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AC/DC feiern mit Limited GOLD NUGGET Vinyls ihr 50-jähriges Jubiläum! Der Longplayer, erschienen im Oktober 1978, ist das erste Livealbum der Band und eines der besten Livealben der Musikgeschichte. Die Tracks der LP stammen von einem Mitschnitt aus dem Glasgower Apollo.

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

Continuing from the release of Northern Soul Classics, this excellent value 2LP compilation brings together 40 essential tracks from a generation of artists inspired by gospel and rhythm and blues. Immerse yourself in the sweet soulful voices of Aretha Franklin, Marvin Gaye, Stevie Wonder, Nina Simone, The Supremes, Ike and Tina Turner and many more!

TexiCali, the new album from Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore, continues to bridge the distance between the two troubadours’ respective home bases of California (Alvin) and Texas (Gilmore). The geographic theme reflects Alvin’s repeated journeys to record in Central Texas with Gilmore and the Austin-based backing band that has toured with the duo for the past few years. As Alvin puts it in the liner notes, those road trips informed the music they made on TexiCali. The 11 songs on this double LP also connect their shared fondness for a broad range of American music forms. Gilmore is primarily known for left-of-center country music, while Alvin’s compass points largely toward old-school blues. But there’s a lot of ground to cover beyond those foundations, and both artists also are well-known for transcending genre limitations. So it’s not surprising that they’ve spiked TexiCali with cosmic folk narratives, deep R&B grooves and even swinging reggae rhythms.

The revered British singer/songwriter Linda Thompson's latest project, the aptly named 'Proxy Music' features artists handpicked by Linda and her son (and album co-producer) Teddy Thompson, to record a new set of her tunes by "proxy". Thompson, who Rolling Stone hailed as having "one of rock and roll's finest voices," has limited singing capabilities now due to a rare vocal condition. 'Proxy Music', however, impressively showcases her songwriting range and prowess. Tracks like "Darling This Will Never Do," and "Mudlark" hold a timeless quality, while "Those Damn Roches" and "John Grant" (sung by John Grant himself) boast very modern sensibilities. 'Proxy Music' contains performances from Linda's long-time friends and admirers as Rufus Wainwright, Martha Wainwright, Eliza Carthy, The Proclaimers, Dori Freeman, and Grant, along with many talented Thompsons, including her children Teddy and Kami, and her ex-husband Richard Thompson playing guitar on several tracks. "Music in my family," Thompson shares. "It's like glue. It binds us."

Aseethe, the trio of guitarist Brian Barr, drummer Eric Diercks, and bassist Noah Koester, carve their own path in the world of heavy music. A singular blend of seismic weight, mesmeric drone, and gripping tension is the Midwestern band"s musical signature. Driven by an exploratory ethos, Aseethe warp sounds into emotionally potent songs that are as detailed as they are immense. The Cost is an album shadowed by devastating losses, a visceral study in aftermaths, centered around how life moves forward after personal and universal traumas. Recorded by acclaimed producer/engineer Sanford Parker (Pelican, Eyehategod, Yob, Voivod) at Electrical Audio in Chicago, The Cost is more focused and elaborate than anything the band have crafted before, expanding Aseethe"s dynamic palette with more nuance and transforming their battering sound into cathartic arcs.

Aseethe, the trio of guitarist Brian Barr, drummer Eric Diercks, and bassist Noah Koester, carve their own path in the world of heavy music. A singular blend of seismic weight, mesmeric drone, and gripping tension is the Midwestern band"s musical signature. Driven by an exploratory ethos, Aseethe warp sounds into emotionally potent songs that are as detailed as they are immense. The Cost is an album shadowed by devastating losses, a visceral study in aftermaths, centered around how life moves forward after personal and universal traumas. Recorded by acclaimed producer/engineer Sanford Parker (Pelican, Eyehategod, Yob, Voivod) at Electrical Audio in Chicago, The Cost is more focused and elaborate than anything the band have crafted before, expanding Aseethe"s dynamic palette with more nuance and transforming their battering sound into cathartic arcs.

