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NOW Music is proud to announce NOW Presents…Disco, a stunning 5LP boxset featuring 80 of the greatest Disco classics ever!

Kicking off with the genre defining #1 from Donna Summer ‘I Feel Love’ followed by Earth, Wind & Fire with The Emotions and their timeless hit ‘Boogie Wonderland’, this boxset features the most enduring tracks from dance-floor legends, including Chic, Sister Sledge, Gloria Gaynor, Village People, and Grace Jones - together with Saturday Night Fever gems - ‘Disco Inferno’, ‘More Than A Woman’, and ‘If I Can't Have You’.

LP 2 opens with Amii Stewart’s stunning version of ‘Knock On Wood’, followed by Candi Staton’s ‘Young Hearts Run Free’ and Chaka Khan’s hugely successful debut solo single ‘I'm Every Woman’. Other massive debuts include ‘Boogie Oogie Oogie’ from A Taste Of Honey, Alicia Bridges’ ‘I Love The Nightlife (Disco 'Round)’, and Cheryl Lynn’s ‘Got To Be Real’. Up next is the often-covered ‘Lady Marmalade’ together with Diana Ross’ ‘Love Hangover’ which lead into #1s from Frankie Valli & The Four Seasons, (‘December, 1963 (Oh, What A Night)’), Tina Charles (‘I Love To Love’), Odyssey (‘Use It Up And Wear It Out’) and Irene Cara (‘Fame’).

LP 3 Side A is packed with groovy and romantic chart-toppers from Elton John (‘Are You Ready For Love’), George McCrae (‘Rock Your Baby’), Barry White (‘You're The First, The Last, My Everything’), and The Spinners with their ‘Working My Way Back To You / Forgive Me, Girl’ medley. Flipping over to the other side, we have the timeless smash from Baccara ‘Yes Sir, I Can Boogie’, Boney M. with ‘Daddy Cool’, and Village People’s ‘In The Navy’. Viola Wills’ Hi-NRG cover of ‘Gonna Get Along Without You Now’ and Gloria Gaynor’s ‘Never Can Say Goodbye’ bring LP 3 to a close.

Lipps Inc., Kool & The Gang, Frantique, and KC & The Sunshine Band keep the dance-floor energy levels high on LP 4 with ‘Funkytown’, ‘Ladies Night’, ‘Strut Your Funky Stuff’, and ‘That's The Way (I Like It)’. The disco-mania of the late-70s also saluted the late-70s craze for Space themed movies & tv with early Electro-pop-dance, and included here from Space and Dee D. Jackson, before Sarah Brightman’s debut with Hot Gossip, ‘I Lost My Heart To A Starship Trooper’, and Meco’s remake of the ‘Star Wars Theme / Cantina Band’ as a dance-floor classic… Giorgio Moroder productions for Sparks with ‘Beat The Clock’ and The Three Degrees with ‘Givin’ Up Givin’ In’ lead the side to a close with ‘Souvenirs’ from Voyage.

LP 5 is filled with truly monster sized dancefloor-fillers, beginning with a run of Nile Rodgers & Bernard Edwards productions: ‘Le Freak’, ‘We Are Family’, ‘Spacer’ and ‘Upside Down’ from Diana Ross. It wouldn’t be a Disco album without Earth, Wind & Fire’s ‘September’, the Bee Gees-written ‘Nights On Broadway’ covered by Candi Staton, and the Grammy award-winning ‘Best Of My Love’ from The Emotions, before another hit cover from Amii Stewart, ‘Light My Fire’. Side B features some fabulous European Disco, including Belle Epoque and Amanda Lear, and signature hits from Patsy Gallant and Vicki Sue Robinson before drawing to a close with Rose Royce’s celebrated ‘Car Wash’, and Cher’s biggest disco hit ‘Take Me Home’ – and the last dance is left to Thelma Houston with her defining anthem ‘Don’t Leave Me This Way’.

NOW Presents…Disco – the perfect collection and collector’s item for every 70s Disco lover.

Leo Zero finally gets some of his much sort after edits onto the black wax, with some classic cut-ups that have all been road tested for max dance-floor detonation.

