Buscar:eve 6

Our well received series of Golden Earring remastered and expanded editions continue with On The Double. The Red Bullet archive was turned inside out again by Wouter Bessels and he found the original first-generation quarter inch master tapes of this classic 1969 album. These particular tapes have never been used for any release before, as in the analogue days of mixing and mastering it was customary to run off a set of equalized tape copies - with compression and sometimes reverb added - for release on vinyl and cassette. Also, genuine stereo mixes of both ‘Dong-Dong-Di-Ki-Di-Gi-Dong’ and its B-side ‘Wake Up-Breakfast!’ were found.

As the On The Double album was mixed in glorious stereo, we've included these never-before released stereo mixes (instead of the original 1968 mono mixes), alongside the original stereo mixes of ‘Where Would I Be’/’It’s Alright, But I Admit It Could Be Better’, the single that came out after On The Double. All in all, this expanded release of On The Double contains everything released by Golden Earrings between the albums Miracle Mirror and Eight Miles High and, as it features all original stereo mixes, fills another important hole in the reissue programme of the band. On The Double (remastered and expanded) is now available as a individually numbered edition of 1000 copies on crystal clear vinyl. It contains an insert, printed inner sleeves with liner notes by acclaimed Golden Earring biographer & archivist Jeroen Ras and additional remastering notes and comes in a gatefold sleeve.

First-ever official reissue - 180g black vinyl edition

In the late 1960s, a distinctive musical movement began to flourish in Italy—while also gaining momentum abroad, particularly in France and the United Kingdom. Known as library music (or sonorization), this genre consisted of genuine music libraries created specifically to accompany audiovisual productions such as television programs, commercials, documentaries, and films.

Produced under conditions of complete artistic freedom, these recordings often defy clear categorization, as they are not tied to any single musical genre. This creative independence allowed composers—frequently working in total anonymity—to experiment boldly, crafting avant-garde and forward-thinking sounds that, in many cases, anticipated musical trends that would only become widespread years later.

Oronzo De Filippiis known not only for his contributions to library music, but also for being part of the projectThe Braen's MachinealongsideAlessandro Alessandroni, one of the most significant figures in this field.

Meccanizzazione is a fully instrumental album—as is typical of the genre—literally dominated by the distinctive sound of the harpsichord. The record essentially alternates between two main compositional approaches: on one hand, more accessible and "friendly" tracks with a refined jazz-lounge and bossa nova flavor; on the other, darker and more hypnotic pieces, whose repetitive structures vividly evoke the rhythms and mechanical pulse of the industrial world.

Daniela Casa (1944–1986) was a singer and composer, and the wife of fellow library music artist Remigio Ducros, author of America Giovane ("Young America"), an LP that ideally precedes this second chapter. Originally released in 1975, America Giovane N. 2 is today — like much of the Edizioni Leonardi catalog — extremely rare and highly sought-after by collectors.

Musically, it shares with the aforementioned America Giovane a remarkable stylistic diversity: from folk to psychedelia, from funk to rhythm and blues. Unlike the first volume, however, this record reveals a more pronounced jazz aura — "Fix" and "Soft Bird" are virtually two brief free-jazz excursions — which makes the album even more compelling and distinctive.

America Giovane N. 2 is part of a reissue series produced in collaboration with Edizioni Leonardi (Milan, Italy), dedicated to extremely rare library music LPs originally released between the late 1960s and early 1970s — most of which had never been reissued until now. These recordings are finally made available again for collectors and library music enthusiasts.

DEVANDO is back again with a boogied-out banger 45, featuring pulsing beats, ascending bass synth lines and vocoders that will make even the most rhythm deficient folks bob along. "All Closed Eyes Ain"t Sleep" is a steady stream of danceable energy, while "Party With Me" is a falsetto-rich disco collaboration with the One, DeRobert Adams. Get blissed with this sophisticatedly bumpin" 45.

John Pizzarelli returns with one of his finest albums yet, Dear Mr. Bennett—a heartfelt tribute to the legendary Tony Bennett, whom he knew personally. The cover even features artwork drawn by Mr. Bennett himself. A celebrated name in jazz, Pizzarelli has collaborated with music’s biggest stars and toured for years with Frank Sinatra. This release follows his acclaimed tributes Dear Mr. Sinatra, Dear Mr. McCartney, and Dear Mr. Cole.

