Suche:eve 6

2026 Repress

&Me, the chunky critter, did it again! This hypnotic one-off was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed.

Mano le tough found the original Muddy Funster so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes us into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. Illumination feat Roísín Murphy as Mano Le Toughs needs A Birra Light Remix persistently pulls us music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.

Earth hat die moderne Musik maßgeblich geprägt - von Experimental Metal über Electronic/Ambient bis hin zu Stoner Rock - und Künstler von SUNN O))) über The Bug bis hin zu Godflesh beeinflusst. Die Geschichte von Earth wurde in der gefeierten Dokumentation "Even Hell Has Its Heroes" aus dem Jahr 2023 festgehalten. Das dritte Album von Earth, "Pentastar: In the Style of Demons" aus dem Jahr 1996, ist ein Klassiker der trägen Riff-Verehrung, der vor einer dicken, verzerrten Schmiere nur so strotzt, in der Black Sabbath, Hawkwind, Hendrix, Drone und Ambient-Musik miteinander verschmelzen. Das Ergebnis fühlt sich an wie eine lange, einsame Fahrt durch die Wüste, mit dem inneren und/oder äußeren Weltraum als einzigem Ziel. Als wohl rockorientiertestes Album der Band enthält "Pentastar: In the Style of Demons" die zeitlose ,Hit"-Single "Tallahassee". Diese 30-jährige Jubiläumsausgabe erscheint auf grünem Vinyl und enthält einen limitierten "Wraparound"-Kunstdruck mit einer Neuinterpretation des Albumcovers durch den zeitgenössischen Künstler Matt McCormick.

‘Perfect We Are Not’ the latest track from Soulwax, emerges directly from the band’s recent Abbey Road After Hours project - a unique collaboration with the iconic London studio that saw Soulwax take over the building for a series of recording sessions and a landmark live event.

Working across Abbey Road’s historic spaces - from Studio Three, to Studio Two, to Studio One - the band used all three rooms as a continuous creative environment, moving fluidly between them in pursuit of new material. It was within these sessions that ‘Perfect We Are Not’ was written and recorded with their full live band (including three drummers).

The track was cut using the studio’s vast array of analogue equipment before being pressed direct to vinyl and played as the opening moment of their 2manydjs set inside Studio One

Now released as a standalone single, ‘Perfect We Are Not’ carries that immediacy forward — a driving, full-bodied track that reflects the band’s instinctive, performance-led approach in the studio, and will also be released as a limited edition 12” via DEEWEE.

Globally adored Spanish techno protagonist Indira Paganotto releases her debut album 'Arte Como Amante' via ARTCORE / PIAS Électronique. It brings together thirteen fearless tracks that stretch way beyond any one genre. It's high-pressure, high-energy, and deeply personal. A full-spectrum dive into the world of one of electronic music's most dynamic artists.

It follows a huge 2025. She debuted at Coachella. Played her first ever b2bs with Armin van Buuren at Sonar and Sara Landry at EXIT. She became the first woman to close Monegros. She held down her first Club Room residency at Hï Ibiza for 14 weeks, and even launched her own creative studio space, ARTOPIA, in Santa Eulalia. Her label ARTCORE the home of this special album also took their presence in the dance world to the next level with their own curated stages at Tomorrowland, Mysteryland and Dreambeach.

Now, she's telling her story. The title 'Arte Como Amante' means 'art as a lover'. For Indira, that's not just a phrase. It's her life. This album has been 14 years in the making. It began in Madrid in 2012, when she was 19, and was completed in 2024. She waited for the right moment. She lived life. She collected experiences. She built the sound. "I know to take 14 years to make an album seems crazy," she says, "but without living those experiences, how could I have made the music about them?"

The result is a diverse, adrenaline-fuelled body of work that hits hard and moves deep.

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

2026 Repress

Here's to a special one..

Ashtar Afterhours is Kenneth Graham - originally from Los Angeles, he has been a defining presence in electronic music ever since the 90s. Buying his first classic synthesizer, a Yamaha CS01, in 1984, he delved into music production at an early stage. Kenneth put out over 40 releases over the years- under his own name as well as stepping up under various aliases- Estelle Montenegro, KG Beat, Exit Strategy and many others. Kenneth also formed some super-groups together with friends, his Sun Children / Sunkiss project- together with David Alvarado- put out highly influential music on legendary Peacefrog Records.