On this first EP a set of classic soul / disco groovers that have been meticulously remastered and extended for the modern floor.

One for the dancers and romancers, ‘Love Affair’ hits you square in the heart - a big spin at the Faith parties. Next up, a classic mid-tempo Soul weekender cut gets a nice chunky re-version.

The flip kicks off with some new live drums and chunkiness added to a huge underground gem, then we head off into more bulletproof dance-floor disco territory with a souped up version that’s been given maximum wallop to compete with house cuts when played out.

NDATL rounds out the year with a release from South African producer June Jazzin'. The EP starts off with the warm & mellow sound of Funky Monkey ft sparse keys from Oliver Portal. Gogo's Stove Smoke is the signal that things are getting deep!

On the B Side we start off with the gem Valerie shufflin beats laced with a grand piano that will get the dancers swinging. June wraps up the EP with Harming Man a bouncy groove interlaced with synth stabs & rolls from the Rhodes. This EP will definitely be a welcomed addition to any deep house connoisseur's collection.

Our next EPMmusic release comes to you both digitally and on vinyl with a hefty four-tracker that sees Mark Broom and Patrik Carrera team up for the "ZZZZ EP".

A prolific music artist with over 150 releases under his belt, Mark Broom is best known for Techno but has also crossed music genres with numerous monikers and collaborations on labels including Rekids, Warp, Ifach, M-Plant, Cocoon and Glitterbox, as well as recently reigniting his mighty Beard Man label.

Patrik Carrera's connection to Broom has seen him release on Beard Man, as well as other highly regarded Techno labels like Modularz, Mindtrip, Mord and his own Paranoid Dancer. He's an artist with an astute approach to composition and a sound firmly rooted in the analogue domain. His fascination with vintage and modern analogue electronics are the foundation of his work.

Their "ZZZZ EP" pulls no punches, delivering four peak-time Techno tracks that could each be EP openers in their own right.

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

Repress!

In the last few years we’ve seen French DJ and producer Laroye delivering the goods time after time on respected labels such as Atjazz Recordings, Compost, Makin Moves and Foliage. His latest LP just released on Local Talk has been getting big support picking up plays on Radio 1, 6Music, Worldwide FM as well as spins from Natasha Diggs, Gilles Peterson, Craig Charles, Louie Vega, Honey Dijon to name a few. Freerange is proud to welcome him back for the follow up to 2020’s release Be The Change, presenting you with a killer 4 track EP entitled Uku Dance.

Leading the charge, Laroye is joined by influential Detroit artist, DJ, producer and vocalist Javonntte who has written and recorded a brilliant vocal for a track entitled First Sight. Laroye’s fat beats, jazzy chords and soulful touch make the perfect production for Javonntte’s vocals.

Up next we have the Percussive Dub mix of Uku Dance in which Laroye strips things back to the bare bones making for a serious percussion tool work out to spice up your sets.

On Uku Dance a bass-heavy groove is punctuated with vocal chops and deep Rhodes part which adds a moody, late night touch. Just the kind of soulful, dubby, afro track that will get the house dancers throwing down like their lives depended on it!

Closing out the release you’ll find an instrumental version of First Sight.

Trans-Millenia Consort is the near mythical debut album by the late West Coast composer, healer, and medium Pauline Anna Strom. First released in 1982, the album is a bold and beautiful evocation

of a life that exists between and beyond time. Evoking ancient rituals and primordial futures, the music of Trans-Millenia Consort glows with a strange iridescence; its pulsing embryonic waveforms flutter and drift, tones fall like raindrops of the long- ago, and melodies shimmer and dance across the ages like fireflies of a lost world. Restored and mixed from the original reels by Marta Salogni, and newly remastered, this is the album’s first ever official reissue, and the definitive edition of a visionary statement.

On Side A, smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on the second track on Side 1 in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Let's talk about Side B...

We Got A Thing is up first — a crossover soul dancer that invites you to sing along with an infectious, call-and-response chorus. It pairs nicely with The Teacher Haters as fun, simple party music from the 60s — though this time from a female perspective.

