Available again for the first time since 1970, Lobo’s melancholy masterpiece epitomizes the experimental evolution of MPB. With new liner notes by Edu Lobo.
Released in 1970, Cantiga de Longe is a defining record in the career of Brazilian singer, composer, and guitarist Edu Lobo and a significant contribution to Música Popular Brasileira (MPB). Created during Brazil’s military dictatorship, the album reflects the subtle, poetic strategies that artists use to convey meaning while subject to censorship. Rather than overt protest, Lobo expresses longing and introspection through refined musical language and evocative lyrics.
Musically, the album captures the sophistication of MPB at the turn of the decade. A foundation of acoustic guitar blends with jazz-influenced harmonies and elegant arrangements. The sound is both intimate and expansive: delicate vocal lines unfold over complex progressions, supported by understated rhythms, rooted in Brazilian traditions. Lobo’s controlled yet expressive vocal delivery keeps the lyrical nuance at the forefront.
A key element of the album’s texture is the involvement of Hermeto Pascoal. His imaginative instrumental contributions add subtle harmonic color and atmospheric depth, enriching the refined arrangements and enhancing the sense of openness.
Thematically, the album explores memory, distance, solitude, and time—personal reflections that resonate with the broader climate of uncertainty that dominated Brazil in 1970. This remains one of Lobo’s most mature recordings, exemplifying the emotional depth and artistic subtlety of Brazilian popular music in a creatively fertile era.
Following the success of the rework releases of Trip To Your Mind by Delfonic, LTJ Xperience, and DJ Friction, the time has finally come to reissue the original mixes of this essential and still highly sought-after Disco Funk classic.
Both the original Hithouse Mix and the re-mix by Chris Hill & Robbie Vincent were released in 1979. However, newly uncovered evidence has revealed that the track was actually recorded much earlier. After extensive research, including the rediscovery of Reginald Hudson's original flight ticket dated September 7, 1976, from Los Angeles to London, proof has emerged that the recording sessions took place in late 1976.
Due to unfortunate circumstances, the track remained shelved for several years and did not see release until 1979. By that time, the original backing band, Body Heat-a group of U.S. Army musicians stationed in Germany-had already disbanded. As a result, the record was released under the project name Hudson People.
Reg Hudson has since shared additional photographs and previously unknown information, which will be revealed in the coming months. To further celebrate the record's legacy, an official music video is currently in production and is scheduled for release this summer, marking the track's 50th anniversary.
As the original master tapes have unfortunately been lost, the audio has been transferred and restored using highest end equipment from the best available sources. In particular, the original Hithouse Mix now sounds better than ever before.
The 12-inch release will be presented in a faithful reproduction of its rare original "Disco 45" sleeve, believed to have been included only with the earliest pressings.
The Story Behind the Record
For decades, Trip To Your Mind was celebrated as a Brit Funk classic, although its true origins remained largely unknown. While the track was recorded at London's Advision Studios, Hudson People were neither a British group nor a London-based project-a fact first brought to light through the official 2022 reissue on Backatcha Records.
In interviews with label owner DJ Scientist, songwriter and producer Reg Hudson revealed that the musicians behind the recording were actually members of Body Heat, a GI band based in Germany. Like Hudson himself, most of the musicians originally came from the Chicago area.
"The band included Tony Palmer on guitar, Herva Middleton on drums and lead vocals, Charles Walker on saxophone, Harvey Perry on trumpet and trombone, and Rickey on bass-a five-man lineup," Hudson recalls.
Recorded in late 1976, the track remained unreleased for several years. By the time it finally appeared in 1979, Body Heat was already on the verge of breaking up, prompting the decision to release it under the Hudson People name.
Since the late 1990s, Trip To Your Mind has been heavily bootlegged, widely compiled, and continuously championed by DJs and collectors worldwide, cementing its reputation as one of the most enduring and in-demand Disco Funk records of its era.
50 year anniversary edition! Recorded in 1976, first released in 1979.
''Boo Williams - Galaxy House EP (Island Life Records) Island Life Records proudly welcomes Chicago house music icon Boo Williams with the Galaxy House EP, a powerful collection that bridges timeless underground house music with fresh contemporary reinterpretations. Leading the release are three original Boo Williams productions: the deep, groove-laden title track ''Galaxy House'', the soulful ''Need Yo Luv Tonite'', and the driving club workout ''House Me Up''--showcasing the unmistakable sound that has made Boo one of Chicago's most respected producers. The EP is completed by a quality selection of remixes. DJ Entropic delivers two contrasting takes on ''Need Yo Luv Tonite'' with a rave-fuelled Hardcore Mix and the darker, hypnotic Skeleton Mix, while Island Life label boss Garry Todd, under his Clouds of Kouros alias, reimagines ''Galaxy House'' with a deep, atmospheric interpretation that perfectly complements the originals. The whole EP blends authentic Chicago house heritage with forward-thinking club energy, the Galaxy House EP is another essential release from Island Life Records crew.''
"ASSEMBLE MUSIC 15 YEARS - Part III : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part III brings together another five artists particularly close to Assemble's musical universe. Lowtec has spent decades developing one of the most distinctive languages in European house and techno, both through his own productions and his own label Workshop. His music shares something fundamental with Assemble, restraint, depth and an unwillingness to follow obvious paths and thats exactly what he delivers with "Dutch Angle" exploring the more ambient and abstract side of house. Welsh modular artist Steevio, co-founder of Freerotation, approaches electronic music through improvisation and live interaction with machines. His contribution to the compilation reflects the human, unpredictable side of electronic music that has always fascinated the label. Reedale Rise returns after becoming an important part of Assemble's recent chapter. Moving naturally between electro, techno and house, his music combines precision with an unmistakable melodic and emotional quality. With his track he explores a slightly darker path here, with deeper, more shadowy melodies revealing a different side of his distinctive sound. Lerosa's "Love Money" and Vera's "Take Me" are two very special tracks in our back catalogue, and we felt it was time to bring them back to life for our 15th anniversary. Vera was one of the first artists to collaborate with Assemble, with Lerosa joining not long after. Over the years, both have become an important part of the label's story, through releases, many shared showcases, and above all, a great friendship that has grown along the way."
