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"Into The Abyss", the new album by Joel Holmes (former band leader of Carl Craig's synthesizer ensemble and member of Grammy-nominated cult band Roy Hargrove) is a perfect capturing of Berlin's new jazz and electronic scene.

"MELODY NELSON STORY 50th anniversary Melody Nelson's story holds a very special place in Serge Gainsbourg's discography. In the aftermath of the global success of Je t'aime moi non plus Serge Gainsbourg, inspired by his new partner, Jane Birkin, decided ""to get down to business."" With the collaboration of a very young musician, Jean-Claude Vannier, he signs an album hailed as one of the most remarkable successes of orchestral pop around the world. Now released as 1LP set.Reviews in R2, London Macadam
Ads R2, and London Macadam"

The Mellophonia label offshoot Fusion Sequence won us over with its well-presented and great-sounding first EP, and now a quick follow-up does the same. This one is another various artists affair that starts with some nice futuristic robot disco from Vanity Project. There is more organic and lush Balearic from Bobby Bricks and Pacific Coliseum follows that spine-tingling Ibiza sunset vibe. On the flip side, there is everything from late-night electronic house to lazy disco via Sorcerer's blissed out 'Just For Love' which would entrance any dance floor. There's as much quality as there is variation on this one, which makes it a useful EP indeed.

Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend. With the release of her debut solo album The Love Invention—an electrifying dance-pop suite—her multi-faceted musicianship reaches a new peak.

The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal from Alison. The sense of uninhibited liberation courses through album highlights like “In Electric Blue,” a yearning synth-pop confection with a chorus as blissful as love’s first butterflies. On “Never Stop,” she is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat; the sublime synth-pop of “Fever” is an ode to the intoxicating majesty of the dancefloor, with a chorus that explodes as if setting off a glitter cannon.

The classy sounds of Detroit label MotorCity Wine will get any house head hot under the collar. For their latest serving, they turn to DCTL about which we know next to nothing but are already big fans off the back of this one. The smoky deep beats of 'Deep Tannin' (feat Rafael Leafar) kick off with a classic vocal sample drifting up top to add the soul. 'Refugee' is a slow and purposeful beatdown cut with lovely dusty drums and sustained chords while 'Little Dancer' layers up jazzy off-grid chords with disheveled beats to loose-limbed effect. '2 Bottles' is a loungey trip-hop closer with vibes to spare.

Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)

"Yves Tumor redefines Rock Stardom." - The New York Times

"Tumor's idiosyncratic and even intimidating aesthetic choices are precisely what gives the work its glowing modernity." - The Nation

"The quintessential performer, Tumor exudes Prince's androgyny flare, D’Angelo’s tender masculinity, Iggy Pop's freakazoid mania, and Grace Jones' magnetic mystique." - The Austin Chronicle

Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)

"Yves Tumor redefines Rock Stardom." - The New York Times

"Tumor's idiosyncratic and even intimidating aesthetic choices are precisely what gives the work its glowing modernity." - The Nation

"The quintessential performer, Tumor exudes Prince's androgyny flare, D’Angelo’s tender masculinity, Iggy Pop's freakazoid mania, and Grace Jones' magnetic mystique." - The Austin Chronicle

Yellow Vinyl

Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)

"Yves Tumor redefines Rock Stardom." - The New York Times

"Tumor's idiosyncratic and even intimidating aesthetic choices are precisely what gives the work its glowing modernity." - The Nation

"The quintessential performer, Tumor exudes Prince's androgyny flare, D’Angelo’s tender masculinity, Iggy Pop's freakazoid mania, and Grace Jones' magnetic mystique." - The Austin Chronicle

LTD ORANGE COLORED

Das Debütalbum des Queer-Alt-Rock-Duos Arxx aus Brighton enthält neben den Singles 'Call Me Crazy' ft. Pillow Queens und 'Couldn't Help Myself' (bbc Radio 1 Introducing Track of the Week) auch die neueste Auskopplung 'The Last Time', produziert von Steve Ansell (Blood Red Shoes) produziert und gemastert von Katie Tavini (Arlo Parks). Der Song, ein ansteckendes Paket bittersüßer Emotionen, hüllt den Hörer in eine einfühlsame Decke aus kathartischer und doch ambivalenter Post-Herzschmerz-Wärme ein, indem es mit lyrischen Dissonanzen spielt und Gefühle von Niedergeschlagenheit, Selbstmitleid und Akzeptanz gegenüberstellt.

