Suche:be loved

Having James Shinra back on AF is always a cause for celebration, and doubly so this time because we present 'Meteorites', his second album following the highly acclaimed Vital Heat (2018). During 2023-24, James uploaded a series of digital releases called 'Meteorites', a set of dreamy and introspective tracks where the artist showed his evolution and maturity, refining the emotive sound that's his trademark and has garnered so much praise in recent years. We should do justice to that material, giving it a worthy treatment/format, so we decided to release all together. James has revisited and reworked many of the tracks for the occasion, polishing, adding, removing... and the result is 'Meteorites', the album. A MUST for all braindance sensibilities and nonconformist electronic heads. We're sure it will remind you exactly why you loved this talented guy for so long and why he's one of the most uncompromising artists working in electronic music these days.

Teri Gender Bender — born Teresa Suárez Cosío — is ready to show you another side of her eccentric artistry. This time, the Mexican-American singer-songwriter and producer who was raised in Denver, Colorado, and Guadalajara, Mexico, is delving into her Mexican roots with a new Spanish-language album called “TGB.” Filled with electronic, psychedelic, and experimental pop-rock, “TGB” is an empathetic auditory vessel Teri created to understand her loved ones on a personal level. Inspired by her close friends’ woes, the singer-songwriter shows sincerity and kindness by purging their most negative feelings and transforming them into sonic masterpieces for them to reflect and heal with

Elsden Music presents the vinyl version of 'Above The Clouds', by the Ilario Ferrari Trio, with two brand news tracks - a new recording of the title track featuring trumpeter Henry Spencer and a stunning live version of "Leah Meets Laika"

The release of the vinyl comes at the point of an extensive tour across the UK and Europea between now and the end of this year.

On the cusp of releasing this, his fourth studio recorded album, pianist and singer Ilario Ferrari has developed a distinctive compositional style that integrates instrumental contemporary jazz with vocal harmonies, adding hints of sounds and rhythms from both Indian and Mediterranean culture, alongside some classical nuances with additional influences from Ilario's southern Italian heritage. This approach is singular to Ilario Ferrari as an artist: a style that is perfectly complimented by his two well-known collaborators and rising jazz stars in their own right; drummer Katie Patterson and bassist Charlie Pyne.

At the heart of 'Above The Clouds' lies the notion of relationships. Between us and our planet, the musical and personal relationships between Ilario, Charlie and Katie, and, of course, with their loved ones. It is also about elevation and observation, from 'Above The Clouds' and from the grounded embrace of Mother Earth, impressions of love, loss, and home, expressed through a beguiling blend of vocal led songs and instrumentals.

This recording is more than just a simple jazz trio album, with the trio expanding and contracting as the song requires. The Ilario Ferrari Trio's innovative approach combined with their indisputable skill promises to be a breath of fresh air in the jazz world and beyond.

Ilario Ferrari: piano, piano effects & vocals
Charlie Pyne: double base & vocals
Ketie Patterson: drums & vocals
Plus: Henry Spencer: trumpet (on "Above The Clouds")

When one makes mention of Deee-Lite, the 90's house-funk trio of Lady Miss Kier, and DJs Dmitry and Towa Tei, invariably their Billboard smash single “Groove Is In The Heart” will come up, and for good reason. With its Herbie Hancock-sampling bassline, some classic rhymes from Q-Tip, and guest vocals by Parliament-Funkadelic legend Bootsy Collins, the song became an indelible classic of 90s music, a massive commercial hit for Deee-lite and is widely considered one of the greatest dance songs of all time. Although a massive success for the group, “Groove Is In The Heart” led to some pigeonholing from critics and reviewers, who had specific expectations for future records. Rather than deliver more of the same free-wheeling, breezy dance music of World Clique, Deee-lite took a more politically-minded approach with their second album, spurred largely by front-woman Lady Miss Kier, who had a lengthy history of political activism prior to forming the group. 1992's Infinity Within rendered several Dance-chart hit singles, but was not as commercially or critically lauded as its forebear. Deee-lite were undaunted by their change in commercial fortune, regrouping with the addition of junglist DJ Ani, replacing the absent Towa Tei to record their third record. 1994's Dewdrops In The Garden was the result of their efforts, which struck a remarkable balance between the celebratory grooves of World Clique, and the social justice-driven Infinity Within. Lady Miss Kier had done a lot of world-traveling in the time between albums, and the material in Dewdrops was a reflection of her experiences, applying a spirit of global togetherness to their house-funk grooves. Regrettably, Dewdrops In The Garden was not a commercial success, yet it still managed to render its share of #1 Dance Chart singles; the atmospheric techno bounciness of “Bring Me Your Love”, and the spacious funk-house track “Call Me.” Though Deee-lite would disband soon after Dewdrops In The Garden's release, the record remains an unheralded favorite among dance music devotees for its coupling infectiously bright, and soulful melodies, with banging dance-floor grooves, and unshakably optimistic vibes.