Body Music was originally released on Plastic City in 2001 and it has been a Smallville favourite since a long time, so we are super happy to present this beauty as a repress, as always with a full cover artwork by Stefan Marx.

All tracks written & produced by Kenneth Graham, B3 w&p by Kenneth Graham & Gabriel Ortega
Vinyl cut by Helmut Erler at Lathesville

- The very first Live album by The Liminanas
- 1 Hour concert performed & recorded on October 24th , 2025 in Paris at Centre Pompidou during the Because Beaubourg Event .
- Album artwork by Smith who did the visuals of the live performance.

2025 Repress

DJ Europarking lands on UFO Inc. with his debut EP. Tongue-in-cheek and extremely danceable, this is an incendiary EP. 'Boompahpah' gets things rolling with dense beats, a high-octane tempo and a choir-driven breakdown. '20inch Chrome' is a madcap cut that uses a variety of hip hop-esque samples, sirens and a tribal chant. On the flip 'Bitte Everyday' utilises breakbeats and a mixture of rapping, chanting, and zany effects to enchant the listener. Finally 'Like Trampolines' features hefty beats alongside an incendiary riff that is sure to cause havoc on the dance floor.

2026 Repress

Originally from Malaga but a Berlin resident for the past 13 years, Carlo is thrilled to unveil his first album released under his own record label, Bisiesto. This label stands out for its unique approach, releasing just one album every four years on leap day, February 29th. In contrast to his previous style, this album blends all his musical influences into a unique mixtape of instrumentals.

Reminiscent of Nightmares on Wax, Kid Loco, and Mushroom Jazz, this album offers a unique auditory experience. Lora Ute brings a hint of tangy mellowness to ‘Because’ balancing dreaminess with playful notes, while Jose Fernancaster, with his immaculate guitar skills, infuses ‘Todo Mal’ with sexy guitar riffs and wahs. Intr0beatz's hip-hop touch enhances ‘Lemon Haze’, while Black Loops, a percussionist at heart, collaborates on ‘Midnight Cruiser’ to encapsulate the solitude of night-time city cruising with a lo-fi sound. Piek rounds off ‘Esperanza’ with an empowering bassline, tying the track together with a golden ribbon.

2026 Repress

WOW. Released on Valentine's Day 2025, we're deeply honoured to present the first time reissue of the first *ever* heart-shaped red vinyl 45. Extremely limited!

The smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over.

Here we present two timeless masterpieces of sophisticated jazzy soul brilliance that are strictly canonical.

The originals of these red heart-shaped vinyl records go for stupid money - if you can find one in good condition. Here's your chance to snag a real collectors item for fans of Bobby and, well, LOVE, the world over.

The eternal "What You Won't Do for Love" became a national anthem. It remains that way - perhaps even more so in the past year or two. It perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy.

A perennial favourite, it has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Bobby's dynamite "Open Your Eyes" was immortalised by the eternal J Dilla in the hip-hop canon with his production of Common’s epochal “The Light,” which heavily samples the magical “Open Your Eyes.” On a post paying tribute to Bobby in March 2023,

Tilaye Gebre is one of Ethiopia’s most soulful saxophone giants, with a musical legacy that’s hard to surpass. A founding member of the Equators, later renamed the Dahlak Band, he was a key figure in Ethiopia’s vibrant hotel music scene and a sought-after musician and arranger for artists like Aster Aweke, Mahmoud Ahmed, Tilahun Gessesse, and Muluken Melesse.

Tilaye — still going strong — was at the epicenter of the Ethiopian music scene during one of the most turbulent periods in the country’s history. Tilaye’s musical trajectory, regardless of the forms it has taken over the decades, is simply ceaseless. The road to a musical career spanning six decades started out winding, and the first steps came almost as a fluke.