Hot on the heels of dropping a double LP's worth of downtempo shenanigans for Fresh 86, Coco Bryce serves up another full length album, this time for his own Myor imprint.

Computer Love sees the bpm's being turned up a notch again, mainly operating within the 160 realm, whilst taking the occasional side street into UKG and breakbeat house.

Although the jungle and D&B vibes are still clearly present on tunes such as House Music and the previously released singles Night Safari and Trust Issues, Coco opts for slightly more off-kilter and genre-defying drum programming on the album's title track and the pleasantly subdued Eye New.

All in all the rhythmic, and stylistic, diversity on display here makes for an album equally suited for dancefloors and home listening alike.

Moogroove is a self unit of Japanese house music producer “Kenji Eto”.

This release was originally released in 1994 on Mo rhythm records.

It’s a first class 90’s deep house and it’s quite hard to find out the original copy.

Enjoy!

The Supremes A’ Go-Go marked the
group’s first number one pop album. It is
presented here in its rarely heard Mono
mix, which according to many reviews has
more punch and immediacy than the Stereo
version. Various compilations had skimmed
the most familiar songs off of other Supremes’
albums, but the concept behind Supremes A’
Go-Go was to get the group to cover some of
the top hits of other (mostly Motown) acts. As
a result, every song on the album was familiar
in name, and only “You Can’t Hurry Love” was
culled for any hits packages. A number one
album on the pop and R&B charts, Supremes
A’ Go-Go also benefited from the fact that the
album didn’t include any pop standards or
slow ballads, just solid R&B dance numbers. It
was the first LP by an all-female group to reach
number-one on the Billboard 200 album charts
in the United States. The LP contains two of the
Supremes’ top ten Billboard Hot 100 singles:
the #9 hit “Love Is Like an Itching in My Heart”
and the #1 hit “You Can’t Hurry Love”. 180-
gram VIRGIN VINYL LIMITED EDITION.

"Kicking off another chapter, The Album marks Jonas Brothers’ first body of work since 2019’s Platinum-Certified Happiness Begins, which debuted at #1 on the Billboard 200 and spawned the GRAMMY® Award-nominated, 5x-Platinum, Billboard Hot 100 #1 smash hit “Sucker.” Jonas Brothers notably wrote and recorded The Album with sonic visionary artist Jon Bellion Justin Bieber, Maroon 5, Halsey.
With Bellion at the helm, together, they unlocked the next level for the band, embracing formative influences and igniting their sound from every angle. They delivered an unpredictable, undeniable, and unstoppable record uplifted by their inimitable chemistry and endless creativity. This is The Album. This is Jonas Brothers in 2023."