2 bangin' big room house edits from the ALIENS ON MUSHROOMS crew. A-side features a cut up shuffley version of the WAILERS classic "COULD YOU BE LOVED." A vocoded STEVE MILLER will have dancers "spinnin round and round" with another classic, "ABRACADABRA" rounding out the B-SIDE

McKinley Dixon’s Durchbruch begann in 2021 mit dem vielgeliebten "For My Mama and Anyone Who Look Like Her" und setzte sich 2023 mit "Beloved! Paradise! Jazz!“ fort, beides instrumentenreiche Glanzleistungen im Geschichten erzählen, die sich mit dem Trauma und der Trauer über den Verlust eines jungen Freundes befassen.

Das neue nicht weniger bedeutungsvolle Album "Magic, Alive!“ setzt in vielerlei Hinsicht die Arbeit seiner Vorgänger fort: Es ist die Geschichte von drei Kindern, die ihren besten Freund verlieren sowie eine umfassende Betrachtung dessen, was Magie im Leben ausmacht. Kann Magie der Glaube an etwas sein, das wir nicht sehen können, genauso wie das Vertrauen in Wunder, Zaubersprüche und Portale für etwas, das jenseits unserer eigenen Erfahrung liegt? "Magic, Alive!" wurde ins Leben gerufen, als Dixon eine unerwartete E-Mail vom englischen Produzenten Sam Yamaha erhielt. Dixons frühe Beats hatten Yamahas eigene Arbeit inspiriert. Es dauerte nicht lange, und Dixon traf sich mit ihm in London und wühlte sich durch sein Archiv, um eine Fülle von Beats zu finden, die mit seinem eigenen Ansatz und dem aufkeimenden Konzept für "Magic, Alive!" übereinstimmten. Im Juli 2024 kehrte Dixon in seine Heimatstadt Richmond im US-Bundesstaat Virginia zurück und brachte eine Reihe von Sounds von Sam Yamaha und Koff mit, mit dem er bereits zusammengearbeitet hatte. Zusammen mit einer Reihe von Gästen und Freund*innen, von der Sängerin Anjimile und dem einfallsreichen Alabama-Emcee Pink Siifu bis hin zu Posaunist Reggie Pace und Harfenist Eli Owens, hat Dixon diese Beats weit aufgespalten und mit Hooks, Bläsersätzen und Gastauftritten versehen. Außerdem hat er mehrere Songs aneinandergereiht, so dass sich "Magic, Alive!" wie ein Traum bewegt oder zumindest wie eine alternative Realität, in der neue Regeln herrschen.

Where the Butterflies Go in the Rain is the third studio album from the enchanting songstress, Raveena. Blending powerful storytelling with early 2000s pop, Where the Butterflies Go in the Rain sees music continuing to play the central role as both a catalyst and medium in her personal and creative growth. With newfound clarity, Raveena delves into themes of new love, maturity, comfort, and domesticity that reflect the peace of mind she currently inhabits. Speaking on this evolution and how it informed the album’s creative, she shares, “Butterflies are so delicate that they have to hide in leaves and flowers until the rain passes so that their wings don’t get crushed in the rain. I felt like that was kind of a metaphor for where I was in my life. I needed to go back to comfort—to deep rest—and stop weathering storms.” On the most instinctual level it’s an album that should conjure simple pleasures like the joy of a summer road trip with loved ones.

