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Auf ihrem neuestem Album mit dem Titel "13" Frank Beltrame Italian Stiletto with Bison Horn Grips" liefern Xiu Xiu einige ihrer bis dato faszinierendsten Songs ab. Gemischt von John Congleton (Chelsea Wolfe, Swans, Lana Del Rey), ist die LP anders als alles, was das Duo jemals zuvor aufgenommen hat, inspiriert von der Zerstörung früherer ästhetischer Vorstellungen sowie dem kürzlichen Umzug von Los Angeles nach Berlin.

Im Laufe der letzten zwei Jahrzehnte war Xiu Xius produktiver Output von Alben und Kollaborationen durchweg beeindruckend. Sie veröffentlichten 17 LPs, die in Medien wie The New Yorker, The Wire, Rolling Stone, The Guardian oder NME hochgelobt wurden. Sie tourten unermüdlich um die Welt und traten an Orten auf, die so abgelegen sind wie Kasachstan und der Libanon und an institutionell wichtigen Orten wie dem Guggenheim Museum und dem Centre Pompidou.

Soul Jazz Records’ new collection, ‘Electro Throwdown - Sci-Fi Inter-Planetary Electro Attack on Planet Earth 1982-89’, is a journey into the outer reaches of electro, a galactic roller-coaster ride of turbo-charged sci-fi grooveology.
The album is comprised of mainly private-press and independent label electro jams of the highest calibre (with some as rare as space ships landing on Mars) all created in the 1980s, at a time when a vocoder, a Roland TR-808 drum machine and a groove was all that was needed to get the party started.
With a few notable exceptions (Michael Jonzun’s Jonzun Crew and The Packman) the album features mainly under-the-radar killer tracks from a host of one-off artists and back-room electronic pioneers – including Pretty Tony, Planet Detroit (James McCauley, aka Maggotron) and Rich Cason – who together helped shape the sound of electro across the USA from Miami to New York, Los Angeles and beyond during the 1980s.
This album is released on super-loud double vinyl, packaged in a gatefold sleeve complete with full sleeve notes (from Derek Walmsley of The Wire), plus download code and digital.

FOR FANS OF... Durand Jones & The Indications, Pale Jay, Kelly Finnigan, Niel Frances, Bobby Oroza, Holly Walker. Colemine Records is proud to present a brand new 45 from Aaron Frazer featuring two tracks from his debut LP. The funky and drum heavy "Bad News" has a timely message at a time when people willfully ignore the warnings about everything from climate change to systematic racism. Frazer recorded the tune in Nashville and he brought together a bevy of talented musicians, including members of The Memphis Boys, who backed Dusty Springfield on "Son of a Preacher Man" and Aretha Franklin on "Natural Woman." On the flip, "Done Lyin'" shows Aaron's vulnerability throughout the song. Heavy and tough production from Dan Auerbach paired with Frazer smoothly singing his heart out is a match made in sweet soul heaven. Introducing, LP that this 45 comes from has been streamed 78.8 million times on Spotify alone. Aaron Frazer has 5.2 million monthly listeners and 70k followers on Spotify

The Concealed Club Manifesto project pays homage to the mid 2000s underground UK club music scene, an era of music which acts as well of inspiration and creativity for the Nouveau Monica, and has no doubt helped shaped his sound. For the French producer, the UK club scene holds a special allure and mystique, especially since he observed this phenomenon from afar, and was idealized as one of the most “pivotal” moments in underground club culture, making it seem intangible, hence concealed. Nouveau Monica’s sound palette is deeply rooted in the UK scene, which he combines with his own personal musical background. This mid 2000s UK club sound is what the producer defines as his “Golden Era” and the genres created during that time are the building blocks of the Concealed Club Manifesto EP.

“See the Light” closes the EP as a triptyque. First with the OG version, cut out to be the straightforward, grimy, clean, and uncluttered bass track the producer always seeks for when going for the uncompromisingly strong raw material.