Finally, it‘s happening: the „other“ Gerd appears on Running Back. Not counting in his remix for Losoul‘s Open Door and not to be confused with the label owner Gerd Janson. Based in the Netherlands and strongly associated with the Clone complex, Gerd has been releasing countless tracks and records since the dawn of the nineties. A true child of the „techno“ Zeitgeist back then, he is keeper of a dozen monikers, project names and joint ventures that tend to connect the dots between house and techno, functionality and avantgarde electronics. Gerd‘s frame of mind is second to none, when it comes to sound research, inspiration and imagination.
For Running Back he decided to put his own spin on some of the label’s signature dishes.
The opener Dance of Enjoyment is exactly that. Based on a cleared sample from Shakira by Quinton Madlala and imported by early South African kwaito and house, it is exactly that. Life-affirming dance-floor fun or pogo time for piano people.

Let the Music Take Control dials the peak time slightly back to being a party starter with its retrofuturistic speak and spell command and some evergreen breakbeats. An additional DJ tool allows to spread the gospel elsewhere, too.

Speaking of which, the flipside deals with that in the realm of an Italian influenced theme park. Sitting neatly between the disco and the house appendix of “italo“, Change Of Heart and Digital Illusion are sugar frosted and masterful produced versions of a style that might never go out of fashion. Earnest characters might be happy with the included bonus beats on their own. All’s well that ends well: Gerd and Running Back are here to save a party near you!

Auf ihrem selbstbetitelten Debüt machten sich WOMEN über eine gewisse lärmende Rotzigkeit her, die sich bei näherem Hinsehen als getränkt mit listigen Popmelodien entpuppte. Mit "Public Strain" macht sich die Band einen Sound zu Eigen, der diesem halldurchtränkten Noise treu bleibt, es den Popmelodien aber doch erlaubt, sich im Rampenlicht zu sonnen. Im Herbst 2009 begaben sich Patrick Flegel (Gesang/Gitarre), Matt Flegel (Bass/Gesang), Chris Reimer (Gitarre/Gesang) und Michael Wallace (Drums) mit einer Vielzahl Ideen ins Studio und arbeiteten um ihre individuellen Zeitfenster und Schichten auf dem Friedhof herum. CHAD VANGAALEN zeichnet sich einmal mehr für die Produktion verantwortlich, mit dessen Hilfe WOMEN sich die Mühe machten, im tiefsten Winter Kanadas ein Album aufzunehmen, das zeitlos klingt. Am Ende erscheint die knirschende, harsche Dissonanz in kleineren, kontrollierteren Dosen; Noise erscheint als Fundament des strukturierten, mehrere Schichten umfassenden Songwriting. Von den ersten Takten von "Can't You See" an ist klar, dass "Public Strain" so viel mehr ist als nur die Fortsetzung des Debüts. Manchmal ist das Album klaustrophobisch und beschwört Wachträume von sexueller Seelenpein und allgemeinem Zerfall herauf; anderswo schwingen sich Retrogitarren und Gesangsmelodien gen Himmel oder kollabieren in faszinierenden Arabesken. "Public Strain" kämpft sich durch Schlaflosigkeit, Paranoia, Resignation und Euphorie, um die Momentaufnahme einer Band einzufangen, die sich gerade genau im Klaren darüber ist, was sie leisten kann.

We all hear the music of the World but we don't often stop to listen'. So says David Lyn by way of explaining the raison d'etre of his debut album The World I Hear (Essence of Life). This album is the first in a series that explores the elements of fire, earth, water and wind and focuses on the twin entities of love and water; both of which flow and ebb, trickle and crash. It is an album of songs and musical collaborations which interprets David's own visions of love as the foundation of everything. As he says, 'we all need more love'.
Releasing on the 1st of June on vinyl and digital The World I Hear (Essence of Life) will be available for pre-order from Friday 24th May with the two tracks, Drum Connection and Maria Juana, leading the release. Drum Connection has been remixed by Chicago legend and Frankie Knuckles protege Elbert Phillips whilst Maria Juana features the Ibero-Cuban artist and songwriter Arema Arega (Gilles Peterson's Havana Cultura) and the composer and producer Andrew Nicholas AKA Born74 (Earthsouls, Colin Curtis' Jazz Dance Fusion Vol. 4).
Engineered by Shamrock Guitar and mastered by Andy Compton at Peng Studios, with arrangements from Dr Bob Jones and Gee W and vocal contributions from Vuyelwa Mgatyelwa and Elena Rogozhina, The World I Hear (Essence of Life) truly is an international collaboration of music for the heart, the soul, the dance floor and the head. David Lyn, whose creative vision for this album is adulterated with his love of Jazz, Reggae and Country music, is playing the flute, clarinet, saxophone and piano and his vast experience of creating diverse DJ sets of Music Without Labels

Hypnotised is the first encyclopedia project to cover the global trance movement during its most prolific years. Following compilations directed to the early Dutch, British and German trance movements, this fourth installment shines a light on the influential Belgian scene. Published in limited 3x12’’ vinyl, 3xCD and digital formats, ‘’Hypnotised: A Journey Through Belgian Trance Music (1992-2003)’’ includes 27 exquisite tracks from classic imprints like Airscape, CJ Bolland, M.I.K.E. and Jericho.