Midmorning on a beautiful sunny Sunday in 2011 in the heart of Tokyo, where frenetic and otherworldly Shibuya meets softer, sleeker Aoyama, Portland Oregon-based producer/performer/DJ Conoley Ospovat walked into Seco Bar and was met by a major party in progress. Eddie C was the only person on the lineup, and had already been on the decks for hours. Conoley caught the immense end of the ride, and was then introduced to Eddie by a mutual friend.
A few more encounters in Japan followed, and then the two of them moved to Berlin - arriving nearly simultaneously - where they continued to hang out at gigs and in more casual settings in that fabled and demanding city. Eddie was a source of tips and inspiration for Conoley, and the musical and personal connection was strong.
Fast-forward 10 years, and both are inhabitants of the verdant Pacific Northwest. It is there that their Rain/Sky collaboration was born.
Lindsey Flowers, Conoley's dear friend and long-time collaborator, lends her words and sweet voice on Rain/Sky...
Rain/Sky
Celestial shimmer, liquid light
Falling to nourish and cleanse
Lifted, grounded
Cool green energy and feeling
Between now and then.
Dedicated to Tetsuyoshi 'Sisi' Kisisita
KRONOLOGI 2 is ionnalee’s second mixtape album, collecting twelve alternate versions, demos, live edits and previously unreleased recordings from iamamiwhoami and ionnalee. Originally released as a series of individual singles throughout December 2024, the collection is presented here as a limited physical edition featuring all twelve tracks alongside the accompanying watercolor artworks painted by ionnalee. Limited to 300 copies worldwide, the release is presented as a deluxe double LP on 140g black vinyl, housed in a gatefold sleeve and accompanied by a 12-inch booklet containing all twelve original artworks.
An explorer from Earth is pulled through a malformed black hole and crash-lands on a distant
water-covered planet. Her ship lies in ruins, its systems failing, lights flickering through smoke. Then it
begins to rain.
As water enters the machinery, the opposite of what might be expected occurs. The ship starts to recover.
Its interface reorganises itself into legible glyphs; damaged systems begin to hum back to life; the
surrounding terrain slowly assimilates with its structure. Everything is washed in pastel blues, greens and
purples, and a landscape that should feel entirely alien produces an inexplicable sensation of home.
This is the world NikNak imagines for Azul, an album built around water and our increasing desire to
become more integrated with technology. Yet the relationship she proposes is not one of technological
domination over nature. Here, nature repairs the machine. Water nourishes the human body and its
extensions alike, dissolving the perceived boundary between biological and technological systems. The
cyborg at the centre of Azul is fluid rather than metallic: copper capillaries, nanotechnology and water
circulating through the same body.
Part of this imagined world has a very real source. Much of Azul was developed during a residency at Casa Ilhabela in Brazil, where NikNak collected underwater recordings specifically for the project. These
recordings give the album's fiction a physical foundation: its imagined waters begin with real ones. Field
recordings become material for an environment that is simultaneously otherworldly and rooted in direct
experience.
It is a natural evolution for an artist whose practice has long resisted a single mode of listening. An
award-winning turntablist, composer and improviser, NikNak has built a language around manipulating
sound in real time and treating recorded material as something fluid rather than fixed. On Azul, that instinct expands into more immersive world-building: sound becomes environment, organism and narrative at once.
Following 2024's Ireti, Azul marks NikNak's arrival on Lapsus Records. Beneath its science-fiction
architecture lies a quieter and more personal transformation. Back on Earth, the explorer was afraid of
water. Here, she eventually kneels beside a small rock pool and drinks the rainwater collecting within it. For the first time in a long while, she feels completely at ease. What once inspired fear has become
nourishment; what should feel foreign feels like home.
The feeling doesn't last. The ship's distress beacon was activated when it lost course, and somewhere
beyond the atmosphere its signal has been received. The explorer looks towards the point where she first
tore through the sky and sees another vessel beginning to emerge. For now, she calls this place Azul.
Helene Rikhard had remained a hidden gem in the Norwegian electronic music underground for years, before she fully emerged on the international scene with these two critically acclaimed albums. Her sound is an ingenious mix of psychedelic disco, 80’s wave music, techno, krautrock, ambient and it truly operates in a world of its own. Drawing inspiration from the cosmic disco of Daniele Baldelli, the jazzy depths of Detroit techno and the esoteric dreamscapes of Laraaji, it’s astral music for astral people! Psychedelic to the core, but also warm, adventurous and highly original.
Her debut album Unpredictable Express is a dark, brooding masterpiece combining elements of cosmic disco, electro and techno Everlasting High serves as a beautiful, atmospheric counterpoint to its moody and mysterious predecessor, Feeling like a blissed out, hazy summer day, echoing childhood memories from Helenes youth, in the beautiful southern part of Norway. Everlasting High also sees Helene’s vocals coming more to the front. Mad Girl and Lions Eye are both beautiful, dubbed out synth pop with traces of 80’s synth, shoegaze, and reveals a fine-tuned pop sensibility, with a vocal style that’s sits somewhere between Kate Bush, Enya and Fever Ray.
