Suche:dream dance

Leave it to Langhorne Slim - a pioneer of raw, rule-breaking Americana for more than two decades - to reach far beyond the genre he helped inspire.

The Dreamin' Kind finds the Nashville transplant strapping on an electric guitar and embracing his longtime love of larger-than-life rock & roll. With it's chugging power chords, 1970s-sized riffs, and richly layered arrangements, The Dreamin' Kind is fueled not only by sheer amplification, but by the soul-baring songwriting that's become Slim's calling card, too. Tucked between those anthems are acoustic-driven songs that skirt the outer orbits of folk music, from the bare-boned heartbreak of ''Stealin' Time'' to the organic, orchestral sweep of ''Dance On Thru.'' The result is the more explorative and expansive album of Slim's career: a record made for rock clubs, campfires, and garages alike, produced by Greta Van Fleet's Sam Kiszka, and anchored by a lifelong desire to break down new walls.

''It felt like I was blowing some old shit up so I could plant some new flowers,'' Slim says of the creation process. ''I love acoustic music. I love folk music. But those aren't my only loves. Rock & roll has always tickled the same place in my soul as great singer-songwriter music, and I wanted to explore those influences. Raw songs that make you feel something: that's the stuff I'm after.''

Attention Italo-disco junkies: Disco Segreta is back, and we’re kicking off our 10th-anniversary celebration in style with a release you simply can’t miss. We’re beyond excited to present the official reissue of Cecilia Rizzoli’s iconic single, “Così non va”—a tearjerker Italo-disco masterpiece that has haunted the dreams of collectors for decades.

Originally released in 1985 in an ultra-limited run of just 500 copies split on two cult labels, Scarabes Sound and Discokkio, this gem became a mythical treasure for those dedicated diggers uncovering the rarest Italo disco tracks. “Così non va” blends hypnotic Juno synth lines, punchy Linndrum beats and airy arpeggios with Cecilia’s emotionally charged vocals, creating a soundscape that’s pure melanchol-Italo perfection—ideal for winter nights and nostalgic dance floors.

For this reissue, we’ve painstakingly tracked down the original analog master, that we’ve lovingly restored and remastered to deliver the kind of pristine sound quality this track deserves. The release features the remastered original and a fresh, contemporary edit by Latino-Swedish Italo-disco legend Claudio Burgos, aka Mr. Fantasy. Secure your copy now before it disappears into collector heaven—again!

2026 Repress

Flickering in ultraviolet, there is an elusive place where blue pill meets red, ups become downs, and day merges with night. Those liminal spaces where anything is possible is where you’ll find Nightbus and their hypnotic debut album Passenger. Doom, uncertainty, and opportunity lurk in the shadowy corners of their murky existence with stops at disassociation, co-dependency, and addiction before reaching its final destination - a glimmer of hope.

The in-between of Nightbus’ own Gotham lies where Manchester’s city pulse meets Stockport’s outer realm. An audio-visual entity formed among a musical family of friends, freaks, and foes in messy mills and after hours on dancefloors alike, their sound bleeds from tension where collective creative forces are bound together and collide with the fallout of being torn apart. Before even playing a show, their So Young released single ‘Mirrors’ – a knowing nod of respect to some well-known gloomy Northerners - may have made old school indie heads shimmy at shows in Salford’s The White Hotel but also signalled the duo’s knack for offering listeners a Bandersnatch approach to hitchhiking their own personal Nightbus in whatever direction they choose to take. “Everyone can have their moment with our songs; the music is our response to who we are as young people, living in the city full of this energy right now,” they say.

Whilst reverb hefty melodies and dread-filled loops embody isolation from writing at each of their home studio set-ups, magic happens in the ether across 90s trip-hop, indie sleaze and electronica; Jake’s production layers Olive’s pop sentimentality with drums and samples whilst tales of a cast of faceless characters place Olive as puppet master; her severed self’s perspective manipulating their stringed limbs at arm’s length to see how their stories play out when scenes reflecting her own lie close to the bone. “It’s a bit fucked; like having this out of body experience with a made-up movie running through my head,” she says. “As I write I can see they’re all from a similar world, but they allow me to explore different feelings without giving away part of myself.”

