Combo Efectivo was formed in November 2024 in Bogota in a studio in the Teusaquillo district, at the invitation of Jazztropicante. It brings together an all-star cast from Bogota's neotropical movement and three iconic brass players from the current French jazz scene.
The chemistry was immediate and the energy palpable: a sound that was both playful and demanding, exuding groove, rich material rooted in contemporary jazz structures, and breathing the spirit of brass bands and the splendor of popular expression from the Colombian Caribbean.
A two-track EP was produced from this unique studio session, recorded and mixed at Mambo Negro Records, with the expertise of Daniel Michel. Mastered in Paris at Loom, this first 45 rpm single was released in February 2026 with The Pusher, officially marking the birth of the Casa Maguey Records label, which promotes the catalog resulting from Jazztropicante's encounters.
On the French side, three musicians who are making their mark on their generation: Stéphane Montigny on trombone, Antoine Berjeaut on trumpet, and saxophonist Léon Phal, the spearhead of a new generation of jazzmen. The Colombians are a cocktail of musicians from the most exciting groups on the current scene: Karen Nerak on vocals, rap, gaita, and percussion, Ruben Aragon on keyboards, Pelango on bass, and Kike Narvaez on drums.
Combo Efectivo magnifies the alchemy between the finesse of European jazz and the power of Colombian rhythms. A tropical trance fueled by improvisation, where the contemporary jazz scene and neo-tropicality meet in a spirit of openness and exploration.
25 years ago, at the turn of the millennium, downtown NYC was spoiled with record stores. In this pre-digital age, vinyl was king for club DJs, and shops such as Downtown 161, Dance Tracks, and Vinyl Mania peppered lower Manhattan, thriving businesses that supported an expanding scene of local and international DJs. Perhaps the largest and most established of these was Satellite Records, an institution of club sounds that also spawned multiple record labels, including the deep-house imprint Central Park Recordings.
At this time, Central Park Recordings and Satellite Records owner Scott Richmond signed a demo in need of a vocal from young British producer Alistair Colling, and enlisted John-Christian Urich to write it, who had just had a massive hit with “I Might Do Something Wrong” the debut Tortured Soul single on Central Park. He in turn brought in Sabina Sciubba of then newly-formed band Brazilian Girls to record the vocal, and with Jon Cutler on remix duties the record was complete. Tortured Soul went on to release numerous deep house classics like “Fall In Love,” “How’s Your Life” and have continued to tour as a groundbreaking live-house act to this day (of which RNT co-founder JKriv was bassist and collaborator for 10 years).
For the 25th anniversary of this turning point release, Razor-N-Tape has rebooted and remastered the original and classic Jon Cutler mixes, which have never been reissued in any format since the original release. RNT also commissioned two new exemplary remixes from DJ Spinna and musclecars, connecting the dots between the deep-house lineage of the past and present. Presented in a gorgeous jacket that calls back to the graphical style of the original Central Park Recordings aesthetic, this 12” is an absolute essential for any lover of soulful club sounds or purveyor of NYC dance music history.
Ideologic Organ freut sich, die brandneuen Aufnahmen von The Necks zu präsentieren, dem legendären australischen Trio, das sich durch die Umgehung musikalischer Klischees auszeichnet und gleichzeitig die Praktiken der Improvisation, des Jazz, des Post-Rock, des Ambient, des Minimal und der texturierten, ,klangbasierten" Musik erforscht und erweitert. Das neueste Werk dieses langjährigen Ensembles, Unfold, präsentiert sich als Doppel-LP mit vier seitenlangen Tracks. Das bewusste Fehlen von nummerierten Seiten gibt dem Hörer viel Raum, sich einzubringen, und lässt ihn seinen eigenen Weg durch die Klanglandschaft finden. Die kürzere Länge des Vinylformats ist für die Mitglieder des Ensembles kein Hindernis, sondern bietet ihnen einen kompakteren Horizont zum Nachdenken, in dem die zurückgelegte Strecke auf unmittelbarere und dynamischere texturale Aspekte neu ausgerichtet wird. Die Unmittelbarkeit von ,Rise" bestätigt diesen neuen Weg, während die traurigen Töne von Lloyd Swantons Bass um Chris Abrahams' kristallklares Klaviermotiv wirbeln und Tony Bucks Percussion den Prozess in erleuchtende Free-Jazz-Gefilde lenkt. ,Blue Mountain" bahnt sich einen Weg durch das klangliche Unterholz, wobei Soul-Orgel, rasselnde Percussion, Pfeifen und hüpfende Schallwellen um den Vordergrund wetteifern. ,Overheard" behält eine erhabene melancholische Aura, während Percussion und Keyboards sich gleichzeitig umarmen und auseinanderfallen, während ,Timepiece" als sanfte Geste weiterer Möglichkeiten dahinspringt. Wie genau The Necks ihre besondere Magie entfalten - so einfach es auch scheinen mag -, während sie sich immer weiterentwickeln, kann nur vermutet werden, aber ,Unfold" beweist einmal mehr, dass Regeln und Schulen gebrochen und zu Mustern und Rahmenwerken umgestaltet werden müssen, die sich von denen unterscheiden, die wir kennen.
“My Brain Is A Diskotheque” is more than a dance record—it’s a sharp, finely-crafted soundtrack to modern escapism, walking a perfect line between the bright euphoria of Side A and the inevitable comedown traced on Side B.