Things go deeper with Guys Today. As the name suggests, the content is about the enduring tension between the sexes and the heartbreak it can lead to. It’s a deep soul beat ballad in the vein of Betty Wright or Helene Smith. A grand opening is followed by a clear, crisp female vocal that brings the singer’s lament into focus. The band is tight, and it all comes together to portray a woman who has made up her mind and is offering a warning about guys today: I know you love your man, but I know they will hurt you in every way they can.

At first glance, these artists seem to share only a few things in common — party-themed music conceived in the 60s with an R&B flavor. But between sides A and B, it feels like these groups are talking to each other — perhaps different perspectives of the same party. Perhaps the party itself and then the fallout. The result is a balanced EP release that feels whole and satisfying. We hope you feel the same as we proudly present these found recordings as an exclusive 12” on 180 gram vinyl. Please enjoy.

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

Mit einer Mischung aus klassischen Popmelodien, Dancefloor-Beats und einem einzigartigen Reggae-Touch, serviert mit einer Beilage nordischer Melancholie, wurden Schwedens Ace Of Base in den 1990er-Jahren zu einem globalen Phänomen. Und die Hits bewähren sich auch dreißig Jahre später noch immer. Das Debütalbum 'Happy Nation' enthält fünf Hitsingles, darunter 'All That She Wants' (UK Nr. 1, US Nr. 2), 'The Sign' (UK Nr. 2, US Nr. 1) und 'Don't Turn Around' (UK Nr. 5, US Nr. 4). Das Album stieg im Juni 1993 in die britischen Album-Charts ein, und erreichte schließlich ein Jahr später Platz 1. Eine Position, die es auch in den US-Album-Charts erreichte. Nun erscheint 'Happy Nation' erstmals als limitierte Picture-LP im Die-Cut-Sleeve.

Two leading lights of UK house join forces for a special collaboration which delivers every bit as much as you would expect from anything with the Jimpster & Crackazat stamp on. Having been introduced to Crackazat’s vocal and lyric writing on his acclaimed Evergreen LP from last year Jimpster was keen to team up to bring some of that flavour to his own sound. Born out of a desire to stretch outside of their comfort zones, and with a mutual respect for each others productions, the Natural Child EP brings us two original vocal tracks and two dub versions covering a spectrum of moods from classic soulful to deep, atmospheric, contemporary house.

Opening track Natural Child leads the charge with Crackazat’s trademark jazz-influenced piano part, swirling moog lines and vocal being complimented with Jimpster’s punchy drums and warm, rounded bassline. The result is a spacious and deceptively simple track which will wrap you up in its warm confines.

Next up we have a completely different take on Natural Child which ups the BPM and adds a more live, percussive and rolling vibe which will no doubt get the house dancers throwing down.

My Harmony comes next with its slick and soulful sound which draws inspiration from golden era NYC sounds of Blaze and Louie Vega while Nick Cohen’s live bass brings a bounce to the chunky, shuffling house beats.

Closing out the EP we have a dub version of My Harmony which loops up the Rhodes part, strips back the groove and adds layers of FX and arpeggiating synths resulting in a heads-down deep and soulful track to warm up the dance floor.