With the Dahlak Band, Tilaye had managed to secure a musical residency at the legendary Ghion Hotel, where they honed their skills and developed their musical expression to unparalleled levels. From the late sixties onwards, Dahlak Band lit up Addis Ababa with a mixture of James Brown and Wilson Pickett tunes, rhythm and blues, soul, funk, and the sound of the disco era — mixed with modern Ethiopian styles — serving up majestic concoctions with full-range instrumentation, featuring trumpet, keyboard, saxophone, bass, drums, and guitar. Through their hotel sessions, Tilaye developed further as an arranger, arranging fellow band member Muluken Melesse’s first solo album, Muluken Melesse with the Dahlak Band (Kaifa Records – LPKF 39), recorded during the turbulent years of 1975–1976, following the fall of Haile Selassie. Everything was in flux in this transitional period, but a constant was how Tilaye stood in the spotlight. On that record, there’s a loose vibe to the soundscape that lets Tilaye’s skills shine, while all the other musical contributions coalesce into a slowly cooking atmosphere where the groove at times fluctuates into psychedelic territory, making the music stand out from most contemporaries.

Most of their recorded output came from one-take live cassette recordings at the Ghion, or from music shops at that time — one microphone at the front, hit record: no EQ, no reverb, just some delay. Some of the Dahlak Band’s releases featured Tilaye as frontman, such as Tilaye’s Saxophone with the Dahlak Band from the late 1970s — typical of a rare groove on the Ethiopian scene — with excursions into reggae territory, including the band’s characteristic sound featuring Tilaye Gebre (tenor and alto saxophone), Dawit Yifru (organ), David Kassa (electric guitar), Shimelis Beyene (trumpet), Moges Habte (tenor saxophone), Abera Feyissa (bass guitar), Tesfaye Tessema (drums), and Muluken Melesse (cowbell). The Dahlak Band’s output was so prodigious that they simply couldn’t be pigeonholed.

No saxophonist in Ethiopia influenced the sound of popular music more than Tilaye in the 1970s, yet his recordings have been hard to come by for ages, which has meant that newcomers to the scene have gems to uncover in retrospect. Arguably, Tilaye shifted gears when he relocated to the U.S. to such an extent that his musicianship became even more renowned, accompanying the greatest of his contemporaries internationally. Tilaye is one of Ethiopia’s all-time greats, with a musical legacy — both as musician and arranger — that’s hard to surpass. It’s a wonder to be able to enjoy a recording like this half a century later.

THE PARTY is a celebration that has existed for nearly 10 years in Paris. A private event, off the radar of social media, THE PARTY is inspired by the New York Loft, and gathers between 150 and 400 people twice a year, under a church.
It was created by Serge Papo and his wife Maryvonne Beaune. Serge Papo organized the first rave parties in Paris in the early 1990s; he has been a DJ and party organizer for over 30 years.
On January 31, 2026, THE PARTY will celebrate its 10th anniversary, will invite the DJ of the New York Loft, Douglas Sherman, and will launch its label, THE PARTY RECORDS, along with a debut release — the double single Crystal Clear / Zeva — the result of a collaboration between Serge and Etibar Asadli, an exceptional jazz pianist from Azerbaijan who now lives in Paris.

A rising artist of the French electronic scene, Naajet asserts her identity with The Night Starts Now, a four-track EP that celebrates the freedom and intensity of the night. Co-founder of the Bande de Filles collective and known for her explosive universe blending House, Hardgroove and Breaks, as well as for the unique energy inherited from her dance background, Naajet delivers here a sonic manifesto conceived as an ode to club culture and to the present moment.

“I imagined this EP as an anthem to the world of the night. The night offers us unparalleled freedom, an outlet that allows us to be ourselves, to create, to love. The Night Starts Now captures this celebration of the present moment and this declaration of independence.” Naajet Opening the EP, “Ready To Shine” unfolds radiant House nourished by Pop and 90’s sounds. With a clear and ascending rhythm, the track combines euphoria and introspection. “I composed this track as a joyful and introspective journey that prepares us to embrace the night. For me, it is a call to accept our wounds, to transform them into light and strength, so that we may shine brighter when we enter the club,” explains Naajet. Between ethereal vocal lines and shimmering pads, the track acts as a ritual of entering the night, inviting us to turn wounds into strength and to shine on the dancefloor. The second track of the EP, “Sugar”, embodies the effervescence of the club. Carried by a hypnotic voice and an effervescent rhythm, the track celebrates the communion of bodies and the liberating energy of dance. “It is an ode to dance and to bodies coming together. This track speaks of those moments when, on the dancefloor, boundaries fall: we sweat together, we free ourselves together, and energy flows from one body to another,” says Naajet. A true concentrate of intensity, “Sugar” captures the moment when sweat, rhythm and abandon merge into a collective movement towards freedom.