The second version conducted by Nouveau Monica as an alternate 4/4 version of the same title, harmonizes the repetitive chopped vocals with a technically syncopated drum loop designed for a new mental perspective, an after-hours sensation that blurs the line between euphoria and melancholy.

The last iteration of “See The Light” comes from none other than Hodge himself. A club tailored cut with a heavy groove, pattered with percussive elements, followed by sun drenched melody and sweltering pads that unleash into a a bellowing bass track, perfectly suited for peak sunset hours at a day rave an unforgiving Soundsystem.

“The Blue Hour” is the second VA of Berlin-based THISBE Recordings, following “Black Ink” released in 2022. Curated by label owner Pyrame, The new compilation is an invitation to cruise through the blue hour, that unique time of the day from dusk to night.

During that special time lapse, as the sky goes through several shades of blue, so goes the record: Dominik Marz´s “Bura´s Hymn” brings us straight above the Earth´s surface with a track as atmospheric as it can get, before Radial Gaze & Balam´s collab tune “Foreclosed” sets the scene for a groovy dance above the clouds.

We have already lost sight of the ground when World Wild Web initiates an immersion into an enigmatic phase of the voyage with his track “Extase”, where we do not really know in which time-space we find ourselves any more. Agle hints at a possible spot: “Sahel”, a tune that feels like a breeze across the desert, before Philip Lawns shakes everyone up with the upbeat “Johns”, bringing our feet back just above the ground. Volta Cab wraps up our imaginary trip with “Krasnodar Nights”, bringing a treat for the soul and some peace of mind. The night can now settle down.

Willie Roy Turner a native Mississippian, migrated with his family to the South Side of the city of Chicago during the 1950’s. Initially taking up employment at the Golden Rod Ice Cream Company, his first foray into secular music arose when he was accompanied by Muddy Waters Band at Smitty’s Corner Club and performed an impressive recital of the 1959 Big Jay Neely standard “There’s Something On Your Mind” at an Open Mic Night sometime in 1963. A regular talent show entrant, Duke would eventually meet and befriend fellow Mississippian, Garland Green. Green himself had been spotted at the Trocadero Theater by the then husband and wife team of Mel Collins and “Joshie” Jo Armstead, who signed him to their Giant Enterprises production company where he recorded several excellent singles for MCA’s subsidiary, Revue and Uni labels. Green’s third Revue single release, “Ain’t That Good Enough” was composed by Jo Armstead, brothers Howard and Walter Scott and session drummer Ira Gates. It was Green who introduced Duke Turner to the Scott Brothers. The Scott Brothers Review (later known as The Scott Brothers World), one of Chicago’s most respected bands, operated their own production company, Capri Productions, producing songs on both their own and other labels artists. With the Scott’s, Duke recorded his first 45, the upbeat funk mover “Doggie Dog World” b/w “Put Some Soul In Your Dance”. The tracks penned by Duke and respected arranger Johnny Cameron was released on Don Clay’s Omega label in 1968.



Duke then formed his own company, Spinning Top Records, initially releasing “Shake Your Rang-A Tang (Rang-Dang-Du) to be followed by a second single “(Let Me Be Your) Baby Sitter”. Originally intended for release with a b-side entitled “Friendship Or Friends” the studio engineer on the project Ed Cody persuaded Duke to drop “Friendship” in favour of a part 2 version of “(Let Me Be Your) Baby Sitter”. “Friendship Or Friends” was sadly never revisited and with Duke moving to several different addresses across the ensuing years, the tapes eventually became lost. Fast forward half a century, and following a conversation with collector Malcolm Collins who divulged the existence of a acetate of “Friendship Or Friends” won on e-bay by a British collector Russell Gilbert (now living in the Netherlands), the idea of releasing the song was born. When contacted, Russell was only too happy to loan to us the acetate as a mastering reference. Upon receipt of the acetate, we realized in addition to the unreleased “Friendship Or Friends” the version of “Baby Sitter” was a longer and different mix to the released 45 version. After confirming and reacquainting Duke with his long-lost masters a licensing deal was struck which will see the long overdue release of “Friendship or Friends” along with the alternative mix of “(Let Me Be Your) Baby Sitter” as part of a 3- track EP courtesy of Soul Junction Records that also includes the original 1974 version of “Give Me Some Sugar, Baby”, a song now finding favour with the ‘Lowrider’ scene. “Give Me Some Sugar, Baby” became Duke’s signature song, which he recorded again in 1983 under the title of “Sugar Baby Your Love” with his then band ‘Torch’, which included two young musicians that Duke had previously mentored, Terry Coffey and Jon Nettlesbey, the successful 90’s songwriting partnership responsible for several RnB/Pop hits for Howard Hewitt, Alexander O’Neil, Teddy Pendergrass and Keith Washington. Their credits also include Joey Diggs “Always Coca-Cola” hit commercial jingle.