This will be a two-project series based on the music of Tony Bennett. John is a well-known artist in the Jazz space and a staple in the NY scene. His father was a renowned studio musician and go-to person for years. Tony Bennett came to a show of John's and sketched a picture of him performing on a napkin during the show. That picture will serve as the cover of the album.

We Release JAZZ is very happy to announce the limited vinyl edition of Ill Considered's transcendent new live album Live in Jura, an expansive document of the trio's 2023 performance at Spiegelberg Festival - now available as a double LP with a bonus D-side, housed in a heavyweight sleeve with obi and an original artwork by Vincent de Boer.
Captured in the heights of Saignelégier, Switzerland, in the middle of a pasture overlooking the Jura mountains, Live in Jura bottles the singular Ill Considered live experience at its most open, responsive, and elemental. From Idris Rahman (sax, flute), Liran Donin (bass), and Emre Ramazanoglu (drums), this is deep free improv built from intuition and heart - an ever-evolving conversation of groove, texture, and spirit. Whispered motifs bloom into towering climaxes; earthy bass surges meet shimmering cymbal work; woodwind lines move from meditative invocation to ecstatic release. It is music shaped by the audience, the environment, and the moment : alive, unrepeatable, and deeply organic.
The bonus D-side extends the album's world with a unique ambient composition made from field-recorded organic sounds of the forest surrounding the concert area. Re-composed into a drifting, luminous piece, it features The Voices of the Alpenglow, blurring the boundary between performance and landscape, human gesture and elemental presence.
Ill Considered - known for forging improvised music around simple themes or spontaneously created structures - here reach a new level of sensitivity and power. Live in Jura follows We Release JAZZ's release of Shoals by Ill Considered members Earth and Bones, continuing a line of exploratory, heart-forward music grounded in profound listening and spontaneous creation.

‘Under The Sun’ is the new album from The Wanton Bishops, a band by every definition of the word, but primarily the vision of one eclectic man – Nader Mansour. The album is an exploration of identity and ultimately a love letter to his hometown Beirut, capturing Nader’s kaleidoscopic life journey through a melting pot of musical influence; primarily gutsy blues-rock but with tinges of psychedelia, surf-rock, dance, as well as the Lebanese influences of Nadar’s hometown. “It’s Lebanese Rock”, adds Nader, “a new genre, a blueprint for future music. It’s not fusion, it’s confusion, it’s not world music, it’s rock music from the world, for the world”.

Following the release of The Wanton Bishops’ debut album ‘Sleep With The Lights On’, a Delta blues record inspired by the likes of RL Burnside and Muddy Waters, Nader journeyed to America’s deep south to experience the roots of Mississippi blues. The experience spawned a musical epiphany for Nader, as he returned home to Lebanon a changed man with a newly inspired musical vision. Nader’s music slowly emerged from the Delta swamps into the Lebanese mountains, and the music of The Wanton Bishops began to reflect Nader’s homeland, his people, and his personal journey. To quote Nader, "I’m finally getting to the core of the music I want to create, and that core is scarily confused, yet uniquely special, much like our own identity as Lebanese people living in Beirut, that eternal cultural crossroad."

First-ever official reissue - Clear blue vinyl edition.

"Itinerario Beat" is as intriguing as it is mysterious. Performed by a group of largely unknown musicians called The Blue Sharks—previously heard on the excellent "It Became Crystal" (reissued by Redi Edizioni in 2021, Cat. No. REDILP001)—the album features ten easy-listening instrumental compositions for bass, drums, piano, and Hammond organ. The tracks are arranged and performed with distinctive taste, blending elements of beat, jazz-funk, and symphonic pop. Officially credited to Rigol, the pseudonym of composer Duilio Radici, the music also appears to include an uncredited contribution from Ugo Fusco, composer of several soundtrack LPs published by Edizioni Leonardi.

Beyond their use in television and film, library music tracks are highly sought after by renowned musicians and DJs and are frequently sampled. A notable example is "Itinerario romantico," included on this LP, which was sampled by rapper Travis Scott in his 2016 track "90210."

America Giovane is part of a reissue series produced in collaboration with Edizioni Leonardi (Milan, Italy), dedicated to extremely rare library music LPs originally released between the late 1960s and early 1970s — most of which had never been reissued until now. These recordings are finally made available again for collectors and library music enthusiasts.

Remigio Ducros, pianist and composer and author of around 20 library music LPs, presents with America Giovane ("Young America") a heterogeneous compendium of musical styles drawn from the United States — perfectly suited as a soundtrack to late '60s and early '70s hippie gatherings and countercultural events.

