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As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.

Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.

Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”

There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.

Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.

The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this.

Following on from 2022’s Sweat Your Prayers, Byron Yeates returns to Radiant Records with Time Machine, his second full release. The label head has established a signature production sound in an impressively short amount of time. Motifs teased in his previous output and that frequent his DJ sets are all at play here in a delightfully restrained fashion: Astral atmospherics, slick, pumping rhythms, playful basslines with skitting and flitting vocal chops are condensed into lush, club-ready arrangements that demonstrate Yeates’ deep dancefloor knowledge and razor-sharp production chops.

EP opener Liquid Sky drifts beyond the clouds and into the club for a hot and heavy hard-house hybrid workout: undulating low end, sumptuous stabs and ethereal pads are meshed together into a mature, modern any-time-of-the night club tool for discerning deejays and dancers alike.

The groove keeps giving-giving on Hyper-Hyper with stomping in-your-face drums, marching bass and vintage house themes stripped apart and put back together to form a track that sits comfortably in the sweet spot between contemporary techno and the more classic club moods Yeates’ has built a reputation for.
So too with Time Machine- the track’s swung bass and percs lay the foundation for a potent dance floor-ready number that touches on the classier strands of 90s tech and euro house, warped and reconstructed for 2023 dancefloors through Byron’s sleek and flirtatious sensibilities.

The EP rounds off with a collaboration Trip To Eclipse with fellow Irish trance auteur Spray. The result is a sophisticated exercise in groove control: Spray’s signature rolling bass sits delicately alongside Yeates’ vox chops and celestial synth moods to form a cutting edge, dreamy, trance-not-trance roller that concludes a sophisticated and refined statement of intent from Byron Yeates.

Cotenius X is an exploratory improvisational project of the Ukrainian sound artist Daria Redkina and the Russian experimental vocalist Varya Pavlova aka Lisokot. Improvising together since 2017 they incorporate folk, electronic and musique concrète elements into their spontaneous compositions. “Plastic Bag” is a testament to collaboration - an archival reflection of the time the duo spent experimenting together. Their theatrical performances involve impersonation or adoption of different characters and are informed by social, political, historical, and site-specific narratives. The duo has been compared to The Residents and see themselves carrying the psychedelic absurdity of the US group forward by giving it a feminine twist.

London-based four-piece Adult Jazz announce their first full-length album in a decade, So Sorry So Slow, out 26 April 2024 via Spare Thought. Alongside the announcement comes lovesick new single ‘Suffer One’ featuring Owen Pallett, a cautious excavation of self and sexuality, clambering across a gorgeously shapeshifting, filmic five-minutes.

Containing some of the band’s most abrasive but gentle, beautiful and melismatic work to date, So Sorry So Slow has many defining characteristics: romance, panic, devotion and remorse, threaded together by an intentionally laser-focused love. It’s deeply personal, bruised and candid in its expressions of tenderness, and deeply pained in its concurrent reflections of ecological regret. Across its hour-long runtime, a delicate, frenetic energy and glacial heaviness coexist, the band pitting those paces against one another. In their richly experimental timbre, dancing strings and fluttering falsettos prang against a bed of brass drones like a wounded bird.

“We started writing in 2017 and began recording in 2018,” says vocalist Harry Burgess. “We genuinely thought it might be finished in 2018! But things kept developing and, having resolutely not struck while the iron was hot, there was no real external push to rush things after that, so we just kept letting things shift and unfold until it felt right. Listening back to my voice notes it’s nice to notice that there are fragments of ideas from the whole period 2017-2023 which have shaped the record.”

Recorded in bursts at studios across London and in the band members’ flats, at Konk, on the Isle of Wight and in Sussex, So Sorry is unambiguous in its evolution. Sonically, there are sparks of the arrhythmic brightness that afforded the band’s critically acclaimed debut album Gist Is its cult adoration, for fans of Arthur Russell and Meredith Monk, but with a blossoming, melancholic darkness often overhead. Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream.

“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… the totem was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”

“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”

“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. Then I think of romance again.”

So Sorry So Slow comes out 26th April 2024 on Spare Thought, mixed by Fabian Prynn at 4AD Studios and mastered by Alex Wharton at Abbey Road.

Adult Jazz is Harry Burgess, Tim Slater, Steven Wells and Tom Howe.