Recorded at The Nave in Leeds with producer-engineer Alex Greaves (Heavy Lungs, Working Men’s Club), surprise and danger lies in every crevice. Brooding whispers turn to chants on 6-minute opus ‘Host.’ Improvised when performed live, its immersive shift in tempo leads to hefty dub courtesy of Jake’s pedals. Even then, you won’t know shit’s hit the fan until its mid-point reveal when ominous bass blasts a thunderous soundtrack as its protagonist defiantly walks away after committing the perfect crime. “It makes you wait, and more songs should have sirens,” Olive grins.

Leaning deeper into alter-egos via the video game-psychological horror of a Silent Hill dystopia, the band’s Fight Club moment ‘Angles Mortz’ turns its literal translation of death angles on its head as it reflects upon kink and internalised shame reincarnated as pride. Elsewhere the ice cool ‘Landslide’ is a Requiem for a Dream about the addiction of being in a band; ‘The Void’ explores co-dependency and estranged relationships; and carefully selected samples revive house track ‘Just A Kid’ from the band’s early incarnation. Passenger’s every direction is to face challenges head on. “That is what’s so great about horror; you can see through predictable patterns so when the unexpected occurs it's more realistic and uncomfortable… I want to own the dark stuff!”

As for Passenger’s first single, the pulsating ‘Ascension’ is a spiralling deep dive into death, suicide, and legacy around who or what we leave behind. A noughties club banger by way of NYC beats - ergonomically designed for those who like to stay out a little too often and too late - it throbs like a house party’s partition wall as the literal levelling up undergoes a neon transformation; blue glitching to pink, diffusing the white construct of the Nightbus Matrix. “It really does feel like the end of something and was purposely written that way,” they say, “the ascension is like a firework going off!”

With wheels in motion, Nightbus has become a movement surpassing sonic realms. Between shows from Porto to Brighton taking in The Great Escape, Rotterdam’s Left Of The Dial and Paris’ Supersonic; DJing; remixing; guesting (BDRMM’s Microtonic album); and even enlisting talented like-minds to craft a 3-part queer coming-of-age music video series which ties in with a new ‘hyperpop’ phase in the evolution of their popular Nightbus Soundsystem club night, heads are now being turned from sports brands to high-end fashion designers. “There are things we can’t reveal just yet,” tells Olive, “but we’re excited about the direction this beast we’ve created is heading.” As the album philosophises and asks one ultimate question; what does it truly mean to be ‘Passenger’? Nightbus may not claim to offer a definitive answer, but it might make you feel a bit better about those demons.

The seventh release on The Comfort comes from a legendary Finnish electro-disco duo known to any music nerd worth their salt: Putsch’79, the pair of Sami Liuski and Pauli Jylhänkangas. Across their shared catalog and solo projects, most notably Sami’s work as Bangkok Impact and 8Bit Rockets, their music has found a home on some of the most inspiring platforms and labels, including Creme Organization, WeMe, Viewlexx, Clone, Bunker, Klang Elektronik, and Klakson.

Heavy on bliss and warmth, the four tracks sit elegantly between italo, house, and disco, featuring sleek vocoders, beautiful arpeggios, soft percussion, gentle plucks, and just the right amount of low-end to hold it all together. Each track feels like being dropped into a different dream-state: from the bubbly B2 “Birdz” to the racy, forward-driving A1 “Estrange.” The grooves and soundscapes never resolve—they simply unfold—perfect for open-airs, afters, and hazy loft parties.

Some records are born on the dancefloor, some from vivid visions, and some—like this one—from the beauty of birdsong. Tracing its origin to a moment suspended between night and morning, sometime around 2016 or 2017, Birdz emerged from a shared experience: Sami and Pauli listening in awe as the world slowly woke up. This EP is their attempt to translate that fleeting encounter into music.