An unmissable pairing of Texan-born soul queens! Ruby Wilson was Memphis based for most of her life whilst Emily spent her formative years in Houston before relocating to Stockton, CA, to raise her family. Both were signed to Malaco Records in Jackson, MS, where these two timeless example of Southern Soul were recorded nearly 30 years apart and now appear on 7” vinyl for the first time.
Ruby Wilson first came to our attention in the mid-70s with two singles on T.K. subsidiary Glades, with Number One In Your Heart and the funkier Sky High both still sounding good today. She signed to Malaco during their most fruitful period, and her self-titled album in 1981, from which this classy below-midpaced selection comes, despite being a typically polished affair never reached the highs with the label that Jewel Bass, Fern Kinney, and of course Dorothy Moore had set over the previous few years. It remained her only outing with them, but she went on to make a further three albums in the late 80s with the Hot Cotton Jazz Band, one with the Climax Jazz Band, and finally back on her own A Song For You (2000 Cadre Ent.) and Show You A Good Time (2005 Unkut Music). She became an accomplished actress and was also known as the Queen Of Beale Street for her many club performances in Memphis. Sadly, Ruby died in 2016, but hopefully this release on Jai Alai will help us remember what a talent she really was.
Not only is Emily David an extraordinary talent, she is a remarkable woman too. Her only album Queen Emily was a direct result of her finishing as a semi-finalist of America’s Got Talent in 2008 at the tender age of 40. She was no stranger to talent shows having won a Sammy Davis Jr award in 1999, but back then, as a single-mother decided to put her singing career on hold to bring up her two daughters. One day her troubled sister arrived to stay but left without taking her two boys with her, so Emily felt she had to bring up her nephews as well. Her dreams of a musical career had evaporated but years later her daughters encouraged her to try once again.
It was almost a year after America’s Got Talent that Malaco boss Tommy Couch Jr. called out of the blue and offered her a contract without meeting her. As Queen Emily, a digital 4-track EP was released in the US, but her eponymous CD album, bizarrely released by Malaco in the UK before the US, is one of the best examples of 21st century Southern Soul, steeped with the label’s trademark live instrumentation by the Muscle Shoals Horns Rhythm Section and contains a number of polished standards such as Use Me, Angel In Your Arms, I Betcha Didn’t Know That and Going Crazy. However, it is the George Jackson-penned ballad Throw Away Me that really stands out and deservedly received critical acclaim in the UK at the time. It now gets a very welcome vinyl debut on Jai Alai and makes for a fabulous pairing.

2026 Repress

Originally released in 2007 on CD and now re-released on double vinyl. "Heimische Gefilde" was the second full-length release on Traum at that time from Westerwald based DJ, producer and park ranger, Dominik Eulberg. Dominik has since then expended his activities enormously now appearing as a book author with best selling books in the German official bestseller list. He ist he ambassador of the most popular Conservation Union in Germany NABU, he has created a bird quartet and a hand made insect hotel and appears on national German TV regularly next playing in clubs world wide and producing stunning music. "Heimische Gefilde" includes spoken words by the man himself and the release won the price of the German critic awards for music. It is the only compilation that comprises a selection of Dominik Eulberg’s best early works and it is for the first time available on vinyl now.

As Dominik Eulberg says in his own words: „After more than 16 years, "Heimische Gefilde" is finally released on vinyl. At that time it was still a daring experiment to combine music with lustful science communication. Quickly one was thrown into the pot of the "weird eco-techno sound owl". Today, we are increasingly finding that we cannot stop the impending ecocide in a cognitive way. For more than 60 years we have known about the concrete threats to humanity from global warming and species extinction; yet nothing changes. Many alarmist efforts fail miserably, red lists grow longer and longer each year, and global temperatures continue to rise unchecked. It is becoming clearer and clearer that we have to reach out to our fellow human beings in a positive emotional way in order to make a difference, because we only protect what we love. Then sentimental minorities become majorities that change something. Art and culture are low-threshold vectors to make things majority-friendly. They are a fertile and valuable breeding ground to sensitize people outside the eco-bubble and to let their environment become a co-environment again. Today my transdisipilnary work is inseparable. I write books, develop games, lecture, make film, and am a visiting scholar at museums. "Heimische Gefilde" was a valuable cornerstone for my creative work, a very intrinsic work to go my very own way.“

We would also like quote here the description of Forced Exposure done at the time when the album was originally recorded and released to keep the authentic feel: „The influence of nature (bird twitters, owl hoots, flowing water, crunching leaves) and other domestic sounds has made his music easy to identify with. „Heimische Gefilde" means "native habitat," and this release takes the concept of his debut a step further and at the same time is a retrospective of his major hits. Tracks like "Die Rotbauchunken vom Tegernsee" and "Björn Borkenkäfer" are included here in unreleased edits that are even stronger than the originals, and as a bonus, previously vinyl-only

Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend. With the release of her debut solo album The Love Invention—an electrifying dance-pop suite—her multi-faceted musicianship reaches a new peak.