Both as a producer and DJ, Helene’s style is easily recognized for her bold, genre-blending approach to electronic music. Mixing elements of ambient, techno, and experimental sounds, creating immersive, intricate and psychedelic tracks. Her DJ sets work the same way, blending Italo, High Energy and synth nuggets, effortlessly with strange, modern club sounds.
Gyros Heroes is the latest release from Adlibitum Tum Tunes, showcasing the unmistakable synergy between label curator Kirill Matveev and trusted maestro Nicolas Barnes, a resident artist renowned for his consistently refined and emotive sound.
The EP unfolds as a sophisticated blend of deep- and tech-house aesthetics, designed to uplift, move, and connect. It balances percussive bounce with emotional subtlety, offering a graceful flow that is both club-ready and sonically rich.
A1. Kirill Matveev – Am I Happy With That and A2. Kirill Matveev – Once At Dawn deliver the opening momentum, channeling sleek grooves and playful introspection with polished restraint. These tracks glide effortlessly between warmth and drive—embracing the listener without overwhelming.
On the flip side, B1. Nicolas Barnes & Kirill Matveev – Naar Shada blends the duo’s sonic sensibilities into a mood-driven piece with elegant progression and percussive intricacy. Closing with B2. Nicolas Barnes – Qeezy, the record reaches its emotional high point: a dancefloor-oriented yet soul-touched cut that radiates both sensuality and controlled energy.
Gyros Heroes is a finely tuned experience—bright yet deep, emotive yet precise—crafted for selectors who value atmosphere as much as movement. This is an EP that invites you into its positive orbit, reminding us how expressive and graceful club music can be when shaped by masters of tone and detail.
Adlibitum Tum Tunes is a division of MixCult Records
The roots of Nightlong can be traced back to Havana in early 2008, where a series of recordings captured some of the most compelling contemporary Cuban singers and musicians. These sessions yielded a striking collection of voices, woodwinds, and brass, all imbued with a distinctive warmth and vitality—material that called for a careful and inspired reinterpretation.
That reinterpretation came from Maayan Nidam. With remarkable intuition and precision, she distilled the essence of these performances and reshaped them into a work that feels both organic and forward-looking. Moving beyond her signature dance floor framework, Nidam explores a wider range of rhythms, textures, and tonal depth, crafting an album that unfolds with subtle complexity and emotional resonance.
The result is a fluid and immersive record—one that transforms its source into something entirely new, while preserving its expressive core.
Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.
After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).
The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.
Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.
They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.
Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.
Thanks for waiting - we’re finally taking flight. Over a decade into a career that’s seen her ascend from regional club music ambassador to one of global dance music’s most recognisable figures, UNIIQU3 today announces her debut album, ‘Mass Appeal’.
Trailed by this year’s trio of singles ‘Mile High Club’, ‘Calling My Name’ and ‘Papi’, the album is an international affair that reflects UNIIQU3’s globe-trotting approach to dance music, and toasts the relationships she’s formed along the way. As ever, though, it’s her distinctive vocals and production that tie the album into a cohesive whole.
UNIIQU3 has always enjoyed a close bond with the UK, and that’s reflected here: Samurai Breaks, Sam Binga and Karma Kid contribute production, while the US’s rich club lineage is represented by Spank Rock, Leonce and Cakes Da Killa. Further afield, there are collaborations with Melbourne hit-maker Swick, Franco-Congolese duo Tshegue, Korean vocalist BÉBE YANA and Rio funk fixture Leo Justi on the aptly named ‘Jersey Baile’.
First emerging in the early 2010s, UNIIQU3 quickly became one of Jersey Club’s key names via a flurry of original music, DJ mixes and live shows - picking up support from dance music’s headliners and tastemakers alike. In 2021, she released ‘Microdosing’ and her ‘Heartbeats’ EP, a one-two punch that broke her beyond the club circuit. ‘Microdosing’ was a double first: UNIIQU3’s first record playlisted on mainstream UK radio, and the first Jersey Club track ever long-listed for a Grammy. The campaign saw UNIIQU3’s face everywhere from Times Square billboards to the front cover of DJ Mag, while the music soundtracked fashion shows from Versace and Fenty.
The years since ‘Heartbeats’ have seen UNIIQU3’s status continue to soar: touring with Tinashe, opening for Beyoncé on her Renaissance world tour, going platinum as a co-writer for Chloe and being sampled by Doechii, all while taking club music to new territories through a relentless live schedule. ‘Mass Appeal’ marks the next chapter in this extraordinary story - buckle up.
GERDie Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition.[ENG]The Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.
Die Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition. ENGThe Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.
Der Komponist, Produzent, Musiker und DJ Floating Points, alias Sam Shepherd, präsentiert „Mere Mortals“, seine erste Ballettpartitur in voller Länge. Das Ballett, das von Tamara Rojo, der künstlerischen
Leiterin des San Francisco Ballet, in Auftrag gegeben und inszeniert wurde, mit Choreografie von Aszure
Barton und Bühnenbild sowie visuellen Elementen von Hamill Industries, interpretiert die Geschichte von
Pandora in einer Verschmelzung von Mythos, Musik und Bewegung neu. Das mit dem San Francisco Ballet
Orchestra für die Deutsche Grammophon aufgenommene Album mit 14 Titeln ist eine kraftvolle Mischung
aus elegischen Streichern, apokalyptischen Blechbläsern und pulsierender Elektronik. Von der lyrischen
Solovioline in „Hope“ über die Dissonanzen und die hämmernden Percussions in „Rage of the Gods“ bis
hin zur exquisiten Harfenmelodie in „Her Gift“ vor der unheimlichen Atmosphäre von „Opening of the Jar“
ist die Partitur reich an Textur und Wirkung. Orchesterklänge tauchen aus einem elektronischen Dunst auf
und spiegeln die zentrale Frage des Balletts wider: Wo endet der Mensch und wo beginnt die Maschine?