ATA Records are proud to present the new release by Work Money Death, A Portal to Here. This album continues WMD’s exploration of Spiritual Jazz and the sounds and styles that evolved out of the 60s New Thing, particularly the recordings of
Alice Coltrane and Pharaoh Sanders. The first WMD album released since the tragic death of ATA guitarist Chris Earl Dawkins in early 2025, all four tracks reference the journey that band members and the studio have been on – in many ways this record is a testament and tribute to Chris, his musicality and creativity.
Featuring WMD stalwarts Tony Burkill, Neil Innes, Sam Hobbs, and Sam Bell, the album introduces Sorcererskeyboardist Johnny Richards to the WMD sound. Richards brings a fresh new take to the piano role here, drawing on what is clearly a broad knowledge of jazz history and channelling that through his own unique 21st century musical perspective.
The album also features contributions from Alice Roberts on harp, bringing the spirit of Alice Coltrane, Ben Powling on baritone saxophone, Richard Ormrod on woodwind, and Kev Holbrough & Steve Parry on brass. Those Sun Ra-esque horn sections lift the mood whenever they appear.Standout tracks are the second, Dance of the Spirits, with a strong core of Baptism and The Blues and some lovely playing by Richards, and the third track, Brother Earl, which begins with Tony on flute over rhythms that are directly reminiscent of open-hearted, late-60s spirituality. Tony later moves to tenor and, as on all four tracks here, eventually builds to the peaks of shattering emotional intensity that fans of Work Money Death - and spiritual jazz in general - love.
Mit Money landete Mozzart 1987 einen echten Euro-DiscoHit, der bis heute als Club- und Genreklassiker gefeiert wird.
Treibende Beats, eingängige Synthesizer-Melodien und der typische 80er-Jahre-Disco-Sound machen diesen Track zu einem zeitlosen Highlight der europäischen Dance-Ära.
Jetzt ist „Money“ endlich wieder erhältlich – als limitierte Maxi Single auf farbigem Vinyl. Neben der originalen Version aus dem Jahr 1987 enthält diese Veröffentlichung brandneue Remixe, die dem Klassiker einen frischen, modernen Twist verleihen, ohne seinen ursprünglichen Charme zu verlieren.
Diese Maxi Single ist ein Muss für Sammler, DJs und alle Fans von Euro- und Italo-Disco.
Sterns Edits returns after the sell-out success of its debut edition with another two catalogue reworks from Ben Gomori. This time he turns his attention to Burkina Faso's much-loved taxi-driver- turned-singer, Amadou Balake´.
Balake´ ('porcupine' in Mandinka) is Burkina Faso's proudest musical export, and in 2013 he recorded his final album before passing away: 'In Conclusion'. The record saw him revisit some of his most popular tracks from his remarkable 50-year career, backed by an eight-piece Burkinabe´ band who took the country's traditional sounds and brought them into a contemporary light.
Gomori retains the essence of the original recordings - which were mostly captured in one take - and marries them to vigorous afro-house stylings. 'Bar Konon Mousso (Musicien C'est Pas Quelqu'un)', in which Balake´ tells of a bar lady being unimpressed by his profession, gets a gentle push towards the modern dancefloor, its wonderful sax lines resplendent. 'Massa Kamba' is taken for a drive down the more traditional route, with commanding drums bolstering the original grooves and a marvelous triple harmony brass section at its core. Balake´'s freewheeling style suits the hypnotic feel of the edits to a tee.
Sterns Edits is an official collaboration between African music stalwarts Sterns Music and London's Ben Gomori.
Indiana Jones never dug this deep.
Church – the brainchild of Joe Washington – were a band both lucky and cursed to come up in the seventies. Lucky, because they rode a wave of community activism, uplifting messages and a moment when music truly mattered. Cursed, because those same times meant their tight, heartfelt output went overlooked.
Mid-sixties to circa 1980 soul and funk were extraordinarily rich. The era’s big releases have aged like fine wine, yet countless hidden gems remain buried. Church’s only single was one of them. Their hypnotic 1976 release “How Long” b/w “Da Da Song” arrived the same year as Stevie Wonder’s Songs in the Key of Life, Marvin Gaye’s I Want You, Diana Ross’s Diana, and at a time when Black mainstream music was shifting toward disco. Church, however, sounded like Sly & The Family Stone in an alternate timeline — gritty, focused, stripped of additives.
“Da Da Song” is pure grits and gravy: furious, tight drums and lyrics that sound like both a plea to DJs to play their record and an insistence to keep the party alive, noticed or not. It cooks from start to finish in just two and a half minutes.
“How Long” is its own universe. Where “Da Da Song” is skeletal, “How Long” blends key strands of Black music in under three minutes: touches of spiritual jazz with a Gary Bartz-like sax, gospel-blues undertones, and echoes of the era’s flower-power-tinged Black creativity — The Undisputed Truth, The Family Stone, even the poetic freedom of Nikki Giovanni. The lyrics are a timeless plea for love.
Church formed in the Bay Area in the early seventies, shaped by the movement, culture and activism of the time. Joseph Washington, based in San Jose, never chased a music career — for him, music was a way to bring people together. Before Church, he led a backing band called Wash, then added gospel singer Linda Williams (née Stephens) and New York–born Joel Como on xylophone to complete the group.