Embracing the sounds of classic artists like Fleetwood Mac, Brandy, Bob Marley, Joni Mitchell, and Marvin Gaye, to name a few, Where the Butterflies Go in the Rain draws inspiration from people who, “are really good at capturing the beauty and loss of life in the same breath,” she describes. In her signature style, Raveena seamlessly unites that expansive songwriting with traditional Indian instruments and feel-good early 2000s pop hits —putting forth a work that’s more unabashedly herself than any that’s come before.

Raveena reflects on her forthcoming album, “I don't think I've ever understood a record so well before—It wasn’t like the process I used to have with past albums where I was more anxious about being at my best. This time, it was all intuition, and I knew the album was right when I finally had the feeling of rest.”

The deluxe release sees the addition of 3 tracks. Sun Don't Leave Me - contemplating the feeling of wanting to hold onto one more beautiful sunset, one more passionate embrace, before things change again and hard times strike again - and a reimagined version of Lose My Focus with UMI, bringing fresh energy to an album that’s more unapologetically Raveena than ever.

Violent Delights is an anthology of stories that meanders through themes of grief, rage, desire and identity. There are stories of the toxicity of addiction, and growing up around religion; stories of overwhelming obsession, isolating abandonment, and empowering anthems of identity, and stark laments about sexual violence. They are each lived experiences, laid bare, reclaimed with every syllable whether dripping in spite or swagger, anger or anxiety. "Loss is a central theme of the album," explains vocalist Kate Price. "For us, we have our own specific version of what that is in these songs, but for anyone listening, it could be the loss of something else - a loved one, a relationship. But we're never mourning loss. We're celebrating it. Loss is almost universally looked at as a negative, but we're finding the positives in those moments. We had to go through hell to get to heaven. Violent Delights is about looking back with gratitude, and even fondness, the closing of one chapter and beginning of another." Jools - comprised of Kate Price, Mitch Gordon, Chris Johnston and Callum Connachie, Joe Dodd, and Chelsea Wrones - has been a name on the lips of clued-up fans and tastemakers since its collective of musicians found each other in the earliest days of 2023. Quickly gaining a reputation for their cathartic, unpredictable and specular live performances, the band have been consistently championed by BBC Radio One, including two `Tune of the Week' placements on Daniel P Carter's esteemed Rock Show. Violent Delights was recorded across two week-long stints at Southampton's The Ranch studio in August and December of 2024, with Lewis Johns helming production and mixing duties. When pressed, Jools may identify as a punk band - in its truest sense that punk is a mentality, rather than a sound - but Violent Delights equally lends from the worlds of metal, rap, post-hardcore and hip-hop as much as it does the post-punk of its surface layer. Gordon and Price are as likely to point to Turnstile, Mannequin Pussy and Amyl & The Sniffers as influences on the record as they are to Little Simz and The Streets' Mike Skinner. "We don't necessarily look at music in sounds or structures," nods Gordon. "Instead we look for attitudes."

This is a release that has been on the back burner for a few years now. Discussions started a while ago but so many distractions happened in-between (plus we released the excelled Amen Brother EP by EQ as well which distracted things for a while). But we got there and by god, we know how much this EP is loved by you guys... so super happy to have finally got it over the line.

This is a proper piece of grail... EQ and the amazing Mastersafe. They only released one record together, this one, back in 1994. Though trainspotters, anoraks and fans alike will be stoked to know that they actually made quite a few tunes together back then that were never released (though a few made it to dubplates)... and EQ has found all the DAT's, so keep on eye on Vinyl Fanatiks during 2025 for further treats by this duo!

"Max Knouse’s voice feels like laughter that follows a well-loved joke. Only afterward, it dawns on you that you don’t fully understand the punchline. Or for that matter the set up. In fact, you’re not even sure what language the joke was told in. What to make of such a laugh—inexplicable, delightful, surprising, seemingly nonsensical? And what to make his voice, at once comforting, beguiling, and just beyond the bounds, like a blues moan or a Mingus lick or some ancient guttural holler? It’s the kind of haunt that lingers long after the record fades, echoing back in your imagination, laden with cryptic possibilities and occulted meanings.