Regular contributor Vick Lavender returns to Cataleya Music for a Soulful vocal mission with Angel-A. They have previously worked together on songs like Rain for Lavender's Sophisticado Recordings and G.I.R.L. for Phuture Sole Recordings. Here we have Soul Travel (Day & Nite, Nite & Day). This song is in the same vein and features positive vocals from Angel-A over a stylish key driven groove. The vocal is backed by an Instrumental Mix where the key driven melody and complex percussion rhythms take center stage, assisted by star gazing synths. This is another rich composition from Vick Lavender with uplifting lyrics from Angel-A.
Four years after its original release, Mochakk's breakout anthem 'Da Fonk' featuring Joni continues to define a generation of house music. Originally released via Nervous Records in 2022, the record has surpassed 60 million Spotify streams alone, becoming Mochakk's signature track and one of the most recognizable records in modern dance music.
Fronted by fellow Brazilian artist Joni's soulful vocals, "Da Fonk" bridges classic house and contemporary club energy. Its stripped-back bassline and timeless groove have made it a fixture on stages and dancefloors around the world, while also marking a turning point for Mochakk, who has since become one of electronic music's defining artists, widely praised for his vibrant live sets in which "Da Fonk" has remained a staple. To celebrate the track's continued success, Nervous Records releases the 'Da Fonk' Remix Pack today across all streaming platforms, alongside a limited edition three-vinyl release available during Mochakk's long-awaited New York City takeover from August 28, 29 and 30.
Spanning three parts, the remix pack brings together a wide range of artists, each offering a different take on one of house music's most enduring records of recent years.
The first vinyl features Mochakk’s Original Mix and OG Dub of “Da Fonk”, in addition to a new Bass Mix from Marco Carola, whose signature rolling grooves and understated approach bring fresh weight to the original without losing its unmistakable feel. The second vinyl moves across a broad spectrum of club sounds. Australian duo Confidence Man inject their playful, high-energy style into the track, while Berlin's DJ Gigola delivers a sleek, club-focused interpretation. Cinthie, known for her deep-rooted house sound and analogue production style, offers a warm and driving remix, with Brazil’s Bronka rounding out the record on a fresh, contemporary rework. The third vinyl shines a light on Brazil's electronic music scene with an all-Brazilian lineup. Solarce Brothers contribute a soulful reinterpretation that nods to the original's house roots, alongside remixes from DJ Fuzil, Classmatic, and Deekapz & kLap, each bringing their own perspective to one of Brazil's all-time most influential electronic releases on global stages.
Im Herbst 2007 veröffentlichte ein 26-jähriger Produzent aus Köln namens Daso Franke seine 12"-Single auf dem Label ,Spectral Sound" von Ghostly. Auf der A-Seite befand sich ,Meine", ein euphorischer, achtminütiger Höhenflug, der die Tanzflächen weltweit begeisterte. Seitdem ist die Single zu einem regelrechten Klassiker geworden. Anfang dieses Jahres bezeichnete Resident Advisor ,Meine" als einen der besten Songs des Jahrhunderts bis jetzt. Im April 2018 verstarb Franke nach einem langen Kampf gegen den Krebs. Mit der Unterstützung seiner Familie und auf Wunsch der Fans machen wir die ,Meine Idee"-EP wieder verfügbar - in Erinnerung an Dasos musikalisches Vermächtnis. Resident Advisor fährt fort: ,Der Song ist unglaublich positiv, was erklärt, warum er jahrelang ein Favorit in der Panorama Bar war. In den letzten Augenblicken seines Lebens spielten Dasos Freunde ,Meine` über eine Stereoanlage in der Ecke seines Krankenhauszimmers. Es war die einzige Möglichkeit." Daso besaß eine einzigartige Gabe für anmutige Melodien, und die EP ,Meine Idee" fängt einen Moment ein, in dem diese brillant zur Geltung kam. Seine Musik wird weiterleben.
One year on from its launch, Regal's Backspin reaches its 11th release, marking a year of steady growth for the label and an equally prolific period in his own output. Following 'Forgotten Heroes' earlier in 2026, Regal returns with his second Backspin release this year. Across five originals and a remix by Berlin duo Disguised, he explores a more groove-driven side of his sound, bringing together unconventional synth design and entrancing melodies with the ferocious club energy that has become central to it.
The A-side opens with 'Red Dress', immediately establishing the EP's unique presence through a menacing synth that commands attention. An addictive horn-like motif repeats throughout, seemingly resonating through a vast, tunnel-like space, while a roaring low end and subtle tom groove keep the track moving. 'Leviathan' follows with crunchy, drum-like synth and a drifting tone that gradually build tension, giving the track an imposing aura fitting its title. A strong kick and restrained percussion leave room for its atmosphere to unfold. Closing the side, 'Midnight Rider' puts a highregister melody at the centre, its warped and uncanny quality giving the track an irresistible character. A rolling bassline drives things along while minimal percussion lets the melody lead, sending the A-side out on a final rush of energy. The B-side begins with 'Claut', where reverberating and dissonant synth lines introduce a more mysterious mood. A solid low end keeps the track grounded, while sparse percussion, echoing chord hits and carefully placed effects build an unpredictable groove. 'Just One Chance' centers on a repeating sine tone whose captivating pull carries the track, locking in alongside a strong kick, rumbling sub and rolling tom groove. An unexpected vocal introduces a message of love, lending an uplifting flavor before becoming another rhythmic and textural element. The EP closes with Disguised's interpretation of 'Red Dress'. The Berlin duo strip the original back into a more loop-driven form, reducing its melody to selected fragments that surface as scattered percussive details. A chugging synth takes centre stage, driven by a striking kick and deep sub, while spoken vocal fragments and stray effects keep the arrangement in constant motion and retain the original's intensity.