During the early 1980s, “I Specialize In Love” by the American singer Sharon Brown, who happens to be the niece of the songwriter Phil Medley, gained popularity as a club hit. The track was officially released in March 1982 by the prominent Profile Records label based in New York City. Notably, the song marked the debut production of Eddie O Loughlin, who later went on to establish the renowned Next Plateau label. “I Specialize In Love” achieved a remarkable feat by spending three weeks at number two on the US Hot Dance Club Play chart. Its success extended globally as it also charted on the UK Singles Chart and secured a position in the Dutch Top 15, solidifying its status as an international club hit. Moving on from Ben Liebrand’s Classic Rework and his more club-oriented DJ Mix of the track, it’s now time to unleash the Ben Liebrand Le Disco Mixes. You just know from the filtered kick intro, and the funky, ass-shaking bassline to expect an awesome, authentic, disco-fied party jam for today: six and a half minutes of dancefloor delight. all other singles, extended versions only.

Officially remastered reissue of the vocal house classic ‘Come Get My Lovin’ by Dionne. Produced by Komix and presented here for the first time on the original Bigshot Records label since its initial release 35 years ago.

This full length 8-minute remix was the favourite version during the second Summer(s) Of Love and a certified classic, ‘Come Get My Lovin’ still sounds as fresh today as it did in 1989.

Whether you’re buying this for the first time or buying to replace a worn out copy, here’s your chance to own a slice of house history.

The Błoto quartet had made a comeback six months ago with their first singles in over two years dropping “Szlam” and “Ścieki”. These tracks were pressed on a 7-inch vinyl by Astigmatic Records, but this only whetted the appetites of the band’s mud-loving fans, as the singles sold out instantly. And so, the band's musical onslaught continues. Ahead of their upcoming LP “Grzybnia” set to release in autumn 2024, Błoto is putting out another bacteria-laden 7-inch to conclude this brief series of singles. This time, the release features a remix by none other than the modern funk maestro DāM-FunK, hailing from sunny Pasadena, California.

Wading through the sludge of sewage, one can encounter colonies of bacteria. They are well-known for their dark side – causing serious diseases. Nevertheless, they are with us all the time. They exist in humans and all other living organisms – fungi, plants, and animals. They can be found in soil and water. They are even present in radioactive areas, proving that they are truly hard to eliminate. Such is the music of Błoto. Like a post-apocalyptic bacterium, it’s capable of surviving in the harshest conditions.

Sinister, biting, and primitive – just like colonies of microorganisms. This is Błoto's latest single. Drawing heavily from classic acid house, it can truly infect the mind, inviting you to join a rave in Błoto on the eastern flank of Europe. Quartet’s “Bakteria” is a direct continuation of their first 7-inch release. However, this time, during their collective improvisation at Studio Pasterka, the band has entirely forsaken acoustic instruments in favor of a full array of synthesizers accompanied by drums.

Certainly, the dichotomous nature of these organisms presents a paradox. While capable of causing harm, without bacteria, life as we know it would cease to exist, and human civilization would not have reached its current state. Bacteria fulfill numerous essential roles. They serve as decomposers, crucial in maintaining biogeochemical cycles, and contribute to processes such as fermentation and decay. As symbiotic organisms living within other organisms, they are vital for functions like digestion. Their versatility extends to diverse applications, from biological wastewater treatment to the production of various food products.