Vier Jahrzehnte nach ihrer Gründung schreiben Ian Astbury und Billy Duffy ein neues Kapitel in der Geschichte von The Cult. Gemeinsam mit John Tempesta (Bass) und Charlie Jones (Schlagzeug) ließen sie 2023 ihre legendäre Frühphase Death Cult für eine exklusive Konzertreihe wieder aufleben - eine Hommage an die Ursprünge einer der einflussreichsten britischen Rockbands der 1980er-Jahre. Das Ergebnis dieser intensiven Rückkehr erscheint am 16. Januar 2026 unter dem Titel "PARADISE LIVE" - ein 16 Songs starkes Live-Album, aufgenommen am 18. November 2023 in der ehrwürdigen Albert Hall in Duffys Heimatstadt Manchester. "PARADISE LIVE" erscheint als Doppel-LP im exklusiven "Black on White"-Splatter-Design, auf CD sowie digital. Das edle Artwork zeigt ein schwarz auf schwarz geprägtes Schmetterlingsmotiv - entworfen von Ian Astbury und kunstvoll neu interpretiert von Carter O"Sullivan (Beggars Art Department). Die Black-Splatter-Edition ist ausschließlich über den Band-Webshop erhältlich, während die White-Splatter-Edition im regulären Handel erscheint. Der Weg von The Cult begann 1981 mit Southern Death Cult, deren gleichnamiges Album posthum 1983 erschien. Noch im selben Jahr gründeten Astbury und Duffy Death Cult - der Beginn einer kreativen Partnerschaft, die seit über 40 Jahren Bestand hat. Bereits 1984 entwickelte sich daraus The Cult, die im selben Jahr ihr gefeiertes Debüt "Dreamtime" veröffentlichten. Mit "PARADISE LIVE" schließen Astbury und Duffy den Kreis - ein intensives, authentisches Live-Dokument, das Vergangenheit, Gegenwart und Zukunft einer außergewöhnlichen Band miteinander verbindet.

French chanson, electro beats, pared-down or synthetic piano: at 21, Iliona draws on all of this. Plural, multifaceted, elusive. Yet her lyrics resonate as if one were singing heartache—and the love one hopes for—for the very first time.
She composes, records, and produces her tracks alone, determined to keep them as close as possible to the tunes, harmonies, and silhouettes she holds in her mind. This time, they are infused with the light of an intense love, and still carried by extreme sparseness in their arrangements: nothing—from electronic arpeggios to melodic autotune—is ever superfluous; everything has its place. Lifted by a new lightness, the tracks also echo the spirit of the yéyé sound Iliona has been listening to for a few years, without necessarily knowing the name of every songwriter or the mark they left behind. It’s their longing for carefree abandon that hovers over the hypnotic Si tu m’aimes demain and its music video inspired by the New Wave, the Beatles, and all those future memories you begin to build when you’re in love.


A gentle warmth also sweeps through the hazy doo-wop contours of Tête brûlée, and the lo-fi twist of Cocoon; but always with that veil of shadow that once floated over the apparent nonchalance of Françoise Hardy’s songs. That unease, that worried smile, resurfaces in the lovely pop gallop of Garçon manqué, an ode to the deepest friendships—the ones you hold in your arms to dance or, sometimes, to cry. Or in the delicate Cent fois, which whispers, “when will the movie scenes we quietly dreamed of come to life?”
The answer, perhaps, lies in wherever you hide, the party finds you, a superb soundtrack to an imaginary drama, whose venomous keyboards unfold the pictorial strength of Iliona’s songs.

Quartet Records and MGM present the re-issue of the first official complete vinyl edition of Burt Bacharach’s timeless classic soundtrack for the 1967 James Bond spoof Casino Royale.

The infectious main theme performed by Herb Alpert and the Tijuana Brass is just the starting point of an epic comedy ride that includes such highlights as the unforgettable “The Look of Love,” sung by Dusty Springfield, or the epic fight music at the end of the film. Produced by record industry legend Phil Ramone, the original soundtrack LP offered selected highlights, expertly edited to showcase the best parts of the entire score. Thanks to the legendary sound quality of the stereo copies, this record became one of the most highly sought-after collectibles in the industry.

This straight re-issue of our 2019 vinyl edition was produced, restored and mastered by Chris Malone, rebuilding the score from the ground up. The soundtrack album has long been considered a cornerstone of an audiophile’s collection. Lauded by The Absolute Sound, the original Colgems release continues to remain in pole position as the best sounding “popular” LP vinyl disc of all time.