Identity Theft is the solo electronic music of Michael Buchanan, commencing in 2011 with the album Night Workers. He has previously released music on labels such as Oráculo Records, Treue Um Treue, Record Label Records, and Katabatik. Rooted in Düsseldorf-school electro with strong leanings towards the more abstract Krautrock origins of the genre, Omnia Vanitas presents the listener with a narrative arc moving beyond the ‘modern problems’ which previous Identity Theft work was concerned with (e.g. themes of surveillance and paranoia).

Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Emerging from a generative paradox of laser precision and fluid dynamism, Metallur fuses percussive, metallic force with warping tempos and a field of ethereal resonance and debris.

The result is an insurgent, elemental, time-smearing of hyperspace, where "tellurian beats merge with alien glossolalia and vocal samples blip tesseracts of human affect into a ghostly, melodic aether".
Music for a crushed infinity.

Alex Andrikopolous AKA Lex (Athens) released his brilliant debut album Waving in 2022 on Leng and he now returns with an EP combining fine remixes of tracks from Waving alongside two new previously unheard cuts.

The remixes are undeniably special. Fittingly, the EP begins with the first of these, a sensationally sun-soaked revision of one of Andrikopolous’s most Balearic moments – previous single ‘Punta Allen’ – by former Nuphonic fusionists and FAR label founders Faze Action. The Lee brothers’ take is one of those sunset-friendly workouts that wraps glistening guitar licks, steel pan style motifs, Lex’s gorgeous lead lines, hazy electric piano solos and life-affirming keyboard riffs around rolling nu-disco beats and a new rubbery bassline courtesy of Robin Lee himself. It has the feel of a pool-side anthem in the making.

Just as potent is the typically quirky and hard-to-pigeonhole revision of ‘Prezend’ by Manchester maverick Ruf Dug. Here he offers up a genuinely revolutionary rework, re-imaging the track as a sparse-but-colourful fusion of vintage acid house bass, saucer-eyed piano riffs, dubbed-out synth sounds, jacking lo-fi drum machine beats and squelchy TB-303 tweaks. While fresh and undeniably contemporary, the remix has an alluringly nostalgic, retro-futurist vibe.

Clustered around these two top-notch revisions is a pair of previously unreleased Lex originals. He joins forces with regular collaborator Locke once more on ‘Libre De Amor’, an infectious chunk of, low-slung dub disco marked out by weighty bass, jammed-out electric piano motifs, spacey pads, intergalactic effects and mazy synth solos. Dotted with additional percussion hits and echoing female vocal snippets, it’s one of the pair’s most potent dancefloor workouts of recent times.

To round off a rock-solid EP, the Athens-based veteran blurs the boundaries between stripped-back, late-80s house nostalgia and nu-disco. ‘Super Awake’ boasts cowbell-sporting Chicago house beats and acid house inspired bass, on to which he’s layered all manner of colourful synth sounds, jangly piano stabs and spacey electronics. Throw in some typically immersive chords and progressively more psychedelic TB-303 motifs, and you have a genuinely triumphant conclusion to a formidably floor-focused EP.

Little Beat More is proud to present you a two-track EP by Turist, a Vienna based psychedelic Dembow project, founded to combine the energy of a live band with the tightness of an overdub session. ?Turist made it their mission to revive handmade music from the 60's and 70's aiming for the dancefloors of today!
The two tracks demonstrate how they interlace heavy basslines, colorfully echoing guitars and driving drums, drawing inspirations spanning from Ghanian highlife to Peruvian cumbia.
“Skeet”, on Side A, is the band’s manifesto with their special blend of Caribbean dance rhythms and Californian surf music psychedelia. Side B's "Ez Up" is a straightforward champeta song, the Afro-Colombian style that fuses sweet soukous guitar lines with uplifting soca rhythms, making you want to immediately look for the nearest Pico Soundsystem.
Set off on a rhythmic journey following Turist in their musical nomadism with us!

Made in M is known for his smooth lofi beats. This new release picks up where his other releases have left off.
Cranking up the bpm a notch but keeping his signature organic grooves in his house debut LP.
FLUX is jazzy lofi house at its best for those lofi beat graduates that haven’t forgotten their roots.
Full LP dropping May 3rd on ear-sight and limited to 350 black vinyl.

HYPERWIDE LUSTRE is Orchestroll’s debut record, a mini-LP released on Montreal’s GARMO – a highly curious and deeply devolved collection of music produced and performed for a run of live club sets by the duo.

