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Leya Touch & soFa elsewhere aka Dream Baby Dream combine their left-of-centre musical perspectives on an otherworldly new self-titled album that arrives on Hell Yeah this September and will get a Japanese domestic release on CD. The duo's beguiling mix of occult synths and treated vocals ride dubbed-out mid-tempo rhythms on a retro-futurist record that blends cold wave, cosmic disco, dub and trance.

Dream Baby Dream describes themselves as "two children who refused to grow up" and now they offer a glimpse into their very own fantastic land of dreams. This journey into diverse flavours spontaneously started after a cosy dinner and after just three sessions resulted in the album presented here. Playful yet sometimes gloomy, this music echoes life, both imaginary and real - the highs, the lows, the dark moments and the joy, trance-inducted love zones, daydreams and everything in between. It is a coherent hole but one filled with surprising turns, moments of deja vu and plenty of outsider dance floor delights.

Leya Touch is a rising voice and live act on the Brussels alternative scene. Together with soFa, a veteran DJ and producer who released on many forward-thinking labels worldwide, they provide signature vocals and synths that challenge typical genre categorisations.

Opener 'Love Zone' sets a strangely seductive basic channel vs dreamy pop vibe with wispy cosmic melodies and oodles of echoes as Touch's vocals draw you in. Lose limbed percussive jumbled and sci-fi motifs define 'Badalamenti On Fries', 'Curry Con Sax' has an avant-guard sense of soul and melodic curiousness and 'Diskoteka' is a jittery mix of retro synth sounds and whispered vocal coos that shimmer like stars in the night sky. Elsewhere there's the malfunctioning Kraftwerkian electronics of 'Körperkonsum', goa-filter madness of 'Banana Trance' and the eerie interplanetary dub of 'Carpenter On The Beach' while 'Whale Rider' and 'The Rude Red Lady' bring warped lines and enchanting vocalisations that sound like nothing you have heard before.

This is an exultant album of new musical rituals, tiny soundscapes, dehumanised words and combinations of the past, present and future that never fail to excite and intrigue.

Limited to 300 copies

Colemine's reissue imprint Remined is back with another one! Delving deeper in the rare California soul/funk scene from the past, this one is a two-sided burner from The San Fransisco TKO's! A super rare 45 from the Golden Soul label, the A-side is a funky midtempo instrumental aptly named for the band's Herm Henry. But the bside is the true gem, a killer raw and super sweet rendition of The Miracles' "Ohh Baby Baby". Funky a-side. Super sweet b-side. Can't miss. Limited press, get 'em while they're hot!

The A side, Can't Call My Baby, showcases Adriana Flores' impressive lead vocals and comes straight off of Thee Sinseers debut LP that has already streamed almost 7 million times on Spotify alone in less than three months. The B side features a brand new, never before heard song from the band. Take A Chance emphasizes Joey Quinones' trademark crooning while the track urges you to take a chance on love before it's too late. The expressive notes of a harmonica shines throughout the song and blends classic Motown harmonics with Latin soul. Also Available From Thee Sinseers: For You / Si Llorarás 7”, Sinseerly Yours

Das erste Weihnachtsalbum des Grammy- und Brit-Award-Preisträgers und zwei Mal in die Rock & Roll
Hall of Fame aufgenommen Künstlers Rod Stewart „Merry Christmas, Baby” erscheint erstmals auf Vinyl
als Anniversary Edition!
12 Jahre nach der Erstveröffentlichung bringt die Rock- und Poplegende sein erwärmendes Weihnachtsalbum mit namenhaften Duettpartner*innen wie u.a. Mary J. Blige, Cee-Lo Green und Chris Botti sowie
eine Produktion von David Foster, Kevin Savigar und Sir Stewart erstmals auf Platte und versetzt uns in
Festtagsstimmung.

'Baby’ – cross it off your Wants List at last. Written by Caetano
Veloso, arranged by Arthur Verocai, covering Gal Costa. An
absolutely killer Brazilia modern soul jam – a rarity in Brazil
that we hammer in DJ sets and have been wanting to release for a
while. Taken from the Quinteto Ternura self-titled LP from 1974.

‘Filhos De Zambi’ is uptempo samba-funk of the highest order, and now very difficult to find at a decent price in it’s original RCA ’compacto’ format. Percussion high on the mix, hands claps and a brilliant harmonised chorus line.

HUUUUGE lovers / dub repress of sought after 1980 CHA CHA 12”!

2024 Reissue

a very limited 1-sided pressing !!! based on the human league hit !!!

"Kal Marks have never made a record as personal as Wasteland Baby. Though Carl Shane, the band’s vocalist-guitarist, has made a career off of exploring blunt, uncomfortable truths through song, with Wasteland Baby, he steered Kal Marks toward something utterly new. Shane looked inward to stare down a fear that had long plagued him: What would it look like to have a child in a world that looks like this? “The album was driven by the fears I’m having about being a father,” says Shane. “The initial spark was this fear, and I thought that maybe if I could express it, I could overcome it.”

