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Melanchole is a collection of ambitious lo-fi pop songs recorded by Daniel Johann in the winter of 2012 in Wellington, New Zealand, when Johann was only 15 years old. The songs deal with the awkwardness of growing up, the pains of being apart, and the anxieties of being alive and real. Originally self-released on bandcamp, the album became a viral internet sensation, garnering over 100 million streams on Spotify and a large TikTok following. In 2018, Danger Collective remastered Melanchole and reissued it on vinyl with a new track listing; the first pressing sold out within the first 24 hours it was released. This third pressing will be released on doublemint green vinyl with a brand new album cover, packaged with an OBI strip and a 12x12 insert. Johann continues to remain somewhat of an enigma, rarely performing live or giving interviews. After almost a decade since his debut, Johann is currently in the midst of recording a follow-up album. “Really just the first of its kind. A study in experimental music and conceptualizing sounds that not many else would have a vision for.” // “The echoing soundtrack of loneliness in my head.” // “One of my favourite lo-fi records finally gets remastered and released on vinyl. I daresay that the changes to the track listing make this version of the album even better than the original.” // “I didn’t think it was possible for home to feel so melancholy.” // “Amazing amazing AMAZING lo-fi album.” // “This album habis a hazy, dreamily sedating effect on the careful and passionate listener. Simply put this album is entrancing with weeping, wistful melodies synchronized with Picasso’s blue period.” // Track Listing: 1. I Dont Know Anyone, I Am 2. Stones Pull Out Heart 3. I Dont Want To Ask Your Father Or Anything 4. Melanchole / Diary Pt. 1 5. I Was All Over Her 6. Like You Know I Get Old 7. Post-Traumatic All-Night-Long 8. Voice Vi 9. Reprise 10. (Dream) 11. Needs No Progress, I Will Lie 12. Girl 13. Te Ahora

Repress of the 2010 classic “The Jazz Files” by Dexter from the legendary Hi-Hat Club series. Jazz is the subject!

Dexter is taking an new look at the long going love affair between hip-hop and jazz. From Stetsasonic to Gang Starr to Madlib, it is not an easy path to follow, but the 26 year old producer is adding a new and fresh style to it. The sound design of Dexter's "Jazz Files" is dusty but with an unmistakable 2010 twist. As much inspired by Wes Montgomery and Ramsey Lewis as by Sun Ra and Dave Pike, Dexter's tracks are never just "jazzy". They live and breathe jazz by combining the freedom and artisty of jazz with the craft of a free-thinking beatsmith.

And the "Jazz Files" are fun too. By implanting quotes an samples from interviews and tv shows such as the classic NBC program "The Subject Is Jazz", Dexter is telling his own little story of jazz. One that had it's starting point in the massive record collection of his father and grew into shape during a long hot summer blasting nothing but Ahmad Jamal and Sun Ra.

About Dexter: The 26 year old producer, DJ and MC is part of the Wortsport collective from Heilbronn. He has made beats for Morlock Dilemma, Damion Davis, Jaques Shure, Audio 88 & Yassin and Retrogott. He likes Flylo, Madlib and Oh-No as much as libary music, psych rock and Amiga Schlager. Dexter is one of the founding member of the Generation Tapedeck blog and has just started a new project with Suff Daddy.

About the Hi-Hat Club: MPM have teamed up with photographer Robert Winter to take a look behind the beat, into the bedrooms and makeshift studios of today's beat generation. Every Hi-Hat Club volume consits of an LP packaged with Rob's photos and accompanied by more pics on the Hi-Hat Club blog plus additional infos, free beats and drinks. Exhibitions in records stores and galleries are in the making too. Hi-Hat Club parties have been taken place in Cologne and Berlin so far. Watch out for more nights in 2010.

Musically the Hi-Hat Club promotes total artistic freedom. We are not bound to any sound or school. A Hi-Hat Club record can be anything from boom-bap to aqua crunk or whatever is fresh and dope.

