Search:inner soul

Begonia kehrt mit ihrem dritten Album ,Fantasy Life" zurück, das am 24. Oktober 2025 über Birthday Cake Records veröffentlicht wird. Nach dem für den Polaris-Preis nominierten Album ,Powder Blue" und den dazugehörigen EPs vertieft dieses Album ihren genreübergreifenden Ansatz - eine üppige, emotionsgeladene Mischung aus Alternative Pop, Soul, R&B und Trip Hop. Geschrieben unter der Sonne von Los Angeles und aufgenommen im eisigen Winter von Winnipeg, erkundet ,Fantasy Life" das Magische und Alltägliche und umarmt Illusionen, Freude, Herzschmerz und Hoffnung mit ungefilterter Intensität. Die Lead-Single ,So High" Geschrieben unter der Sonne von LA und aufgenommen im eisigen Winter von Winnipeg, erkundet ,Fantasy Life" das Magische und Alltägliche und umarmt Illusionen, Freude, Herzschmerz und Hoffnung mit ungefilterter Intensität. Die Lead-Single ,So High" stellt das emotionale Wechselspiel des Albums vor - verspielt und bekennend, selbstbewusst und unverfälscht. Wie immer steht Begonias unvergleichliche Stimmgewalt im Vordergrund und wechselt innerhalb eines Augenblicks von einem kraftvollen Gesang zu einem intimen Flüstern. In ihren Texten behandelt sie Themen wie psychische Gesundheit, queere Identität, Freundschaft, Selbstwertgefühl und Liebe mit gleichermaßen Klarheit und Chaos. In dreizehn Titeln lässt sie ihre Eigenartigkeit und Weisheit koexistieren und steht voll und ganz zu ihrem Wesen. Mit über 15 Millionen Streams, hochkarätigen Playlists und Presseberichten von CBC, Exclaim!, The Globe & Mail und Line of Best Fit hat sich Begonia als eine der markantesten Popstimmen Kanadas etabliert. Ihre Live-Präsenz ist elektrisierend, und mit Release-Shows in Toronto und New York, einer Headliner-Tournee durch Kanada im Jahr 2026 und einer gemeinsamen Headliner-Tournee mit The Bros. Landreth im Herbst in Großbritannien und der EU ist Fantasy Life bereit, weltweit für Furore zu sorgen.

2025 Repress

“UR wonders” What happens to jazz if combined with the current electronic sound tools used to make Detroit techno now?
What might Jazz sound like if the inspirational pioneers of fusion ie; Return to Forever, Astral Pirates or Weather Report had access to the music production technology available now or in the future?
The artform called Jazz was a unique reflection of “The African American experience here in the United States.Unfortunately by the 90″s it had been compromised by major record companies and made “smoother” for mainstream consumption and more profits.
Born in America’s rural black south Rock & Roll had suffered the same fate years earlier. Original artists eventually replaced by well studied clones and corporate mega profits!! Also happening the original artform of jazz appeared to be caught, processed & throughly EXPLAINED by people who sought to intellectualize “struggle & human emotion” into mere words and then benefit immensely financially by being authorities on the subject.
Hmm sound familiar?

As you watch the current intellectual colonization of the urban inner city African American art forms house music, hip-hop, Jungle & Detroit techno get studied, bent, twisted renamed and turned into EDM profit formulas.

There stands records like Nation 2 Nation that defy these definitions and inspire the next generation of Pioneers who continue the undefined exploration of Jazz like Derek Jamerson, Jon Dixon, Raphael Merriweathers, Desean Jones, Timeline, Galaxy 2 Galaxy, Raphael Statin & Ian Finkelstein. Mother to daughter, Father to son,

Nation 2 Nation a work inspired and that inspired what’s next.

Heavyweight groove from ERP — deep electro pressure with Microcentric on the flip, plus a killer Convextion remix. Pure machine soul for late-night heads.

DJ Feedbacks :