What started out with this simple premise slowly grew into a sprawling, borderline-concept record. It’s no surprise, then, that Kal Marks went deeper and darker than ever before when writing Wasteland Baby. Though, in order to reach that final product, it required the band—bassist-vocalist John Russell, drummer Adam Berkowitz, and guitarist-vocalist Christina Puerto, who is also Shane’s partner—to interrogate every decision they made with exacting detail. ”We were really all on the same page in that we wanted to make something really, really special and that was going to require us putting a lot of ego aside and just trying to serve the songs as best as possible.”

“In an ideal world, Kal Marks will go on forever. But it may be the end of a chapter for a while. I don’t want it to be the end, but there was an element running through the album that maybe could be the end,” says Shane. No matter what the future holds, Wasteland Baby is an emphatic reminder to brush off the things that keep you from truly living and venture into the unknown."

RAWAX proudly welcomes Felipe Gordon to the artist family! We are very happy to present you this outstanding artist from Colombia on our CHIWAX imprint. His fantastic debut release for us will be out early September. Higly recommended!

* Regrooved Company Outer sleeve
* Analogue Remastered
* Limited Edition 250pcs made

i9M is back with a new old release - what we mean by that is that these tunes were actually first recorded back in 2002 by Ability II aka David Duncan, but you wouldn't know it from listening. They are still future-sounding cuts from the producer who had forgotten about them for many years but who says that lyrically they are even more relevant now than two decades ago. The drums are dubby, the FX are cosmic and the synths bring sleek ambient flow to the energetic low ends. Outta Attercliffe aka the talented Luca Lozano, alongside associate DJ Steve remixes and ups the dub quotient while slowing the groove a touch. Last of all is a tripped-out Underground Dub Mix full of glistening FX and melon-twisting reverb.

"Million Dollar Baby" ist Pixeys bislang ehrgeizigstes Popprojekt, das sie zusammen mit Tom McFarland (Jungle, Olivia Dean, Alfie Templeman) und Rich Turvey (Rachel Chinouriri, Blossoms, The Coral) produzierte. Das Album folgt ihrer Reise der Selbstfindung als Künstlerin und dem Abwerfen damit verbundener Illusionen. "Million Dollar Baby" kombiniert Pixeys Liebe zu 90er Breakbeats mit ihren Skills als Popkünstlerin und -Produzentin, probiert und interpoliert einige ihrer Lieblingssongs, um nicht nur die Lücke zwischen alten und neuen Sounds zu schliessen, sondern einen völlig neuen Sound zu schaffen. Pixey erhält enorme Unterstützung von den britischen Popmedien und zierte hierzulande das Cover von Spotifys "Indie Brandneu" Playlist.

Das in Chicago ansässige Quintett Brigitte Calls Me Baby kündigt sein Debütalbum 'The Future Is Our Way Out' an, das über ATO Records erscheinen soll!

'The Future Is Our Way Out' wurde teilweise im RCA Studio A in Nashville mit dem 9-fachen Grammy-Preisträger Dave Cobb (Jason Isbell, Sturgill Simpson, Chris Stapleton) aufgenommen.

Mit ihren poetischen Meditationen über Sehnsucht, Angst und die Komplexität der Vergänglichkeit ist das Album eine kraftvolle Weiterentwicklung der Debüt-EP 'This House Is Made Of Corners' von Brigitte Calls Me Baby, welche von vielen Seiten gelobt und mit dem Nervenkitzel einer vergangenen Ära beschrieben wurde. Post-Punk Elemente wechseln sich mit tanzbaren Rhythmen und Gitarrenriffs ab, die vor allem zusammen mit der Stimme von Sänger Leavins immer wieder an The Smiths erinnert.

Bei der Wahl des Titels für das Debütalbum landete die Band bei einem Satz, den Leavins als Teenager impulsiv auf ein weißes T-Shirt gekritzelt hatte, und den er im Laufe der Jahre immer wieder aufgriff und schließlich in einen üppigen und filmischen Popsong verwandelte.

Mit 'The Future Is Our Way Out' legen Brigitte Calls Me Baby nun ein Werk vor, das auf geniale Weise Genres und Epochen überspannt und die üppige Romantik des Pop aus der Mitte des Jahrhunderts mit der frenetischen Energie und stacheligen Intensität des Indie-Rocks der frühen Jahrtausendwende verbindet. Im Mittelpunkt steht Leavins' hypnotisch croonender Gesang. Das Ergebnis ist eine seltene Konvergenz von Raffinesse, Stil und unverhohlener Aufrichtigkeit.

The music of Brigitte Calls Me Baby is equal parts elegant time warp and up-close exploration of our modern-day neuroses. The Chicago-based five-piece emerged in early 2023 and soon scored a breakout hit with “Impressively Average”—a sublimely shimmering anthem, setting the band on a swift rise that’s recently included embarking on a headline tour with sold-out dates across the US. Having opened for The Strokes, Last Dinner Party and Muse, the band has been featured in the Sunday Times “Breaking Act” and NME’s Radar Spotlight series. Now, with their debut LP The Future Is Our Way Out, Brigitte Calls Me Baby share a body of work that ingeniously spans genres and eras, merging the lavish romanticism of mid-century pop with the frenetic energy and spiky intensity of early-millennium indie-rock. Centered on lead singer Wes Leavins’ hypnotically crooning vocal work, the result is a rare convergence of sophistication and style and unabashed sincerity.