Designed with the colder months and club environments in mind, the EP balances atmospheric textures and unusual sound design with a more rolling energy. The drums keep everything rooted in club music, letting Regal explore more adventurous territory without losing sight of thedancefloor and marking another milestone for him and Backspin.
Celebrating 30 years since ‘Buena Vista Social Club’ was released, this classic will be made available on limited edition pearl vinyl and features the remastered audio and bonus tracks released as part of the album’s 25th Anniversary in 2021.
Masterminded by the trio of Cuban bandleader Juan de Marcos González, American producer and guitarist Ry Cooder, and British producer and label owner Nick Gold, 'Buena Vista Social Club’ is both the name given to this extraordinary group of musicians and the album they recorded in just seven days in 1996 in Havana’s 1950s vintage EGREM studios. It was clear from the atmosphere of the recording sessions that something very special was taking place. However, no one could have predicted that Buena Vista Social Club would become a worldwide phenomenon – awarded a Grammy in 1997 and, at over 8 million copies, outselling any other record in the same genre.
The acclaim of the original album elevated the artists (including Ibrahim Ferrer, Rubén González, Eliades Ochoa, Compay Segundo and Omara Portuondo) to superstar status, inspired an award-winning film by Wim Wenders, a Tony Award-Winning Broadway Musical and contributed to popularising Cuba’s rich musical heritage. Produced by Ry Cooder and Executive Produced by Nick Gold for World Circuit, the timeless quality of the music and the sheer verve of the veteran performers have ensured that this album will go down as one of the landmark recordings of the 20th century.
"Lofi Girl x Secret Lair: beats to cast to" brings two worlds together, matching the distinct rhythm of Magic: The Gathering and soothing lofi study music. Soft card shuffles, land taps, and double-sleeved ASMR blend naturally into warm, lofi beats engineered for deep focus. Smooth down the tension of a complex stack, keep your heart rate cool during a tough topdeck, and let every turn flow naturally.
Join Lofi Girl's dad as he shares his passion with his daughter, letting her peek into the art of deck building one card at a time.
Continuing with the next installment Len Faki's Hardspace series, he breathes new life into four distinct tracks, re-imagining them through the signature Hardspace lens: heavy, thumping, and relentlessly propulsive. Spanning decades of sound, these reworks bridge the gap between nostalgic grit and future-facing intensity, proving once again that a strong is often the most effective tool in the bag.
DJ Sneak's 2009 cut Acido sits perfectly between acid-house and techno-leaning aesthetics-a natural fit for a Hardspace edit that amplifies its jacking, loopy groove. Staying closer to techno's roots is Like A Tim's warehouse classic Rashness; here, Faki channels the raw, frantic energy of the original, proving how nuanced changes can generate a completely different, captivating energy as he reshapes the track's dynamic impact and tightens the low-end.
The B-side takes two contemporary cuts further into the red: the Snuff Crew edit ramps up the intensity, stripping back Where's The Bad? to a singular, hypnotic loop for peak-time impact. Finally, Umfang's Complete Your Collection undergoes quite the transformation, adding layered, rhythmic complexity and shifting bass weight to create a trippy but floor-focused drive.
Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.
The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.
In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.
At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”
Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.
The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.
In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.
At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”
Cardinal & Nun is back on L.I.E.S. with a new 12 track double lp "SCARS"
Here we get the French artist in top form going full on heads down darkwave on this record with his song writing taking a new twist. These are catchy gothic almost synth-pop arranged tracks reminiscent of some of Sheffield's and Manchester's finest, and driving enough to move the floor peaktime at the Batcave as well. Head right to the b-side for "It Doesn't Change The World" featuring Andrew Clinco, of Drab Majesty, which is a perfect slice of down trodden bass driven shoegaze with Clinco's signature vocals stamped all over it. The title track "Scars" follows, going right into new wave pop territory as well, extremely catchy and moody vocals scattered throughout. A stunning album that works for the desolate days alone whether the moon is up or the sun is going down...beautiful and powerful.
SHORT INFOS
Because Music celebrates the 50th Anniversary of Cerrone's debut album "Love In C Minor (Cerrone I)" .
A record which is one of the mots important of its time. It brought French Disco to the World and established Cerrone as the French King of Disco.
- Pressed in exclusive 2026 Apple Green Crystal Clear vinyl
- Original 1976 artwork - Digitally remastered from original tapes.