The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal from Alison. The sense of uninhibited liberation courses through album highlights like “In Electric Blue,” a yearning synth-pop confection with a chorus as blissful as love’s first butterflies. On “Never Stop,” she is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat; the sublime synth-pop of “Fever” is an ode to the intoxicating majesty of the dancefloor, with a chorus that explodes as if setting off a glitter cannon.

Die Band, die Anfang der 90er die Rave-O-Lution startete, lieferte im Laufe ihrer Karriere Monsterhits, die zumeist zu Klassikern gerieten, die noch heute die Tanzflächen brodeln lassen. Allein ihr weltweit mit Platin überschüttetes Meisterwerk "Fat of the Land" enthielt derer drei. Ihr 15-jähriges Jubiläum feierte die Band um Liam Howlett 2005 mit einer ordentlichen Best-of. Inklusive Hits wie "Firestarter", "Smack My Bitch", "Spitfire" etc.

Volume 7: most iconic reworked, retouched, and edited tracks out from the unique and magic poolside of Pikes hotel (Ibiza). Jazz n palms is the brand commissioned to warm the monthly exclusive Ronnie Scott’s (London) jazz concerts.

Jazz music fused sartorially with Latin, funk, rock, and international sounds to be enjoyed under the palms and the sun of the Mediterranean Sea.

Limited one time pressing of 1000. Raising the bar yet again, Night Owls' first single of 2023 lays yet another set of classic soul songs on you, flipped into the band's signature style. On Side A we find The Flamingo's beloved Doo-Wop/soul hit from 1959, "I Only Have Eyes For You," re-imagined to wind your waistline with Night Owls' longtime friend and collaborator - the one-and-only Chris Dowd from Los Angeles' legendary Fishbone on vocals. Known for tunes like "Pouring Rain" and "Everyday Sunshine" Dowd brings his signature soul drenched delivery with a hint of rude boy grit to match the rhythmic and tonal stylings of the group. Wanting to take things to the next level, producer Dan Ubick called in veteran underground Jamaican legend Tippa Lee (Stones Throw, Dub Club, Jammy's, Greensleeves, etc.) to sprinkle his magic rasta dust on top and deejay/toast on the track and the results are burning hot.
But wait, that's not all!! On Side B we find the beloved beat diggers classic "Live And Let Live," originally performed by Jimmy Jones in 1970 on Deke Records out of Chicago. For the Fender Rhodes-driven reggaefied version here, Night Owls roped in another longtime friend - Los Angeles kingpin and mover ’n' shaker, "Music Man" Miles Tackett to add his soulful vocals to the track and it's as buttery as cornbread from Cracker Barrel! Tackett is the mastermind behind globe-trotting funk/soul collective Breakestra (of which Night Owl Dan Ubick was a member) and legendary weekly L.A. dance parties like Funky Sole, Root Down and The Breaks. This side also includes Destani Wolf, who many will remember was featured on Night Owls’ version of “Let’s Stay Together”, providing the beautiful ‘verbed out backing vocals

Nu Groove delivers another sublime 12” with Stefan Braatz & Virgo Four and Rheji Burrell in the hot seat. Kicking off the A-Side with ‘Everyman Jack’, a melting pot of Stefan Braatz & Virgo Four’s disparate influences, European techno toughness merges with warm house rhythms on the original, while the stripped-back Rough Dub takes a more minimal approach for the deepest recesses of the dancefloor. On the flip, Nu Groove OG Rheji Burrell opens with ‘XTC’, unmistakably Burrell in its composition with an irresistible 4/4 groove and R&B style vocal. The sunshine soundscapes and sugar-sweet keys of ‘Gimme Ya Luv’ close out the EP, with all the nostalgia and lovesickness of a 90’s NY classic.