An Appointment with Mr Yeats sees the words of W B Yeats, one of Ireland's greatest literary sons, merged with the music of The Waterboys, one of Britain and Ireland's greatest rock bands, in a truly unique and ambitious musical undertaking. The album was originally released in 2011, and has been fully remastered for re-issue, and now contains 6 previously unreleased bonus tracks. The Waterboys vocalist Mike Scott, first delivered a new dimension to Yeats' poetry in 1988, when he wrote a musical accompaniment for the classic poem The Stolen Child, during the making of the Waterboys seminal album 'Fisherman's Blues'. Five years later he set another Yeats poem to music, Love and Death, which appeared on their 'Dream Harder' album. Over the years, Scott had been quietly crafting a wealth of material similarly based on the writings of Yeats. A number of these were performed by him at the Abbey Theatre during the Yeats International Festival in 1991, but most had remained in Scott's private songbook awaiting the right vehicle. An Appointment with Mr. Yeats was that long-awaited context. Scott's love of literature is firmly embedded throughout the work of The Waterboys. He has also put the writings of Robert Burns, James Stephens, Kenneth Grahame and George MacDonald to song. Speaking on his literary influences and loves, Scott explained: "I grew up in a house full of books so literature - and language - have always been important to me. Working with other peoples' words is something that comes as natural to me as working with my own. In a way it's even more immediate; I've always found writing music an easier process than the writing of lyrics, and setting words of the quality of Yeats' to music is an enormous privilege and treat." An Appointment with Mr. Yeats is a unique and memorable opportunity for lovers of great music and great literature to celebrate the union of song and word in one spectacular record.

Mondo, in partnership with WaterTower Music, is proud to present Michael Giacchino's absolutely brilliant score to Matt Reeves’ highly anticipated THE BATMAN. Featuring the music of Academy, Emmy and Grammy Award-winning composer Michael Giacchino, whose credits feature some of the most popular and acclaimed film projects in recent history, including THE INCREDIBLES, COCO, JOJO RABBIT, RATATOUILLE, STAR TREK, JURASSIC WORLD, ROGUE ONE: A STAR WARS STORY, SPIDER-MAN: HOMECOMING, and WAR FOR THE PLANET OF THE APES. This is the fifth film Reeves and Giacchino have collaborated on.

Giacchino proves himself, once more, as one of the greatest living composers, by introducing a powerful and instantly canonized new theme to one of the most musically iconic superheroes. When director Matt Reeves heard the theme for the first time, he was with film producer Dylan Clark. “I was blown away!” He exclaimed. “It was so emotional. The two of us literally cried…it was amazing.”

Though it's not only the world's greatest detective who emerges with a new theme - Selina Kyle / Catwoman's new string heavy theme is slinky and haunted like that of a classic noir's femme fatale. And Giacchino's take on The Riddler is far more haunted, accompanied by the Tiffin Boys choir, a truly terrifying and dread-inducing motif for one of the scariest takes on a Gotham villain, to date.

With nearly two hours of score, housed on three discs, featuring all new artwork by Henry Abrams.

Composed by Michael Giacchino
Artwork by Henry Abrams
Manufactured in Czech Republic

“This is for the family,” Abe Linx says. “It’s not really about who doesn’t love us, it’s about those that do. The ones we motivate and inspire. It’s for those people.” The World Famous La Familia Forever is the powerful sophomore effort from Abe Linx & Tully C., two incredibly gifted emcees who have crafted a contender for the best release of 2022. Across this EP’s 10 tracks, the Indianapolis-repping duo showcase their worldview, dig into their personal histories, and firmly plant themselves on the hip-hop map. And as Abe Linx spits on the stunning track “WORLDWIDE”: “Who the f*ck gon’ tell me different?” In addition to the passion of Abe Linx & Tully C. and their collaborators, TWFLFF stands on its own because it is just so sonically engaging. The production is equally crunchy and fascinating, because it flirts with sounds crafted by legends without sounding dated. This is timeless, raw hip-hop helmed by two talented rappers and their favorite producers like Nomstks & AWSME J, as well as longtime collaborators Baleboy Geechie & DJ GB.
You can tell that Abe & Tully took their time with these songs, meticulously piecing them together in the two years since their previous release. Each cut moves seamlessly into the next, bringing that special kind of cohesion. Just listen to how “RABIES” moves into “400MPH (skit)” and then “SKYSCRAPER,” a brilliant slice of showin’-out rap elegance. While there are only three guest features on the project, they’re used to great effect and make as much of an impact as their hosts. Planet Asia stomps all over the aptly titled “SHOWOFF,” while Willie The Kid complements the smoked-out vibes of “CHANDELIER.” And when Bub Rock shows up on “RABIES”? It’s a wrap as soon as he hops on that piano-laced, dusty instrumental. TWFLFF is a mission statement, with pieces that also sound like a word of warning to anyone looking at these two sideways. Or, as Tully C. raps so perfectly on “CHANDELIER”: “I be in this b*tch, with my clique/ So don’t act stupid.” The World Famous La Familia Forever drops on vinyl right in time for the holidays through their recent partnership with Fat Beats.