Berlin party series and label AWAY Music continues its limited vinyl series called "Reissued", dedicated to re-releasing iconic cuts from the vast collaborative catalog of Move D & Pete Namlook. The third installment "Reissued 3", which follows the series' first two EPs from previous years, features again some exceptional pieces that were previously only available on CD. Move D and Pete Namlook are electronic visionaries whose 26-album relationship explored and intertwined psychedelic synthscapes, deep house and techno, future jazz, and downtempo on Namlook's cult imprint Fax Records. Their innovative and influential works keep inspiring electronic music producers today, showcasing their willingness to collaborate and push the boundaries of electronic music. First up on the A side, “Der Strahlender Verlierer”, from the 2006 Album “Let the Circle Not Be Broken”, begins atmospherically before pushing subtly into open filter and undulating synth territory. Introspective and accepting, the piece gradually lets the sum of its parts coalesce into a peaceful whole with sustained chords and the flicker of played steel strings.
“Hardwired Tangent” from the 2001 Album “Wired” rounds out the first side with edgier and more ominous tones. Brooding and bubbling its way through artificial textures absorbed by carefully weighted rhythmic tension. Shuffling jazz electronics. The moody low-mid hum providing buoyancy throughout. Also from the 2001 album, the B side’s “Hardwired Hypotenuse + Asymptote” is a synthetic journey. Textural, pseudo-organic, pulsating with urgency. The motoric percussion imparting structure to the sonic alchemy. Tactile yet integrated components offer the listener (or dancer) multiple entry points into the music. This is both artful and kaleidoscopic — a treatise on contemplative and psychoactive house music.
"Reissued 3" is a true testament to the innovative spirit and pioneering work of Move D and Pete Namlook. With these tracks now available on vinyl for the first time, AWAY's limited series is a must-have for old and new fans alike.

Berlin party series and label AWAY Music continues its limited vinyl series called "Reissued", dedicated to re-releasing iconic cuts from the vast collaborative catalog of Move D & Pete Namlook. The third installment "Reissued 3", which follows the series' first two EPs from previous years, features again some exceptional pieces that were previously only available on CD. Move D and Pete Namlook are electronic visionaries whose 26-album relationship explored and intertwined psychedelic synthscapes, deep house and techno, future jazz, and downtempo on Namlook's cult imprint Fax Records. Their innovative and influential works keep inspiring electronic music producers today, showcasing their willingness to collaborate and push the boundaries of electronic music. First up on the A side, “Der Strahlender Verlierer”, from the 2006 Album “Let the Circle Not Be Broken”, begins atmospherically before pushing subtly into open filter and undulating synth territory. Introspective and accepting, the piece gradually lets the sum of its parts coalesce into a peaceful whole with sustained chords and the flicker of played steel strings.
“Hardwired Tangent” from the 2001 Album “Wired” rounds out the first side with edgier and more ominous tones. Brooding and bubbling its way through artificial textures absorbed by carefully weighted rhythmic tension. Shuffling jazz electronics. The moody low-mid hum providing buoyancy throughout. Also from the 2001 album, the B side’s “Hardwired Hypotenuse + Asymptote” is a synthetic journey. Textural, pseudo-organic, pulsating with urgency. The motoric percussion imparting structure to the sonic alchemy. Tactile yet integrated components offer the listener (or dancer) multiple entry points into the music. This is both artful and kaleidoscopic — a treatise on contemplative and psychoactive house music.
"Reissued 3" is a true testament to the innovative spirit and pioneering work of Move D and Pete Namlook. With these tracks now available on vinyl for the first time, AWAY's limited series is a must-have for old and new fans alike.

Encore!? Say no more.. Plush number 4 is here!
Elusive local live hero JCow soft launches into the arms of Plush Records, bringing a modern day classique to the underground masses. The Berlin based producer & DJ has been humbly making waves amongst prancers and dancers; unless you’ve been living under a rock!

“Wish U Were Here W Me” is a pupil dilating, rump shaking sunrise anthem; a melodic masterclass with a bassline that puts funky town to shame. Vocals expertly extracted from Brandy’s “Long Distance'' which soar like silk over a breathtaking breakdown.. tugging at heartstrings across the globe. The Emotional Breakdown mix is catering to the softies out there, stripped back and filling up your cup, pure natural ecstasy.

Close your eyes and get lost in the groove.

‘Double Pink’ is the debut album by And Is Phi (Andrea Isabelle Phillips), a multidisciplinary artist from Norway and the Philippines now based in South East London. ‘Double Pink’ is a nuanced world that draws on colours and texture; with influences of Joni Mitchell and Frank Zappa, 90's R&B and Madlib’s ‘Shades Of Blue’ blending languidly to produce a base for uncovering layers of self, a deep release, and fragile new form.