BIOG
Cerrone I
Love in C Minor (1976)
The story behind Cerrone's first album could be summarised in the libertarian atmosphere and the creative energy of the 70s, inherited from the 60s revolutions, spiritual, aesthetic or sexual. Looking back now, this record is one of the most important of its time. It helped creating the sound of an era and brought French disco to the world. It is also, and this is fundamental to understand its success, the result of a man's vision: Marc Cerrone, a free spirit inhabited by music, who ended up with a major work of art. With this album, Cerrone accumulated the main elements that make a record timeless, even bigger than its creator: the pure originality, the madness of a vision without compromise, a sense of the market and a great dose of luck too. To some extent, this is the perfect record to start a career, even though Cerrone's one already existed in an implicit way. He actually began in a rather popular band, Kongas, signed by Barclay. Between 1972 and 1974, the band was famous and made it abroad, particularly in Japan, where people loved its sound. Despite this success, probably fed up with the music and not ready to follow the orders of a label that wanted the band to sound more pop, Cerrone disbanded Kongas. He had the sound of his instrument in mind and mostly its central element: the bass drum. The idea of this first solo album came to him after a detour via selling records. Wishing to forget about the studios, he took the head of a small chain of stores, selling records imported from the States. That's when he discovered a daring new sound coming from New York: disco music. This energy inspired him to record again. He then remembered the crazy reaction of the audience when, during the Kongas' concerts, he used to hit his bass drum hard. Cerrone felt like going back into the studio but to make something different. He decided to record a sixteen minutes long track, driven by its beat, that would fit on its own on one side of a LP (during these vinyl days, musicians used to think in terms of sides…), with girls' voices simulating sex. This concept of musical and physical orgasm was recorded at Trident Studios in London (where pop stars used to record at the time… ) with Don Ray, of Kongas, man in the shadows and brilliant arranger who'd follow Cerrone during his whole career. Obviously, like always in pop music (it happened to the Beatles), record companies started by turning this weird track down, convinced that radios would never play sixteen minutes of beats and moaning. Cerrone, a born fighter, decided to trust his instinct (a mix of ego and business sense) and chose to believe that if the radios wouldn't play the track, people would dance to it in the clubs. He released the record himself, with a sexy cover a bit provocative where he wore a black bathrobe, a young short-haired girl leaning on him. Being played here and there, thanks to Cerrone's own network, the record started to work a bit in France. But luckily, things really happened in the States. Due to a mistake, a box of "Love In C Minor" albums were sent to the States via Cerrone's record shop instead of some unsold American LPs. Once in New York, the box was opened and the record with its intriguing cover was instantly loved and passed through the hands of radio and club DJs. All of a sudden, and unknown to its creator, the track that was turned down by every French label, became a hit on the New York disco scene. Casablanca, the US disco label, released a cover recorded by an ad hoc band because nobody knew Cerrone of how to find him. Once he discovered what was happening in the States, Cerrone flew to New York. He realised he had a hit, one of the biggest then, that opened the doors to every record company and especially Atlantic. He was welcome by Ahmet Ertegun, one of the main visionaries of the American music who, among other artists, signed Aretha Franklin and John Coltrane. It's believed that Ertegun understood that the French young musician, like some Atlantic artists, was about to define the sound of his time and that his work would live long after its birth date. "Love In C Minor" was the first step, adamant and successful.
London-based Frankfurt export Claus Fuss brings his vibrant creativity to Rant & Rave with the Läuft! EP. Claus’ output includes a whole bunch of solo productions and collaborative projects with OneOneOne and LANDER, as well as co-productions with UK legends such as Zed Bias, Emerald a.o. His analogue-produced cuts have been signed to labels such as Khemia, Crème Organization, Neighbourhood, Heras and Kaizen. With his arrival on Rant & Rave, Claus drops four scintillating examples of rough and ready techno, including a collab with label head MAEDON. The EP kicks off with the title track ‘Läuft!’ (Running! in English), a mesmerising cut with a repetitive vocal snippet that forms part of the main riff. The beats are exquisitely programmed, and Claus keeps that track progressing, shifting and evolving masterfully.
Subtle layers add depth, while the main thrust of ‘Läuft!’ remains potent and captivating throughout. Next up is ‘Schwarze Löcher’ (Black Holes). As the title suggests, this one is dark and deep, sucking you into the sonic void. Elastic kick drums propel this one forward, as a rhythmically peppered, resonance shifting riff rises and falls. Claus gradually ramps up the intensity until we reach a breakdown, where that riff really works its magic. When the drums are reintroduced, it’s a powerful moment. Then we have ‘TopUp’, a lively, upbeat cut with contagious energy. Claus hooks the listener with an irresistible rhythmic structure, the bassline is especially addictive. Fast paced, dynamic drum programming keeps this one moving at a frenetic pace. On the surface it’s deceptively simple, but attentive listeners will pick up on all the details that make this one a compelling listening (and dancing) experience. Finally, we have ‘Zwanzig’ (Twenty), a heady collaboration with Rant & Rave boss MAEDON. This one brings together MAEDON’s earworm melodies and Claus’ penchant for hypnotic grooves. An insistent groove gives this cut a feel of urgency, while a relentless riff and punchy beats aim squarely at mind and body. A masterclass in dance floor engagement and connection.
On En Route, Oddisee captures the tension of motion—between where you’re from and where you’re headed, between ambition and grounding, between survival and purpose. Released at a moment when his voice was sharpening into something unmistakably his own, En Route feels like a checkpoint record: reflective, hungry, and deeply human.
Built on warm, head-nodding production and Oddisee’s signature blend of jazz-inflected beats and conversational clarity, the album balances internal dialogue with outward observation. He raps not as a distant narrator but as someone in the thick of it—touring, questioning, recalibrating—turning everyday moments into quiet revelations. Themes of independence, self-definition, and forward momentum run through the record without ever tipping into cliché; this is movement with intention, not escape.
What makes En Route endure is its honesty. There’s no forced grandeur here, just earned confidence and craft. Oddisee treats growth as a process rather than a destination, letting listeners ride alongside him as the miles stack up. The result is an album that feels lived-in and timeless—music for long drives, late nights, and anyone figuring out who they are while still on the way.
The next WOLF Music EP is here, and once again it comes courtesy of a new addition to the label roster. New York-based DJ and producer DJ Alone Again is a natural fit for what we do at WOLF, delivering a sound that hits that sweet spot where deep meets soulful, with the raw, understated energy of the authentic New York underground running through every track.
With a growing catalogue of original productions and edits, DJ Alone Again has released music through labels including YORE Records, House Salad Music, Dobro, Fantin Zoo Records, and Dealt With Records. His musical roots extend beyond house, too. Earlier work with the band Vain Pursuit, alongside a wealth of SoundCloud mixes and underground edits, reveals an artist with a deep appreciation for melody, songwriting and the emotional side of dance music.