Such are the properties of the beneficial probiotic titled “Bakteria Re-Freak” by DāM-FunK (renowned for his classic albums released on Stones Throw, like “Toeachizown” and “7 Days of Funk” with Snoop Dogg). It offers a 180-degree transformation of the dark atmosphere of the original version. The track evolves towards G-Funk, brimming with sunny synths and a drum machine. It portrays a vision of a biopharmaceutical bacterium lazily roaming the streets of warm yet perilous Los Angeles.

The 7-inch will be released on July 19, 2024, by Astigmatic Records. The vinyl single is limited to 700 copies.

Hiroshi Watanabe, a musician, photographer, and DJ from the Japanese electronic scene, based in Saitama near Tokyo, has been a prolific figure for twenty-five years. He has explored most major genres of electronic music through more than twenty albums. He proudly becomes the very first Japanese artist of InFiné.

After Ryuichi Sakamoto, he is one of the very few Japanese artists who have gained the favor of Western audiences, alongside notable names such as Cornelius, Towa Tei, DJ Krush, Ken Ishii, Susumu Yokota, and more recently Hiroshi Yoshimura. In Europe, he is best known for his project Kaito, which began in 2001 under the prestigious Kompakt label. The name Kaito, in addition to being the name of his son born the same year, carries a double meaning in Japanese, signifying both "universe" and "secret." These references hint at a spirituality visible in his photographic work and contribute to the elements that make Japanese artists masters of the ambient genre.

The collaboration between Kaito and the InFiné label began with his participation in the compilation "Music Activists 2020 (From Home)," which supported artists affected by the Covid crisis, followed by a remix for the single "Motion" by Rone and Vanessa Wagner in 2023. These initial contributions led to a new album featuring nine tracks of ambient music.

Kaito's new album ‘Collection’ comprises nine ambient and melodic tracks composed during the Covid-19 pandemic. These compositions present a majestic minimal and harmonious therapy in response to the world’s adversities, showcasing the producer’s return to the peak of his art. ‘Collection’ was remastered by another genre legend, the German Rashad Becker, and released on vinyl and CD by InFiné in 2024.

Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.

For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

Fast ein Jahrzehnt hat sich Jamie xx seit Veröffentlichung seines Solodebüts Zeit gelassen. „In Waves“, das zweite Album des Londoners, der mit seiner Band The xx zu den prägendsten Figuren der jüngeren Musikgeschichte gehört. Erneut lässt er seiner Liebe zur elektronischen Musik freien Lauf und entwirft die Geschichte einer Nacht, in der man in den himmlischen Puls von Schatten, Licht und Dancefloor-Rhythmen hinabtaucht.



“In Waves” hat seinen Ursprung in einem Mix, den Jamie 2020 für BBC Radio 1 machte. Hier tauchten neben Tracks der aktuellen Generation an UK-Dancemusic auch diverse musikalische Helden auf, etwa Roy Ayers, Fela Kuti, Tom Zé oder Philip Glass. Auch erste Versionen von Songs, die nun auf dem Album erscheinen werden, waren zu hören. “Es erinnerte mich daran, warum ich diese Musik liebe“, so Jamie, der zuvor lange mit der Frage gehadert hatte, wie es für ihn weitergehen würde. “Ich fand einfach Spaß am kreativen Prozess, ohne dabei an ein Ergebnis zu denken.“



Jamie xx pflügt auf „In Waves“ durch die Subgenres und Dekaden und fügt Northern Soul, Disco, Garage, Acid House, Techno, Tropicalia. Hip-Hop, Funk und den Sound der UK Underground Pirate Radios zusammen. Die kleinen Momente sind dabei so eindrucksvoll wie das übergreifende Ganze. Etwa jener Part bei “Treat Each Other Right“, der parallel zum Album-Announcement erscheinenden neuen Single: Zunächst wird man herausgerissen aus dem breiten Breakbeat-meets-Future-Soul-Vehikel, um sich mit den gepitchten Motown-Vocals plötzlich im Mittelwellenradio der 60er wiederzufinden. Die Worte “I’ll never let you down“ werden in die Ewigkeit gezogen, bevor ein biepender Puls über atmosphärischen Synths einsetzt und man direkt zurückgeführt wird in die schweißnasse Katharsis des Dancefloors.