Missing out on that super-chill, uber-jittery minimal groove thing? Let"s get real, real Ghosted again. Oren Ambarchi has been collaborating with the Fire! trio (Mats Gustafsson, Johan Berthling and Andreas Werliin) for over a decade - and both Johan and Andreas played on Oren"s Live Hubris as well. Oren and Johan began music-making together back in the early aughts - but it wasn"t until 2021 that the three of them got together to record music. That became the first Ghosted album. When they were done, it was clear they had founded a new group. A music of sustained tension and deep atmosphere marked by subtle, shifting dynamics, Ghosted was released in May of 2022 to psyched response everywhere; the trio embarked upon an ongoing series of concert bookings around Europe, with loads of other people in the world still hoping to have the chance to be in the room at the next show. Two years on, Ghosted has gone through several represses, now it"s time for the "dreaded follow up album"! Rather than go back to the well, the guys decided to tear everything down and start all over again, reimagining themselves from scratch. Just kidding! As we"ve noted, Oren, Johan and Andreas have been playing together for years and years, developing an essential telepathy within their shared space. They get each other and feed each other"s music processes on an elemental level. Why change that? What made the most sense was to go back to Daneil Bengtsson at Studio Rymden in Stockholm for a couple days, then have Oren and Joe Talia mix and Joe master it at Good Mixture in Melbourne again, then get Pål Dybwik to do some well-distinctive cover art, and once more, call it a record. That"s just what they did - and it should be no surprise at all that the new Ambarchi/ Berthling/Werliin album looks and sounds as engrossing as their debut, if not more so! Ghosted II has a definitively fresh quality radiating throughout. The mutual feeling among the three players goes deep, allowing for lots more to say every time they get together - a further recombination of elements, a new expedition through alternative angles... there"s always more, and incredibly, it"s all improvised, with next-to-nothing prepared going in and minimal overdubs after they"ve laid things down. References are shared in shorthand, with just a single word, like "Santana," or "Police" acting as working titles for certain pieces on this record (have a guess!). It"s a disservice to call them jams: above and beyond the innate feel of the songs, there"s a strong sense of structure, informed by the band"s communal aesthetic, and edified immeasurably by their time spent in concert the last couple years. As noted at the top, these guys balance their music improbably between a relaxed feel and a nervy resolve, as each member holds down their corner in an open sound field. Making Ghosted II, the band found that there"s a different kind of tension making something for an established project rather than the kind one feels making something for the first time - and they used this new variety, as before, as a kind of fuel - driving their terse minimalism fruit-fully through the process of succumbing to and then transcending guilty pleasures. Finding fresh territory in funk sketches, jazzy heads, ambient pastorals and droning soundtrack pieces, Ambarchi, Berthling and Werliin compellingly haunt a mad variety of spaces, leaving us wanting to get Ghosted II.

repressed !

Kavinsky’s ‘Odd look’ is one of those songs which will haunt you for a long time after hearing them, one of Kavinsky’s acclaimed ‘Outrun’ highlights for sure.

The deep, raw and soulful instrumental brings a cinematic sound which has the power to litterally put you in a virtual movie just listening to music ! And SebastiAn’s vocal part on top is a unique rendering, somewhere between Stevie Wonder and HAL.



The Weeknd was invited to sing on the song by Kavinsky himself. As a big fan of his singing skills, the zombie wanted him to give his song the real soul touch that he’d had in mind for ages. His performance reminds of Michael Jackson, a fast and swinging vocal line, extremely addictive !



A-Trak who has been Kavinsky’s pal for years now delivers a banging remix with bass & drums and a beautiful & strange vocal hook. The kind of tune that can be played in a NYC hip hop party, as well as in a techno warehouse in Berlin with the same effect : arms up ! A-Track rules it as always.



Midnight Juggernauts have taken the spacey-progressive path for their approach towards ‘Odd Look’. Trancey sounds built around those Scarface-like choirs surround you and bring you back to the early 9O’s chill out era, It’s emotional music, as on their recently released ‘Uncanny Valley’ album.