Jester-like, this is music that laughs at you: because it’s funny, because it’s not; because you did too much, because you did too little. Because you’re too loud; too quiet. Wrapped in the exquisite production chops of Richard-Robitaille and Osborne-Lanthier, Hyperwide Lustre is quasi-sarcastic and fully irreverent, a shimmering hybrid of spectral dance music and avant classical; psychedelic, cinematic, fluid, and yet bejeweled with a crushing opulence. Lovelorn synths and haunted, clattering, percussion rolls through these halls. Will you follow them to their source? Or turn away?

Like a slow labyrinthine descent into ever-less-familiar passages, Orchestroll have crafted an album that feels genuinely puzzling and new. A warm welcome into a strange world. Two puppetmasters who lost control of their puppets long ago. The keyboard whispers, but the mouse decides the tale.

"Debut full ength album by Leeds' 6 piece shoe-gazing band. Lots of BBC 6Music support and plays. Press coverage and support from So Young, DIY. Full UK tour starts 23rd March.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

Warehouse Find!

New Freerange ! Full info to follow

Warehouse Find!

Here we bring you the second part of the Jimpster remixes package with amazing new interpretations of Brought To Bare from Deetron and Tanner Ross. Deetron delivers two diverse versions of the original in his own unique style. First up is the main remix which goes for a stripped back approach but works Jonatan Bäckelie's full vocal to maximum effect with just a sublime Reese-esque bass line and fat kick for company. The second mix aka Deetron's Paradise Version oozes quality with a unique and dynamic arrangement, echoes of Underground Resistance in the drums and stabs and amazing pads all making for a deep and musical journey. Finally Bostonian Tanner Ross goes raw R&B on his version with jacked up drums straight out of the Neptunes school of beatmaking, keeping things stripped bare for the vocal to shine. Another fine example of why this man is causing so much damage with his bold and interesting productions right now. Hope you enjoy!

Warehouse Find!

Seems like something's going on across the pond at the moment with seemingly blossoming, or at least rejuvenated scenes in the United States and Canada. Our last handful of releases on Freerange have included artists from Montreal, Tujuana, Pittsburgh and Chicago and we're about to add Los Angeles to the list with this new one from Justin Jay and Ulf Bonde. The young producers have been steadily building steam with a number of fine releases the last couple of years
and we welcome them to Freerange for their debut EP entitled Indecision. The title track sets the mood with a low-slung, super-deep house groove complete
with an intimate vocal and a charming simplicity which contributes to the powerful end result. Elements come into focus then disappear in a fog of reverb whilst playful guitar picks add a live jammed feel to the loping groove giving things a Bob Moses/Francis Harris kind of vibe. Next up is Justin's own Dub version which steers a similar course but focuses on
a more floor-friendly arrangement and minimal vocals.
Flipping over we have Giegling and White regular Edward taking the reigns and working his magic on an incredible, epic remix of Indecision. Those who follow his every move as we do here at Freerange might have some idea of what to expect.
The result is a glorious, almost ten minute long fusion of ambient, dub techno and deep, sub-aquatic house to lose your marbles to. It's fairly pointless trying to describe the delicate twists, turns and subtle details that make up this piece, suffice to say, it's the kind of track that makes you feel warm and fuzzy inside.
Closing the digital release we have a bonus track in the form of I See You. Once again, Justin and Ulf have created a heady mix of delicate vocals, dubby atmospherics and a crisp beats which drive the groove along perfectly.

Warehouse Find!

Red D is back for a follow up to his brilliant Chez EP which dropped last year and this time he's going for the jugular! The man responsible for
some of the finest house music of the last decade as FCL (with San Soda) and FCL vs VFB (with Motor City Drum Ensemble) knows a thing or two about
what makes the dancefloor lose its s**t, with tracks such as Let's Go Seven, It's You and Can We Try all testament to this.
When he's not DJing at the likes of Panorama Bar or hosting his own stage at Tomorrowland, Red D can be found running his own mighty fine We Play House label from his Ghent HQ.
Moan The Mania opens this release in suitably back to the raw fashion! A minimal drum machine groove and clipped bassline lay the foundations of this tribute to all things jacking with a sprinkling of porno groans to help you on your way. This is sleazy machine funk at it's very best. Next up we have a remix from Eli Escobar, the native New Yorker who has recently been making major waves following the release of his LP Happiness on Classic.
As someone who has remixed the likes of Lana Del Rey, Kim Ann Foxman, Honey Dijon and Holy Ghost we knew he'd be the man to take Red D's baton and run with it.
Keeping the overall vibe of the original intact
Eli cranks the energy further with additional in your face percussion parts and a couple of perfectly placed build ups. Flipping over we have Chase The Cat which takes a similarly stripped-back and minimal approach as Moan The Mania but goes heavier on the 707 beats. Finally we have Dusk Or Dawn closing the release with a deeper mood.
Simple FM synth stabs and glassy chimes provide a tender and naive-sounding counterpoint to the basic beats.
Red D proving once again that limiting your tools and not over-complicating things can often have so much more impact when it comes to house music.