His debut was recorded in the winter of 2003 with assistance from Texas
chamber pop collective The Earlies, followed by three albums of original material
and one all-covers album. In 2011, a near-fatal car crash paralyzed his arms for
months. He spent his recovery time listening to some demos he'd made before
the crash. The material eventually culminated in the darkest and most intensely
personal collection of songs from him thus far and garnered widespread critical
acclaim. (Micah P. Hinson & The Nothing). Since then, each record is a final
confrontation with himself, each song shakes with danger. I Lie To You, the new
Micah P. Hinson album, comes from five days and five nights of recording in
Irpinia, South Italy, with production by Alessandro Asso Stefana (PJ Harvey, Mike
Patton, Vinicio Capossela). Accompanying Micah and Asso are Raffaele Tiseo's
celestial strings, Zeno De Rossi metaphysic drumming and the double bass
gentleman Greg Cohen. On this new album he sings, with his weathered, husky,
prophet-like voice, eleven tales of love, loss and regret, which once again reveal
his heart as an artist laid bare.

• Formed by drummer Bill Curtis in 1970, the Fatback band started off as a funk band although when disco began to break in 1974, they added that four-to-the-floor wrinkle to their sound to serve up some classics. In 1975 Fatback released both their fifth and sixth albums - “Yum Yum” and “Raising Hell” - in the same year. Although singles had been released Stateside as early as 1971, it was not until 1975 that Fatback began to appear on singles here.

• Their third UK 7” – ‘Yum Yum (Gimme Some)’ - got to number 40 in the UK charts in August. Later in November, ‘Are You Ready (Do The Bus Stop)’ got to number 18, which helped propel the “Raising Hell” LP into the top 20. This album also spawned the Top 10 hit ‘Spanish Hustle’ in early 1976. Both “Yum Yum” and “Raising Hell” have been out of print on vinyl for decades. These new editions allow funky Fatback fans to drop the needle and get back into the groove.

Matthew Doty didn't set out to write a solo album. His first batch of weightless and brightly lit material under the name Deserta began to take shape in 2017. Shortly after finding out he was going to be a father, Doty started working on a batch of songs inspired by the joy and the unknown of the world he was about to enter. That inspiration is the sonic and emotional backbone of debut album Black Aura My Sun.

Like a hot air balloon headed straight for the stratosphere, Deserta reveals yet another side of the songwriting Doty has spent decades refining. As experimental as it is enthralling, Black Aura My Sun applies the vapor-trailed production values and sublime dynamics of Doty's previous group projects (including post-rock band Saxon Shore and the synth-laced post-punk of Midnight Faces) to a shoegaze-y sound that splits the difference between Slowdive and Sigur Rós.

Doty began finding his own musical voice in the early '00s with the sky-piercing efforts of Saxon Shore. While it was initially a collaboration with Josh Tillman (a.k.a. Father John Misty), Doty was Saxon Shore's only consistent member over the course of five acclaimed records. His responsibility spilled over into everything from booking shows to the songs themselves. He was never completely alone in his pursuit of post-rock perfection, however, so Deserta is very much a new endeavor: a trial-by-fire that was written, recorded, and mixed in total solitude.

Deserta expands and contracts, with chords that drift like clouds, drums that drag and dissipate, and hooks that hang in the air for what feels like forever. That doesn't mean Black Aura My Sun is a subtle or soft record. It actually whips up quite a racket and is particularly heavy when piped through a pair of headphones.

