambitious album to date. Amsterdam´s premier electronic musician maps the rise and fall of terrorism over two slabs of wax. Gruesome naivety, one that led to countless deaths, is given an electro beat on the first record, 'Reason.' Warbling wave vocals from Ruud's wife Shaunna tell a bitter tale of paranoia and looming violence. That violence is truly realised on the second record 'Ritual.' Beats rain like shards of broken glass, constricted acid and echo as the enemy closes in for the final hollow defeat. An album that takes you from manifesto to death march.

Nachtbraker is back! It's been a huge year for the Amsterdam deep house juggernaut who returns to Dirt Crew with his all new and colorfully titled "Really Ties The Room Together" EP. Constantly on the move, he's found time between touring throughout Europe, Asia and South America to continue to push his a-typical house sound forward with this year's HEIST release and his quirky jam "Busy Bee" that was featured on our "Deep Love 100 Compilation. This three tracker is jam packed with bouncing club tunes and a whole lot of flange. Things kick off with the title track "Really Ties The Room Together". It twists and turns over an unconventional but irresistible groove, shimmying shakers, brass stabs and a serpentine riff work together creating a super tight dance floor cut. "Rew" begins somewhere in deeper territory, suspense building beneath the clouds, a rumbling bass rolls in from over the horizon before a glorious funk guitar blows the whole thing wide open, letting the sun's rays burst through and that familiar Nachtbraker good time energy shine in. The rerub of "Rew" is something altogether new from our deep house protagonist, a break beat and casual groove guide gently towards an ever intensifying acid trip. Don't be fooled by the lovely deep chords, things get nasty in the end. It's best to expect the unexpected from our adventurous resident producer, and this EP is no exception.

2024 Repress

Als Compilation-Reihe im Jahre 2001 gegründet um ein paar lose Fäden unserer Stammkünstler zu verknüpfen, hat sich SPEICHER inzwischen zu einem Garanten für fortgeschrittene Tanzklänge aus aller Welt weiterentwickelt der es KOMPAKT erlaubt, Musiker aus allen Bereichen des elektronischen Spektrums einzuladen und zu fördern. Für SPEICHER 85 präsentiert der Amsterdamer Tanzflurbeschwörer und produzierende Drahtzieher PATRICE BÄUMEL zwei hocheffektive Technoschieber die für jeden anspruchsvollen DJ auf der Jagd nach Momentum zur Waffe der Wahl avancieren werden.

In glühendem Rot gehalten, bringt SPEICHER 85 neues Material von keinem geringeren als PATRICE BÄUMEL, einem der meistverehrtesten Resident-DJs und Techno-Innovatoren aus dem legendären, leider inzwischen geschlossenen Amsterdamer Trouw Club. Aktiv seit den Mittneunzigern, verdiente er seine Produktionssporen auf so unterschiedlichen Labels wie Trapez, Get Physical oder Systematic, mit aktuellen Highlights wie dem exzellenten Remix für GusGus' OBNOXIOUSLY SEXUAL (KOMPAKT DIGITAL 044) im letzten Jahr, oder dem Labelsolodebüt auf Kompakt SPEICHER 81 (KOMPAKT EXTRA 81), einem rauen und energetischen Werk das sich als bewusstseinsverändernde Maßnahme allererster Güte entpuppte.

repressed !

RFBCOLOURS 002 bring L'Atelier on board. This pair from Amsterdam bring you a 4 track EP with a digi only bonus. It starts off with Again, which hits that great sample hard and gets the party started on a disco vibe with a house twist. Then theres XTC which carries on where the A1 left off. On the flip we see a serious piano workout on top of a a grooving drum arragement. To finish off the vinyl package we see Times Are Ruff take the remix on a deeper tip with some seriously crunchy basslines and rolling groove. Then if that wasnt enough theres a digital bonus that will warm up any willing club room.

Feedback:

Telonius (Gomma)
'thanks nice one'

Laurin Fedora (Sleazy McQueen (Morris Audio / Paper Recordings))
'I'm looking forward to this vinyl. Nice return to late 90s filter disco!'

kostas tassopoulos (Ekkohaus (2020 vision, morris audio, cargo edition, liebe detail))
'Solid house record, loving it, thanks....'

Harri (Sub Club)
'liking afew of these'

Gameboyz (Clouded Vision / Relish)
'we dont usually play this kind of house music, but this is very nice! will try! thanks!'

Sebastian Wilck (Sebastian Wilck, Watergate)
'times are ruff remix is strong! support'

Jonny Cade (2020 Vision / Leftroom)
'great house ep'

Tensnake
'wow, that's quite a killer, downloading thanks!'

Lauhaus Lanting (Polder / Intacto)
'nice ep guys, also diging the times are ruff mix. thanx!'

Julien Barthe (Plaisir de France, Pro-Zak Trax)
'yeah remmeber 2000'years'

Julien Sandre (Morris Audio)
'nice music'

Doc Martin (none)
'XTC for Me!!!!'