Warehouse Find!

For the very first time on double vinyl, one of the most amazing musical adventures of influential singer & songwriter Julie Tippetts. Originally released on cd in 1999, Shadow Puppeteer is the result of a long running career, a devotional solo album fulfilling her royal artistic vision. Surely one of the foremost European vocalists in the field of contemporary jazz and improvised music, she started out with The Brian Auger band in the 60’s fusing soul jazz and r&b with amazing results. Moving forward into the realms of free improvisation and english jazz she found home in stunning projects as Centipede, Ovary Lodge, Ark, Mujician, The Georgian Ensemble, The Dedication Orchestra and (late husband) Keith Tippett's Tapestry. Shadow Puppeteer is a suite of compositions and improvisations in which Julie's voice and various instruments (wind chimes, tambourine, mandolin, thumb pianos, zithers and bells) are multi - tracked to showcase the full extent of her powers of expression and imagination.

Jackpot Records is proud to reissue what many call arguably the greatest album of the punk rock era: The Flesh Eaters’ 1981 punk-noir masterpiece, ‘ A Minute To Pray A Second To Die. Once referred to as an all-star roots/voodoo combo, The Flesh Eaters could only have crawled out of the myst of the late L.A. 70s punk scene. Fronted by punk poet/composer Chris D. (Desjardins), the band was a satellite for exquisite collaborators that allowed him to bring the full force of his dark, messed-up lyrical nightmares. Members of X, Wall Of Voodoo, Los Lobos, The Blasters, and The Plugz all hopped into his unmarked car to take a drive with Chris D. Its grabbed-by-the-throat vocals are powerfully buoyed by the tight melodicism emanating from the players on this record (John Doe andDJ Bonebrake from X, Steve Berlin of Los Lobos, Dave Alvin & Bill Bateman of The Blasters). Hell, we even get the perfectly executed John Doe original, “Cyrano de Berger’s Back,” which was re-recorded by X in 1987. The creators of this record made a pulp novel for your ears with an equal chance to scar your heart. Do not miss out this is punk noir at its greatest.

Repress of the 2020 album on aqua blue vinyl. The power of a Winter song is hard to describe, like how the delicate world building of a good book can be more compelling than real life. There's a make-believe, fairy tale surrealism that sets Winter's blend of shoegaze and psychedelia apart while existing in the same universe as the ethereal dream pop of Cocteau Twins and Melody's Echo Chamber. Samira Winter grew up in Curitiba, Brazil, where her Brazilian mother filled their home with the gentle melodies of MPB (música popular brasileira), and her father introduced her to the distorted sounds of American punk. At 18, she moved to Boston where she first released music as Winter, eventually moving to LA's Echo Park. Winter has built a cult following with a stream of bilingual releases and national tours supporting Boogarins, Broncho and Cherry Glazerr, not to mention dates in Mexico, South America and Europe. Three videos to promote album. First digital single premiering on Fader 4/17. Features guest vocalist Dinho Almeida from South American psych legends Boogarins. “Winter’s breathy voice is pretty magical.” Brooklyn Vegan // “Winter makes cosmic dream-pop fit for stargazing. The languid motion of their soaring tunes are filtered through fuzzy sounds of slowly writhing guitar work

Repress of the 2015 album on transparent caramel vinyl. Remember Sports is a 4-5 piece basement rock band, started in 2012 at Kenton College in Gambiet, Ohio. The band’s second album titled All of Something was recorded in Philadelphia with celebrated DIY producer and musician Kyle Gilbride (Waxahatchee, Girlpool, Swearin’). The quintet found a fuller sound with all hands on deck. All of Something unfurls like a flag outside a midwestern bedroom window, lifted with the air of uncertainty of those first, confusing steps of adulthood. Perry’s freckled voice, equal parts longing and hopeful, carries through with damning drums and tickling guitar solos. Each song jangles on, sometimes releasing declarative, fighting words and other times as careful as notes left on the fridge