They rehearsed in Joe’s garage, spread through word of mouth and played every gig they could: Black colleges, opening slots for The Whispers, neighbourhood house parties. Some members studied at Nairobi Junior College in East Palo Alto, then a hotbed of Black community activism, with revolution in the air and messages woven naturally into the music.
This single is a message from that era, resurfacing at last — ready to be sampled just as another Joe Washington track, “Look Me in the Eyes”, was on Drake and J. Cole’s “First Person Shooter”. These rare, spirited tunes are begging for new life through samplers, again and again.
The Cosmic LP is an album that is fully part of the history of Italian dance music.
First released in 1984, it is a produc*on signed by SANGY, one of the founders of Italo-dance, who was
responsible for the composi*on, arrangement, and performance as a guitarist and mul*-instrumentalist on
most of the tracks.
Crucial to this project was the collabora*on with DJ Daniele Baldelli, who at the *me was the resident DJ of
the legendary Cosmic club in Lazise (Verona) and is s*ll considered one of the most important Italian DJs.
Collaborators also include the names of Sandy Dian, one of the most sought-a2er sound engineers of the*me, and a debutant M&G, who would later co-sign one of the most iconic Italian disco tracks, "When I Let
You Down," also in collabora*on with Sangy.
The sounds of this album were absolutely revolu*onary for the era because they blended funky, jungle,
Brazilian, disco, and fusion influences in a completely unprecedented way.
For these reasons, the Cosmic LP has remained an iconic piece of interna*onal discography, maintaining its
originality and sonic power intact more than 40 years a2er its first release.
This official double vinyl is dedicated to Duplé, the historic nightclub that defined enre
generaons of clubbers.
It's a special project: two vinyl records collecng the tracks that made Duplé's history over the
years—the ones you danced to, shouted out, sang along with, and that sll give you goosebumps
on the first listen. An insert with historical notes and flyers recalling the most significant magical
nights is included.
This is not a simple record release, but a collector's item: a piece meculously curated, featuring
tracks that are somemes hard to find, selected specifically to tell the story of the club's soul and
its legendary events. This "Duplé Paura" double vinyl is a tribute to all who experienced its magic, both yesterday and
today.
ROTCIV is back with his new EP ‘Memory’, which marks the 20th release on Beartrax’s label Melodize. Throughout the record, the Berlin-based and native Brazilian producer explores his signature dark, mysterious, and atmospheric vibes shaped by the underground and queer club nights and dance-floors that fuel his sound, refined by over almost 30 years behind the decks.
Maintaining Melodize’s specialized sound deep-rooted in moody electronic principles, the EP opens with ‘Memory’, a piercing, dark, synth dynamic alongside rich tonal textures in both harmony and melodies alike. Unapologetic, yet calming and reminiscent of a slow drive through the winter nights; cold, yet bold, sharp, and comforting.
First to remix ‘Memory’ with a nostalgic, synth-heavy 80’s remix is Frankfurt-based DJ, producer, and visual artist Chinaski. Integrating his signature bold synth hooks into the track, Chinaski knows how to roll in with longing sentimentality. The remix features a bouncier approach with re-envisioned acoustic percussion and catchy synth arps, along with an eery dark disco feel.
On the B side, Rotciv kicks in with ‘Trintage’, which gives a sinister sensation with its hypnotising bass synth lines alongside contrasting, choir-like pads. Seeping with articulate poly-rhythmic synth arps, Trintage guides the listener to be indulged into a dream-like state on the border between both digital and analogue soundscapes, blurring the lines between fantasy and reality.
Next up is New York-based and founder of Samo Records, Facets, who takes on the next remix for ‘Trintage’ with a more electro-grunge techno approach consisting of heavier four to the floor kicks in company of Rotciv’s hypnotic textures. Having shifted the synth melody rhythmically, a sense of space and tension is created within the soundworld of this track. The play between gritty bass-end synths along with softer, textured high-ends helps emphasize the groove injected into this remix.
One last remix of ‘Memory’ by Melodize’s own label founder, Beartrax, rounds out the EP. Available exclusively via digital bonus, Beartrax features his deeply hypnotic aesthetic by driving in ethereal synths alongside cosmic arps and slow-rolling rhythmic and pulsating groove lines.
Synaptic Cliffs is thrilled to welcome the synthetic humanoid Fleck E.S.C. to its neural family.
He is planet-wide known as a master of Electro Space Cookie productions and a legendary figure among 4D wanderers since his voluntary transmigration to the Tokyo Null Zone. This release is not merely a collection of tracks but a detailed, musically decrypted analysis of post-human consciousness. The pieces were extracted directly from the non-Euclidean circuits of his own, self-constructed Franck Collin Android body. Prepare your brainstems for a complete recalibration and enjoy this perfect fusion of French precision and the wild, uncontrollable energy of Neo-Shinjuku.
"It's like hearing the entire evolutionary history of humanity played backward in a single millisecond while a synthesizer scores the birth of a new star," says
pdqb.
The Roots of Chicha, compiled by Barbès Records, was originally released in 2007 and became the first recording to popularize psychedelic cumbia around the world.