Matryoshka has already built a reputation as a producer for DJ Loser's Magdalena's Apathy imprint as well as work for the Nostalgians, an under-the-radar ambient rap collective featuring Yungwebster, Mdb, tnotsobad, Nopaprr and ogpra1. Her musical roots – dubstep, trance and hard dance – tell some of the story here, but she transmogrifies those influences into haunted, Basinski-esque memories like the gaseous traces and decelerated remnants of the club.

On album opener »Lifelover«, Burial's hazed interludes spring to mind, or perhaps the 4am cityscapes of Space Afrika's now mythical »Somewhere Decent to Live«. Background ambiance simmers below Lawson's pensive FM pads, but once she establishes the mood, things take an unexpected turn with a pitch-bent bassline that might have been lifted straight from a 6LACK loosie, and a rhythmic pulse that traces the thin red line of Shinichi Atobe. If it's dub techno, it's a strand that hasn't been codified quite yet.

»Surface Tension« uses deep, Maybach Music-coded bass womps to twist through her skittering slow rhythms and sadcore pads. But it’s Matryoshka’s harmonic instinct that stands out; if you heard the airy »otr« or »fantasize« from Yungwebster's '»II' you'll know exactly what we mean«, and she takes it even further here, weaving cinematic, languid harmonies that bridge the gap between Steve Roach and Future.

Check »Where the Dancers are Spinning« with its levitational, almost orchestral sweeps that Lawson counterbalances with thudding subs, or the brief title track, an Akira Yamaoka-style save room loop that dissipates into a dreamy, dissociated fog, for further proof. Then there's the second side's centrepiece »Parted by the Sea«, where a ratcheting Chain Reaction-style rhythm builds to a tense crescendo only to get splintered unrecognisably in the second half, its broken pieces pillowed by Lawson's billowing time-stretched chords.

Berlin-based producer Red Rooms launches his new imprint ROT with a debut EP called Endurance that captures the full spectrum of his techno vision. From hypnotic minimalism to peak-time drive and closing-time euphoria, ROT001 delivers versatile tools for every moment of the night.
The record opens with Znakva, a mesmerizing ambient piece that sets the tone with atmospheric depth and introspection. Septima, Not Gonna Last Forever, and Disturbance bring the raw energy: pounding low-end pressure, whipping hi-hats, trippy synth lines, and gritty textures designed to ignite the floor. Closing the EP, Endurance lifts the mood with an emotive, uplifting finale -balancing intensity with a sense of release.
A statement debut, ROT001 introduces ROT as a label committed to deep, hypnotic, and dancefloor-focused techno.

The Mountain is Gorillaz’ ninth studio album, a collection of 15 new tracks featuring a stellar list of artists and collaborators. Jamie Hewlett’s album artwork captures the four much-loved animated band members - Murdoc, Noodle, Russel and 2D – in a series of beautifully intricate, hand-drawn illustrations.

The Mountain is Gorillaz 9th studio album. The album is a collection of 15 new tracks featuring artists and collaborators including: Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey; as well as the voices of Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E. Smith, Proof and Tony Allen. Produced by Gorillaz, James Ford, Samuel Egglenton, Remi Kabaka Jr. and Bizarrap (Orange County), The Mountain was recorded in London, Devon, Miami, Jaipur, Mumbai, New Delhi and Rishikesh; and features artists performing in five languages: Arabic, English, Hindi, Spanish and Yoruba. The artwork for The Mountain sees Jamie Hewlett’s distinct, yet ever-evolving, style illustrate the world of Gorillaz with an ever more detailed and beautiful intricacy across a series of hand-drawn illustrations. Circumstances find Murdoc Niccals, Russel Hobbs, 2D and Noodle in India, where our heroes are immersed in the rhythms of mystical music-making as they navigate the mountainous terrain of this thing called life.

Straight outta Gothenburg, DJ Blendah & The Printz blur the lines between remixes, edits and reworks, and “Get Funky in the Heart” is no exception. Taking the finest elements from Teddy Pendergrass, Dee-lite & Q-Tip, and adding fresh live bass and beats, this is a tried and (road)tested floor-filler! 122 BPM
On the flip, Studio 45 gaffer Del Gazeebo has relented to years of public demand to finally release “Know How to Shake?” to the public - a staple of his party sets over the years that has never since a vinyl release until now. Not only that, he's completely rebuilt it, with more sonic twists, turns and "party tricks" than ever before. It's the Young MC/Jacksons blend you never thought you needed, but essential all the same. 118 BPM

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 11

A1) Paul Kalkbrenner - No Goodbye (2019)

Berlin techno producer Paul Kalkbrenner became world-famous with his 2008 hit Sky & Sand. Since then, he has released one record after another and performed all over the world in the biggest venues and at the most renowned festivals. No Goodbye is one of his more recent hits, released in the summer of 2019.