Without a doubt, Kiriku is the hottest upcoming producer of contemporary Balearic Beat music of this year.
Kiriku lives between London and Ibiza, two poles which are well audible in his versatile style, ranging from
groovy Downtempo to clubby House. Uplifting Balearic atmospheres meet jazzy club vibes, featuring loose
drum programming, jazzy chords, bouncy basses, laid back vocals and sophisticated sampling. From song
structures to straight up club track, his tunes always combine electronic and acoustic instruments, which
results in a throughout warm and organic feel.

His new EP for The Magic Movement is co-produced and mixed by The Magic Movement' label head
honcho Noema, who gave "Washingtonia" an extended balearic club treatment. If you liked Dj Gregory's
"Elle" back in the days, this will be right up your alley. "Santa Rita" features the vocalists Monblume , Yalisaxx on Saxophone and comes with an bouncy uptempo club version of Brazil' own Kurup. "Jacaranda" features Hallyx on Vocals and is accompanied by a remix by no one else then legendary Balearic Beat DJ, poducer and label owner Chris Coco, who gave the track a dubby and extended chill-out sunset-sound treatment. Smell the sea, and feel the sky. Let your soul and spirit fly!

Following the success of the Emotive Response trilogy, 9300 Records brings another Belgian retro trance infused 4-tracker by new signing After Club. Raw analog pounding tracks that bring back the melodies and sounds that defined a generation of party goers in Belgium's 90's club scene. Hot!!!

After the success of their debut album Too Hot To Handle, the funk/disco band Heatwave followed up with Central Heating in 1977. The album was produced by Barry Blue and was the final performance of Rod Temperton as an official member of Heatwave, who later wrote several hit singles for Michael Jackson. Central Heating features the tracks “The Groove Line”, “Mind Blowing Decisions” and “The Star Of A Story”, which remain popular tracks to this day. The latter was also sampled by A Tribe Called Quest amongst others.

OVERVIEW: Engelwood, or Matt Engels, is a viral 24 year-old future funk, lo-fi, hip-hip and electronic music producer from Brooklyn, NY. Drawing on influences from producers like Flamingosis and Vanilla, as well as Japanese Funk and Soul music, Engelwood’s music could best be described as the soundtrack to your trip to the beach. The blends of funk, soul and tropical music, together, creates a unique fusion of sounds you can relax or dance to. Engelwood is also known for his productions for Dillon Francis, bbno$, Cuco, sophie meiers, Mia Gladstone, and Yung Gravy’s biggest hits such as “Knockout” and “Yung Gravity.”

F# A# ∞ was recorded at the original Hotel2Tango in spring 1997 on a rented 16-track tape deck and supplemented with various field recordings. In the preceding year, the band had taken shape as a quasi-orchestral outfit involving most of the players that would go on to make three more records and tour the world many times. This is the first recorded document of Godspeed as a large band and is soaring, fragile, awkward, heartbreaking stuff. Constellation released a vinyl-only pressing of 500 copies in August 1997, with LP jackets hand made by the label, the band, and various local artisans. It has since gone through dozens of re-presses, with virtually all of the original packaging elements preserved. The opening monologue on Side One ("Dead Flag Blues") is taken from Incomplete Movie About Jail, an unfinished film by Efrim.

Lost in the depths of space, AAKAARA takes listeners on a journey to the outer limits of the sonic universe with their latest album “Obsidian Promises”. Blending influences from punk and metal, EBM, architectural design and certain celestial objects, AAKAARA offers a fresh take on industrial techno.