Prince 85 is the newcomer of this selection of X-tra strong producers. His new-hip hop sound fits Kavinsky’s moods perfectly, adding a brilliant re-cut work and some exquisite additional keyboards. Real drinving music, that’s the deal.



Surkin has the recipe for producing absolute club anthems, his re-do of Kavinsky’s tune is one more proof of his skills. Sirens, brilliantly produced vocal excerpts and his signature synth sounds alltogether create a happy and hysteric mood that one could imagine create club riots !

Panoram makes soundtracks for daydreams gone sideways. Picture the scene: an afternoon nap with the television on, quietly, in the corner; snatches of conversation drift in through the open window. Wandering, half-formed thoughts take unexpected detours; before you know it, there’s a movie playing out against closed lids, the colors bright, the characters unfamiliar. Accidental rhythms, incidental melodies, imitations of life, messages in code.

Across 17 fragmentary, sketch-like tracks, Panoram carves a labyrinthine path in which nothing is what it seems: a fantasy world of breathy vox pads, faux guitar, detuned synths, bursts of flute and orchestral percussion, and even the occasional cheeky cartoon sample. It’s chillout music with a chilly edge, ambient with a darkly ironic undertone. (The briefest glance at your news outlet of choice should be enough to confirm that the title—Great Times—ought to be taken with a healthy dose of skepticism.)

Panoram has been making music under his principal alias for more than a decade now, releasing albums on labels like Firecracker, Running Back, and his own Wandering Eye. (He has also performed and recorded with Amen Dunes, and has co-production credits on Amen Dunes’ forthcoming Sub Pop album Death Jokes.) Panoram’s output has ranged widely, taking in abstract pop, classical composition, twisted takes on library music, and cyborg funk. One record of “bio-acoustic transmissions” came with a cannabis leaf pressed in clear wax; his 2021 album Pianosequenza Vol. 1 gathers his experiments on the Yamaha Disklavier. But Great Times offers the truest picture yet of a project that has never been easy to pin down.

Loath to overshare details about his personal life, Panoram instead lets the music do the talking, using his cryptic tracks to express the slipperiest sorts of ideas—the thoughts that take root where anxiety, distraction, and the most fleeting traces of grace commingle. Panoram’s approach flies in the face of contemporary ambient orthodoxy, with its emphasis on immersion and uplift. Great Times expresses something thornier, more difficult to translate, yet also more tantalizing to contend with. Its 17 tracks offer a chance to get lost—and an invitation to remain in the maze as long as you like.

Berlin underground authority Stefan Braatz returns to Nu Groove with a four-track EP showcasing his timeless sound – Outlaw. An established club DJ and producer who has donned many hats in his 30-year career, Stefan Braatz is known for his expansive knowledge that defies genre convention, with his previous Nu Groove collaboration ‘Everyman Jack’ featuring Chicago legends Virgo Four combining his respect for the old school with new school techniques. Opening the EP is the eponymous track ‘Outlaw’, featuring vocals from Chicago house pioneer Harry Dennis – a contemporary of Ron Hardy, the late Frankie Knuckles and a member of Jungle Wonz alongside Marshall Jefferson. As Braatz’s relentless synth energy powers through, Dennis’s unmistakeable free flow guides the composition with ease. What follows are three solo tracks that summarise the Berlin expert’s opposition to the genre restraints; ‘Conversation’ opens a dialogue between synth strings and piano that loops in ecstasy, while ‘Dingy Thoughts’ and ‘One More Dream’ are darker club cuts that bubble with intensity in the lower registers.

Pushing the boundaries of intelligent dance music higher into experimental-adjacent analogue territories, where abstract serenity and complex analogue developments entangle in an organic symbiosis of sorts, Noordens newest puzzle in sound comes courtesy of two label habitues, Orion Moustache and Panta Rex. Staying true to their genre-unbound DNA and innovative vision, both artists each contribute a trio of oblique sound equations, conjuring up both identifiable rhythmic patterns and off-piste downtempo digressions to shape a grammar truly their own - not quite your usual function-oriented DJ tool, but not floor-opposed either. Hybrid and agile, this co-op between Orion Moustache and Panta Rex oozes inspirational spaciousness and ascetic sophistication thru and thru.

repress !

Network’s 30th Anniversary celebrations continue with the re-issue of the debut release from the iconic label. The launch of the logo with Neal Howard “Indulge” in 1990 caused a sensation, with the track being instantly acclaimed as a Classic, and Network noted as a new label to watch.