From the late 60's through the 80's, Peruvians invented a new popular musical hybrid inspired by music from the Americas. In 1968, Enrique Delgado released his first record on Odeon with his new group, Los Destellos, single-handedly creating Peruvian cumbia. He codified the genre early on by using the electric guitar as the primary melodic instrument, and mixing cumbia rhythms with folkloric huaynos, criollo voicings, Cuban guarachas and guajiras, rock, boogaloo, surf, psychedelia, oriental music, classical music, and bits and pieces from Brazil, France, Chile... All Peruvian cumbia bands for the next thirty years would end up drawing from the exact same sources (Grupo Celeste, Los Mirlos, Juaneco Y Su Combo, Manzanita Y Su Conjunto...).
This new wave of Peruvian cumbia came to be known as chicha. Chicha is originally the name of an alcoholic drink, made of fermented maize, which the Incas were especially fond of. In the past thirty years, however, the word has taken on a pejorative connotation. Peruvian cumbia started being called chicha in the late 70s, around the same time that the music came to be viewed as the expression of the slums – the pueblos jovenes. Little by little, the word became an adjective, and people now talk of chicha culture, chicha press, chicha architecture, even of a chicha president, and none if it – you guessed right – is meant as a compliment. Chicha suggests corruption, shady deals, and cholos – a derogatory term for a person of Andean heritage that, of late, is being reclaimed and worn as a badge of honor by the very cholos it was supposed to demean in the first place.
After a longtime interest in the beguiling music of Nathan Dawidowicz, Hell Yeah now hooks up with the leftfield downtempo producer for their second full-length album, FLUFF. The immersive record features three long, winding and mystical soundscapes that blend trance and experimental into spiritual and ritualistic escapes.
Dawidowicz was born in Milan to a Polish-Lithuanian mother and a Cameroonian father, but grew up in an ultra-Orthodox Jewish community in Jerusalem. Because of that, their sound is deeply rooted in childhood experiences playing the piano at religious ceremonies, as well as taking inspiration from their father’s DJing throughout the '80s and '90s. Now based in Berlin, Dawidowicz has explored expression through music on labels like Luspoderosa, where they released their debut solo album, Sanctuary of Ideas.
It was when Calm and David Holmes started playing the epic, 23-minute 'Capricorn Rising Over Jerusalemite Temple' from that album that Hell Yeah founder Marco was encouraged to get in touch with Dawidowicz. A few months later, talk turned to releasing this new album, which comes with artwork by Spain's Alicia Carrera.
'Skeptic Afro Jr.' kicks off and soon sinks you into slinky, ever-evolving rhythms. It's a slowly evolving work of sound where the focus shifts from snaking basslines to lumpy drums, cosmic leads to life-affirming chords. 'Scintilla (Feat. Hannah Schraven)' is a deep and downtempo trip into dub and techno, with undulating drums and exotic melodies that escort you into otherworldly realms of spiritualism. Last of all are 'Deep Fluff' and a hidden track (Feat. Leo Börger), two cinematic explorations of deep space where acoustic frequencies and molten synths rewire your brain and connect you to a higher power.
FLUFF is another deeply personal and inward journey packed with transcendental experiences.
DJ FEEDBACK:
"That's such an outstanding piece of work - played two at the beginning on Saturday. Probably my favourite release of the year so far!" Sean Johnston ALFOS
"this is great! 3rd repeat. It’s so nice" Vladimir Ivkovic
"Just listened to Nathan's record and it really sounds amazing... Probably the best thing you've put out to my ears ;-) I love the way he bridges the sounds of the past with contemporary storytelling, taking you on a very long trip which you never want to leave!" Alexis Le Tan
‘Let’s take a trip’ – with major names on the psytrance scene Avalon and GMS releasing on KNTXT for the first time, combining forces for a full-on attack, 4-track EP ‘The Underground’, out December 11th. Their joint mission? ‘Combining two worlds where psytrance meets techno, a fusion which will take you on a mind-expanding journey! Welcome to The Underground…you have arrived!
London DJ/Producer Avalon was recently awarded the number 1 top-selling psytrance artist on Beatport with over 30+ psytrance chart #1s and 5 top-selling LPs to his name, and performs at the likes of Tomorrowland, Boom, EDC Las Vegas, Glastonbury, Exit, Burning Man, Ultra, ASOT, Ministry Of Sound,... GMS (Growling Mad Scientists) was founded by Dutch Ibiza-based DJ/Producer Riktam with the sadly late Bansi, to establish pioneering psytrance label Spun Records and to have director Tony Scott no less, using GMS tracks on three of his films. A prolific producer with over 300K album copies sold, GMS holds the most psytrance records released overall.
‘I'm beyond honoured to release this stunning four tracker from psytrance legends Avalon and GMS. With this release, friendships were formed and worlds truly started colliding. I have massive respect for both these artists and their long standing impact on electronic music. This release feels like a bridge between generations and genres. It carries an energy that deserves to be heard, experienced, and felt on dancefloors around the world.’ Charlotte de Witte
Title track ‘The Underground’: hyperspeed trance beats support a wild variety of acid-dripping pulsations, spacey arps, otherworldly swoops, mind-teasing stabs, it’s like a lightshow in sound. That transports its listeners into another dimension. On ‘Horizen’, psytrance thrives, while ethereal vocals call, with intricate sound design painting a mythical soundscape. On ‘Machines’, it’s driven by hypnotic acid lines, pulsating Kick & Bass with sprinkles of techno infused percussion! Its choral notes and alien-like spoken lyrics, both gripping and disorientating as builds & breaks come thick and fast. ‘Rave to the Grave’: constant pulsing high synth and vocals with twanging acid together with frantic percussion create a sustained, agonizing build, build, build – until ‘On the 7th day, the Lord said ‘Let the beat drop!’’ Phew!