Chipmunk’d Away is his third album. Known for his sessions and live shows with artists like Califone, Jolie Holland, Adan Jodorowsky, Psychic Temple, Simon Joyner, Alex Dupree, and others, Knouse has established himself as an essential factor in the West Coast indie pop underground, brandishing guitar chops that mirror the rawness of his voice; he treats his instrument like a divining rod of spiritual tension and joyful racket, pushing and pulling on it with affection and sometimes something darker.

From the swelling cosmic folk of “Mint and Tobacco,” which features Knouse intoning apocalyptically over engineer Michael Krassner’s washing guitars, “Your breathing ain’t so deep,” to the jazz standard swooner-meets-West Coast psych-pop title track, to the nightmare-scape blues of “Clumsy Hunter,” to the concluding audio collage sway of “Banana, Orange, and Something Else,” Chipmunk’d presents the range and scope of Knouse’s style: bold, adventurous, frightening, and then frequently, when you least expect it, heartbreakingly lovely, like a joke that clarifies your feelings before you could actually verbalize what those feelings even are. They had been hidden from you, chipmunk’d away, but now Max Knouse has revealed them."

The stunning debut album by Peki Momés is back in store after selling out the first edition in a few weeks! This 2nd pressing has a different label design. Featuring twelve outstanding original tunes. Turkish psychedelic, global disco and outernational!

Peki Momés is a Turkish artist living in Germany - who only started to record music by accident in 2024. Blessed with style and intuition rather than formal education, her fresh and uncompromisingly authentic approach to music took hearts and ears by storm.

Ever since her debut 45 on Mocambo Records, Peki Momés has become a little sensation in and outside the organic groove scene: turntablist DJ Koco played doubles of "Göc Mevsimi" in his set, Iggy Pop announced "Rüya" on his "Iggy Confidential" show on BBC and the second vinyl single surprised everyone with a mesmerizing cover of Marco Valle's much loved "Estrelar" in the turkish language. Both records sold out quickly and are in the bags of tastemakers like Coco Maria.

Peki Momés' music is an eclectic mix of sounds from the global underground, tastefully crafted by producer Dustin Braun and a troupe of ridiculously talented jazz musicians. Dirty disco, fuzzy funk, anatolian rare grooves, experimental synth, library music and japanese city pop all blend naturally with her distinct vocals to create a unique ethereal outernational sound that is all her own.

Once dubbed as 'turkish discodelic', Peki's songs have a dreamlike, enchanted and psychedelic quality and instantly take the listener on a journey. In a poetic way, she approaches topics like "dreams and a naive fear of losing or not fulfilling them" or expresses "worries about our weary world and call for solidarity from all" - always with an outlook of hope. You do not have to speak turkish to understand - the message is transported by a universal language.

With her debut album, Peki Momés is now telling her full story. Displaying a young Peki on the cover, the artwork hints at the freshness and enthusiasm of the project. We should consider ourselves lucky that Peki chose to disrespect rules in favor of self-empowerment and made this wonderful longplayer that you never knew you needed.

Strut proudly reintroduces a sought after independent disco gem from the Topomic catalogue: Beckie Bell"s "In Need Of...", reissued in full for the first time. Originally released in 1980, In Need Of... quickly became a cult classic of the French disco scene. After relocating from New York to Paris in the late 1970s, Bell carved out a unique space for her sound, blending the soulfulness of New York disco with the high energy sophistication of the European market. The full debut album features some of Bell"s earliest recordings, including the full length version of "Super Queen" (1979) and "In The Right Place" (1980), showcasing her commanding vocal delivery and distinct musical style. Standout track "Music Madness" has since become a much-loved disco anthem, revered by collectors and DJs alike.

