Buscar:fanta 4

Tiki for the Atomic Age feels like a mid-century transmission intercepted from a parallel timeline—one where hi-fi futurism, Polynesian fantasy, and postwar optimism never lost their sense of wonder. Kava Kon isn’t recreating exotica so much as reviving its original promise: escape, elegance, and possibility, rendered in warm, widescreen stereo.

Built on shimmering vibraphones, reverb-drenched guitars, analog organs, and ritual-leaning percussion, these tracks move at an unhurried pace. This is oceanic music—designed for dim lights, glowing glassware, and time stretched just enough to breathe. The lineage is clear: lounge exotica, bachelor-pad modernism, space-age pop. But this isn’t pastiche or museum work. It’s retro-futurism with intention, imagined from the future looking back.

The “Atomic Age” isn’t just aesthetic shorthand. It speaks to contrast—leisure in the shadow of anxiety, beauty alongside uncertainty, fantasy as a necessary technology. Kava Kon understands that tiki was never about geography; it was about psychology. A constructed elsewhere. A permission slip to slow down.

Pressed on vinyl, Tiki for the Atomic Age comes fully alive: tactile, immersive, and meant to be lived with. For listeners drawn to mid-century dreamscapes and modern exotica that honors the past without freezing it, this is an invitation—step sideways out of the present and into something more elegant.

,fantastische Songs" - The Sunday Times ,hypnotisch und eingängig" - Brooklyn Vegan ,7ebra sind auf lange Sicht dabei" - So Young Magazine Es gibt keinen Fahrplan für die Mitte bis Ende der Zwanziger, und auf ,How to Land a Plane" verwandeln die schwedischen Zwillingsschwestern Inez und Ella Johansson von 7ebra diese Ungewissheit in ihr bisher fesselndstes Werk. Das zweite Album des Duos aus Malmö erkundet die Unsicherheiten, Frustrationen und stillen Absurditäten des frühen Erwachsenenalters durch ihr bisher direktestes und weitreichendstes Songwriting. Aufbauend auf dem eindringlichen Minimalismus ihres gefeierten Debüts ,Bird Hour" aus dem Jahr 2023 verbindet das neue Album mitreißende Hooks, summende Synthesizer und treibende Rhythmen mit scharfsinnigen Beobachtungen über Identität, Arbeit, Beziehungen und den Druck, in einer zunehmend unwirtlichen Welt seinen Weg im Leben zu finden. Geschrieben im Anschluss an ausgedehnte internationale Tourneen und gemeinsam mit Produzent Jens Lindgård gestaltet, fängt ,How to Land a Plane" eine Band ein, die in ihr Selbstbewusstsein hineinwächst, ohne dabei die Verletzlichkeit zu verlieren, die sie ursprünglich auszeichnete. In Songs, die dunklen Humor, Selbstreflexion und spätkapitalistische Ängste miteinander verbinden, verwandeln 7ebra persönliche Kämpfe in hypnotischen, emotional mitreißenden Indie-Pop. Im Kern ist das Album ein Zeugnis der einzigartigen kreativen Verbindung der Schwestern, zweier Stimmen, die sich verflechten, gegenseitig herausfordern und unterstützen, und bestätigt 7ebra als eine der markantesten und spannendsten Bands, die in den letzten Jahren aus der schwedischen Indie-Szene hervorgegangen sind.

,fantastische Songs" - The Sunday Times ,hypnotisch und eingängig" - Brooklyn Vegan ,7ebra sind auf lange Sicht dabei" - So Young Magazine Es gibt keinen Fahrplan für die Mitte bis Ende der Zwanziger, und auf ,How to Land a Plane" verwandeln die schwedischen Zwillingsschwestern Inez und Ella Johansson von 7ebra diese Ungewissheit in ihr bisher fesselndstes Werk. Das zweite Album des Duos aus Malmö erkundet die Unsicherheiten, Frustrationen und stillen Absurditäten des frühen Erwachsenenalters durch ihr bisher direktestes und weitreichendstes Songwriting. Aufbauend auf dem eindringlichen Minimalismus ihres gefeierten Debüts ,Bird Hour" aus dem Jahr 2023 verbindet das neue Album mitreißende Hooks, summende Synthesizer und treibende Rhythmen mit scharfsinnigen Beobachtungen über Identität, Arbeit, Beziehungen und den Druck, in einer zunehmend unwirtlichen Welt seinen Weg im Leben zu finden. Geschrieben im Anschluss an ausgedehnte internationale Tourneen und gemeinsam mit Produzent Jens Lindgård gestaltet, fängt ,How to Land a Plane" eine Band ein, die in ihr Selbstbewusstsein hineinwächst, ohne dabei die Verletzlichkeit zu verlieren, die sie ursprünglich auszeichnete. In Songs, die dunklen Humor, Selbstreflexion und spätkapitalistische Ängste miteinander verbinden, verwandeln 7ebra persönliche Kämpfe in hypnotischen, emotional mitreißenden Indie-Pop. Im Kern ist das Album ein Zeugnis der einzigartigen kreativen Verbindung der Schwestern, zweier Stimmen, die sich verflechten, gegenseitig herausfordern und unterstützen, und bestätigt 7ebra als eine der markantesten und spannendsten Bands, die in den letzten Jahren aus der schwedischen Indie-Szene hervorgegangen sind.