Written by Andrea and co-produced with Fiona Roberts and Lorenz Okello over a nine month period; ‘Double Pink’ thematically explores the many movements of internal change, speaking from a deep inner voice inside the body. The title track is an invitation to be as unapologetically hungry as you please after a long absence of life giving passion and trust in oneself. ‘White Noise’ is a recovery song playing in your soul the first time you made it back out to the dance floor after a heart break so massive it laid rest to the person you used to be. Songs like ‘Working’ and ‘Staaar’ come from a candid and contemplative aspect. Stages of grief and resilience and wonder and wisdom are all touched upon.

“The album explores metamorphosis, liminal spaces, and the multiple faces of love”, says Andrea. “I mention love as a key ingredient, because anyone who has had to push and pull and hold and yield themselves through great loss and transformation knows it ain’t gonna happen without love. Tough times ask for double love, a stronger heart, something like a double pink”.

Andrea’s story dots between periods spent living in Norway, the Philippines and England - experiencing joy and beauty battling corruption and violence in Manila, DJing in Oslo, losing her sizable record collection in a warehouse fire before making friends and family in the jazz scene in London. Every story needs a scene, a landscape, an environment; all things Andrea visualises when writing songs.

“At my heart I am emotional and imaginative, searching for freedom for my spirit. What grounds it all is coming from a family of storytellers. My father played drums and percussion, he was a great dancer and a true collector and connoisseur of music from everywhere. My wise mother instilled in me a sense of faith and grace”.

Andrea is far from new to the scene, having performed with Steamdown, Emma Jean Thackray, Hector Plimmer, Scrimshire, William Florelle and many more as a valuable and inspiring creative force within the South London music scene. Andrea also created the album’s artwork and music videos: musicality and painting evolved from her initial creative languages of drawing and dance. All aspects are dialects of her common language: singing what can’t be painted and painting what can’t be sung.

Back in the 1990s video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you’d soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid 90s culture. It soon became a phenomenon.

wipE'out'' looked sensational, with Sheffield agency The Designers Republic - known for their work with Warp - creating the visuals, packaging and manual for the game, drawing heavily on the bright colours and excitable geometric shapes of the rave and club flyers of the early 90s.

wipE'out'' also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE'out'' was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven’t, perhaps, quite got the respect they deserve, something that this release will address. In 2023, video game music is finally getting its dues; here, remastered and repackaged –and also remixed by cutting edge producers such as Kode9, μ-Ziq, Brainwaltzera, Simo Cell, Wordcolour, James Shinra, Surgeons Girl and Dattassette– are some of the most important, thrilling, innovative and most fun songs ever committed to game release.

“A piece of music never truly comes to An end. Revisiting a theme illustrates this idea that life goes on.” These are the words of Wayne Shorter, uttered in 2018 upon the release of Emanon, his final opus. On this record, the octogenarian uses dusky hues to shade in the passions of his youth - drawing and science-fiction, as well as the causes he has defended all his life - the fight against ecological upheaval and structural racism. This sentiment did not fail to resonate with Julien Lourau, who has reached a stage in life where he has begun to look back over certain pages written by the man he has always considered one of the masters of his trade. Five years later, this Parisian native has also chosen to revisit his glory days, offering reworked versions of specific tracks composed by his titular elder throughout the 80s. “When I play this music, I find myself back in my teenage bedroom. These are my standards, and they remind me of autumn in Rambouillet.” At that time, after practising his scales, Julien would also play Dungeons & dragons, and immerse himself in SF as well as heroic fantasy - epic influences which are not without a certain connection to the dreamworlds Shorter conjured up, as another fan of landscapes beyond the grasp of reality.

This album features four themes taken from Atlantis, which came out in 1985, and two from Joy Ryder, released three years later. To these, he has added a composition penned at around the same time for Sportin’ Life, the penultimate LP by Weather Report. This is rounded off by a tune taken

from Native Dancer, the record which, ten years earlier, in 1975, brought together this saxophonist who learnt his trade alongside Art Blakey, before joining Miles’ second quintet, and Brazilian Milton Nascimento.