‘We are very excited about our debut release on KNTXT ‘The Underground’ and can’t wait to share this 4 track EP with you all. We hope you enjoy it as much as we did creating it. This fusion of techno/psytrance is brought together by all of our mutual love for acid & driving hypnotic dance music! Enjoy… Play it loud! Welcome to The Underground… You have arrived!’- Avalon & GMS
A mind-bending EP, with racing beats that give the ‘trance’ in psytrance a huge adrenalin shot. This is high energy reaching new altitudes; hold on to your brain cells, they’re going for a ride!
Métron Records announces Mycorrhizal Music, the forthcoming album from composer and multi instrumentalist Ess Whiteley. Currently a PhD candidate in Composition at the University of California-San Diego, Whiteley’s practice spans recordings, installations, performances, and scores, a body of work as diverse as the fungal webs that inspire it.
Across seven tracks, Whiteley explores interconnected sound worlds shaped by mycelium networks, rhizomatic structures, and other unseen systems that sustain life. Rooted in experimental electronics, minimalism, ambient and IDM, the record imagines sound as ephemeral connective tissue capable of reshaping how a listener might experience time, memory, and futurity.
At the core of Whiteley’s work is an excavation of what lies beneath perception, the felt but unspoken currents of emotionality and subtle experiences that dwell in the unconscious.
Mycorrhizal Music channels these hidden threads into a speculative ecosystem of kinship and exchange, where joy, play, and spirituality interlace like branching hyphae beneath the soil. Mycorrhizal Music has been conceived as kinetic ambient music, designed to move with the listener while walking, riding trains, driving, cooking, where everyday rhythms align with shifting sonic textures, reminding them of hidden, interconnected, mycelial webs of spiritual vitality beneath the surfaces of daily activity.
Guided by a vision of speculative ecology and interspecies resonance, it thrives in contrasts: tracks like Rhizomatic Harpists and Whispered Messages in Tapestried Fields of Fluid Motion pulse with fluid momentum, while Kaleidoscopic Patterns of Emptiness Dancing drifts into fragile stillness.
With artwork by Kenta Senekt and mastering by Brandon Hocura, Mycorrhizal Music extends Métron Records’ ethos of cultivating subtle, interconnected sound worlds.
Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.
One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.
Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.
And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.
Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.
Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.
Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.
And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.
The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.
This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.
If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.
Toni Braxton, veröffentlicht 1993, stellte der Welt Braxtons warme, samtige Stimme vor und etablierte sie als prägende Figur des R&B-Genres. Mit ikonischen Tracks wie dem Smash-Hit "Another Sad Love Song" und dem kraftvollen "Breathe Again" verbindet das selbstbetitelte Album mühelos sanften Soul, gefühlvolle Balladen und zeitgenössische R&B-Einflüsse. Die opulenten Produktionen, geprägt von komplexen Melodien und raffinierten Arrangements, zeigen das Talent namhafter Produzenten wie Babyface und Antonio Reid.
Toni Braxton, veröffentlicht 1993, stellte der Welt Braxtons warme, samtige Stimme vor und etablierte sie als prägende Figur des R&B-Genres. Mit ikonischen Tracks wie dem Smash-Hit "Another Sad Love Song" und dem kraftvollen "Breathe Again" verbindet das selbstbetitelte Album mühelos sanften Soul, gefühlvolle Balladen und zeitgenössische R&B-Einflüsse. Die opulenten Produktionen, geprägt von komplexen Melodien und raffinierten Arrangements, zeigen das Talent namhafter Produzenten wie Babyface und Antonio Reid.
Secrets ist das zweite Studioalbum der US-amerikanischen Sängerin Toni Braxton und wurde ursprünglich 1996 veröffentlicht. Das Album markierte einen entscheidenden Moment in Braxtons Karriere, indem es R&B-, Soul- und Pop-Einflüsse miteinander verband und einen Sound schuf, der sowohl zeitlos als auch modern ist. Mit kraftvollen Tracks wie dem Grammy-prämierten "Un-Break My Heart" und dem sinnlichen "You're Makin' Me High" präsentiert Secrets Braxtons unvergleichliche stimmliche Stärke und ihre charakteristische emotionale Erzählkunst.
Next up on Bruno Schmidt’s Assemblies Of God; The eagerly anticipated follow up to one of the most impactful leftfield records of 2023, Bauzer Vep’s The Gurner. Alexander Folonari brings us Gut Und Günstig under his brand new Sabber Mund Alias. Previously appearing under Shampoo Douglas and La Decima Vittima on Quest’s La Nota Del Diablo imprint, Sabber Mund takes a very different form. This music could be described as “Post-everything”, combining elements of dance music, with a punk-meets-folklore education.. Everything from straight Bach-informed dancefloor killers, to medieval lullabies. Across the board, custom no-wave themes from the get go. Hot tip!
Don Cherry, armed with a voracious musical appetite and boundless imagination, first made a name for himself - though not always fully understood - alongside Ornette Coleman, playing trumpet or cornet. In Los Angeles and then New York, he stood at the heart of a revolutionary approach to improvisation based on melody rather than harmony, later baptized "Free Jazz," the final structural development of American jazz. Over time, he became a champion of improbable fusions - gradually integrating into his style a whole array of "exotic" instruments, and more importantly, the cultures from which they originated. Among them: India, Brazil, Africa, Indonesia, and even China. The time had come for the emergence of "world music": in hindsight, a patchwork rich in imagination and seduction, but once the novelty wore off, often lacking in substance.