Malone’s work was focused on addressing unintended technical anomalies (such as filling dropouts and covering analogue splices) rather than broadly applying a modern sound palette. He has eschewed dynamic range compression and retained the brilliance of the original recording. The first LP is a fully remastered reissue of the iconic original stereo vinyl, playing in all its splendor. The second LP contains all the unreleased material, in mono, which are still the only available source to date.

This special 2xlp is a limited edition pressed on 180-gram black vinyl, all of it housed in a gatefold jacket, retaining the iconic original cover art by Robert McGinnis

Kulture Galerie releases its 3rd Digital Artefacts cassette tape: "Mediterranean Blue" by NYC's own Alien D. Alien D is back on Kulture Galerie. Prior to this, Daniel Creahan has been featured on labels such as Lillerne Tapes, Banlieue Records, and Theory Therapy, and now shares a 6 track EP called Mediterranean Blue that lands on Filippo MSM's tapes series Digital Artefacts, the label's more experimental output.

The work is something of a companion piece to his recent release on Theory Therapy, “For the Early Hours of the World in Bloom,” exploring similar states with a more hazy, fluid sensibility. The compositions here trace back to a week spent several years prior on the Puglia coastline, where, in the midst of a read through of Helene Cixious’s Tomb(e), he began compiling a series of works drawing the gleaming sun, swirling waves and jagged, rocky coastline of the region, mixing in fragments of slow, pulsing low end, wafting synth elements and a range of processed samples dwelling on states of transition, life and love. Waves and dripping water swirl around lilting saxophone, kick drums drown the mix in heavily side-chained throbs of bass, and breaks rush in and out of the mix, making for a series of recordings that seem to view the dancefloor as a dream, always front of mind but hazily remembered.

“I was obsessed with these balances between the light-washed, dusty landscape and these quiet modest homes dotting the hills, and all I could think about was the passage of time, falling in and out and back in love, and the slow drift of memory,” he says. “It was like waking up with a new thought.”

2024 Repress

Cold and sinister combat electro by Russian newbies Larionov & St Theodore. Infectious analogue rhythms emerged deep down the hearts of these young souls. Bleak Warfare presents five cuts with each their own desire for the dancefloors.

Das neue Album "The Jacket" von WIDOWSPEAK wurde vor und nach der Veröffentlichung ihres letzten gefeierten Albums "Plum" geschrieben. Für das Duo, das aus der Singer/Songwriterin Molly Hamilton und dem Gitarristen Earl Thomas besteht, fühlt es sich an, als ob sich mit dem neuen Album ein Kreis schließt. Thematisch beschäftigen sie sich weiter mit der eigenen Zeit und Arbeit, und mit dem, was sie umgibt. Dies ist teilweise darauf zurückzuführen, dass das Duo kürzlich wieder zurück nach New York City gezogen ist. Dort wo für sie als Band alles begann, haben sie ihr neues Album zusammen mit Homer Steinweiss von Daptone Records aufgenommen. Doch Wiedervereinigungen führen immer zur Reflexion und Hamilton gibt zu, dass ein Großteil der Themen des Albums mit ihren prägenden Erfahrungen in den frühen Jahren der Band zu tun hat. So behandeln einige Songs den Prozess des Weitermachens ("Unwind", "Salt"), während andere das Bedauern behandeln ("True Blue", "Forget It"). Der namensgebende Track des Albums befasst sich mit den buchstäblichen und bildlichen Verkleidungen. Diese Verkleidungen bekommen mit der Zeit eine große Bedeutung, bis man sich dazu entschließt diese abzulegen. Durch vage Erinnerungen an Arbeit, Musik und Nachtleben formt man eine neue eigene Vergangenheit. Klanglich zeigen sich WIDOWSPEAK auf "The Jacket" in gewohnter und bester Form: Die Dynamik wechselt nahtlos zwischen sanften, treibenden Balladen und energievollen Jams, die aus dichten Gitarren, fokussierten Perkussions und kraftvollen Basslines bestehen. An anderen Stellen hört man skurrile Flöten, chorale Texturen und Heimorgeln. Thomas' Gitarrenspiel ist so ausdrucksstark und gefühlvoll wie eh und je und Hamiltons betörender Gesang ist ohnehin eine Klasse für sich. Diese Dynamik wird im Mix von Chris Coady (YEAH YEAH YEAHS, BEACH HOUSE) noch verstärkt. WIDOWSPEAK vermischen ihren Americana-inspirierten Indie-Folk gekonnt mit Slow-Core und Dream-Pop, der sowohl an die 60er als auch an die 90er Jahre erinnert. Dieser Sinn für klangliche Nostalgie fügt ihren Texten eine weitere Ebene hinzu, die über alte, erfundene und wahre Persönlichkeiten reflektieren.