Im Zeitalter der Algorithmen ist “In Waves” Zeugnis für pure menschliche Empfindung, ein lebensbejahendes Gegengift, das über den Kopfhörer in eine andere Dimension führt und zugleich gemeinsam auf der Tanzfläche erlebt werden will. Mit dabei sind u. a. Romy und Oliver, The Avalanches, Robyn und John Glacier.

Following on from his previous debut album Tape 1/Tape 2 on Soundway, Felbm delivers Tape 3/Tape 4 : an intimate, emotional, lilting and melodic solo project. These 14 lo-fi, instrumental, jazz-infused sketches were written on guitar, with cascading keyboards, vibraphone and drum machine. Possessing a restorative and soothing quality, it goes some way to balancing out a chaotic year for the world
at large.

With echoes of the dreamier end of 1980s English indie-pop, minimal ambient music and Brazilian bossa-nova, Topper’s musical storybook includes touches of The Durutti Column, hints of Antônio Carlos Jobim and Baden Powell, whilst all set firmly in the summer fields of Germany and the Netherlands. The recording method used for the creation and recording of Tape 3 and Tape 4 follows the same as his previous release: all sketches were initially recorded onto cassette on a 4-track tape machine. Most notably a vibraphone finds its way onto
almost every track fitting Topper’s sound-palette perfectly: warm yet distinctive, a percussive as well as sustaining sound that evokes some melancholy and a certain timeless nostalgia. Features that most certainly also apply to the other ‘new’ instrument on the tapes: mellotron flutes.

Tape 3/Tape 4 navigates the space between quiet, open, meditative tunes and more solid instrumental works, reflecting his constant search for an optimal balance between stillness and movement.

Grammy Award-winning band Phoenix returns with their next full length, Alpha Zulu, due out 11/4/2022. This follows their 2020 single "Identical,'' which went #1 at AAA radio, from the Motion Picture "On The Rocks". The project was recorded during the height of the pandemic in Paris, at the iconic Louvre museum. Phoenix are set to perform at festivals like Primavera Sound (Barcelona), We Love Green (Paris) and Austin City Limits (Texas) and will embark on a full headline tour in the US, UK, and EU in Sept 2022. The band has seen over 1.5B+ streams across their catalog, and have previously headlined Coachella, Governors Ball, Primavera Sound, Austin City Limits, and more. They've performed on Saturday Night Live, The Tonight Show with Jimmy Fallon, amongst others.

Die "French Touch Collection" ist eine Doppel-LP-Serie, die der französischen elektronischen Musikszene gewidmet ist. Beeinflusst von neuen Musikgenres wie House, Hip-Hop, Techno und den Rave-Partys, beteiligten sich Mitte der 90er Jahre mehrere französische Produzenten an der Demokratisierung der elektronischen Musik. Ihre Musik, die der britische Journalist Martin James "French Touch" nannte, wurde 1996 zu einem neuen, international bekannten Musikgenre, das sich durch elektronische Produktionen und Musiksamples aus Hip-Hop, Funk oder Disco auszeichnete. Anfang der 2000er Jahre erfand sich die "French Touch"-Szene mit einer neuen Generation ungehemmter Künstler neu, getragen von einem rohen, rocknahen Sound. Die 2010er Jahre brachten eine neue "French Touch"-Welle mit sich, die von der Popmusik beeinflusst war und sich mehr auf Melodien und Oneiric Universes konzentrierte. Dieses neue Werk ist dem House gewidmet, mit Künstlern und Tracks, die zur Entwicklung des "French Touch" beigetragen haben: "Bon voyage"!