In Don Cherry's case, however, the commitment ran deep - tied to his personal engagement with a global vision of art and the human condition. Ustad Ahmed Latif Khan, from the Delhi gharana (a musical lineage), was part of a new generation of accompanists - percussionists, sarangi players, flutists, etc. - who had extended both the technical and conceptual possibilities of their predecessors to gain recognition as soloists and soon to venture onto the international scene. Among them, Latif stood out for his taste for irregular, highly syncopated rhythmic patterns - rich in variety and originality. Don and Latif had never met before the recording session, but the two quickly recognised one another as kindred spirits - calm, focused... and full of laughter. Don clearly knew what he wanted to create, and nothing seemed to pose a challenge for Latif, who grasped the American's intentions immediately, warmed up his fingers at astonishing speed, and with his perfect pitch, naturally took on the role of tuning Don's diverse instrument collection to match whatever was found in the studio - from concert piano and Hammond B3 organ to chromatic orchestral timpani.
Originally released in 1986, Life Is Hard Then You Die was the debut
album from Liverpudlian indie-pop band It's Immaterial - Now reissued
and repackaged by Last Night From Glasgow, available October 2023
Simon Braithwaite of Smash Hits wrote that Life's Hard and Then You Die shows
that It's Immaterial "write jolly good pop songs - In fact everything else here is just
as inspired and original as their recent hit."
In a retrospective review, Michael Sutton of All Music wrote, "Musically, the LP is
all over the place - new wave country, blues, folk, and synth pop - Somehow the
smorgasbord of styles works, because the band members aren't being eclectic
just for the sake of it; they simply have a wide canvas, keeping the album fresh
from beginning to end."
PROMISE is the latest album from Brooklyn-based producer Ibe Soliman, aka Bad Colours. Known for his blend of house, proto-techno, rap, and soul, Bad Colours delivers a dynamic, emotionally resonant record. Driven by hypnotic rhythms and personal storytelling, PROMISE explores themes of vulnerability, desire, and transformation. It's a versatile album designed for both dancefloors and introspective listening.
PROMISE is the fourth LP from Bad Colours on Bastard Jazz, following 2024's collaborative album with Cor.ece, Been Here Before. Soliman's career spans over a decade—DJing alongside artists like James Murphy, Mark Ronson, and Q-Tip, and producing for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross. His work has received support from KCRW, KEXP (including multiple Midnight in a Perfect World mixes), and CBC Radio 3, and has charted on both the NACC Top Electronic and Top 200 charts. Bad Colours has been featured in press outlets like NYLON, Nonderland, Resident Advisor, Electronic Groove, and Fusicology. His music has appeared in Netflix's Escape from Spiderhead, Hulu's Woke, Disney's Chang Can Dunk, Showtime's American Gigolo, Valorant's Rising Stars, and more.
DJ Support: Ben UFO, Pearson Sound, Midland, Pariah, Or:la, Ciel, Florentino, HAAi, Tom VR, DJ JM, Peder Mannerfelt and Bradley Zero.
Ikke Sant’s debut release, Sub Cut, delivers three tracks of genre-blurring psychedelia and club pressure from label founder SUCHI. The title track unfolds a didgeridoo-driven strut with unconventional textures, Every Pan Has A Lid layers hypnotic grooves with processed vocals, and Propeller dives deep with celestial arpeggios over driving basslines. Music for adventurous dancefloors.
Panthera is back at the Bordello with his most energy-packed release to date. Synthsizer Hits III is forged in the heat of Hi-NRG, the romance of italo and the daring synthesizer hooks of 1980s Europe. A thick rasping beat pounds above a juddering arpeggiator line before hedonistic surges ignite “Fumare”, an achingly addictive opener. Vocals are toyed with, used to increase the potency of the chosen machines and sounds. A circling chant infects “Lucifera” as a joyous melody takes hold of this modern Summer anthem, euphoric notes ushering in the dawn while speakers and strobe throb. There is a palpable power that permeates the 12”. “The Magic Touch” sends strings sailing skyward as rich percussive textures take root below. From this fertile ground, a sensational ode to the synthesizer flowers. Vocoder lyrics, pulsating rhythms and keys that are truly fantastical. “Toccata” finishes this analogue celebration. Slow burning with disco inflections, this finale soon shows its true colours. Daring counter melodies frolic, from the elegant and refined to the brash and broad, in this mirrorball inspired last dance.
This holiday season, global hip-hop icon Ice Cube makes a powerful return with Man Up — a brand-new album from a cultural trailblazer whose influence spans music, film, and activism. With over 10 million albums sold and six Platinum plaques, Cube’s legacy is undisputed, from his revolutionary work with N.W.A. to timeless solo anthems like “It Was a Good Day.” Now, sharper and more unapologetic than ever, he’s back to deliver a project that fuses his raw lyrical power with a message rooted in resilience and authenticity.