Tom Findlay (Groove Armada)
'great EP, a little bit of everything and in all the right places....'

Andrew Claristidge (Acid Washed (Records makers))
'good stuff...'

Mihai Popoviciu (Highgrade, Fear Of Flying, Hudd Traxx)
'again is cool for me!'

Dorian Paic (Raum Musik)
'xtc times are ruff remix is the one for me ! cheers Dorian.'

Hector Couto (Tribal Sessions)
'full support for this release! good music!!!'

Gianluca Pandullo (I-Robots)
'LAtelier - XTC (Times Are Ruff Remix) ! I-Robots approved!'

Microtonal proudly presents SQL from Amsterdam with his Vinyl Debut EP. After hitting the scene hard with "Distorted Reality" which topped Beatport Charts for weeks and reached heavy support from Richie Hawtin and Marco Carola the boy delivers another primetime tune with a remix by Tickles (Ipoly Music). The B-side is a much more progressive tech-house tune for fans of Deadmau5 & Co.

Amsterdam's Dionisos' (also known for his collaborations with Pete Blaker for LL & Hot Biscuit Recordings) debut 12" on his own Lovers Yacht imprint.

Dionisos, the project’s producer, possesses a solid foundation in live music, which is clearly reflected in the way the grooves evolve, resonate, and gradually heighten in intensity. The tracks “Mother Earth”, “Father Sky,” and “Bon Voyage” form an exciting trilogy—a daring journey into the musical universe. Captured in a single take, they were subsequently methodically overdubbed and layered, preserving the essence of musicians interacting in real time.

Instead of pursuing drops or studio glitz, the music focuses on capturing the spirit, interacting only with the original vibrations of the one take. These songs flow with the precision of musicians in a band. They develop organically, demonstrating their strength gradually; music for dancing that relies on emotion rather than spectacle.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

A cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of 'Seismo' were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and 'Seismo' began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint. 'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's 'Germ in a Population of Buildings', the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct. An unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. 'Seismo' is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds. It's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.

American Steel is the last great band to come out of Berkeley's 924 Gilman scene. Forged in the same ¬res as Operation Ivy, Crimpshrine, and Rancid, these soulful punks have at long last decided to unearth their self-titled album from 1998. AmSteel evolved into one of the most artful and sophisticated punk bands around, but this quartet began as a truly raw and wrathful DIY outfit, and we're grateful for the opportunity to share this 17-song hidden gem. We have been begging the band to release this material since Red Scare first began. Literally pestering them for twenty years. Listen to this dynamic debut and you will understand why.

The sonic worlds of Devon Rexi and John T. Gast collide in a vital meeting between two singular mavericks!

Following two lauded EPs on cult label South of North, Amsterdam-based Devon Rexi prepare to release their much-anticipated debut album, recorded by and featuring elusive 5 Gate Temple devotee, musician and producer John T. Gast, whose acclaimed catalogue continues to flourish.

Devon Rexi is a trio made up of Nicola Reverda (Nicolini), Nushin Naini and Goya van der Heyden (La Rat). They’ve quickly carved out their own sonic world, traversing krautfunk, post-punk and psyched-up no wave, all laced with a dub-heavy experimental mentality. Breathstep captures the band’s bass-heavy incantations, ripe with melodic chaos and rhythmic improvisation, while devilish cackles and processed vocals flirt over a jukebox of dubbed snippets and sliced textures.

The introduction of John T. Gast as producer and collaborator pulls the Devon Rexi sound deeper into bubbling dub territory, while his own palette is stretched and pushed into new terrain. Though Gast has firmly cemented his singular sound over the last decade, this interconnected process marks new ground for all involved. The result is a supreme convergence of esteemed musicians and a wickedly fine debut collaborative record.

Breathstep finds its home on Bristol imprint Accidental Meetings, whose ever-evolving sound and wide-ranging discography continue to grow. The album was recorded over the last year across Amsterdam, Lisbon and London.

2026 Repress
The legacy continues with Paling Trax 5! A split-EP featuring label-head TAFKAMP and the young talented Amsterdam-based DJ/Producer Vromo, both delivering two groovy no-nonsense club bangers. All killer no filler, highly essential!

GAMM REACH 200 !!
And what better way to celebrate than 3 unbelievably amazing remix 7's of their very first release ?

A track that defined GAMM's identity and helped pave the way for everything they've achieved since. Now, 23 years later, GAMM has reached its landmark 200th release.

To mark this anniversary and honour our dear friend Fredrik Lager (aka Red Astaire), who sadly and unexpectedly passed away three years ago, we are re-releasing 'Follow Me' alongside remixes from some of our favourite producers. The remixes will be released across three separate 7-inch EPs featuring Soul Supreme, DJ Spinna, Ukokos, and Kampinos.