Das neue EUROTEURO Album "Magic" stellt eine musikalische Neuorientierung dar, bewegt sich zwischen New Wave, Art Pop und Neuer Deutscher Welle. Ein Sound, der sich nicht festlegen will aber trotzdem seine klare Form nicht verliert. Das Wiener Projekt um Peter T. präsentiert sich von der düsteren Seite. Die Texte sind teils in Deutsch, teils auf Englisch gehalten, Englisch erlaubt abstrakter zu bleiben, weil es nicht Muttersprache ist und dadurch etwas Fantastischeres behält. Deutsch hingegen eignet sich im Euroteuro Kosmos besser für klare Aussagen, direkte Botschaften, Slogans der Subversion. Nach ihren bisherigen "Volume"-Veröffentlichungen, die eher als Singles-Collections fungierten, steht "Magic" als das erste geschlossene Album da. Entstanden in einem gemeinsamen Prozess, an dem Musiker*innen wie Alexander Kranabetter, Topsy Turvy, Katarina Maria Trenk, Soap&Skin, Farce, Voodoo Jürgens und Elisa Mory beteiligt sind. Magic ist ein Nachtalbum. Es führt an einen inneren Ort, der sich im Laufe der Songs verändert. Am Anfang steht ein eher karger Raum, ein Ich, das sich umsieht und eine Bestandsaufnahme macht. Mit der Zeit wandelt sich dieser Raum, wird dichter, vielschichtiger. Der Hedonismus ist Draußen. Die Verweigerung von Selbstoptimierung auch. Euroteuro wird 10 und im Zentrum steht die Frage warum wir sterben müssen und was dann sein wird. Der Blick ist nach innen gerichtet. Euroteuro ist unterwegs zwischen Orientierungslosigkeit und Euphorie, durch eine Nacht, die nicht endet. "Magic" der Soundtrack dieser nächtlichen Odyssee ist schön und unheimlich zugleich. Das Albumartwork folgt dem, ist psychedelisch, zugleich schön und bedrohlich, trägt Trauer in sich und verweist auf den Kreislauf von Werden und Vergehen. Das Ölbild existierte bereits, die Künstlerin Ramsko brachte es ins Studio, wo es sofort mit der Musik resonierte. 180g schweres, klassisch schwarzes Vinyl oder CD im 6seitigen Digisleeve erhältlich

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)

“Tough love is a sonic dark romantic experience. Each song represents a different form of “Tough love”. A dark romance in Hollywood. Growing up in LA at the age of 17, now being 23 I’ve experienced a lot and learned so much about my self and love itself. All of these songs are written either about my own experiences, lessons and who I am today or inspired by a fantasy I’ve created in my mind and heart. These love songs tell the truth of what I desire and crave deeply, a love that is exciting and passionate and impossible to find in Hollywood, writing these songs are the closest I’ll ever get to living it. Words are spells. Songs are spells. I love writing about love because though it’s fleeting in those moments while I’m creating the record, its true. I live in it, feel it on my skin, close my eyes, taste it and make it real. Whether it’s something I want, something I had, something I’m missing, it is mine all the same. Tough love is about the darkest and toughest parts of love, songs for those themselves who are tough to love, and songs for love that’s tough to find.

Sonically I was inspired by, Massive attack, Portishead, Fleetwood Mac, Eagles, Alice in chains, nostalgic music from the 70s through the 90s and add my own dark twists. ” - Nessa Barrett

Modi Bardo, an alumnus of Moonshine Recordings, is another who on the surface appears to be at the nascent era of their sound experiments, but in truth is a longtime explorer of outer realms of Dub.

There is much to mention here which can be uncovered with the correct keywords, but one of the early bright points would be Spacelings and Bassheads, the Detroit-based Psych duo Modi Bardo was half of, who although seemingly limited in the realms of recorded output (with only a compilation appearance each via the Electro visionaries Interdimensional Transmissions and Booty bass / Techno orientated Intuit-Solar) where in fact not-so-limited in the era in the way of public performance, even performing at the renowned Packard Plant renegades in the 90's with UR on occasion.

Forward to now, and Modi Bardo has created something that reaches for unknown territory in Dub. With an establishing A side that is deep and primordial in tone, a' la Challenger Deep and Babe Roots releases, this proves to be merely a fantastic tone setter for the B side, which seems to find a zone where Dub Techno, Half Time, and Autonomic DnB have not quite gleaned yet. Truly a record unlike any other, while somehow being an invaluable tool for DJ's exploring the links between the aforementioned sounds and even Dancehall and Jungle in the mix.

A must for all those chasing the evolution of dub reflective arts, and the adventurous DJ in general.

At the outset of the project, Jupp assembled a palette of instruments and sounds which evoke a moment in musical history when digital studio technology just started to take over from analogue. Eschewing Belbury Poly’s earlier mid 70s obsessions, to focus on that period around 1983, when artists who could afford it started to experiment with samplers. It was a musical moment dominated by the sounds of Prophet 5, DX7 & PPG synthesizers, Fairlight & Synclavier music computers, TR808 drum machine & Simmons Drums (those ubiquitous hexagonal drum pads) and of course the much-maligned fretless bass.

It’s also an era that’s now seen as something of a golden age for fantasy, sci-fi, comics, book, TV, movies and games (particularly in Britain where it was often fuelled by a post punk reaction to Thatcher’s regime). In Jupp’s memory these things go hand in hand; as a child his nerdy fandom was soundtracked not as it was for most by Heavy Metal, but by the electronic pop of Bill Nelson, Yellow Magic Orchestra, Japan, and Frank Chickens. Also, by otherworldly TV soundtracks & production music of the era: Elizabeth Parker and Paddy Kingsland at the BBC, The Parry Music Library, Rod Argent’s new age library albums and even Clannad’s Robin of Sherwood score.

A reggae cover of the classic track by Pharoah Sanders and War is being released on 7"!

Two legendary reggae covers from the album 『Drag'N Fly』, released in 2024 by the popular French reggae band The Dynamics, are now available on 7-inch vinyl!!