2025 Repress in Gold Vinyl

'End Beginnings', das neue Album von Sandwell District, ist die erste neue Musik des Kollektivs seit dem tragischen Tod von Juan Mendez (Silent Servant) im Januar 2024. Mendez‘ atemberaubende Kunstwerke und Visuals waren immer eine zentrale Säule von Sandwell District, tatsächlich arbeitete er an einem Kunstwerk mit dem Titel 'End Beginnings' - nun der Titel des dritten Albums und eine Hommage an den verstorbenen Freund. 'End Beginnings' bringt gewaltigen Techno und umwerfende Dancefloor-Dynamik zusammen, eine meisterhafte Kombination von Innovation und Ekstase. Nach dem tragischen Einschnitt, steht nun wieder der Spaß im Vordergrund: „Eine gute Zeit zu haben ist so ziemlich der Grund, warum man überhaupt damit anfängt. Und es macht Spaß. Ich denke, wir fühlen uns jetzt viel glücklicher, besonders nach dem, was mit Juan passiert ist. Wir sind dankbar“, sagt Regis. '

Spandau20 delivers its eleventh various artists release, a sonically rich and future-facing blend of broken grooves, spatial moods and modern Detroit romanticism. Four tracks, four new angles on the dancefloor. ANNA Z sets the tone with 'Kabeljau', an eclectic, IDM-flirting workout. On the opening track, elastic rhythms stretch and snap while ethereal pads drift overhead, punctured by sudden turns and glitchy surprises. Moody, weird and beautifully unpredictable. Dajusch continues with 'Fallout', diving into shimmering Detroit-inspired chords and pristine production. Clean yet full of soul, its dreamy propulsion moves with effortless optimism. It's a track that lifts heads and hearts without ever losing its club focus. Flip the record and FJAAK welcome you into a breakbeat-infused haze. 'Your Time' pairs groovy percussion and airy atmospheres with those unmistakable powerhouse vocal chops, a warehouse anthem with a gentle cosmic touch, driving yet deeply emotional. Closing the EP, Claus accelerates the pulse. 'Moist Logic' is a faster, more urgent exploration of the techno continuum. Machine funk encoded into a forward-thrusting groove, a sleek atmosphere swirling around a sharp, kinetic core. With SPANDAU20 011, the West-Berlin collective celebrates a hybrid future that is rhythmically adventurous, melodically rich and rooted in the love for the dancefloor. This record combines Berlin grit with dream-state techno, balancing rough energy and refined emotion across four cuts that leave their mark on the floor.

Spandau20 delivers its eleventh various artists release, a sonically rich and future-facing blend of broken grooves, spatial moods and modern Detroit romanticism. Four tracks, four new angles on the dancefloor. ANNA Z sets the tone with 'Kabeljau', an eclectic, IDM-flirting workout. On the opening track, elastic rhythms stretch and snap while ethereal pads drift overhead, punctured by sudden turns and glitchy surprises. Moody, weird and beautifully unpredictable. Dajusch continues with 'Fallout', diving into shimmering Detroit-inspired chords and pristine production. Clean yet full of soul, its dreamy propulsion moves with effortless optimism. It's a track that lifts heads and hearts without ever losing its club focus. Flip the record and FJAAK welcome you into a breakbeat-infused haze. 'Your Time' pairs groovy percussion and airy atmospheres with those unmistakable powerhouse vocal chops, a warehouse anthem with a gentle cosmic touch, driving yet deeply emotional. Closing the EP, Claus accelerates the pulse. 'Moist Logic' is a faster, more urgent exploration of the techno continuum. Machine funk encoded into a forward-thrusting groove, a sleek atmosphere swirling around a sharp, kinetic core. With SPANDAU20 011, the West-Berlin collective celebrates a hybrid future that is rhythmically adventurous, melodically rich and rooted in the love for the dancefloor. This record combines Berlin grit with dream-state techno, balancing rough energy and refined emotion across four cuts that leave their mark on the floor.