“Indulge” hails from Chicago, but sounds like its’ DNA is Techno City Detroit.
A futuristic call to dance from Windy City mystery man Neal Howard, whose previous releases “The Gathering” and “To Be Or Not To Be” had already reached cult status. Those gems, and “Indulge” were recorded by Chicago label Phuture Sound. Plans were being laid for the transformation the Kool Kat label - the UK outlet for Kevin Saunderson, Derrick May and Juan Atkins - into Network, but the dilemma was finding something “really really special” for the first release. That search for the perfect beat ended when Network’s Neil Rushton on a visit to Chicago heard the just mixed “Indulge” on a cassette played by Phuture Sound boss Terry Baldwin, who after prolonged negotiations agreed to cancel a USA release so the new UK label could have an exclusive.

The label design for this release is a replica of the original DJ Promo 12” that introduced Network to the World with exactly the same tracks; Terry Baldwin’s much loved Club House and Deep House mixes of “Indulge”, coupled with “To Be Or Not To Be” remixes by Chicago’s Bad Boy Bill and Detroit’s Derrick May. network - it is what it was...

Yaya Beys neues Album ‘Ten Fold' knüpft an den kraftvollen Doppelschlag ihres 2022er-Albums, „Remember Your North Star“, und der Folge-EP, „Exodus The North Star“, aus dem Jahr 2023 an und ist ein frei gesprochenes und fließendes Selbstporträt, das von unmittelbaren Reflexionen über die Vergangenheit, Gegenwart und Zukunft geprägt ist. „Ten Fold“ ist vollgepackt mit den Nuancen von Yaya Beys Identität und den verschiedenen Facetten ihrer kreativen Bemühungen. Es richtet den Fokus nach innen und meditiert über ihr inneres Wesen, während es gleichzeitig Raum für den Humor und den bissigen sozialen Kommentar schafft, der ein bestimmendes Merkmal ihrer Arbeit ist.
Die als Hadaiyah Bey geborene Yaya Bey begann bereits im Alter von neun Jahren mit dem Schreiben von Songs und trat mit ihrem 2020 erschienenen Album, „Madison Tapes“, als neue Stimme in der Avantgarde der R&B-Storyteller:innen in Erscheinung. Ihre 2022 erschienene LP, „Remember Your North Star“ und die darauf folgende EP, „Exodus The North Star“, wurden vom Spiegel, Stern, Zeit Online, Rolling Stone Deutschland, Jazzthetik, Missy Magazine, Plattentests u.v.m. und im Radio von u.a. Deutschlandfunk Kultur, BR 2, Cosmo, ByteFM, RBB Radioeins und FluxFM sehr positiv aufgenommen, sowie international u.a. von der New York Times, Pitchfork, Rolling Stone, The Guardian, NPR, GQ, Crack Magazine, The Times, Clash ebenfalls hochgelobt.
Kürzlich spielte sie an der Seite von Immanuel Wilkins die Hauptrolle in einer Werbekampagne für die aktuelle Zusammenarbeit von Converse mit der New Yorker Marke AwakeNY. Bevor die in Brooklyn geborene Künstlerin offiziell das Jahr 2023 abschloss, spielte sie eine ausverkaufte Show im New Yorker SOBs für Spotify Stages und krönte damit eine Reihe von Live-Auftritten auf Festivalbühnen rund um den Globus in diesem Jahr, darunter Glastonbury, Pitchfork Festival in Chicago, Roskilde Festival in Dänemark und viele mehr.

Unsere erfolgreiche CD-Compilation-Serie ZYX “Italo Disco History“ gibt es jetzt auf vielfachen Wunsch unserer Italo Disco Fans auch als Vinyl Ausgabe. Wie bei der CD-Serie starten wir im Jahr 1982. Auf 2 farbigen Vinylen gibt es die großen Italo Disco Hits aus dem Jahr 1982, In Zusammenarbeit mit der Italo Disco Legende Flemming Dalum werden wir chronologisch die große Italo Disco Ära der 80er Jahre beleuchten. In diesem Jahr konnten sich erste Künstler etablieren, die in den folgenden Jahren große Erfolge feierten, wie z.B. Den Harrow oder Koto. Als Bonus gibt es einen exklusiven Megamix von Flemming Dalum, inkl. der Titel, die sich auch auf der CD-Serie befinden. Abgerundet wird diese Compilation von Liner Notes von Flemming Dalum.