“Between Native Dancer and Atlantis, Shorter did not release anything under his own name, but he took the time and care to really perfect his writing. Upon his return, he injected a very Brazilian form of subtlety into his compositions, especially rhythmically. And from a harmonic point of view, these themes are extremely sophisticated, and reveal truly singular colours. In fact, he decided to display the score as if it constituted the liner notes of Atlantis.”

Julien Lourau is a fan of every Wayne Shorter era, from his Blue Note days, where Mr Gone defined the bases of a truly unique repertoire, all the way to his final quartet - a reference like no other. He decided to focus on this “highly electric” period, which is not necessarily Shorter’s best known, nor his most widely appreciated - despite being a unanimous reference, Shorter has nonetheless never had a direct descendent. In Lourau’s line of sight there lies a desire to focus on typically South American tonic accents which characterise this repertoire, twinned with the ambition to switch up their actual sound “by attempting to open up onto a production highly influenced by eighties fusion". However, he admits that modifying the structures of these most unique of worlds constituted a fresh challenge. “There’s this labyrinthine harmonic system where you’ve no idea how it holds together, but where it’s actually impossible to touch the slightest element without the whole edifice wavering. It is in fact a very difficult thing to achieve!”

In order to successfully transcribe all this creativity free of obstacles, Julien Lourau once again called upon the help of Mathieu Debordes. From January 2023 onwards, Mathieu endeavoured to break down all the musical elements, on paper, before creating any actual music. The record was therefore constructed on the faith of these scores, without necessarily transiting through a creative residency - just two live gigs, to make sure the setup worked. Besides Mathieu Debordes and his synthesisers, Julien Lourau has assembled an ad hoc team by his side. On the bass, according to the track, we can hear erstwhile companion Sylvain Daniel or a new acolyte on the fretless bass, Joan Eche Puig.

Stéphane Edouard, on percussion, even dives headfirst into an unlikely proto-rap of sorts, on Pearl On The Half Shell (where, on the original version, Bobby McFerrin adjusted his interventions in a rather madcap style). Aesthete and drummer Jim Hart as well as pianist Leo Jassef also figure on this release - both were present on previous project devoted to label

CTI. “At sixteen, I wanted to sound like Michael Brecker rather than Ben Webster - that was equated with modernity in those days”, adds Julien with a smile, as for him, all this rings out a little like a logical next step, a joyful immersion into the fountain of youth. And if, for this record, he plays the soprano more than ever, the saxophone Shorter set in his sights on, he never tries to replicate an unattainable ideal note by note. What would be the point?

“Wayne Shorter is not just a saxophonist’s saxophonist. In fact, I don’t know a single person who has risen to challenge of his solos. I have not done it myself either, but on the other hand, I have retained a lot of his phraseology. His way of approaching the instrument reveals a more evanescent language, a work on colour and shape. Keeping this in mind has allowed me to gravitate towards certain elements, that in hindsight, I find echoes of in my work, even in Groove Gang.” Shorter etches out these phrases, creating a groove within which Lourau had traced subtle punctuation, managing, from a highly written base, to create fresh apertures, promises of a great escape. Emblematic of this standpoint, his regal version of Ponte de Areia, originally a wonderful dialogue between Milton Nascimento and Wayne Shorter. Here, the Frenchman takes liberties with the original melodies, without ever growing distant from the original spirit, extending one section with delicacy, offering a rubato development and then a groove “like a little suite”. Julien Lourau also renews with an accomplice from last century, Magic Malik, who lends his high-pitched vocals to the track. Though they had not recorded together for more than twenty years, the two of them got on as if they had only ceased collaborating yesterday, everything flowed naturally. The track was wrapped up in just one take, much like other themes, such as opener Who Goes There where the flautist deploys smooth, enchanted and smoky wisps.

Fundamentally, reflecting of the sleeve which features a child playing with a ball, image that could symbolise the sun just as much as the moon, Julien Lourau manages to translate the ambiguous candour which characterizes Shorter’s work - solar and crepuscular at the same time, that of a visionary and poet definitively situated outside of all chronology, but with whom Julien shares surprising and ‘timely’ coincidences. Shorter was born August 25, 1933, the same day as Julien’s father, “if we take time zones into account”, and who died on Lourau’s birthday, March 2, 2023. Should we take this as a random fact? Or could we not see here the sign of a destiny connecting the agnostic Frenchman to the man who, as a fervent Buddhist, believed in the transmission of his spiritual flow ?