Swedish producer Martinou returns to Nous'klaer Audio for another dream inducing dance record.

Dream Girls, Beauty And The Beast director Bill Condon returns to the movie musical in this dazzling Technicolor-hued fantasy. Valentín (Diego Luna), a political prisoner, shares a cell with Molina (Tonatiuh), a window dresser convicted of public indecency. The two form an unlikely bond as Molina recounts the plot of a Hollywood musical starring his favorite silver screen diva, Ingrid Luna (Jennifer Lopez). Based on the Tony Award-winning Broadway musical hit. "The film juxtaposes very gritty, graphic, prison scenes with equally extreme 1950s period authentic technicolor musical sequences that replicate both technicolor look and aspect ratio as the film switches between both environments. Lopez looks great and the musical sequences are glorious. The supporting cast, especially the two male leads are top shelf Oscar worthy performances. It is superbly executed.

For over three decades, US-American gabber/hardcore producer and DJ, DJ Delirium has stood at the forefront of the Hardcore Techno scene,
carving his name deep into the legacy of dance music history. From the early ’90s to now, Delirium has electrified audiences worldwide,
delivering unforgettable performances at the biggest global events, including Thunderdome, Mysteryland, Defqon, Raving Nightmare,
Earthquake, and In Qontrol.

His name is synonymous with energy, innovation, and unrelenting beats.
Hardcore Legends by DJ Delirium features 6 hardcore tunes, incl. "Surrender Your Dreamz !", Drop Da Beat", "I Was Born Hardcore"
and a brand new Partyraiser & Rosbeek remix of "Surrender Your Dreamz !"
Hardcore Legends is available as a limited edition of 1500 copies on translucent green coloured vinyl.

Astropolis Records — the label born from the legendary electronic French festival — celebrates a decade of electronic devotion with a generous and deeply emotional anniversary compilation - a bit late, but never short on flair.

This double vinyl gathers the many faces of the Astropolis galaxy: in-house artists, long-time companions of the festival, and rising voices from a perpetually vibrant French scene. Across 18 artists, listeners are invited on a sonic journey where rave legacy, electronic dreamscapes, and collective fervor intertwine — true to the DNA of a festival that’s never known boundaries.



The record opens with grace and wonder courtesy of Rone, whose electronic touch channels both the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador bathes in luminous melancholy, offering a moment of calm before the storm. In the same contemplative vein, we’re proud to unveil one of the first productions from Célélé alongside Théo Muller: Drum and Drift, a subtle blend of dubby vibrations and sunlit textures.


Astropolis has always thrived on happy collisions — and this compilation is proof of it. The unlikely meeting between Mézigue and Swooh sends house spiraling into a g-tech vortex on Broken Roll To Venice, a playful burst of groove, hybrid energy, and cheeky mischief. The same spirit of alchemy fuels Belaria & Madben, whose Into The Void burns bright as a 90s rave-meets-EBM anthem wrapped in hypnotic trance. Zaatar & Trunkline bring raw intensity to Come Into The Light, a sweaty, visceral banger at the crossroads of techno, dark disco, and EBM.


French techno pillars Scan X & Electric Rescue deliver a masterclass in elegant machine soul on Lost In Time. When Manu Le Malin teams up with Kmyle, the result is as sharp as it is cinematic: Little Big Man pulses with dramatic tension, balancing raw emotion and restrained fury. Elsewhere, Oniris & Benjamin Rippert reconnect with the melodic techno spirit of the label’s early days on Sonate, guided by a craftsman’s sense of harmony.
For the machine lovers, Legowelt & Cuften resurrect the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude. And for the diehard dancefloor devotees, KiNK finally releases a cult track from his live sets: Give Me, a breakbeat-meets-vintage-house stormer tailor-made for those late-night sweats.