The track was created using an a cappella he received on a demo tape while on tour. He was immediately inspired by the vocal and built his own sound and production around it. Interestingly, Kalkbrenner rarely uses vocals, but for No Goodbye he collaborated with Australian singer Chiara Hunter, giving the track a unique and instantly recognisable character. The result is a stylish, dance-floor-friendly track with a rolling house groove that quickly became a modern classic on dance floors worldwide.

A2) Water World - Give Me Love (2000)

This trance classic by Water World appeared in 2000 on the French label Adequat Records and is the perfect tune for a sunny summer evening. Warm melodies and pulsing beats instantly create that beach feeling, as if you were dancing with your feet in the sand. The record recalls Beachball by Nalin & Kane, sharing the same dreamy, sun-drenched vibe.

Behind Water World were producers Laurent David and Frédéric De Backer-names well known to many trance fans. In the nineties De Backer was active with projects such as Global Trance Mission (Dream Mission) and Y-Traxx, the trio that released the 1997 classic Mystery Land.

Give Me Love clearly bears their combined signature: euphoric, warm and melodic, with a timeless build that perfectly balances emotion and energy. The track was released on vinyl as part of Trance E.P. Vol. 01 and remains a fixture in retro-trance sets to this day.

B1) Panoramic - Colors (1996)

Colors by Panoramic is a Belgian trance classic released in 1996 on the legendary label XTC Records, a sub-label of Bonzai Records. Panoramic was a collaboration between Belgian techno icon Marco Bailey and Mauro Mirisola. The duo, also known under playful aliases such as The Coke Man & Sniff, released an EP featuring two powerful trance tracks.

We chose Colors, a tune with pure Belgian trance DNA: driving rhythm, dreamy synths and a catchy female vocal. The combination of Bailey's production expertise and Mirisola's creative touch resulted in a timeless track that still appears in many classic playlists.

B2) Natasha Bedingfield - Pocketful Of Sunshine (StoneBridge Club Remix) (2008)

British singer-songwriter Natasha Bedingfield released the album Pocketful of Sunshine in 2008, featuring the title track as a single. The original pop version became a major hit in North America, reaching the Top 5 in the US. Swedish DJ and producer StoneBridge (Sten Hallström) reworked the song into a groovy house version, released in the summer of 2008.

StoneBridge gave the upbeat pop tune a club-ready beat and an infectious piano riff that made it shine on dance floors worldwide. It was not his first time transforming pop into house gold-he had already achieved global fame with his remix of Robin S - Show Me Love (1992), one of the greatest house anthems of all time. He also remixed Sia - The Girl You Lost to Cocaine in 2008, another club favourite.

The StoneBridge Club Remix of Pocketful of Sunshine appeared on a special remix EP in July 2008 and was played endlessly in clubs-by us too, in the venues where we performed. The result is a timeless, sun-soaked house classic thatmakes sitting still impossible.

C1) Y-Traxx - Mystery Land (Fred Baker vs Mr Sam's Magical Mystery Dub Mix) (original release 1995)

Y-Traxx was a nineties trance project by DJs Laurent David and Fred Baker. This trance classic first appeared in 1995 as a B-side but gained real attention when it featured on a Paul Oakenfold mix album. Thanks to that success it received an official re-release in 1998 on the respected French label FFRR (Full Frequency Range Recordings).

In 2003 an excellent remix by Mr. Sam & Fred Baker followed on the Nebula label. That version is highly sought after on vinyl by trance collectors, and we are proud to feature it on our new sampler.

C2) Weiss - Feel My Needs (2018)

Feel My Needs by British producer Weiss (alias Richard Dinsdale) is the tune with that unmistakable old-school piano and catchy vocal that instantly pulls you onto the dance floor. Released in May 2018on the UK label Toolroom Records, the track is pure feel-good house with a modern touch. From the very first piano riff, hands go up in the air.

Toolroom even called it a "future anthem" for the summer of 2018, and indeed Feel My Needs became a huge floor-filler. The record charted high on global dance lists and gained massive popularity at festivals and clubs that year. With its warm piano chords, tight beat and soulful vocal, this is a modern house classic that will stay in the collective club memory for a long time.