10 Years Anniversary compilation LP. Ten years ago, on 21 April 2014, Russian enclave of the Baltic Kaliningrad-based trio Blind Seagull started off its adventure in the soon to be known as Sovietwave aka Russian post-punk underground. Tean years later they have accomplished to release nine full-length albums on all sorts of limited edition formats such as LPs, CDs, tapes with most of them being sold out for years. It was time to bring many of these tracks back to life, picking up the best among them and reissuing for the global post punk/darkwave niche. Fifteen cuts previously released by labels like Detriti, Sierpien, Pine Hill through which the band led by Denis Zarubin has shaped its own brand of icy coldwave, one pretty classic and extremely fresh and contemporary at once. On top of these we have one more track exclusive to this release which is a eurodance-oriented remix for their minor hit Animals Die in the Scaffolding. Think of a bunch of goth kids screwing around at the local carnival and you'll get the vibe! Decade Of Effort is due on April 21, 2024 on white vinyl LP limited to 300 with fairy-tale artwork by the band enhanced by the magical lettering of young Spanish artist Sara Fornés.

Entering the world of MOOON is like entering a time machine. The young Brabant power trio, consisting of brothers Tom and Gijs de Jong and their cousin Timo van Lierop, takes the listener to the Golden Age of pop music: the heyday of psychedelia in the 60s and 70s.

Following up their recently released LP "III", here comes a brand-new 7" by MOOON. Featuring a mono-version of "Hurtin' My Heart", taken from their latest album "III" and on the B-side an unreleased song from the same session; "How I Learned (To Say Goodbye)".

"Hurtin' My Heart" is a fuzz & Farfisa driven tune, that everybody on the dancefloor will dig. "How I Learned (To Say Goodbye)" is a jangly 3 part harmony pop song but with a high energy twist!

This is a 7" that both sounds and looks 60's-stylish (with flap outer sleeve) and every DJ will need in their box!

Inspiriert durch Duas eigene Selbstfindung, Radical Optimism ist ein Album, das die pure Freude und das Glück widerspiegelt, Klarheit in Situationen zu haben, die einst unmöglich zu bewältigen schienen. Die schweren Abschiede und verletzlichen Anfänge, die zuvor drohten, deine Seele zu belasten, werden zu Meilensteinen, wenn du dich für Optimismus entscheidest und beginnst, dich mit Anmut durch das Chaos zu bewegen. Durchdrungen von der Energie von Duas Heimatstadt London, verkörpert das Album die Unverfälschtheit, Ehrlichkeit, das Selbstbewusstsein und die Freiheit des Britpop der 90er Jahre. Radical Optimism entführt den Hörer in eine verträumte Popwelt, die reich an Musikalität, lyrisch kompromisslos und klanglich befreiend ist. Dua arbeitete während des gesamten Projekts mit einem Team von Kollaborateuren zusammen, darunter Caroline Ailin, Danny L. Harle, Tobias Jesso Jr. und Kevin Parker.

Entdecke das neue Akustik-Album »Cape Forestier« von Angus & Julia Stone. Mit 12 frischen Tracks bietet das Geschwister-Duo aus Australien eine vielseitige Mischung aus sanften Melodien und packenden Texten. Das Album ist perfekt für alle, die die intime Atmosphäre und eindringliche Klanglandschaft lieben und schätzen.

Über das Album sagen die beiden: »Cape Forestier, unser neuestes Album, nimmt einen ganz besonderen Platz in unseren Herzen ein. Es ist ein Kapitel, in dem sich ständig entfaltenden Buch über unseren gemeinsamen Weg. Es erinnert stilistisch an unsere früheren Alben; es gibt eine echte akustische Rohheit im Sound. Aber das Songwriting und die Performances sind natürlich an die Menschen gebunden, die wir heute sind, mit all den Zweigen der Erfahrung, die darin hängen. Wir könnten nicht aufgeregter sein, diese Musik mit euch zu teilen. Es war eine unglaubliche Erfahrung, diese Songs gemeinsam zu schreiben und aufzunehmen.»

Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk—and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements—guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months—a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. — jj skolnik.