This anniversary compilation reaffirms the label’s openness to new generations and hybrid sounds, while paying tribute to the techno roots that shaped its foundation. Like the festival itself, it embodies sincerity and collective energy — a small manifesto linking generations, aesthetics, and territories, celebrating roots without nostalgia and the future without bending to trends.

Black Midi war von Anbeginn der Band ein illustres wie kreatives Tummelbecken für die Mitglieder der britischen Band - nun löst sich Geordie Greep mit seinem am 4. Oktober bei Rough Trade Records erscheinendem Solo-Debüt noch mehr von jeglichen Einschränkungen und Kompromissen! Eines der Hauptthemen von Anthony Powells Roman "A Dance to the Music of Time" ist der Kontrast zwischen jenen Charakteren, die nur von Macht getrieben werden, und jenen, die mehr mit den sinnlichen Freuden des Lebens in Einklang stehen. Unweigerlich holen die Zeit und das Schicksal jeden Protagonisten ein, und der Leser kann darüber nachdenken, ob ihr Schicksal gerechtfertigt ist oder nicht. "The New Sound" wirkt oft wie eine Wiederholung von Powells Thema, untermalt von einem schrägen - und völlig verkabelten - Palm Court Orchestra. Das Album ist mit Sicherheit eines, das den Hörer über die gesamten elf Tracks hinweg voll in seinen Bann zieht. Greep: "Ich war besorgt wegen der Länge, um nicht zu viel zu verraten. Aber ich bin es auch verdammt leid, Musik zu hören und im Voraus zu wissen, was sie bedeutet oder was sie zu tun versucht. Bei all meiner Lieblingsmusik geht es darum, dass der Hörer sich mit dem auseinandersetzt, was vor sich geht. Meine Lieblingssänger, wie Peter Hammill oder Nat King Cole, sind buchstäblich einmalig. Das liebe ich. Vor allem bei Texten, bei denen man nicht genau weiß, worum es geht, aber man weiß, dass es nicht nur abstrakte Gedanken sind."

Elations Recordings presents "Return of the Airpoets", an exploratory recording from longtime collaborators Reuben Lewis (I Hold The Lion's Paw) & Adam Halliwell (Mildlife, IHTLP), occupying a unique space between contemporary experimental music and avant jazz. Engineered and mixed by Reuben Lewis in 2023, and featuring guest appearances from acclaimed Australian drummer Ronny Ferella.

"Return of the Airpoets" continues a conversation begun with 'Cygon Dance', an extended duo between Lewis and Halliwell from Halliwell's 2023 LP "Freedom Lapse"; a dialogue that stems from a shared love and respect for Jon Hassell's Fourth World music. Sonic pioneer and adventurer, Hassell's futuristic vision advocated possible musics, stressing plurality and multiplicity. Faithful to his vision, Adam and Reuben, as trailblazers rather than imitators, delight in boundless musical possibilities, adopting Hassell's futurism as stock-in-trade, making it their own while augmented with neo noir hues and hints of the tilted electro-funk of Miles Davis' collaborations with Marcus Miller.

These nine tracks flow together as a unified suite, their shadowy presence stitched from fractured narratives: imaginary crimes, murders, dreams, the unspoken. At the same time, you can detect the artists' meticulous attention to sonic detail, feel the undercurrents, the complex layering. This music has been distilled, winnowed, from extended improv sessions, with the artists - as producers - zeroing in on offcuts, shards, and splinters, seamlessly patching together fragments in post-production to construct intricately layered sound collages, taking a leaf out of Tao Macero's book, building from the ground up.

Who are these airpoets? Their mystifying trial suggests the travails of Joseph K, sentenced for unspecified crimes. But I prefer to see them as fugitives escaped from Robert Bolaño's novel, "Savage Detectives". In Bolaño's book, poet Juan Garcia Madero is granted admission to the shadowy group of poets, the Visceral Realists, whose movement has no clear aims, and whose members "walked backward . . . gazing at a point in the distance, but moving away from it, walking straight toward the unknown." Like the visceral poets, these airpoets, Reuben Lewis and Adam Halliwell, set their sights on a point on the distant horizon, setting off without map or compass, drawing nearer and moving away, towards the unknown.