"You've Got To Have Freedom"is a bold reggae arrangement of the iconic track by spiritual jazz master Pharoah Sanders. It’s a standout cover with a powerful, dubby texture that really grabs you. The B-side features a reggae cover of"Low Rider,"the signature song released in 1975 by the legendary funk band War. With both sides sounding absolutely fantastic, this is an absolute must-have!

Hot on the heels of their new UK street soul-inspired LP ‘Feel In Motion’, Leeds three-piece Galaxians enlist Steven Julien (Apron Records), Boys Shorts (Phantasy Sound), Cervo (Banana Hill) and Vanity Project (Claptrap Records) for remixes of the album's singles.

Adopting his 808 PRINCE moniker, the London DJ, producer & Apron Records label boss Steven Julien beefs up World Apart with his unique live 808 programming, imbuing it with an urgent machinefunk groove in keeping with his consistently electrifying live performances & DJ sets.

Coming straight from the release of their ambitious debut album ‘What Does It Take To Make These Men Happy?’, Greek duo Boys’ Shorts create a heady club moment with their take on Lose My Head, cutting up Sinead Campbell’s vocal while zeroing in on the original’s undeniable bassline & piano melody.

Best known for his Banana Hill label & Manchester club night, Stockport’s Cervo brings the global rhythms and balearic wistfulness of his previous output to bear on his evolution of Fantasy, while Claptrap Records boss Matt Bruce AKA Vanity Project reimagines the track as a cosmic house chugger that further highlights the exceptional vocal performance Beccy Young recalling Madonna at her most iconic.

The package is completed with Gramrcy & John Loveless’s 12” Mixes of Worlds Apart and Fantasy, expanding and reshaping the album originals into pure dancefloor bliss.

2026 Repress

RAWAX joined forces with the great dutch SlapFunk label!
The result is a fantastic v.a. ep called "Slap Wax 1" with track by Samuel Deep, Locklead, William Caycedo and Julian Alexander!

The Bronx rapper Tim Dog released his 1991 debut Penicillin on Wax to a hostile audience. Ever a king of controversy, he made a million enemies with his provocative single "Fuck Compton," a shameless attention ploy dissing N.W.A., DJ Quik, and America's entire Pacific Coast. Penicillin on Wax contains more of the same, as Tim trashes everybody from Kwame to Michel'le to Eddie Murphy. The lyrical insults were arguably the opening salvo in what would later become the East Coast versus West Coast hip hop conflict.

There's no doubt that Penicillin On Wax remains one of the true hardcore hip hop classics and one of many landmarks in sounds from the Bronx. Produced by probably the best hip hop producers of the early 90s, the Ultramagnetic MC's, this album contains some of the most energetic tracks you'll ever hear. Guest appearances on the mic from Kool Keith and Ced-Gee also enhance the LP.

Penicillin On Wax is available on black vinyl and includes an insert.

In 2026 viert Eva De Roovere het 20-jarig bestaan van “De Jager”. Ze trekt er op uit en speelt haar succesalbum integraal. Met klassiekers als “Fantastig Toch” (35 miljoen streams !), “Laat Me Je Lied Zijn” en “De Jager” wordt deze concertreeks vanaf het najaar een groot feest van herkenning en vernieuwing, met als kern: liefde voor muziek én publiek.

Want wat is er mooier dan de 20ste verjaardag van een album vieren met… een nieuw album? ‘Sluit De Nacht’ (productie Koen Gisen) wordt een eigentijdse mix van levenslied en liefdeslied: een ode aan poëzie, melodie en ritme. Een zoektocht naar verbinding en troost in deze woelige tijden. Eigen werk en ook straffe songs geleverd door of samen geschreven met Gert Bettens, Rick De Leeuw, Dirk Blanchart, Sabine Tiels, Wouter Berlaen, Lennaert Maes, Vincent Pierins… Ingespeeld door Eva zelf en Ward Dhoore: gitaren, Eva Hautekiet: akoestische en electrische piano, Philippe Thuriot: accordeon & bandoneon, Lara Rosseel: contrabas en Kobe Proesmans: percussie & drums.

ENG

In 2026, Eva De Roovere will celebrate the 20th anniversary of “De Jager.” She’s hitting the road to perform her hit album in its entirety. Featuring classics like “Fantastig Toch” (35 million streams!), “Laat Me Je Lied Z?n,” and “De Jager,” this concert series starting this fall will be a grand celebration of familiarity and renewal, centered on a love for music and the audience.

After all, what could be better than celebrating an album’s 20th anniversary with… a new album? “Sluit De Nacht” (produced by Koen Gisen) is a contemporary blend of life songs and love songs: an ode to poetry, melody, and rhythm. A search for connection and comfort in these turbulent times. Original material as well as powerful songs written by or in collaboration with Gert Bettens, Rick De Leeuw, Dirk Blanchart, Sabine Tiels, Wouter Berlaen, Lennaert Maes, Vincent Pierins… performed by Eva herself and Ward Dhoore: guitars; Eva Hautekiet: acoustic and electric piano; Philippe Thuriot: accordion & bandoneon; Lara Rosseel: double bass; and Kobe Proesmans: percussion & drums.