To mark the release, Man Up will be available exclusively as an ultra-limited vinyl drop this holiday season. Each record features a one-of-a-kind hand-crafted cover — a unique blend of artisanal design and proprietary technology (created without A.I.) — alongside city- and country-specific sleeves that pay homage to Cube’s global impact in places like LA, Tokyo, London, and France. The campaign will be amplified through a global social media rollout, city-focused influencer activations, and Ice Cube’s upcoming North American tour. Major press coverage and podcast appearances will further elevate the conversation, making Man Up not just an album, but a collector’s piece and cultural moment fans won’t want to miss.
The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.
Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.
This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.
“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”
Wilbur De Paris
(1959, after a concert in Addis Ababa)
አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.
**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).
Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.
At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).
His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.
Coral Morphologic is the brainchild of Jared McKay and Colin Foord. A mending of minds, the arts, science, and the sea. Their lab in Miami lies close to the Florida Reef just offshore; the third largest coral barrier reef system in the world. This album composed by Jared echoes the voice of the reef. A reflection of its cosmic connection to our moon. A departure from the earth into deep space. We often wonder what intelligent life exists outside of our own aquatic world. Look and listen to the synchronous celestial satellites and the endless love song they sing. *features a foldout poster with album art by Robert Beatty
Self-sabotage can be a devious and deadly mechanism of the mind that creates obstacles on the path to one's goals. To tackle the problem, one needs to have a clear understanding and awareness of the causes, costs and the negative consequences it can bring; overcoming this process leads us to evolve towards new limits and boundaries.
3 of Brazil's most important artists of the past 10 years team up in this Tribalistas project a genre-blurring set of tracks that recalls similar efforts of the Tropicalista generation, updated to reflect the styles of the 3 artists involved, with some nice complicated production touches from Monte herself. Titles include "Carnavalia", "La De Longe", "O Amor E Feio", "Passe Em Casa", "Velha Infancia", and "Ja Sei Namorar".
HOLY GRAIL ALERT!!! Following on 2021’s massive reboot of Midnight Magic’s seminal classic Beam Me Up, Razor-N-Tape have now unearthed a bit of NYC indie disco history with 'I Found Love.'
Although recorded over 10 years ago in Midnight Magic’s nascent early period that produced many of their legendary hits, the song never received an official release; until now it has been heard only by select ears and lucky concert-goers. The package comes with a grip of luminous remixes by Dimitri From Paris & DJ Rocca, Sophie Lloyd, Perel, some solicited at the time of recording and some brand new, but all exceptionally fresh!
Here are some words about the song by the band:
“'I Found Love' was recorded in a fever on the heels of releasing 'Beam Me Up' New York dance music wizard Tommie Sunshine approached us about a co-write saying we should go as big as possible. So we did, it is one of our all time favorite vocal performances from our singer, Tiffany Roth. We had big plans, too, for a release but nothing quite felt right until meeting the Razor N Tape crew almost a decade later. Finally the stage is set, the lights are on, and we're ready. This song is very special to us because it is the last unreleased recording of our original lineup. We dedicate its release to our late bandmates Andrew Frawley and Jason Disu.”
Rooted in the New Orleans tradition and the essence of hip hop, Hip Horns Brass Collective unleashes its powerful sound in KREWE, their debut album. KREWE takes the brass band genre beyond its boundaries, diving into the underground with danceable rhythms like boombap and bounce, full of influences such as afrobeat, gospel and funk. The lyrics, filled with references to hip hop culture, flow in an explosive mix of English, Spanish, and Catalan, sharing their love for the tradition of rap and African American music. KREWE is a manifesto of the positive side of hip hop, a tribute to the unstoppable strength of the collective that a brass band represents in contrast to the solitude of the individual, and a homage to the legacy of hip hop and the vibrant tradition of New Orleans
Belgian tastemaker Charlotte de Witte returns to her own KNTXT to serve up the well regarded label's seventh EP. Rave On Time is about reminding us of the joys of being lost on the dance floor and is another hard hitting EP filled with her distinctive techno energy.
Charlotte is at the centre of her own musical movement, with a hard hitting, no frills style. Her powerful grooves, whether solo or in collaboration with the likes of Chris Liebing, come laced with ambient and synth beauty. She has mesmerised crowds all over the world as well as at her own special KNTXT events, and has been as creative as ever during lockdown, as this new EP shows.
Says the artist herself of this latest offering, "Rave On Time. Three words that probably have never been more relevant. In a time where raving feels like a distant memory, it seems increasingly important to bring music back in our lives, in reverse. Let's not forget where we came from and let's not lose hope. We'll be together again soon. Rave On Time."
Opener Rave On Time is built on hammering, distorted kicks that bend you to their whim. Freaky vocals and monstrous hits add extra pressure and ensure you stay locked before shooting laser synths and retro hoover sounds bring the rave. There's No One Left To Trust keeps up the energy with scintillating synths rattling over rock solid drum programming that never lets up. The World Inside is brain frying material, with serrated synths firing out and growing ever more acid as the groove pounds on. Common Era is brilliant hands in the air acid-trance-techno that froths with energy and flashing strobes. Finally, vinyl only track 'Wahr Ist Sie Dann’ is a distorted, brain melting techno workout with brutalist kicks and vast walls of synths that are hugely powerful.
As ever from de Witte, this is pure, unadulterated club music that makes a gargantuan impact.