. Limited edition silver vinyl anniversary reissue of the Magnetic Fields’ classic 1999 rumination on, of course, love. Funny, smart, dark, memorable, and a lifetime’s worth of listening. Stephin Merritt solidifies his songwriting genius on his “most ambitious and fully realized work.” (AMG) This vinyl reissue is remastered for vinyl and beautifully packaged in a 10” slipcase box with three double gatefold sleeves and a 24 page booklet!

Algerian singer and musician Lili Boniche was born in Algiers on March 14, 1921, and died on March 6, 2008. He was famous for his contribution to Judeo-Arabic music, and particularly associated with chaâbi, a musical genre popular in Algeria that blends Arab, Berber and French influences. Born Eliaou Élie Boniche, and he grew up in a Sephardic Jewish family and became interested in music at an early age. His musical career really took off in the 1940s and 1950s, when he recorded numerous hits that helped popularize the Judeo-Arabic repertoire. His unique style blended elements of Arabic music, jazz and tango, creating a captivating musical fusion. He is widely recognized for his mastery of the lute and his distinctive voice. His lyrics were often poetic, reflecting the everyday life, love and culture of his time. Lili Boniche left an indelible mark on the North African music scene. His legacy lives on in his recordings, which continue to be listened to and enjoyed by music lovers the world over.

Funeral For Justice is the new album by Mdou Moctar. Recorded at the close of two years spent touring the globe following the release of 2019 breakout Afrique Victime, it captures the Nigerien quartet in ferocious form. The music is louder, faster, and more wild. The guitar solos are feedback-scorched and the lyrics are passionately political. Nothing is held back or toned down. The songs on Funeral For Justice speak unflinchingly to the plight of Niger and of the Tuareg people. "This album is really different for me," explains Moctar, the band"s singer, namesake, and indisputably iconic guitarist "Now the problems of terrorist violence are more serious in Africa. When the US and Europe came here, they said they"re going to help us, but what we see is really different. They never help us to find a solution."

Funeral For Justice is the new album by Mdou Moctar. Recorded at the close of two years spent touring the globe following the release of 2019 breakout Afrique Victime, it captures the Nigerien quartet in ferocious form. The music is louder, faster, and more wild. The guitar solos are feedback-scorched and the lyrics are passionately political. Nothing is held back or toned down. The songs on Funeral For Justice speak unflinchingly to the plight of Niger and of the Tuareg people. "This album is really different for me," explains Moctar, the band"s singer, namesake, and indisputably iconic guitarist "Now the problems of terrorist violence are more serious in Africa. When the US and Europe came here, they said they"re going to help us, but what we see is really different. They never help us to find a solution."

Knapp drei Jahre war es still um die selbsternannten Söldner
von Funker Vogt. Nach dem Ausscheiden von Chris L. im
Sommer 2021 hat man zunächst eine einjährige
Schaffenspause eingelegt, bevor Gerrit Thomas und René
Dornbusch den Sänger und Shouter Bastian Polak zum
vollständigen Trio rekrutieren konnten. Der „Neue“ am Mikro
dürfte vielen bereits durch das Duo Intent:Outtake bekannt
sein. Da Komponist und Produzent Gerrit Thomas bereits für
diese Formation Gesangsaufnahmen sowie Mix & Master
getätigt hat und man sich daher schon kennen und schätzen
lernte, war es für einige Fans sicher keine große
Überraschung, dass Bastian Polak für Funker Vogt angeheuert
wurde.

Der Sound auf „Final Construct“ dürfte reichlich Epos mit sich
bringen, da sich die Band stark auf das Songwriting konzentriert und den hymnischen Charakter mehr denn je in den Fokus gesetzt hat. Nahezu jeder der insgesamt 19 neu komponierten Titel hat den sogenannten Single-Charakter. Herr Polak beweist auf allen Songs dieses Albums und dessen

The Los Angeles-based indie-dance duo is comprised of Australian-born Jordan Feller and Southern California native Marc Gilfry. Their sophomore studio album, It’s All A Bit Fuzzy, comes packed with new, epic collabs and sets the stage for their riveting live show.