The Homesick sind ein abenteuerlustiges niederländisches Trio, das Stile wie Post-Punk, Krautrock, New Wave und experimentellen Pop mit furchtloser Neugier und Hingabe meisterhaft miteinander verschmilzt. Frei von Dogmen und doch rastlos romantisch, haben sich THE HOMESICK über mehrere Alben hinweg immer wieder neu erfunden - vom mitreißenden Debütalbum *Youth Hunt* bis hin zum barock angehauchten Durchbruchsalbum *The Big Exercise*, das bei Sub Pop erschien. Auf ihrem dritten, unabhängig veröffentlichten selbstbetitelten Album - entstanden in der Zeit nach der Pandemie - verschmolz das Trio sein breites Referenzspektrum zu einem schlankeren, pulsierenden Sound. Nun, auf ihrem vierten Album (und dem ersten bei Siluh Records), haben The Homesick in zehn Tracks ihre ganz eigene, höchst einfallsreiche und durchweg unterhaltsame Version von Clubmusik geschmiedet. Dabei schaffen sie einen mitreißenden Fluss zwischen den Stücken und pendeln mühelos zwischen der eingängigen, von City-Pop inspirierten Lead-Single ,Esperanto", dem von 808-Beats getragenen Herzschmerz-Song ,Policelessness" und der märchenhaften Disco-Nummer ,The Bees". Um diese funktionale und zugleich fantastische Tanz-Odyssee zu realisieren, holten sich The Homesick ein viertes Paar Ohren zur Unterstützung ins Boot. Der in Amsterdam ansässige Produzent und Künstler Rimer London - eine Schlüsselfigur sowohl im Mainstream als auch im Underground - verlieh dem Material seine eigene, markante und pop-orientierte Note, nachdem das Trio seine Tüfteleien im Studio abgeschlossen hatte. Dieser frische kreative Schub half der Band, sich an pop-geschukten Vorbildern zu orientieren, etwa beim sinnlichen ,Love off the Leash" oder dem wehmütigen West-Coast-Pop von ,Hey". Indem sie stärker auf clubbige, von den 80ern inspirierte Sounds setzten als auf den disharmonischen Post-Punk früherer Tage, ließ sich das Trio oft von einer Lawine aus Ideen mitreißen - so etwa beim treibenden Electro-Pop von ,Sway the Needy". Letztlich ging es darum, jedem Track einen ganz eigenen klanglichen Charakter zu verleihen: ,Humdrum" wagt die Nähe zu den Talking-Heads-Klassikern, während der hektische Dub von ,Street Cyst" in unwiderstehliche Hyperpop-Anleihen mündet. Ihren Ruf als eigenwillige Scenesters untermauern The Homesick zudem mit dem mitreißenden Synth-Pop-Marsch ,Horse Alone". Und eines ist sicher - es gibt noch weitaus mehr eklektische Grandezza auf "What's Up With All These Shangri-Las" zu entdecken. Lass The Homesick der Soundtrack zu deinen offenen Fragen sein - es lohnt sich wirklich.

The Homesick sind ein abenteuerlustiges niederländisches Trio, das Stile wie Post-Punk, Krautrock, New Wave und experimentellen Pop mit furchtloser Neugier und Hingabe meisterhaft miteinander verschmilzt. Frei von Dogmen und doch rastlos romantisch, haben sich THE HOMESICK über mehrere Alben hinweg immer wieder neu erfunden - vom mitreißenden Debütalbum *Youth Hunt* bis hin zum barock angehauchten Durchbruchsalbum *The Big Exercise*, das bei Sub Pop erschien. Auf ihrem dritten, unabhängig veröffentlichten selbstbetitelten Album - entstanden in der Zeit nach der Pandemie - verschmolz das Trio sein breites Referenzspektrum zu einem schlankeren, pulsierenden Sound. Nun, auf ihrem vierten Album (und dem ersten bei Siluh Records), haben The Homesick in zehn Tracks ihre ganz eigene, höchst einfallsreiche und durchweg unterhaltsame Version von Clubmusik geschmiedet. Dabei schaffen sie einen mitreißenden Fluss zwischen den Stücken und pendeln mühelos zwischen der eingängigen, von City-Pop inspirierten Lead-Single ,Esperanto", dem von 808-Beats getragenen Herzschmerz-Song ,Policelessness" und der märchenhaften Disco-Nummer ,The Bees". Um diese funktionale und zugleich fantastische Tanz-Odyssee zu realisieren, holten sich The Homesick ein viertes Paar Ohren zur Unterstützung ins Boot. Der in Amsterdam ansässige Produzent und Künstler Rimer London - eine Schlüsselfigur sowohl im Mainstream als auch im Underground - verlieh dem Material seine eigene, markante und pop-orientierte Note, nachdem das Trio seine Tüfteleien im Studio abgeschlossen hatte. Dieser frische kreative Schub half der Band, sich an pop-geschukten Vorbildern zu orientieren, etwa beim sinnlichen ,Love off the Leash" oder dem wehmütigen West-Coast-Pop von ,Hey". Indem sie stärker auf clubbige, von den 80ern inspirierte Sounds setzten als auf den disharmonischen Post-Punk früherer Tage, ließ sich das Trio oft von einer Lawine aus Ideen mitreißen - so etwa beim treibenden Electro-Pop von ,Sway the Needy". Letztlich ging es darum, jedem Track einen ganz eigenen klanglichen Charakter zu verleihen: ,Humdrum" wagt die Nähe zu den Talking-Heads-Klassikern, während der hektische Dub von ,Street Cyst" in unwiderstehliche Hyperpop-Anleihen mündet. Ihren Ruf als eigenwillige Scenesters untermauern The Homesick zudem mit dem mitreißenden Synth-Pop-Marsch ,Horse Alone". Und eines ist sicher - es gibt noch weitaus mehr eklektische Grandezza auf "What's Up With All These Shangri-Las" zu entdecken. Lass The Homesick der Soundtrack zu deinen offenen Fragen sein - es lohnt sich wirklich.

Archimboldos have clawed their way out of the starcaves of their primordial past and into the tranquil light of a coral garden on their third full length album, Crusta Arcana, a gumbo stewpot of transcendent electronica suffused with tribal rhythms and liquid ambience. Across a stereo field smeared with tolling bells, post-industrial folk percussion, and tinkling keys, Archimboldos soundtrack a science fictional journey, not into the depths of space, but deep beneath the waves.