D1) The Killers - Mr. Brightside (Jacques Lu Cont's Thin White Duke Mix) (2005)

American band The Killers formed in 2001 and scored a massive hit a few years later with Mr Brightside. Taken from their debut album Hot Fuss (2004), it became their biggest and best-known track-a true rock-pop anthem.

In 2005 the song was given an electronic twist when renowned producer and remixer Jacques Lu Cont (the alias of Stuart Price) created an eight-minute dance version titled Mr Brightside (Jacques Lu Cont's Thin White Duke Mix). This remix replaced the raw rock energy with a more progressive and electronic vibe, driven by a steady beat and long build-up.

The track found a second life in club culture and quickly became a dance-floor favourite. For vinyl collectors it was an instant must-have, and to this day it stands as the perfect party closer. The Killers themselves loved it so much that they often used the remix live as an outro, followed by the original version. A remix that perfectly bridged rock and club culture-and has since become a genuine classic.

D2) Sia - Drink To Get Drunk (Different Gear Remix) (2001)

The legendary ice-cube sleeve says it all: Drink to Get Drunk was a huge club hit in the early 2000s. Released in 2001 on the UK label INCredible, a sub-label of Sony Music, it was a collaboration between British DJ duo DifferentGear (Gino Scaletti & Quinn Whalley) and singer Sia.

The producers took Sia's original song Drink to Get Drunk from her album Healing Is Difficult and gave it a complete transformation, keeping her distinctive vocal and placing it over a hypnotic progressive-house groove.

The combination of Sia's unmistakable voice and the deep, driving production hit hard: the track became hugely popular in Belgian clubs and turned into an anthem of its time. In Belgium it even reached number one in the dance chart in early 2001, and it also performed strongly in the UK and the Netherlands.

To this day it remains a nostalgic crowd-pleaser that perfectly captures the atmosphere of the early 2000s.

SAMOH unleashes his new dancefloor weapon, four-track EP ‘Changing Worlds’, out on February 26th, as his debut on Charlotte de Witte’s prestigious KNTXT imprint.

Charlotte de Witte: ‘I have been playing SAMOH’s tracks for quite some time now and I am very happy to welcome him to KNTXT. His acid, techno and trance driven approach to music fits my lane perfectly. There is an energy in his work that feels raw, focused and completely unapologetic. This release in particular has that acidic drive that I love so much. This is powerful club material and I cannot wait to see where it will go.’

Rotterdam’s producer, DJ & live artist SAMOH responds, ‘Releasing this as my first record on KNTXT is an amazing opportunity, and I feel honoured to be able to share my music with so many people and let this sound travel further worldwide.’

‘Changing Worlds’ EP: from the title track’s rampant beat, rattling drums, acid-saturated main theme with euphoric edge, and portentous vocal (‘reality peels away...’) to ‘We Are All Waveforms’ with its psytrancey, insanely acidic builds to banshee pitch over shutter & hiss FX at which point you are indeed ‘entering a non-linear dimension’, you are then a willing victim for ‘Reality Is Gone’ to hammer-drill into the brain and take command of your feet. Final piece ‘Echoes Of Tomorrow’ starts with dystopian chattering percussion and spacey FX, before luring you into a healing euphoric dreamstate with moonstruck, melodic trancey sweetly soaring singing.

’Changing Worlds’ represents my approach to acid techno/trance in its most direct and energetic form.’ SAMOH says.‘I made this EP with three high energy tracks, followed by a more atmospheric closing piece that brings everything together. It’s about a driving motion and intensity, creating moments where dancers can disconnect from everything else and fully give themselves to the music.’

You have been warned. You may as well succumb to acid as voracious as Venusian cloudforms, techno beats galloping over your inhibitions, and trance as bewitching as absinthe for the ears. You’ll be glad you did.

Following a triumphant first release, Archivio Records returns with another slab of golden era UK Techno House from a true master of the sound: Mark Ambrose

This versatile three track EP made up of 2 previously unheard and unreleased lost DAT productions, paired with a monstrous modern creation, from a man known for his uniquely trippy and boundary pushing take on the genre, presents the listener with a smorgasbord of peak time Tech House, hypnotic Techno and emotive Acid House.

The A side Mountain Storm is nothing short of an epic, instantly recognizable future classic! Punchy, percussion laden drums set the tone upfront, before a titanic, rumbling bassline blows the doors clean off! Disorienting vocals drift in and out before an eerily familiar string arrives by special delivery directly from the State of 808, building the tension required to set the stage for the main event: a haunting, poignant and highly relevant monologue for the times we find ourselves in today, delivered by a renowned, yet uncredited Jamaican poet.