Deserta is Doty's main creative outlet right now and a one-way ticket to another dimension entirely.

On El Ten Eleven’s These Promises Are Being Videotaped (2008) the Los Angeles post-rock duo pays tribute to bassist Kristian Dunn’s obsession with his hometown’s underground dance scene. Eight songs of electronic glitching (“Jumping Frenchmen of Maine”), explosive drum soloing (“Fat Gym Riot”), and blistering rhythms (“K10”). Back in print on Amber Vinyl. Track Listing: Jumping Frenchmen of Maine / I Like Van Halen Because My Sister / Says They Are Cool / Fat Gym Riot / Adam and Nathan Totally Kick Ass / K10 Paranoid Android / Chino / Numb Tooth

MEILENSTEIN DES ETHNO-BEAT

Jahrzehnte weltweiter Konzerte, 30 Alben und abermillionen Streams haben den Dissidenten ein wunderbares Publikum auf dem ganzen Planeten beschert. Die „New York Times“ sah sie schon in den Achtziger Jahren als Vorreiter dessen, was später zum Begriff „World Music“ werden sollte.

Fast 40 Jahre nach der Erstveröffentlichung erlebt ihr legendäres Album Sahara Elektrik remastered auf Vinyl eine ungeahnte Wiedergeburt und vermittelt hautnah den musikalischen Aufbruch jener Jahre.

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

Freude am Tanzen is back for a very special occasion. In 2022, three Various Artists EPs will be released, celebrating the 24th anniversary of the label from Thuringia. Whilst occasions like this would
normally be celebrated on the quarter century, this release makes sense not only on the mathematical level. 3 compilations with 4 tracks provide the half of 24.
The release however also makes sense in terms of history. Freude am Tanzen is showcasing a broad range of electronic music, never neglecting their history but also looking into the future.
The second Edition of the Compilation features tracks from Caldera, Freund der Familie, Gathaspar and Front Left. The A-Side focusses on Dub-House. Calderas Track ‚30 Friends‘ gets a smooth yet groovy vibe across. Freund der Familie contributes a hypnotic production, which would suit well incorporated in a warm up or on the home speakers.
The flip side goes deeper into the minimalistic region of electronic music. Gathaspar has produced a trippy journey, featuring the vocals of Anna Partini. One for the morning hours on the dance floor.
Front Left praises the groove with his track ‚AM3N‘. Very playful and delicate and a lovely selection of percussion. Do not miss!5.

'Breakfast in New Orleans Dinner in Timbuktu' is Bruce Cockburn's 1999
album written to encourage his fans to look forward to the new century,
while learning from the past
It contains a travelogue in the album's lyrics, both to familiar places of home and
family as well as social imperatives from visits to developing countries. Through
it all is Cockburn's reflections on the dynamics between men and women and
spiritual mysticism. Musically the album features the vocals of three women who
appear throughout the album. Jonell Mosser sings on two songs, including the hit
single "Last Night of the World"; Margo Timmins of Cowboy Junkies on the sultry
"Mango" and a cover of the Fats Domino nugget "Blueberry Hill", and most
significantly for the album's consistency, Lucinda Williams appears on four tracks.
Her standout track is "Isn't That What Friends Are For", a tender song of friendship
is made more poignant by Williams' ability to convey deep emotion.
Bruce Cockburn has written more than 400 songs on 35 albums over a career
spanning 50 years, of which 23 have received gold or platinum certification. He
has sold more than nine-million copies worldwide, is a member of the Canadian
Songwriter Hall of Fame, and is the winner of 13 Juno Awards from more than 30
nominations. His world-wide hits include "Wondering Where The Lions Are",
"Lovers In a Dangerous Time", "If A Tree Falls" and "If I Had A Rocket Launcher".

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

• Formed by drummer Bill Curtis in 1970, the Fatback band started off as a funk band although when disco began to break in 1974, they added that four-to-the-floor wrinkle to their sound to serve up some classics. In 1975 Fatback released both their fifth and sixth albums - “Yum Yum” and “Raising Hell” - in the same year. Although singles had been released Stateside as early as 1971, it was not until 1975 that Fatback began to appear on singles here.