In the past the Chilean duo of Nicolás Carcavilla and Felipe Crocco have described their music as “liminal shrimp folk.” Here they continue this strange exploration when they visit the court of the prawns, producing stately electronic chamber orchestrations. Perhaps these are the frequencies used for ritual dream initiation into the mystery schools of drowned Atlantis. Weaving an ancient sacred science, Archimboldos take listeners on a mystic vovage into their singular crustacean mythology, the crusta of their hidden arcana.

Archimbolodos are masters of conjoining cyclonic and centrifugal lines of electricity into spellbinding incantations. These deep-sea transmissions envelope the listener into aquamarine forcefields that are as hallucinatory as they are hypnotic. Navigating these strange fantasias could lead one to getting lost at sea, but the work is buoyed by the somnolent melodies of lonely harpsichords and swelling synth pads whose sustained tones reach towards distant shores. Sailing across a vast expanse of oceanic harmonies and percolating percussion, these pieces are as precise as the hand of a sailor on the rudder, moving with the tide.

Casting their net wide across eight pieces, Archimboldos have made a big catch. From the emotive electronic counterpoint found on “Bursting Armor” to the blocks of seaweed tangled sonic sculpture trawled up from the ocean floor on “Aphelion IX.” Other songs are like samples of biological ambience collected from luminous tide pools: resplendent tones placed into a Petri dish of sound, swirled, cultured and fermented until it undulates with the rhythmic movement of microscopic lifeforms. Alternating between rippling minimalist sonority and pounding, progressive, synth-heavy entrancement, Crusta Arcana charts its own idiosyncratic itinerary of instrumental invention.

All the while light is down streaming from the heavens to pierce the waters, here calm, there choppy. The intrepid musical captains commanding Archimboldos have laid a course for new archipelagos of the imagination, guided by heavenly constellations.

-Justin Patrick Moore, author of The Radio Phonics Laboratory, Telecommunications, Speech Synthesis and the Birth of Electronic Music

Gelb/orangefarbenes Corona-Vinyl. Limitiert auf 500 Exemplare. Man soll - nein, man darf nie aufgeben. Kaum wurde diese elementare Lebensweisheit eindrücklicher und musikalisch druckvoller umgesetzt als auf dem 9. Studioalbum URANUS OMNIBUS SANCTUS der nun schon legendären, europaweit umjubelten und hochdekorierten SPACELORDS. Die Reise zur Vollendung dieser satt klingenden Produktion verlief durch einen wahren Asteroidengürtel persönlicher Schicksalsschläge und technischer Beinahe-Katastrophen, die der Stammbesatzung des Stoner-Orbiters -Matthias ,HAZI" Wettstein (Gitarre),Marcus ,MUDGE" Schnitzler (Schlagzeug) undEkhard ,AKEE" Kazmaier (Bass)- ein Äußerstes an Überlebenswillen, Durchhaltevermögen, Freundschaft, Fantasie und technischer Finesse abverlangten. Dank des eingangs formulierten Mottos wurde diese außergewöhnliche Reise jedoch zu einem weiteren Meilenstein auf dem Weg zum vollendeten, unverwechselbaren SPACELORDS-Sound-Nirwana.

Following the “immaculate and eternal soul” (The Guardian) of The Indications’ 2019 album, American Love Call, Private Space unlocks the door to a wider range of sounds, boldly launching the band into a world of synthy modern soul and disco beats dotted with strings. Anchored by the high-low harmonies of Aaron Frazer (drums/vocals) and Durand Jones (vocals), and rounded out by Blake Rhein (guitar), Steve Okonski (keys), and Mike Montgomery (bass), The Indications are true masters at melding revival sounds with a modern attitude. The ten tracks across Private Space provide for both an escapist fantasy and a much-needed recentering after a tumultuous 2020.In conjunction with today’s announcement, they share Private Space’s lead single/video “Witchoo.” Reflective of the track’s vibrant, playful energy, the Weird Life-directed video features the five band members and close friends, transitioning from a live performance 
to an electric backstage soirée.“At the end of the day, I just want people to close their eyes and forget where they are. Just the way a Stevie Wonder album does for me,” says Jones. Developed after being apart for much of the year, Private Space is creatively explosive and delights in upending expectations. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness. From an Indiana basement (where the band recorded their 2016 self-titled debut LP as college students), The Indications have catapulted into the soul limelight and an international stage. Following their sophomore album American Love Call
 — a dreamy but pensive record of big string arrangements and sweet soul stylings — The Indications became revered by vintage music fans, the lowrider community and late-night television.

Oscar Later is the solo project of one half of Once Twice, formerly known as Parallels. The EP takes its premise from the 1967 Outer Space Treaty, which ruled that no nation could claim ownership of the Moon or any other celestial body. Across six tracks, that idea of ownership, distance and free imagination runs through the record, which combines breakbeat and shimmering synths with processed vocals and clips from vintage ads and obscure films.

"I wanted the record to feel like public-domain myths, commercial promises and space-age optimism all colliding," Oscar says, "blurring the line between memory and fantasy."

Opener 'Air Time for Andre' channels chopped-up breaks reminiscent of Skee Mask, combined with processed found audio. 'Wenlocked', named after the East London street where it was written, develops from a downtempo sketch into a heavier club track as the bassline builds, inspired by releases on Voam and Floating Points' live sets. 'It Never Made Sense' steps away from the dancefloor, built around a granulated Orion Sun vocal that, as Oscar puts it, "ties the track into quite a surreal space," leaning towards Burial, Overmono and Radiohead.

The title track, 'The Moon Belongs to You', runs a vocoded 90s ad through a detuned one-note synth. It's the track Oscar says "best encapsulates the intention of the EP as a whole: surreal, wacky and clubby." 'Yaya' keeps the energy up as a straight techno cut, its gated bassline locking in around a chopped vocal and pitched samples. Closer 'That's Quite A Lot Of Zeroes!' expands from a stripped-back Buchla line into something huge, driven by chopped samples and inspired by sci-fi scores like Dune and Annihilation.