This body of work is dark and brooding, full of haunting and thought-provoking soundscapes. Metallic and cold one moment, blisteringly hot the next. Pounding drums create searing rhythms, acid-drenched synths weave abrasive textures, and noise permeates the stereo field. Inspired by the mysterious and alluring world of black holes, the producer explores the beauty of extremes through sound. “If you know my work or me,” AAKAARA says, “it’s no secret that I have a spiritual connection to, and an obsession with, black holes.

It’s not about doom and gloom, but about beautiful extremes: infinite calmness, ultra-high energy, being deeply centered, and inevitable attraction.” “I try to sonify this in a naive sense. It isn’t an attempt at science; it’s a way for me to practice a makeshift spirituality about these entities through craft and functional dance music for people.”

Spirituality and stellar inspiration were essential to AAKAARA’s life during the three years they spent between Los Angeles and London, while writing this album. It provided a sonic home during a period of transition, when they didn’t feel at home and didn’t have access to a studio.

Everything was made “in the box” using only Ableton 10. After collecting guitar pedals and amplifiers for years, AAKAARA has shifted away from a hardware-focused mindset and is now more invested in the conceptual framework, narrative, and cultural implications of their work. Visuals also play an integral role in this maximalist experience.

The outer sleeve (front and back cover) conveys the “big ideas” visually, while the companion poster includes custom typography, detailed drawings, symbol design, and poetry. The poetry provides a textual counterpoint to the lyric-less music, written in parallel but later stages of the production process. The visual identity of this work is inseparable from the music, describing it in an integral way. It’s the other side of the coin, not simply an accompaniment. With its spiritual connection to the infinite and mysterious, “Obsidian Promises” harnesses the beauty and intensity of celestial entities as musical inspiration, transforming the science into mystical, narrative-driven sonic experience. Get ready for a ride through the unknown as AAKAARA’s latest offering takes you on a high-energy trip through the black hole’s playground.

London’s own Trev appeared on our first release, Body Music Vol 1, as well as other key releases on CoOp Presents and Local Talk. We’ve been fans from the start and, after Trev joined the family, his music went from strength to strength. It was already out-of-this-world production, with serious attention to detail, and this EP is nothing short of excellent! He told us 'there’s no hiding that this EP is, in essence, a long love letter to Brazil', but that it’s also written to 'Iran, London, Lisbon, Japan, probably more - too many to remember!'. Trev described his process as 'listening, learning, combining my favourite elements of all this music that has brought me so much joy over the years'. Right on!

This EP is fresh, different and sonically on point. It’s Bruk, it’s Brazilian, it’s Bass, it’s… all-round-really-good dance music! Trev is a real modern musician, an awesome keys player as well as a producer. He understands the importance of musicality and originality, together with weighty beats and bass, working just as well on the dance floor as they do at a house party… or dinner party, for that matter!

'Nightjar', the title track, draws you in with hypnotic plucks like crickets on a hot summer’s night. Eerie pads float in building tension before the beat drops - Pandeiro and Caxixi serving broken-beat with the kick - pumping the sonic palette and pumping the dancefloor. Deep sinister chords pulse in and out, percussive melodies bring love from the middle east, and we reach a beautiful jazz-harmony break - then it’s straight back to the body movement - this time letting loose with the cowbells and the shakers. Think Brazil, think Persia, think Jazz, think dance-floor, it’s all in there!

'Late Flip' pulls us into a more ethereal intro, with the Koto and skate sounds laying our dream scene. Morphing out of flutes, modular synth plucks pay tribute to the sounds of Lisbon as we drop - a rolling broken beat punch, playful Rhodes and distant vocal chops ring out with the Koto dripping in warm echoes. A truly amazing composition and arrangement that leaves you wanting more!

'Beijo' is one of our faves on this EP. We’re straight in with a kiss - MWAH! - a classic Baile rhythm gets a warm Bruk embrace. It’s passionate and dark and tells a story as old as history. Get lost in the movements between drums and percussion, in the flutes and cicadas, until the organ bass calls it - time to get moving. This really is Trev’s signature dance floor style. A banger with a naughty-yet-subtle bassline, and its own game of perspective - feel this rhythm in more ways than one. Vocal chops and Tamborim place São Paulo’s influence front and centre.