B1 Get On Down takes the listener to the middle of the dancefloor, mid-set at a Techno-leaning after hours. Think Christian AB in a mischievous mood…

Obscure, industrial, fizzing drums start the show, followed by a stomping yet playful bass line, hip hop vocals urging you to get busy on the floor swirl around you, before a piercing arpeggio sends the listener to the cosmos, as the track peaks.

B2 Deep Sea couldn’t have a more appropriate name if it tried. A chugging, melancholy, submarine journey to the bottom of the Atlantic, presented at a lower BPM, making it equally perfect for the very beginning or very end of a set.

The Brooklyn-based record store proves their record label is no one hit wonder with this outstanding release from the Crayon Records head honcho. Unmissable.

Cheeba’s Funky Rock Ensemble are back with two sides of funky rock breaks for hairy b-boys !

After the great feedback of their debut release 18 months ago, they went back into the studio soon afterwards to record some more slices of hip-hop orientated funky-psyche beats aimed at the dancefloor. Since then, both new tracks have been on a one-off dubplate and getting aired all over the country to an enthusiastic reception - so it’s about time we got them out there for everyone else to, like , just dig, maaaaan !

DRUG-CRAZED LONDON HIPPIES takes you down to the seedy back street clubs of late 60s swinging Soho - to the early discotheque scene and the psychedelic experience of numerous young rock groups and their fans. With heavy fuzz, funky beats and dirty flute loops this takes you straight to those hedonistic dancefloors in the early hours.

YOU WANNA RIDE ? Stays in the same era and same counter-culture, but on the other side of the Atlantic with the free festival vibe of alternative lifestyles in California. More fuzz-rock sounds, blended with heavy beats , screaming hammond and wordless female vocals to take you on a deep trip - to lose yourself in a field as the sun rises.

Following her acclaimed 2023 release Flood City Trax, a dreamy, lo-fi take on footwork inspired by the crumbling rust-belt city she calls home, Nondi returns to Planet Mu with her second self-titled album, Nondi…While Nondi… retains some of the hazy, nostalgic atmosphere of Flood City Trax, it pushes her sound in bold new directions. “I made this album to capture the sense of freedom I used to get from music when I was first discovering it all,” Nondi says. “It’s meant to be cute, fun, kinda weird and emotional — but most of all, it’s a presentation of some of the prettiest tracks I’ve made.” Though she hasn’t really experienced club culture where she lives, her impressionistic productions evoke the surreal, lingering sounds of a night out — the melodic haze that hums in your ears as you drift off to sleep. Lo-fi and melodic, yet fluid and free, her music carries a sense of flight and intuitive logic. Nondi’s influences range widely — Actress, Aphex Twin, footwork, and the stranger edges of dub techno are all felt, yet she hallucinates them through her own weathered, dreamlike lens. Her tracks often build from clashing loops that evolve and transform organically, or from familiar genre elements reshaped by her instinct for misty, heart-wrenching melody. Some moments stay closer to genre, like Broken Future 175, a drum-and-bass tear-out that dissolves into lush, blurred chords, or Just Hanging Out, a bruised and beautiful take on 2-step. Lead single Tree Festival feels like a blown-out fusion of rave energy and sped-up new-age bliss, while Death Juke drifts through off-beat vocal samples, pulsing drums and 8-bit FX, reminiscent of early Steve Reich reimagined through a Game Boy. Nondi… is a uniquely moving and exploratory album that expands her sonic world even further. Lo-fi yet luminous, playful yet profound.

Paris Ford Bass Player Musician In the earliest years of New York’s post-disco era when roller skating rinks were packed to the rafters and dance floors were alive with funk, R&B, and early electro grooves a young artist named Paris Ford laid down a recording that would quietly endure for decades.

Roll a Skate was supposed to be release on Streetwise Records, the influential New York dance label founded by producer and DJ Arthur Baker
home to seminal club classics and cutting-edge dance sounds of the early ’80s.

Only few month ago, Paris Ford, the artist has uncovered the original 2-inch, 24-track master reel of that recording the very masters from which Streetwise pressed its vinyl rediscovered after nearly 40 years.

Listening back, even Arthur Baker reflected that if he’d heard what Ford had captured back then, he would have released it as a second single a testament to the timeless energy and feel of the recording.

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.