The cover is designed by art director Will Millner with designer Josh Lowe, a homage to space food and 80s industrial design geared to survive life on the moon. It's available as a limited vacuum-packed 12" record.

The EP launches alongside a music video for 'It Never Made Sense', directed by Louis Mackay, telling the story of a group of kids who steal the moon for themselves.

"Dance On", the latest single from Canopy continues the label's enthusiasm for re-issuing vintage Afro-tropical funk, reggae & disco, paired with modern remixes and remakes.

Two long out of print and previously un-reissued musical gems from Malian musician Nawari, get an overdue second life. Those gems being the eponymous "Dance On", an upbeat Afro-reggae-disco dancer originally self-released in 1987, and "Fanta Cini", originally released in 1989, which takes a deeper, tougher "proto-Afro-electro-funk" direction.

Sharing creative duties is Russian producer Valique, aka "V" from the best-selling "V's edits series, appearing on Canopy for the first time with a strong contribution to the label. Taking the title tune he reimagined & recreated it, building from Nawari's vocals and recording live horns, skanking guitars and percussion, blended with his signature classy production: crisp, warm, groovy & punchy.

Valique turns in 3 different mixes of Dance On, ranging from reggae disco, to cosmic Afro beat, timbale percussion workouts and beyond.

The release spans a range of moods, segueing between the past & present, organic and electronic, proving itself to be well suited for many environments, from the kitchen party to the bars, clubs & festivals of the world.

Der Progressive-Rock- und Jazz-Fusion-Künstler Nate Mercereau präsentiert gemeinsam mit Künstlern wie Carlos Niño, Aaron Shaw und Deantoni Parks sein neuestes Album „Fantastic Thoughts“. Sein maximalistisches, aufrichtiges und nicht selten verletzliches Album fordert den Hörer heraus: „Was wäre, wenn du es tun würdest?“

Tommy McCook was not only a founding member of the legendary Jamaican Ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of Jazz, R&B and in fact most music styles would always add another layer to any song put his way. This made him the go to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes.

Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At the tender of 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the Swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his Jazz technique and upon his return to Jamaica in 1962 began working Coxsone Dodd’s Studio One and became involved in the development of Ska. His knowledge of Jazz, R& B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Jackie Mitoo (Piano), Lloyd Brevett (Bass), Lloyd Knibbs (Drums), alongside Tommy himself on Tenor Saxophone. The group would back all the major Ska vocalists pf the day and would also go on to cut a catalogue of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid’s Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (Guitar), Neville Hinds and Winston Wright (Organ), Gladstone “Gladdy” Anderson (Piano), Hugh Malcolm and Arkland “Drumbago” Parks (Drums), Clifton “Jackie” Jackson (Bass), and Tommy and Hernon Marquis (Saxophone). The more laid back sounds from 1966-1968 would be given the name Rocksteady of which again McCook was at the forefront. The top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound.

We have compiled a great selection of rhythms that featured McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horns men.
We hope you agree like we do that they do this in fine style.

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

DJ Linus came up with the basic idea for You Are House Music while DJing. He provided the vocals himself and refined them through numerous tests during his DJ residency at Munich's Pacha club. The track is a tribute to the party people and became the secret anthem of Pacha during its six-month production period. The vocals seem to work...

A.O.D.S. - DJ Linus' self-created genre: Adults Oriented Disco Soul. He organizes parties and plays vinyl records from 1975-1985, covering everything from AOR to soul and disco.

Senium refers to DJ Linus's newfound love for the chillwave/retrowave genre, for which he has acquired a small new record collection.
DJ Linus spent a whole year working on the EP, including relentless testing and sound adjustments. DJ Linus: “I am very happy with the result—thank you!”
By the way: DJ Linus released his first records on Compose, Compost's 90s house label.

About DJ Linus
DJ Linus is one of the very first House DJs in Munich and in Germany. He started way back end of the 80s, early 90s.
Linus is said to be a great influence to many a famous Tech House DJ today.
His solo album “Fantasmagorique“ was the first german House Music long player of its kind.
Linus was owner of two record shops and the famous “exun records“ label.
Nowadays he is resident at the incredible Pacha Munich – since 18 years now – and is running his current label “Sujet Musique” with great success since 2013.
Linus is also resident at the legendary “Palais Club” and the asian, high class restaurant “Izakaya“.
He works as a mastering engineer and as a lecturer for DJing and Producing @ Musicversity. DJ Linus won twice the Munich Night Life Award for best DJ “House/ Techno“ in 2013 and 2019.    


DJ Quotes:
“Loving the sound of You Are...! Just the kind of percussive, bassline-led house I love to play out!” – Jimpster
“Very nice!” - Fred Everything
“Tune(s)! Big up Linus.” - Bill Brewster
“Nice funky stuff.” – youANDme
“YOU are house music ! :-):-)” - Acid Pauli
“Enjoying the original You Are House Music track. ” - Josh Wink
“Beautiful!” – Reznik
“Mega EP” – Sandrino
“Really like all the tracks on this EP, Linus has been always special about his production work. Will play the tracks out for sure” - Kiko Navarro
“What a beauty!“ - Phuncadelica
Links:

On this 5th and final part of B sides Vol 14 we have The fantastic Kaufmann who shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

Long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

First track will direclty show-up a geography. The Obscur 07 first track : a killer ! Bloody Acid Anonymous brain-digger... It never let you down... Keeping on... Acid Fantasy !
A2 is a Deviant Behavious 01 repress. Skanking Hardtek :)

B1 is a self-remix of the Mackitek HS 07, getting it even more ACID !
And B2 is again a remix from Mackitek HS 07. Going to a more slamming tom/snare breaky way.