Wenn drei visionäre Köpfe der elektronischen Musik aufeinandertreffen, entsteht ein Sound, der Grenzen sprengt. Demise Of Love ist das Projekt von Daniel Avery, James Greenwoods Ghost Culture und Working Men’s Club – eine Kollaboration, die aus gegenseitiger Wertschätzung und dem Streben nach neuen Klängen entstanden ist. Demise Of Love verbindet rohe Energie mit klanglicher Präzision. Das Ergebnis ist eine Fusion aus industriellen Klanglandschaften, pulsierendem Acid-House und melancholischen Melodien. Ihre Musik fordert heraus, fesselt und bleibt haften. Die EP, abgemischt von Alan Moulder, bringt das Beste der drei Musiker zusammen: Synthesizer, die den Raum aufbrechen, intensive Refrains und eine Soundästhetik, die sich nicht einordnen lässt. „Strange Little Consequence“ wechselt spielerisch zwischen Acid-Groove und monumental anmutendem Rock-Refrain. „Carry The Blame“ fängt die Weite des Detroit-Techno ein, „Be A Man“ verbindet Industrial-Punk mit düsterer Melancholie, und „Like I Loved You“ hebt mit hymnischem Gesang in elektronische Höhen ab. Auch inhaltlich geht die EP tief: Texte über Entfremdung, Kontrollverlust und die Suche nach Verbindung verleihen der Musik zusätzliche Schwere. Zeilen wie „Dead peasants excite you / Rewards of the plight fall / Into your hands“ aus „Strange Little

Consequence“ oder „Your ways are antiquated / And I’m bored now“ aus „Be A Man“ spiegeln das Unbehagen unserer Zeit wider. „Demise Of Love“ ist keine bloße Zusammenarbeit, sondern eine Verschmelzung dreier einzigartiger Klangwelten zu etwas völlig Eigenem. Hier trifft Innovation auf Emotion – kompromisslos, intensiv und von zeitloser Eleganz.

Fünf Jahre nach ihrem gefeierten Album 'forevher' meldet sich die britische Sängerin Shura mit ihrem dritten Studioalbum 'I Got Too Sad For My Friends' zurück. Eine Mischung aus Kammerpop, 60er-Jahre-Folk und Lagerfeuer-Americana, die Shuras introspektives Songwriting in eine weite Landschaft ausdehnt - ruhiger als der gefühlvolle Schwung von 'forevher' und rustikaler als der grüblerische Synthie-Pop ihres Debüts 'Nothing’s Real' aus dem Jahr 2016.

Obwohl das Album Themen wie Isolation, Traurigkeit und Depression bearbeitet, klingt es aber alles andere als niedergeschlagen - Shuras kristallklarer Gesang trifft auf eine warme, erdige Produktion. Shura dazu ganz selbst-ironisch: „Auch wenn es nicht unbedingt eine maximalistische Platte ist, was den Sound angeht, war der Ansatz für mich, die Platte mit maximaler Freude aufzunehmen - was urkomisch ist, denn es geht darum, unglücklich zu sein!“

Angegangen wie eine „Old-School-Platte“, die eher eine Performance als eine Produktion einfängt, wurde ein Großteil des Albums live aufgenommen, wobei Keys, Bass, Gitarre und Schlagzeug in einem Rutsch aufgenommen wurden. Nur der Gesang wurde separat aufgenommen - mit Ausnahme des sanften Funk-Tracks Ringpull.

Fall in love with the sound of Paris on Valentine’s Day through Parisian Romance, a romantic lofi collection that captures the city’s timeless charm and bittersweet beauty.



On this special day of celebrating love and appreciating loved ones, each track transports you to quiet Parisian streets beneath soft, evening skies, where love and loss intertwine. With the heartbeat of the city echoing through cozy cafes and twinkling lights, this collection offers the perfect soundtrack for embracing the delicate emotions that define the City of Lights.

David Lowery (Cracker, Camper Van Beethoven) to release his new 28-track solo album. "Fathers, Sons and Brothers" is David"s musical autobiography, celebrating his youth, family, friends and the highs and lows of his lengthy 40-year career in the music business. The album combines three of David"s previously online-only released autobiographical solo albums "In The Shadow of the Bull", "Leaving Key Member Clause", and "Vending Machine", and also includes four new previously unreleased songs, as well as four newly re-recorded tracks: He"s been writing songs about people on the fringe for damn near a lifetime. 40+ years of detailing the idiosyncrasies of outcasts, losers, freaks and outliers in society in his two acclaimed, if not totally different, bands - Cracker and Camper Van Beethoven.

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.