'Grey' takes us on a dusty House/Bruk journey with filtering chords that grow patiently until the beat drops - getting your feet moving and neck bopping! Burning slow, Trev is playful with the harmony, keeping the fun with a roller of a bassline that pulls it all together. It’s a six-and-a-half-minute rich musical journey that feels more like half that time!?

Complete your Dance Regular Vinyl collection with this absolute killer EP from the one called Trev.

In a scene sometimes too polluted by clout and thirst for instant social media stardom, it's people like Mark Grusane that anchor our minds in truth, a north star that won't budge, operating outside and beyond the standards imposed by “the industry”, he is his own industry. The kind of truth and honesty minimal techno could barely dream of delivering, this is it, the culmination of so much understanding and knowledge in music. Not unlike what Mondrian did for the fine arts, so simple but so powerful.

Mark Grusane condenses in sound a feeling for the dancefloor that could never be described in words, and as simple as it may sound, the driving force behind it is the product of a rich scholarship in the underground. In a time where everything has been done and creating a uniqe style of one's own, Mark Grusane achieves it so effortlessly - every single track on this EP can unmistakably only have been produced by Mark Grusane during those off-hours at his Chicago record store, Mr. Peabody.

We hope you understand. For any further inquiries, please direct your calls to the party hotline.

Born from the party of the same name held at Manchester’s storied White Hotel, the increasingly essential Bakk Heia label has consistently put out thrilling 12”s from co-founders schuttle and low-key cult favourit Jorg Kuning since 2019.

Stepping up for the imprint’s sixth release, schuttle brings four tripped-out cuts of contemporary dance music, showcasing his production chops across four stellar tracks, already getting an airing from Ben UFO on the Hessle Audio Rinse FM show, as well as support from Joe Delon, Kiernan Laveaux, Om Unit, K Means, Barker, Pariah & Terry Francis.

“schuttle’s latest offering begins with ‘Shadout’. Fractured celestial voices materialize from a mist of frosted percussion while a merciful kickdrum splutters above the surface, bringing with it the viscous, swampy murk. ‘Souvlaki’ follows with playful impish chatter that stumbles over the moss-covered bassline, whilst cascading snare hits tumble down abandoned wells, a gentle guiding presence through the forest.

‘Swords Dance’ is a 10-minute display of cosmic glory, where conventional momentum is abandoned in favour of complete ecstatic, unbridled chaos. After the dust settles on this fiendish bacchanalia, ‘Junkman’ creeps into the fore. Caustic mire oozes into focus, mist rising sluggishly from the reeds while an elemental pad sweeps across the terrain.”

In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-skool highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the Holy Grail of 70's Ghanian groove. - Peter Moore / Licensed by the bandleaders and songwriters of the album, Joe Wellington and Jagger Botchway.

Das aktuelle Album der US-Alternative Metal Band nun als Deluxe-Vinyl-Pressung erhältlich.

"Hotel Kalifornia" ist das achte Studioalbum des mit Platin ausgezeichneten Quintetts Hollywood Undead . Es stellt eine Gegenüberstellung zwischen Reichen und Armen dar, thematisiert die anhaltende Obdachlosenkrise und die hohen Lebenserhaltungskosten im Heimatstaat der Band, Kalifornien. Im Jahr 2021 nahmen die Jungs in Nashville und Los Angeles mit den Produzenten Erik Ron Panic! At The Disco, Motionless In White, Andrew Migliore [Sueco, Papa Roach] und Drew Fulk [Lil Wayne, Lil Peep] auf. Bei der Arbeit von Angesicht zu Angesicht ließ Hollywood Undead die ungezügelte
Intensität ihrer früheren Werke wieder aufleben, jedoch mit einer Verfeinerung, die nur durch jahrelange harte Arbeit möglich ist.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.