All repressed tunes are remixes or somehow remastered...

Surprises !

Seit ihrer Erstveröffentlichung ist Sir Colin Davis’ mitreißende Aufnahme der „Symphonie fantastique“ aus
dem Jahr 1974 mit dem Concertgebouw-Orchester erste Wahl geblieben.
Davis’ Verbundenheit mit Berlioz ist mittlerweile legendär. Sein Verständnis für Berlioz’ einzigartige Kompositionspraxis kommt in dieser Concertgebouw-Aufnahme voll zur Geltung. Alle individuellen Qualitäten
von Berlioz’ Orchestrierung werden durch Davis’ überragende Musikalität kompromisslos umgesetzt. Er ist
ein wahrer Verfechter des Werks des französischen Komponisten. Packend!
Die Serie wurde von Rainer Maillard gemastert und von Sidney C. Meyer in den renommierten EmilBerliner-Studios unter Verwendung ihrer 100 % rein analogen Techniken (AAA) geschnitten. Es werden
ausschließlich analoge Quellen aus den originalen Stereo- und Quadrophonie-Masterbändern verwendet,
darunter auch kürzlich entdeckte analoge Master von frühen Digitalaufnahmen.
Diese in Deutschland bei der Schallplattenfabrik Pallas auf 180 g Virgin-Vinyl gepressten Deluxe-GatefoldVeröffentlichungen in limitierter Auflage enthalten: das Original-Artwork und Liner Notes; Archivfotos und
Faksimiles der Original-Aufnahmeblätter. Jede einzelne Veröffentlichung enthält individuelle Anmerkungen
von Dominic Fyfe, in denen die Geschichte der Aufnahme, der technische Hintergrund und der MasteringProzess detailliert beschrieben werden.

William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And he refused to speak about anything regarding the past.

According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

DESCRIPTION
Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal freak, Nick bought a used Korg MS20 and fell in love with synths. As one half of Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals!
An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's brilliant Polytechnic Youth records in 2021. "Wave Construction" was released by Castles in Space in Autumn 2023. An album for the CiS Subscription Library entitled "Mechanical and Electrical" was released in late 2024.
Nick Explains: "After recording "Transistor Memory", "Wave Construction" and "Mechanical and Electrical" pretty much back-to-back, I wanted to change my sound palette a little. I started programming my Hydrasynth Explorer in obsessive detail and was also drawn to using my voice, in a sampling kind of way at first. Sampling my voice then shifted into recording more straightforward vocals and writing proper songs again. "Rise Up" started as a field recording in my local park and then some wonky piano loops with a cheap mic – somehow a song arrived. I’ve always really liked really concise records, so I got interested in packing lots of synth textures into a three-minute pop song. As the record progressed, I did less leaning on vocoders and harmonisers and developed the courage to just do more up-front vocal mixes. Things like Maths and Minimal / Maximal are more groove-based and came from recording 20 minute drum tracks then jamming bass guitar over it then editing it all down and adding loads of synths. Oh, and there’s a bit of James Williamson era Stooges at the end of Minimal / Maximal – I was a bit nervous about playing garage rock guitar on a Castles in Space record but Colin told me I would be ‘fucking mental’ if I didn’t end the record with it."
Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks, a splosh of modern classical/minimalism and post-rock. He's a hot genius.
The album is preceded with "The Power" which will be available on streaming platforms as well as on our Bandcamp for those who want to listen or pre-order the album. There's a fantastic remix from MAPS included as well.

Running Hot welcomes Menta Sauce to the label. Over the past year their reputation has grown steadily through their own label Jus' Mirage, with a catalogue that moves between playful, hypnotic and emotionally driven moments, always with one eye on the dancefloor. Their music has picked up support from underground heroes and mainstage favourites including Peggy Gou, Moxie, Chloé Caillet, Palms Trax, Sally C and Sedef Adasi.

The Fantasy EP is Menta Sauce's first full EP and vinyl release. It sees them broaden and explore their sound further, with four cuts of pure groove built for impact from warm-up to peak time. Four tracks, one signature sound, groove led house music that keeps the connection to the floor at its core.

Two favourites, and two standout tracks. Polygonia's tripper Black Swords on the A-side glides between deep waters and shimmering bubbles at the surface. Fluid yet staccato, and in a league of her own. On the flip, the highly anticipated return of Melatonin Man who delivers a fantastic electro-leaning digger tune; Timeless Time.

ZIRP! is the new album from DIIV, produced by pop mastermind A.G. Cook. this is not a niche record for music understanders only. this is our POP record. this is our extremely accessible mainstream alternative rock record. what does alternative mean? we are saying, ZIRP! is what it means. are we joking? not really. this record is FUN. everywhere “Frog” was serious, ZIRP! is fun. it was fun to make, and it is fun to listen to. life is hard. ZIRP! is easy.