20204 Reissue

Nach Acid Kings hochgelobtem 2023er Album Beyond Vision, das weltweit große Aufmerksamkeit erregte und sogar in die Billboard Top 100 Albums Charts einstieg, präsentiert Blues Funeral eine brandneue, aktualisierte Ausgabe des 2015er Werks der Band. Middle of Nowhere, Center of Everywhere, das von vielen als Acid Kings bestes Werk angesehen wird, wurde auf seinem ursprünglichen Label nur in begrenzter Auflage veröffentlicht und ist seit geraumer Zeit vergriffen. Zur Feier des 30-jährigen Bestehens einer der kultigsten Bands des Heavy Undergrounds präsentiert diese neue Blues Funeral Edition das bahnbrechende Doppelalbum mit aktualisiertem Artwork und einer exklusiven mehrfarbigen Vinyl-Konfiguration speziell für den Record Store Day. Gatefold 2xLP mit siebbedruckter Seite D. Aktualisiertes Cover-Artwork, Siebdruck auf Seite D und neue exklusive, mehrfarbige Vinyl-Editionen für jedes RSD-Gebiet! Die Vinylfarbe für RSD GER & EU ist Orange mit weißem Galaxy/Mamor-Effekt, limitiert auf 500 Stück.

2024 Repress

Mannequin Records is proud to present a full length by the Philly minimal-synth princess Void Vision.
Void Vision is a Philadelphia-based electronic project helmed by Shari Vari. It began around 2009 at a time when a wave of synth-revivalists were materializing, but the quality of the songwriting and intense vocals set the band apart from the pack. In a rare instance, Void Vision has managed to combine vintage dance elements with melodic structures, haunting melancholy, and lyrics that have a palpable soul. The songs themselves are dynamic, referencing a cross-section of the last 30 years of electronic music, while simultaneously retaining a uniqueness all their own.

The infamous Wierd Records weekly club night in New York, which showcased a variety of talented electronic and coldwave artists, served as an incubator for Void Vision in it's early stages. After a standout debut performance at the club, they immediately caught the attention of Blind Prophet Records, who consequently released their first 7" single, 'In 20 Years', which received excellent reviews.

Vari has continued performing and recording steadily over the last few years, releasing songs on compilations for various labels, including Rough Trade, and in 2012 the song 'Everything is Fine' was selected for Artforum magazine's 'Best of 2012' issue. In 2013, Void Vision toured the West Coast and later that year released a split 12" with Portland-based band, Vice Device. The first official full-length album, entitled 'Sub Rosa' is set to debut on Berlin-based Mannequin Records, followed by a European tour in 2015.

Shari Vari formed Void Vision in 2009 originally as a duo, during the explosion of the new minimal synth and cold wave scene in United States. Sharing the same scene of the Wierd Records associates like Led Er Est, Martial Canterel, Xeno & Oaklander, Automelodi, in 2010 VV released 'In Twenty Years' on Blind Prophet (Sean Ragon's Cult Of Youth record label), receiving also the attention of the Rough Trade dudes, who asked to put out a track for one of their synth wave compilations.
After other split vinyls, tapes and compilations, Mannequin approached Shari with the intention to continue what Wierd Records started, giving a proper shape to her beautiful and youthful dark electronic sound. The result is 10 hypnotic cold analog tracks dominated by the warm and fragile Shari's voice, some more 'pop orientated' some others belonging to the original 'cold wave' atmosphere.

"Sub Rosa" is an edition of 400 copies on 160 gram black vinyl and 100 copies on 160 gram white vinyl.

London-based Kouslin's Le Chatroom imprint presents LCR003; a percussion-heavy release of four tracks from close friends and affiliates.

Taking inspiration from rhythms around the world and the uproar within the new-gen UK Funky scene, Le Chatroom once again exhibit their ethos of eclecticism that has found them in the record bags of the likes of Ben UFO and Call Super.

Big Brothers' frontman Amor Satyr (also of Parisian collective Boukan Records), channels heavy baile funk on 'Hohohoi', with razor-sharp low-end separation and haunting harmonies.

Soreab (Baroque Sunburst/BeatMachine) serves up a hearty cut of low-slung, tribal drum funk with a groove synonymous of Hessle Audio sets.

Having recently featured on an R&S Records compilation, plus a release on More Time Records, rising artist DJ Tess presents her new “Mala Femmina” alias and offers up a triplet-based 4x4 groove with relentless icy blows and rotating polyrhythms.

Livity Sound's Cando close out with a remix of Soreab's 'Cave Walk'. Racing away with dancefloor panic, the intricacies of the remix shine through via its claustrophobic and pristine mixdown.