Brontez Purnell has been making music since the ‘90s. The Southern-raised, Oakland-based American musician and writer has centered his queerness and Blackness in projects Gravy Train!!! and Younger Lovers as well as in his award-winning books ‘100 Boyfriends’ and ‘Since I Laid My Burden Down’. He is also a dancer, film maker and choreographer.
CRYSTAL CLEAR VINYL.
Hot on the heels of recent 7” singles for Sub Pop, PPM and his first solo electronic record ‘No Jack Swing’ (Dark Entries / Papi Juice), Brontez returns in DIY-punk band formation for a new album entitled ‘Confirmed Bachelor’, out Sept 15th on Upset The Rhythm. These twelve songs presented are of the no-time-wasted variety. Fuzzed-out pop songs, hotly delivered from the heart, often sassy, sometimes sappy, always snappy! Brontez’s band includes the multifaceted talents of Vice Cooler (who also produced and mixed the album), Sean Teves (of Younger Lovers) on drums, Kevin Preston (Prima Donna, Green Day) on guitar, Aaron Minton (Prima Donna) on piano and saxophone, and Laena Myers-Ionita on violin. The album was recorded in Los Angeles at The VCR earlier this year.
‘Bachelors Theme’ opens ‘Confirmed Bachelor’ and sets the scene perfectly with the heady, rush along swoon “That's when I heard the doctor singing to me, "Son; you got all those boys in love, I wish I knew what you were saying to them. Their storming castles are coming for you!” It’s a tour de force of bop and bravado. This is what the album does so well, it sweeps you off your feet first, making its lyrical disclosures all the more affecting.
‘Rude Life’ begins in lilting, measured contemplation. “You're the rudest boy I know, and I've a real rude life” confesses Brontez as the violin laces through his vocal. This is all shook up at the halfway mark though when the adrenaline kicks in and the drums pummel. ‘Sky Opens Up’ similarly dials up the tumbling, careening clamour and energy buzz. ‘Hellish Banger’ is more of slow dance meets grunge reverie. The album also boasts an amazing spiraling auto-tuned cover of The Amps ‘Bragging Party’. ‘No Cigarettes / Stay Monkey’ is pulse-grabbing rally of unadorned declarations split into two fleeting sketches.
‘Hey Boy’ and ‘Boy With Butterfly Wings’ are more reflective in intent, both yearning and unapologetically poetic. In fact the little details observed in the lyrics across the whole album are quietly elegiac; winter nights, electric bills, ticking clocks and many allusions to hauntings only lending pathos to the love-drunk / lovelorn axis of the record. ‘Confirmed Bachelor’ is a hot wonder, upbeat, witty and ever-lively only with a forlorn core, a resolute focus and defiant honesty. It’s a rare triumph, a record you can dance your Friday night away to, whilst the songs’ subtly work on your emotions from the inside out.
of it all. Jagged riffs, bubblegum bounce and Brontez’s vocal effortlessly racing to dizzying effect.

Echoes, Spaces, Lines collects Trans-Millenia Consort, Plot Zero, and Spectre, the first three albums by the late West Coast composer, healer, and medium Pauline Anna Strom. Exploring all corners of the multiverse through transpersonal form and freedom, Strom’s first three albums share a singular sensibility, different streams flowing from the same oracular font. Echoes, Spaces, Lines establishes Strom’s rightful place in the canon of great synthesists. Restored and mixed from the original reels by Marta Salogni, newly remastered, and adding Oceans of Tears, a fully realized but previously unreleased album exclusive to this box set, these are the first official reissues and the definitive encapsulation of Pauline Anna Strom’s prolific and visionary early work. These four-disc LP and CD box sets include 12 and 16 page booklet containing liner notes, an unearthed interview with Strom, and unseen ephemera.