Opening the EP is ‘Freedom of House’, a sublime take on the classic NYC-meets-Chicago deep house sound. Warm, soulful and hypnotic chords sit at the heart of the track, surrounded by intricate, skippy percussion and a deep, driving bassline. Carefully placed female vocal snippets drift in and out of the groove, while a spoken-word ode to the freedom and self-expression that house music offers provides the track with its emotional centre. It’s a celebration of movement, individuality and that unspoken connection forged on the dancefloor.
On the A2, ‘State of Flux’ keeps those warm, evocative chords front and centre, building an infectious groove around an instantly memorable melody courtesy of the vibes. Subtle synth strings add depth and atmosphere, bringing a touch of late-night melancholy to the arrangement, while the rhythm rolls steadily underneath. Everything is expertly layered without ever feeling crowded, giving the chords, melody and percussion room to breathe whilst pulling the listener deeper into the track.
‘Horizontal Patterns’ takes the winning formula of ‘State of Flux’, adding a beautifully understated vocal hook that sums this track up perfectly: deep in the groove.
Closing out the EP is ‘In Your Orbit’, a serene, dream house number with a deeply hypnotic edge. Ethereal flute lines drift through the arrangement, weaving around vocal phrases that seem to lift the consciousness somewhere beyond the dancefloor. There’s a sense of weightlessness and escape in the arrangement, but the dance floor pulse courtesy of the warm chord stabs never lets you float too far away. Dreamy yet deeply rooted, it’s a meeting point between introspection and movement; music to lose yourself in.
If this EP had landed on Guidance 30 years ago, it would probably be changing hands for a small fortune on Discogs by now.
The highly acclaimed U.K post- punk band Joy Division was originally called Warsaw . Formed in Manchester, England in the late 1970s, the group consisted of Ian Curtis on vocals, Bernard Albrecht (aka Sumner, aka Dicken) on guitar, Peter Hook on bass and Stephen Morris on drums. Hook, Albrecht and Curtis hooked up at a local concert and later formed the group Warsaw. The band's name was taken from a David Bowie- Brian Eno composition, "Warszawa". The 5 bonus tracks on this album are demos cut by the group at Pennine Studios in Manchester on July 18, 1977 with Steve Brotherdale on drums. The first eleven tracks presented here were the result of a recording session for that album that took place in early May of 1978. Rehearsals leading up to the session resulted in two new songs being added to the group's existing repertoire: "Interzone" and "Transmission." "Interzone" was based on the backing track of the song "Keep On Keepin' On," to which the band added their own lyrics. The result was a song distinctively their own. "Transmission" was written by the band during the final week of rehearsals. The first verse contains a quotation from Alistair Crowley's The Book Of Thoth. The two recordings are interesting renditions of songs which would later became famous.
Mit "Karaoke Bar" präsentieren Angus & Julia Stone ihr siebtes Studioalbum und schlagen erneut ein spannendes neues Kapitel in ihrer musikalischen Entwicklung auf. Entstanden auf Reisen rund um den Globus, vereint das Album die Eindrücke von Orten, Begegnungen und Momenten zu einer lebendigen, atmosphärischen Songsammlung. Erstmals setzen die Geschwister verstärkt auf elektronische Elemente, die den charakteristischen Sound des Duos erweitern und gleichzeitig die vertraute emotional-intime Klangwelt bewahren. Im Fokus steht dabei eine spürbare Leichtigkeit und Freude, die sich durch das gesamte Album zieht.
Gesanglich agieren Angus und Julia dabei enger denn je: im Wechsel, im Einklang oder harmonisch verwoben verleihen sie jedem Song zusätzliche Tiefe und Ausdruck. Die aufwendige Produktion unterstützt die erzählerische Kraft der Stücke und hebt die jeweilige Stimmung eindrücklich hervor.
"Karaoke Bar" fängt musikalisch wie lyrisch ein Gefühl ein, das zwischen Nostalgie, Melancholie und Gegenwart schwebt – und öffnet den Hörer:innen ein intensives Tor zu einem bewusst erlebten Moment.
Mit "Karaoke Bar" präsentieren Angus & Julia Stone ihr siebtes Studioalbum und schlagen erneut ein spannendes neues Kapitel in ihrer musikalischen Entwicklung auf. Entstanden auf Reisen rund um den Globus, vereint das Album die Eindrücke von Orten, Begegnungen und Momenten zu einer lebendigen, atmosphärischen Songsammlung. Erstmals setzen die Geschwister verstärkt auf elektronische Elemente, die den charakteristischen Sound des Duos erweitern und gleichzeitig die vertraute emotional-intime Klangwelt bewahren. Im Fokus steht dabei eine spürbare Leichtigkeit und Freude, die sich durch das gesamte Album zieht.
Gesanglich agieren Angus und Julia dabei enger denn je: im Wechsel, im Einklang oder harmonisch verwoben verleihen sie jedem Song zusätzliche Tiefe und Ausdruck. Die aufwendige Produktion unterstützt die erzählerische Kraft der Stücke und hebt die jeweilige Stimmung eindrücklich hervor.
"Karaoke Bar" fängt musikalisch wie lyrisch ein Gefühl ein, das zwischen Nostalgie, Melancholie und Gegenwart schwebt – und öffnet den Hörer:innen ein intensives Tor zu einem bewusst erlebten Moment.
"It's not the conclusion he hoped to reach but it's too loud to find an alternative so he'll just stay here for hours on end, yearning and meandering in place" 4 slabs of rather evocative techno music from a producer who doesn't live in Berlin at all, having decided to take some distance, generally speaking.
casa voyager represses a selection of tracks from sought-after early albums by unsung house hero Hanna. jazzy, funky and other-worldly house music with a beating human heart, fitting perfectly casa voyager's feeling and funk crossover trademark sound.