On the first EP, Amsterdam-based keyboardist and producer Soul Supreme delivers a masterful cover version featuring live instrumentation, programmed beats, and fresh vocals. It is a beautiful tribute that honours the original while evolving the track from its sample-based roots into a full-scale production. The EP features two takes: a Jazz-Funk infused original and a Samba/Bossa-inspired version ('Follow My Samba').

Timeless music

2026 Repress!!

Slabs, if you didn't know yet, is the new label from Dungeon Meat duo Brawther and Tristan da Cunha that wants only to serve up music to make you sweat. This is another red-hot one that comes from Horsemen and has already been slammed down to great reactions at places like BRET in Amsterdam. 'Work It Out' is a stripped-down but chunky and rugged house monster, and 'The Strip Down' is a more lively and elastic cut with rubbery kicks, jumbled hits and irresistibly kinetic rhythms. Hugely effective yet hugely characterful, this is another doozy from Slabs.

Indie Stock places itself in a context it adores and defies. Every wall is movable and no accident is an accident. Just as a song is made out to be one thing it reveals itself to have been the other all along. Make no mistake, there is something at the heart of it all, even though its pulse resonates from all directions at once. The listener becomes the toad, gladly boiled in a shimmering liquid until it is too late: The bass kicks in and cant be unheard.

From 2, Amsterdams self-proclaimed troupe of folk mutants, take stock of it all on this record: hushed affect in tumultuous settings, a mole insurrection of epic proportions, the secret workings of pornography platforms and memory. One song might invite to dance, stumble or float, while another is what a ghost should sing. Above all, it is real. Palpably real in a way only the fabrications of true devotees might ever be. What is a consoculator, again?

Anywhere, Anyway captures a selection of club tools that Makèz and their close circle have tested, refined and played across dance floors worldwide. Each track carries that familiar equilibrium the duo keeps guard over, a steady pull between raw club energy and moments meant for intimate listening.

Much like their recent album on No Art, the EP took shape while traveling, moving from session to session with artists from different musical worlds. Those encounters left their marks, subtle shifts in rhythm, harmony and texture, shaping the edges of the EP. The Amsterdam duo keeps seeking creative impulses from unexpected angles, letting ideas find them wherever they are. Anywhere, anyway.

Seit nun fast drei Jahrzehnten erfindet die Amsterdam Klezmer Band Klezmer-Musik von Grund auf neu und verbindet Tradition mit frischer und verspielter Energie. Mit ihrem neuesten Album "Diaspora" kehrt die Band zu ihren akustischen Wurzeln zurück, formt diese jedoch subtil um und fängt die Musik in ihrer unmittelbarsten und fröhlichsten Form ein, wobei Schlagzeuger Mischa Porte eine neue herausragende Rolle einnimmt. Das Album wurde fast vollständig in einer einzigen Aufnahme in der Singelkerk in Amsterdam am 26. November 2025 aufgenommen und strahlt die rohe Energie einer authentischen Live-Performance aus. Keine Overdubs, keine Elektronik und keine Tricks: nur die Band, ihre Instrumente und die Spannung des Augenblicks. Das Ergebnis ist warm und lebendig, ein Sound, der die Amsterdam Klezmer Band wieder mit den Roots der Klezmer-Musik verbindet und befreienden Raum für Improvisation und Entdeckungen lässt. Rumänische und türkische Rhythmen verflechten Klezmer-Songs und Originalkompositionen und schaffen eine musikalische Reise, die sich sowohl geerdet als auch expansiv anfühlt. Diaspora markiert auch einen bewegenden Moment in der Geschichte der Band: Es ist die letzte Aufnahme mit dem Trompeter und Mitbegründer Gijs Levelt, dessen Klang und musikalische Vision die Amsterdam Klezmer Band fast 28 Jahre lang geprägt haben. Auf Diaspora fließen traditionelle Melodien und Eigenkompositionen nahtlos ineinander, geprägt von den unterschiedlichen Stimmen innerhalb der Band. Düstere, melancholische Tänze stehen neben treibenden Sirba- und Cocek-Rhythmen, von Motown inspirierten Grooves, türkischen 9/8-Impulsen und jazzigen Improvisationen. Spoken Word und Rap-Momente sind eine Anspielung auf die Badchen Tradition, während unerwartete Instrumentierungen wie Gitarre-Banjo, die eine traditionelle Melodie anführen, für eine frische Textur sorgen. Jedes Originalstück trägt die Handschrift seines Komponisten, doch alle dienen dem gleichen Zweck: Körper in Bewegung zu bringen, Verbindungen zu schaffen und Klezmer als lebendige, atmende Gemeinschaftssprache zu erhalten. Diaspora ist kein nostalgischer Rückblick, sondern eine lebendige Momentaufnahme dessen, wo die Amsterdam Klezmer Band heute steht: verwurzelt, rastlos und unwiderstehlich lebendig!