With “I Can Be Anything”, Naajet changes register and flirts with deeper, even techno textures. Built on a throbbing pulse and sharp synths, this track is meant as a manifesto of identity. “I really wanted to propose a track that claims our right to free and plural expression and sexuality. I Can Be Anything is about our multiple identities, our ability to reinvent ourselves and to refuse any form of formatting,” she says. Between club intensity and political resonance, “I Can Be Anything” questions our multiple facets and embodies the assertion of an elusive and free self. Closing the EP on an euphoric note, “May It Never End” stands out with its broken rhythms and powerful synths. The track conveys the transcendent energy of the end of the night, when dawn arrives but we refuse to leave the collective trance. “I wanted to put into music this feeling of infinite energy, when time is suspended and the party seems to never have to stop. It is this euphoric vertigo that connects us all in the same breath, this utopia of a night that would never end,” says Naajet. A true apotheosis, this track embodies the utopia of an eternal night.

DJ, producer and co-founder of the Bande de Filles collective, Naajet has established herself with a singular universe where House, Hardgroove and Breaks blend, nourished by her background as a dancer and an instinctive sense of groove. For the past three years, she has performed on French and European stages – from Berlin to Amsterdam, via Geneva and Oslo – and has made her mark in clubs such as Rex Club, Le Sucre and Badaboum, as well as festivals like Nuits Sonores and Kolorz. On the production side, she has released several acclaimed EPs on renowned labels such as Shall Not Fade and Monki & Friends. In 2025, she takes a new step with the launch of her label SWEAT Records and a residency at Le Sacré in Paris, affirming her role as an ambassador of a free and intense club culture. She also collaborates with the waacking company MADOKI, for which she composes and mixes projects at the crossroads of dance and music. With The Night Starts Now, Naajet confirms her status as an essential artist of the new electronic generation1

Alien Tropical: the perfect title for the second album by Servicio Al Cliente (Customer Service), the project of Colombian-born, Berlin-resident Juliana Martinez. If you were cannily seduced by the debut self-titled Servicio Al Cliente album, from way back in 2021, the wait for a follow-up has felt long, but Alien Tropical was worth the wait. Indeed, it feels like the perfect way for Michael Mayer’s Imara imprint to introduce itself to the new year: an album full of play and spirit, verve and sparkle, rich with pop spirit and with one eye smartly cocked toward the dancefloor.

That first Servicio Al Cliente album was a smart statement of intent, and a wonderful, unexpected turn from Martinez, who’d already been through plenty: being expelled from private music lessons,
training in law, joining a group named Las Palabras Correctas. 2021’s Servicio Al Cliente landed on the turntables of anyone with discerning radar (Ada included “Romántico” on her Connecting The Dots mix for Kompakt, for example). With Alien Tropical, Martinez works the sensual sway of her music even harder, building six luscious songs that twist chant-like repetitions into hypnotic mantras, each song the perfect confluence of melody and mystery.

When asked about Alien Tropical, Martinez pieces together fragments of memory: winter explorations, long road trips, navigating the highways and the heart. “I had been driving a lot at the time on the highway,” she recalls. “I depended on music I played in the car to manage my emotions and my thoughts on those long drives. Everything felt strange and unfamiliar on the highway, and I realised music was so psychological and my only tool to influence my feelings between highways and new places.”

So, the music becomes the narrative for where the body and the heart wants to go. That might explain the gentle yearning in Alien Tropical, and its eternal hypnotic, its sense of forever forward-motion, as though the music is flickering like the highway strip reflected in the rear-view mirror. But there’s also the skyward movement of the melodies, the way their loveliness lifts these six songs up through the clouds, like the helium balloons on the cover. From the sensual swelt

We’re back on PANORAMA Records with a stone cold cult classic from Danser’s Inferno, lifting “Sombre Guitar” off their elusive 1973 LP Creation One and giving it a fresh run on 7inch. Long treasured by jazz heads and deep-digging DJs, it’s one of those records that has been in the bags of discerning music lovers for years, moving dancers.