This holiday season, global hip-hop icon Ice Cube makes a powerful return with Man Up — a brand-new album from a cultural trailblazer whose influence spans music, film, and activism. With over 10 million albums sold and six Platinum plaques, Cube’s legacy is undisputed, from his revolutionary work with N.W.A. to timeless solo anthems like “It Was a Good Day.” Now, sharper and more unapologetic than ever, he’s back to deliver a project that fuses his raw lyrical power with a message rooted in resilience and authenticity.
To mark the release, Man Up will be available exclusively as an ultra-limited vinyl drop this holiday season. Each record features a one-of-a-kind hand-crafted cover — a unique blend of artisanal design and proprietary technology (created without A.I.) — alongside city- and country-specific sleeves that pay homage to Cube’s global impact in places like LA, Tokyo, London, and France. The campaign will be amplified through a global social media rollout, city-focused influencer activations, and Ice Cube’s upcoming North American tour. Major press coverage and podcast appearances will further elevate the conversation, making Man Up not just an album, but a collector’s piece and cultural moment fans won’t want to miss.
Manche sagen, diese EP sei wie eine Reise durch das Universum.
Andere sagen, sie ist einfach nur geil produziert.
Und dann gibt’s noch uns, REEEF, und wir sagen: Warum nicht beides?
Die „Universe EP“ ist der Beweis, dass Melodic Techno nicht nur tief und emotional sein kann, sondern auch richtig gut sitzt – wie dein Lieblings-Hoodie nach drei Tagen Festival.
Wir haben alles reingepackt:
Universe: Der Titeltrack. Ein epischer Opener, der mehr Stimmung macht als dein Barista mit Burnout.
Humanity: Technofrontalangriff mit Betonwänden – für alle, die es ernst meinen mit dem Raven.
Never Say Never: Melancholie auf House-Basis. Für den Moment, in dem du denkst: „Vielleicht bleib ich doch noch bis Montag.“
Daydreams: Der Track für 6:42 Uhr, wenn draußen der Nebel aufzieht und du kurz überlegst, ob das Leben nicht doch ein Musikvideo ist.
Bumblebee: Direkt im Ohr, klebt wie Honig im Hirn – nur eben clubtauglich.
Kryptonite: Der große Absch(l)uss. Melodic House mit Pop-Einschlag – emotional, energetisch, kein guilty pleasure, sondern einfach pleasure.
Für DJs. Für Hörer. Für Menschen mit Geschmack und funktionierendem Basssystem.
Auf 12” Vinyl gepresst, liebevoll angeordnet, Spielzeit optimiert – so wie Oma früher die Tupperdosen im Schrank. Nur mit mehr Kickdrum.
Fazit: Diese EP braucht keine Hype-Formulierungen. Die Tracks sprechen für sich. Und wenn nicht, übernehmen wir das Mikrofon – laut, tanzbar und mit einem leichten Hang zur Selbstüberschätzung.
REEEF – Universe EP! Jetzt überall, wo es gute Musik gibt. Und bald auch bei dir im Plattenkoffer.
‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.
First album of French band La Femme released in 2013 with which they won Best New Band of the year at the French Music Awards and god certified gold. It marked also the beginning of their international recognition, confirmed since with their 2nd album Mystère in 2016 and their brand new album Paradigmes today. Includes the hits Sur La Planche, It's Time to Wake Up and Antitaxi! La Femmes's debut LP, is a mix of surf revival, updated cold wave (in a similar vein to countryman Lescop), 1960s yéyé and psychedelia. "Psycho Tropical Berlin: is apparently also their self-penned genre, they have also said "strange wave, new Motown, witch wave, silly mental wave"... whatever, aach term makes for a pillar to describe their music. Psycho Tropical Berlin is the story of a couple who slipped into chaos and survives by watching each other. Le Danger est partout - Peril is all around - as written in the booklet. Rock and pop, rococo bauhaus, fed from multiples influences (Krafwerk, Elli & Jacno). La Femme just want to please you. Generous and welcoming, she stretches you her white hand in the dark, if you grasp it, it could be the shiver of your life.
Kid Katana Records teamed up with Dotemu, The Game Kitchen and KOEI TECMO GAMES, to bring you the highly anticipated NINJA GAIDEN: Ragebound OST on vinyl.
The physical edition is a 2LP designed in close relationship with the game's creative team:
- 2 colored vinyls: transparent blue & magenta, matching the cover art & the color-code of the two protagonists
- exclusive poster with extended credits & liner notes giving insights from the game’s creative team and featured artists
This album illustrates the incredible return to the saga's origins, embodied by Ryu Hayabusa's disciple Kenji Mozu and The Black Spider Clan Kunoichi Kumori, both united to repel the sudden onslaught of demons. It takes players back to its roots: a side-scrolling, brutally precise action-platformer set between the events of the first three episodes of the NINJA GAIDEN 8-bit era. The game’s OST blends different genres: rock, retro tunes and action-packed arcade music that respect the IP music legacy while modernizing it.
Partisan and PILLZ join forces once again, this time tapping into the innovative sound world of Brazilian live act Lucas. His signature style, twisted beeps, energetic glitches and razor-sharp mechanics, takes centre stage on Sign, a vinyl journey built for the peak hours. Each track is packed with calculated machine funk, emphatic drums and a relentless bassline drive. Lucas’ rising reputation across Europe stems from his electrifying live sets, where he seamlessly shifts between electro, techno and house. This record captures that same kinetic spirit, playful and powerful, built to move the floor.
A rave-ready trip from an artist breaking all the rules.