On a class debut for Biscuit’s choice Good Morning Tapes label, Kyoto’s dub specialist G Version III runs signature fusions of digidub steppers, drill, and holographic, minor-key FM synths.
One up on her 12” for Riddim Chango last year (plus the »Scenery From Double Glazing« tape for Digital Sting in ’24), G Version III’s »Chapter II« most finely chisels her lucidly rugged definition of the late ’80s / early ’90s mystic steppers sound. The OG Caribbean spirit is heard filtered through UK dances and shored up in Japan, where G tessellates its salient points with a palette of glassy Japanese synth tones and chamber music to exquisite effect. If Wendy Carlos was a soundgyal?
Across six cuts she builds the dance around digidub x drill waltz »Livin 4« and a haunted dancehall special in the harpsichord/horn riff of »An Idyll«, impressing her prowess in the fusion of subcontinental scales with a drill-tipped skip in »Queen G Theme Chapter II«, and tucking right into an aerodynamic, flying steppers mode, shades away from Element, in »Motherearth Guidance«. At a slower, wider stride her »Higher Grade« goes eyes-down on massive subs, and »Voice of Mystique Warriyah« adapts the classic-schooled sound like TNT Roots in Tokyo.
"La Duquesa", the most tender and most refined piece of the album Amygdala, perfectly casual and serious, deep and euphoric, all at the same time, is dedicated to the Spanish Duquesa de Alba, who, as holder of 46 titles of nobility, is even more highly decorated than Queen Elisabeth. Koze is fascinated by this lady: With her peculiarly creepy appearance she seems like a relic from the past era of the Spanish nobility. She is the most pictured woman in Spain and a pop phenomenon. When, in 2011, she married a man 24 years younger than herself, the entire country badmouthed her. Sometimes Koze would love to be that younger
man, who the Spaniards dismiss as a legacy hunter! Encore the needle is cookin'. Dj Koze did it again. His homage to Audrey Horne. "Burn with me" - a fucked up, deep and schizophrenic brainfoodbouncer with legato bass and hi hats way out of time. The beat burst like shagging, the dirty off hi-hat lashes remorseless in the twatherd - everyone just wants to get laid straight away.
DJ Koze unveils a spiritual and surprising journey into rapturous spheres with Wespennest EP. The visionary artist and master of electronic sound, presents his first own release after 2018's global club hit "Pick Up".
"Candidasa" and "Wespennest" are the result of DJ Kozes inspiring stay in a secluded Benedictine monastery on the enchanting island of Sulawesi. Amidst this idyllic setting, he found the perfect environment to unleash his musical vision. He composed all of the music of "Candidasa" while lying on his stomach, in an act of deepest devotion and self-reflection. In doing so, he fed exclusively on so-called heroin kebabs to immerse himself in a trance-like state of creative flow. The result is a soundscape of unimagined depth and beauty that enchants the senses and transports listeners to another dimension by massively increasing the frequency of flicker fusion.
On "Wespennest” the wonderful Sophia Kennedy takes the stage and breathes a new dimension into the music with her impactful lyrics and vocals. With generous dedication, Sophia has provided exclusive excerpts of her yet unreleased songs, giving this track a radiant psychedelic power. The combination of DJ Kozes musical genius and Sophia Kennedy's glorious vocals creates a club track full of wonderment, opening up a mystical rapturous world for listeners. Already an instant classic of German dance music.
With "Candidasa" and "Wespennest" DJ Koze has once again pushed the boundaries of electronic sounds and created a spiritual journey that touches the soul and frees the mind. This EP is the first harbinger of his highly anticipated new album, which will be released in 2024. The time until the release can be wonderfully bridged with the magical album "Hit Parade", which DJ Koze has produced for the British legend Róisín Murphy and on which we can be carried away into the world of musical brilliance.
Robag Wruhme, working on the material. On the very same piece. And performing two different movements. First, thinking in category Album: who will hear it where? also: mood, position, length. Second, thinking in category Maxisingle: a spinning-tool for the club – another form of another functionality: accelerating the rhythm, lowering the harmonicmelodious, still preserving the nature of the song. And each version should make you HOT for the other!
Nata Alma, a voice loses itself in the infinite, a car brakes, a horse whinnies, the sun scorches relentless. Further, further on, towards the flickering, stoically. Water, flames on the horizon, Fata Morgana, a mirage. »And you might say, we've got no place to go?« - okay? no notokay at all!: Shuffle!
Nata Alma, melancholic Eight-minute-forty. A love song, a wave good-bye: »And you might say, that you need me no more?« sings Sidsel Endresen alongside Bugge Wesseltoft's swells and ebb-aways – metal never sounded so longing; a buzzing swing, a siren call from afar.
Robag Wruhme takes a seat at the organ and plays minor bass notes. He gets up, leaves the room and lays down a dry rock of funk: wooden kick on wooden snare, tight-cut voices, driving hi-hats and shakers, gated synth danglers and percussion loops. Relentless, stoically. »And you might say, that it's over?« – relentless, maybe, but that's how he creates the Further: keep going! dance it off! a new day rising!
And right here. Flip it and keep on moving: Venq Tolep. A summer meadow, grass-stains, a gentle breeze, an early smell of hay. Venq Tolep. Endorphins tickle under the skin. A
percussive spectacle, dance of the insects. Hopping around in flat shoes, the beat is phat and reverberated by a cluster of trees. Stabs on the e-piano set in, picturing the euphoric moment when Loving-feelings walk hand-in-hand with a Hint of Melancholy.
Robag Wruhme, Nata Alma and Venq Tolep - music for dance floors, inside and outside, music for the summer, day and night, and for convertibles on the way there.