Musically, “Sombre Guitar” sits in that sweet spot between Latin jazz and jazz-funk – rolling congas, driving kit, tight horn lines and that drifting, melodic guitar figure that pulls everything together. It’s lively and percussive enough for the dancefloor, but still has that slightly cinematic, reflective feel that rewards proper listening too. A true jazz dance cut that works just as well at home as it does in a warm-up or end-of-night moment.

This PANORAMA edition brings it back into reach, cut loud and clear so it can do what it was always meant to do: move a room.

As ever, PANORAMA Records is about unearthing and reintroducing rare and essential music to new ears. From German jazz and Brazilian fusion to Latin-leaning grooves like this, the focus is on records with real soul and longevity, remastered with care and treated with the respect they deserve.

Mystery edit label Body Edits is back with volume 2

Wonky underground edits from Rev Bloo’s vaults, reviving multi genre dance gems with fresh tempos and new life.

Limited pressing act fast.

DJ Support: BEN UFO, Solomun, Marco Carola, Damian Lazarus, Jamie Jones, Joseph Capriati, Ilaria Alicante, Michael Bibi, Paco Osuna, D'Julz, Groove Armada, Dennis Cruz, Chloe Caillet, Kettama and many more

Enzo Siragusa opens 2026 with his ‘Kilimanjaro Sound’ EP, a release that expands on last year’s standalone single. Marking both Enzo and FUSE’s first drop of the year, the EP delivers the latest instalment in his longstanding Kilimanjaro concept while reaffirming the label’s position at the heart of underground club culture.

Following the digital release of ‘Kilimanjaro Sound’ back in October, the full EP frames the title track within a broader narrative of rhythm, atmosphere, and movement. A long-time fixture in Enzo’s sets throughout 2025, the title track established itself as a fan favourite through its rolling percussion, weighty low-end, and expansive spatial design, and now it takes on renewed presence on vinyl. New cut ‘Liquify’ pushes deeper into Enzo’s rhythmic sensibilities, pairing fluid groove structures with subtle tension and release. Designed for late-night floors, the track unfolds patiently, allowing swing, texture, and space to do the heavy lifting. It’s a natural continuation of the Kilimanjaro language, less about immediacy, more about immersion, showcasing his refined understanding of how momentum is built and sustained in true club environments.

Completing the EP is a remix from Giammarco Orsini, whose Garage Dub Mix of ‘Kilimanjaro Sound’ offers a fresh perspective while remaining true to the original. Born in Italy and now based in Berlin, Orsini has quietly evolved into one of the scene’s most respected selectors and producers, with releases on Cragie Knowes, Mood Waves, and Shonky’s Stoned Pilot. His interpretation strips the track back to its essentials, reintroducing it through a garage-leaning lens that prioritises groove, swing, and subtle pressure.

As the first release following FUSE’s latest DJ Mag Best of British Award, marking their second Best Club Event win, the EP reflects the values that have long defined the brand: community, longevity, and music built for real dancefloors. Pressed to wax, the release extends one of Siragusa’s most recognisable concepts and sets the tone for the year ahead - measured, confident, and rooted in the underground.

Kerri Chandler follows up Downtown EP Pt. 1 with Downtown EP Pt. 2

This release also includes four tracks reconnecting with the spirit of Kerri’s iconic Downtown Records era while offering something fresh for the next generation of listeners. 3 of the tracks come straight from that timeless catalogue and firm favourites among Kerri’s community, now beautifully presented on vinyl once again.

Part 2 also features one brand-new, exclusive track, giving fans something truly special: a glimpse of Kerri’s sound, and an invitation to join him on a journey through his remarkable catalogue. This release continues the celebration of Kerri’s music, his evolution, and the sound that continues to inspire house music lovers around the world. Every detail, from the sleek new sleeve design to the thoughtful presentation, reflects Kerri’s care and respect for his music and the people who’ve supported it.

Downtown EP Pt. 2 captures everything Kerri Chandler represents, soulful, honest, and made with nothing but heart.