Graham Hunt kann einfach nicht aufhören, Alben aufzunehmen. Seit 2019 hat der in Madison, Wisconsin, lebende Songwriter ein umfangreiches Repertoire an einzigartiger Musik zusammengetragen - in einem Tempo, das nur von der Qualität der Werke selbst übertroffen wird. Nun, bereits bei seinem sechsten Album ,American Pyramid", hat Hunt sich aus seiner Komfortzone herausgewagt, die bodenständigen, computerorientierten Experimente seiner früheren Arbeiten hinter sich gelassen und stattdessen Minnesotas legendäres Pachyderm Studio mit einer neunköpfigen Band, um zu versuchen, eine andere Seite seiner grenzenlosen Kreativität einzufangen. Das Ergebnis ist ein Album, das musikalisch und textlich neue Wege geht, wobei Hunt mit seinem surrealistischen Ansatz sowohl die Traditionen des amerikanischen Indie-Rock als auch die beunruhigende Distanziertheit der amerikanischen Erfahrung selbst seziert. Zusammen mit einer Reihe von Multi-Instrumentalisten aus früheren Besetzungen seiner Live-Auftritte zog Graham ins Pachyderm Studio, den berühmten Aufnahmestandort unzähliger Kultalben, von Nirvanas ,In Utero" und PJ Harveys ,Rid of Me" bis hin zu neueren Alben wie ,Sugaregg" von Bully oder ,Once Twice Melody" von Beach House. Die Session erwies sich als fruchtbar, da die meisten Songs, die es auf ,American Pyramid" schafften, jene maximalistische Ambition ausstrahlen, die in Grahams meisterhaftem Songwriting offensichtlich ist - doch nachdem er nach Hause zurückgekehrt war, wurde Hunt von noch weiterer Inspiration erfasst - und das Album schwelgt in der Dualität beider Prozesse. Tracks wie der bei Pachyderm aufgenommene Rave-up ,Riverboat Blues" gehen nahtlos in die zu Hause aufgenommene Musik wie ,Dust Underwater" über, wobei beide in eskapistische Fantasien abdriften, in denen lebhafte Produktionselemente die surreale Erzählung untermalen. Oder anderswo bietet der Album-Highlight ,Getting Older" einigen von Hunts unmittelbar befriedigendstem Gitarrenpop und die bodenständigsten Texte auf ,American Pyramid". Die Fähigkeit, so viele verschiedene Klänge, Emotionen und Stimmungen zu vereinen, macht Graham Hunt zu einem so besonderen Songwriter. Nur sehr wenige würden es überhaupt versuchen, Westerberg-artigen Everyman-Rock mit gonzoartigen, autotune-bearbeiteten Gesangspassagen oder psychedelischen lyrischen Abstraktionen mit offenherzigen Gedanken über den unaufhaltsamen Lauf der Zeit zu kombinieren - und noch weniger könnten das so umsetzen, wie Hunt es auf ,American Pyramid" tut.

Brennan Wedl"s self-titled album is a testament to collaboration, with old selves, the selves yet-to-be and the friends helping you along the way. It"s an anthology of spiritual awakening that sizes up the road ahead, encapsulating the messes and triumphs when leaving a traditional path for something less steady. Wedl is already a prolific artist, releasing solo music since 2012, and co-founding the queercore outfit Dazey & The Scouts in 2015. On her debut album for ANTI-, she shakes off the prying eyes of expectation, leaving behind the anxiety of forming yourself for others and welcoming in the delight of finally being exactly who you are. Wedl enlisted Katie Crutchfield (Waxahatchee) and Brad Cook (Bon Iver, Hurray for the Riff Raff) to co-produce and play on the album, with instrumentalists Colin Croom, Lindsey Jordan and Matt McCaughan also sprinkled throughout. Together, they formed a middle ground between punk, grunge and Americana - "grungetry" as they affectionately call it - capturing all tracks within a 10 day stay at Cook"s studio in Durham, NC.

Andy Bell, Erasure-Frontmann und Electro-Pop-Legende, veröffentlicht mit "Extended Blue" sein Solo-Debütalbum "Electric Blue" (2005) als limitierte Deluxe-Edition auf dreifarbig-blauem Vinyl neu. "Electric Blue" - samt den Duetten mit Claudia Brücken (xPropaganda) und Jake Shears (Scissor Sisters) - wurde gemeinsam mit Manhattan Clique geschrieben und produziert, einem Duo, das zwei Jahrzehnte lang die Welt der Pop-Dance-Club-Remixe dominierte und mit Weltstars (Katy Perry, Britney Spears, Lady Gaga, OneRepublic, Moby) und wegweisenden Electronic-Acts (The Human League, Soft Cell, OMD, The B-52s und natürlich Erasure) zusammenarbeitete.

Die Deluxe-3LP enthält zudem sämtliche Bonustracks & B-Seiten der "Electric Blue"-Sessions erstmals auf Vinyl. Das Deluxe-Booklet kommt mit ausführlichen Liner Notes des Classic Pop-Autors John Earls samt Interviews mit Andy Bell und den Manhatten Clique-Produzenten Philip Larsen & Chris Smith, sowie unveröffentlichten Fotos aus der 2005er Session mit dem renommierten britischen Fotografen Tim Flach. Bei Erasure- und Electro-Pop-Fans zählt "Electric Blue" weithin als 'verlorenes Juwel', da kurz nach Veröffentlichung das damalige Label Sanctuary Records zusammenbrach und dieses herausragende Album sein Potential nicht vollständig ausschöpfen konnte.

Eine streng limitierte Erstauflage der 3LP enthält zusätzlich die CD "Extended Blue" mit dem identischen Tracklisting des Vinylformats.beitete.

Euro Disco History 1985 – Jetzt erstmals auch als Vinyl Edition erhältlich!

Die erfolgreiche CD-Compilation „Euro Disco History 1985“ ist ab sofort auch als hochwertige Vinyl Edition erhältlich.

Freuen Sie sich auf die größten Euro-Disco-Hits des Jahres 1985 – authentisch, klangstark und im klassischen VinylFormat. Mit legendären Künstlern wie Silent Circle, Fancy, Lian Ross, Grant Miller, Roger Meno und Fair Control vereint diese exklusive Vinyl-Ausgabe die unvergesslichen Klassiker einer der erfolgreichsten Epochen der Euro Disco.

Ein Muss für Sammler, Vinyl-Liebhaber und alle Fans des typischen 80er-Jahre-Sounds. „Euro Disco History 1985“ bringt das Lebensgefühl der goldenen Euro-Disco-Ära direkt auf den Plattenteller