Join Us on a Journey Through Hedonistic Disco Escapades With Our 7th Label Release by HOLDTight. For This Release, HOLDTight Delved Deep Into His Vinyl Treasure Trove, Unearthing Disco Funk, Folk, and Soul Gems, Which He Has Breathed New Life into.
On Side A1, We Present "Disco Ladies," a Mellifluous Disco Track Overflowing With Positive Vibes That will Enrapture Your Very Soul. on A2, Prepare for "Everytime," a Slow-Burning Soul Rework Infused With an Irresistible Swing. on Side B1, We Invite You to "Reach Out" to a Disco Funk Sensation Tailor-Made for Dance Floors and Sheer Pleasure. Lastly, on B2, "Cool Lady" Awaits, a Hypnotic Folk Masterpiece destined to Transport You to Uncharted Musical horizons.
This Release, as Always, Is a True Gem for Collectors and Avid Vinyl Enthusiasts. Dig Deep and Embrace the Allure of HOLDTight's Sonic Treasures....

Für Thy Catafalque war es nie genug, die Kluft zwischen Black Metal und Avantgarde zu überbrücken. Die ungarische Band ließ ihrem unerwarteten Durchbruch ein Konzeptalbum folgen, das sich um seltsame Übertragungen aus einem Radio außerhalb der Zeit dreht. Róka Hasa Rádió knistert vor kindlicher Neugier und lässt Melodien aus den Karpaten mit harschem Techno, gedämpften Drones und erdrückendem Doom verschmelzen. Obwohl es das letzte Album ist, das die Band als Duo aufgenommen hat, hat sich Tamás Kátai bereits als williger Kollaborateur erwiesen. Atilla Bakos und Ágnes Tóth (The Moon and The Nightspirit) steuern die Clean Vocals bei. Als Finalist für den HangSúly Hungarian Metal Award kündigte Róka Hasa Rádió Thy Catafalque als Kritikerliebling an.

BRUME (ausgesprochen wie das englische Wort "Broom") sind der lebende Beweis dafür, dass es auch in Kalifornien nicht nur Sonnenschein und Easy-Living gibt. Das aus San Francisco stammende Quartett verschmilzt Doom Metal, Gothic und Indie Rock zu einer oft monolithischen, aber ebenso auch zerbrechlich wirkenden Mischung aus harter Schwere, die von der dunklen Seite der Musik kommt. Nach einem Jahrzehnt verlockender Sounds und Gänsehaut-Crescendi treiben BRUME die Klangexperimente und spannenden Genre-Umdeutungen auf ihrem dritten Album "Marten" einen großen Schritt weiter voran. Die Erweiterung zum Vierer mit Jackie Perez Gratz an Cello und Gesang eröffnet den Kaliforniern einen Kosmos neuer Möglichkeiten, den sie zielstrebig erkunden. Durch das Verweben von aufsteigenden Melodien mit melancholischem Doom Pop entstehen Songs, die gleichermaßen intim und eindringlich, wie auch massiv und kraftvoll sind. BRUME gründeten sich im Jahr 2014 ursprünglich als Trio. Gitarrist Jamie McCathie aus Bristol, England kam musikalisch mit der Bassistin und Sängerin Susie McMullan aus Baton Rouge, Louisiana zusammen, nachdem die Beiden ihre gemeinsame Leidenschaft für Trip-Hop und Sludge entdeckt hatten. Die Besetzung wurde bald darauf von Jordan Perkins-Lewis am Schlagzeug vervollständigt, der mit seinem reichhaltigen und experimentellen Schlagzeugstil den Grundstein für die Studioaufnahmen der frisch gegründeten Band legte. Mit ihren Doom Metal Alben "Rooster" (2017) und "Rabbits" (2019) nahm das Trio schnell Fahrt auf, wobei ersteres von The Ripple Effect zum "Album des Jahres" gekürt wurde und letzteres den ersten Platz auf der "Best of 2019"-Liste von Wonderbox Metal einnahm. BRUME hinterließen auch auf der Bühne ihre Spuren und traten unter anderem sowohl beim Desertfest 2017 in London als auch im Jahr 2019 beim Desertfest New York und SXSW auf. Mit "Marten" machen BRUME einen mutigen Schritt in Richtung ihrer musikalischen Zukunft, indem sie zuerst sich selbst und nun auch ihre Zuhörer herausfordern, sich von vertrauten Sounds zu anspruchsvolleren, weniger vertrauten Klangräumen zu bewegen.