• Their third UK 7” – ‘Yum Yum (Gimme Some)’ - got to number 40 in the UK charts in August. Later in November, ‘Are You Ready (Do The Bus Stop)’ got to number 18, which helped propel the “Raising Hell” LP into the top 20. This album also spawned the Top 10 hit ‘Spanish Hustle’ in early 1976. Both “Yum Yum” and “Raising Hell” have been out of print on vinyl for decades. These new editions allow funky Fatback fans to drop the needle and get back into the groove.

Born to a Frafra father and an Akim mother, he grew up in the rainforest of southern Ghana before moving up to the land of the Frafra in the savannah of northern Ghana as a young boy. Growing up in Namoo, his father's village of origin, he was deeply impressed by the glorious moments he experienced during the services at the village's church. All that singing and drumming ensured he was thefirst at church every Sunday, long before the service even started.

His only wish at the time was to be old enough to join the church choir. When he turned thirteen his wish came true and he instantly had hisfirst studio experience, as the choir recorded a series of cassettes on which he performed.

After he hadfinished school he focused on his own career as a Frafra-Gospel artist. In 2007 he released hisfirst album, but it took anotherfive years for him to have his break through as a leading singer. Since the release of his third album in 2012, which contained the original version of "Mam Yinne Wa", he was booked for almost all of the festivals and celebrations in the region and was also invited to almost all of the countless Frafra communities which exist all over Ghana.

In 2013 Max Weissenfeldt visited Bolgatanga, the capital of the Frafra for thefirst time. When he stepped out of the bus at the main market a song by Alogte was playing loudly through some big speakers. He was immediately captured by the music and arranged to meet with Alogte. After a short introduction they both agreed to do some recordings.

Weissenfeldt had some instrumentals with him, so he charged his laptop well, packed his microphone and Alogte drove with him through the savannah into the backcountry of the Frafra land. When they had arrived in Namoo, Max set up his studio and Alogte assembled the Sounds of Joy. The result was "Zota Yinne", which became Oho'sfirst single released on Philophon in 2014. For some reason the song became a hit in Reggae sound system circles and is already a very sought after collectors item.

The same year Weissenfeldt returned to Ghana from Germany with some fellow musicians to play an extended tour through Ghana alongside Alogte Oho & His Sounds of Joy and Kologo master Guy One (Guy One - #1, released on Philophon in 2018). During that tour he learned a dozen songs by Alogte. Following this, 2016 saw the release of the follow up single "Mam Yinne Wa". In the same way as the locally released version pushed Alogte to the top of Frafra- Gospel singers, this newly produced version made him a global player.

Mam Yinne Wa - God, You Love Me So. It looks like that somebody has heard him!

San Diego born and raised DJ/Producer, Dillon Marinez, today releases his latest EP ‘Wormhole’, out now on Dirtybird.

Curated by Claude VonStroke, the compelling two-track project presents a dynamic soundscape showcasing the sonic duality of one of Dirtybird’s newest rising stars. The chaotic, high-energy sound of its titular track ‘Wormhole’ is instantly mesmerizing, while its companion ‘Facelift’ is a deep, rolling burner.

Regarding the EP, Dillon Marinez said, “My first Dirtybird Campout inspired both tracks. Claude’s set especially was full of some thick stabby bass which was right up my alley. This sound gave me an idea for each lead and the rest flowed naturally.”

Continuing to grow as a consistent member of the Dirtybird flock, Marinez’s latest EP, ‘Wormhole’ marks his fifth release on the esteemed label following last year’s ‘No Pressure’ EP and earlier singles like ‘Dance For Me.’

Taking inspiration from funk, hip hop, and reggae, Marinez credits his father and brother for exposing him as a kid to the multi-genre sounds that shape his music style today. A bassist since childhood, it was only natural for Dillon to be drawn to the ebbs and flows of house music. Learning Ableton in college, Marinez was able to incorporate a blend of rhythmic elements to create his unique bass lines and incredibly catchy beats known to captivate crowds.

Releasing music on Dirtybird marks a full circle moment for Dillon, as he has previously named Dirtybird’s artists Justin Martin and Shiba San as major sources of inspiration for his music.

Marinez invites fans to join him on his rhythmic journey and stream ‘Wormhole’ today.