The new album by the collective that for
over 25 years has been among the most
representative names of the Italian dance
and electronic scene worldwide.
“BLOOOM”, this is the title of the new release,
will be available in all traditional stores and
on digital platforms starting January 16.
Set against the soundscapes that have become
the Planet Funk trademark, the lyrics by Dan
Black attempt to give voice to a fragile and
contradictory condition of our time: an
intensified sensitivity that, instead of
turning into openness and connection, often
becomes emotional overload. A generation
constantly overwhelmed by excessive stimuli,
relentless information, anxieties, and fears,
called upon to find its way in a world thaoffers neither pauses nor silence. In this paradox, sensitivity is no longer just a natural gift, but
a daily effort: staying open and receptive without being overwhelmed, trying to preserve a human and
vulnerable gaze in order, despite everything, to fully appreciate life and the present moment.
The single’s artwork—like that of the album—curated by Nationhood, visually conveys this tension: the
distant sirens of a city that amplifies feelings of disorientation and loneliness even when we are
surrounded by thousands of people.
“BLOOOM”, preceded by the single “FEEL EVERYTHING”, arrives at the end of an intense, creative year
full of music, which saw Alex Neri (DJ, keyboards, synthesizers), Marco Baroni (keyboards, piano,
programming), Dan Black (vocals and guitar), and Alex Uhlmann (vocals and guitar) engaged between
studio work, collaborations, and live performances in Italy and abroad. A journey that today
transforms into new energy, into an even more open vision oriented toward the future.
Exactly one year ago, PLANET FUNK released “Nights in White Satin”, a single that reached the top
positions of the radio charts and launched a season rich in concerts and DJ sets in Italy and around
the world. The subsequent “I Get a Rush”, the collaboration with Alfa and Manu Chao on the remix of
their hit “A me mi piace”, and the track “È Naturale” together with Francesca Michielin, confirmed
Planet Funk’s ability to renew themselves and engage with different musical worlds while always
remaining true to their own identity.
Throughout this journey, music has inevitably intertwined with life. The memory of Sergio Della Monica
and Domenico “Gigi” Canu, pillars and founding souls of the PLANET FUNK project, is a living part of
this new chapter. Their vision, creative spirit, and way of understanding music continue to be a
constant guide, a deep root from which new ideas and new directions can grow.
“BLOOOM” is also this: a personal and artistic blossoming that, starting from the legacy left by
Sergio and Gigi, transforms into a living process of growth, metamorphosis, and discovery. An album
that does not look back with nostalgia, but forward with awareness, momentum, and a desire for
renewal.
Founded in 1999, for over 25 years PLANET FUNK have represented one of the most important, solid, and
influential realities in the international electronic music scene. Born from the meeting of Souled
Out! (Domenico “GG” Canu and Sergio Della Monica) and Kamasutra (Marco Baroni and Alex Neri), and
following their debut with “Non Zero Sumness” in 2002 (a gold record and a turning point for the
band), PLANET FUNK have managed to reinvent themselves over time while maintaining a unique sonic
identity. This has led them to collaborate with internationally renowned artists, deliver iconic
performances around the world, create soundtracks and international advertising campaigns, and
continue to demonstrate constant creative vitality

Ovatow made quite a stir when he first started dropping deep dubs on his mysterious MySpace page (the main social media at the time). The tracks on the little crappy audio player got hunted down by a flock of DJ's and label heads. From behind a curtain of anonymity he soon started releasing his material on various labels, becoming cult classics in the dub-techno world. It was 2007 when X-dub first appeared on the Dutch imprint SD Records, followed up by his classic release on Frantic Flowers and a string of other projects while keeping his identity secret to everyone. Years later, the rumors proved true... the artist behind these mysterious projects was non other than the Frantic Flowers / Frustrated Funk label head himself. Just testing the waters around him, receiving release offers from close friends and colleagues while he kept his anonymity up. A fun little joke for himself, though the tracks are still relevant and sought after classics today. Both X-dub versions re-appear now, for the first time after almost 20 years, fully retouched and remastered, together with an unknown unreleased jam called Autistic Navigational Spectrum. This is the first in a series of Ovatow work, revived for the heads that appreciate the foggy deep of the Undacurrnt.