Pariah : amazing
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Ben Sims : Now downloading... will check asap!
Luke Slater : Thanks!
Dave Clarke (white noise radio) : Seismic and well crafted, full support
Peverelist (Livity Sound) : Awesome, thanks!
Tensal (Tensal, Falling Ethicss) : great, Gerard always on point, thx
Call Super (Houndstooth) : thxxxx
Confidential Recipe (Rekids Special Projects) : great ep!
DJ Bone (FURTHER) : The Convextion remix is fire.
Monty Luke (Rekids / Black Catalogue) : solid ep
GiGi FM : <3
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Fantastic EP across the board, amazing stuff!!
Jako Jako (BPitch Control, Tresor) : Schön!
Dan Beaumont (Chapter 10 / NTS) : Brilliant! love the Convextion mix
Satoshi Tomiie (Abstract Architecture) : Next level production and quality. Hats off
MoMa Ready (RAVE UNIT, HAUS of ALTR, Method 808) : great remix
Josh Wink (Ovum) : Usually good and sensual Electro from E.R.P.
Carista : love the remix of convextion
DVS1 : Thanks!
Inland : Ace! the remix is so lush! Thanks
Laurent Garnier : Ohhh whaouuuu - THIS IS SUPERB Full support
Radio Slave (Rekids) : I'm sold... This is great and I really love all the tracks.
Marcel Dettmann : thx
2562 / A Made Up Sound (Delsin, Clone) : The Convextion version is fire! Thanks :)
Bake (All Caps/Rinse FM) : love! <3
Interstellar Funk (Rush Hour) : Sounds great! Thank you
Efdemin (Dial) : Insanely good ep from the master!
Darko Esser / Tripeo (Balans / Clone) : Always good in my book, fantastic record!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Make Electro Great Again!!
Nathan Jonson (Hrdvision) : rad!!!!
Uncertain (RSPX, WRKTRX, Suara) : convextion remix for me
Dj Deep (Deeply Rooted) : super nice release!
ROD / Benny Rodrigues : !!!!!
Surgeon (Dynamic Tension Records) : Great work. Love all tracks. Will play Convexion remix in my DJ sets for sure.
Steffi (Dolly) : simply grea!!!!!!
Kr!z (Token Records) : absolutely fantastic, as always
Phase Fatale (Ostgut Ton, BITE, Hospital Productions, Jealous God) : awesome!
Theo Nasa (Rekids) : WICKED!!!
Kosh (Syncrophone) : Lovely release
Subradeon (Subradeon Records) : interesting stuff! thanks for sending. Convextion rmx is my fav!
Gramrcy (Peach Discs/FTD) : Convextion remix is sick
Stephanie Sykes (Vent) : All tracks are sounding Super nice!!! TY!!! especially feeling Four Alone, so beautifully nostalgic. Cant wait to play!
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : oh yes
Richie Hawtin (M_Nus) : downloaded for r hawtin
Alan Oldham (DJ T-1000) : Super high quality electro, but the Convextion remix is the one I'm more likely to play out. Will support!
Ben UFO (Hessle Audio / Rinse FM) : convextion remix!
Truncate : Dope cuts thanks
Jonas Kopp : Excellent stuff, but this more of the pre-existent material.
The Advent : amazing stuff, digging all the tracks.. 2 - E.R.P - Microsentric my Fav..
Ste Roberts : Absolutely out of order! Anything Gerard touches turns to gold. 10/10
Joris Voorn (Spectrum) : Downloaded, thanx.
Roberto / R.M.K / Fossil Archive (Fossil Archive) : Love this!
Raffaele Attanasio (Axis) : nicee1!!!
DJ Assassin (Recode Records / Cross Section / Connaisseur) : wicked

Shad hat sich eine Karriere als einer der beständigsten und vielseitigsten Hip-Hop-Künstler Kanadas aufgebaut. Seit 2005 erntet er kritischen und kommerziellen Erfolg, gewann den Juno Award für die beste Rap-Aufnahme für sein 2010 erschienenes Album TSOL und wurde fünf Mal für den Polaris Prize nominiert. Aber er ist noch lange nicht am Ziel. Mit seinem siebten Album Start Anew thematisiert Shad unsere kollektive Zurückhaltung, unsere Komfortzone zu verlassen, und greift dabei auf seinen typischen Witz und seine zum Nachdenken anregenden Texte zurück. ,Der Neuanfang, dieses positive, frische neue Leben, ist zum Greifen nah", sagt er. ,Aber oft liegt es auf der anderen Seite eines Risikos oder sogar eines Verlustes." In seiner bewegten Karriere hat sich Shad als Radiomoderator (CBCs ,q"), Fernsehmoderator (die mit dem Peabody- und Emmy-Award ausgezeichnete Netflix-Dokumentarserie ,Hip Hop Evolution"), New-Wave-Sänger-Alter-Ego (Your Boy Tony Braxton) und nun als akademischer Professor an der University of Toronto und Laurier einen Namen gemacht. ist die zentrale Prämisse von Start Anew eine, die Shad selbst von ganzem Herzen angenommen hat und die eine sozialbewusste Trilogie vervollständigt, die 2018 mit A Story About A War und 2021 mit TAO begann. Mit Kollaborationen mit Jon Kabongo, Raz Fresco und Phoenix Pagliacci aus Toronto sowie Chantae Cann aus Atlanta und dem Underground-Urgestein Homeboy Sandman aus Queens, NY, thematisiert Start Anew soziale Ungleichheit und die innere Stärke, um erfolgreich zu sein, sowie Shads charakteristische witzige und perspektivische Lyrik in wichtigen Tracks wie ,Happiness", ,K.I.S.S." und ,Bars and BBQs". " ,Musikalisch hatte ich diesmal das Bedürfnis, etwas zu schaffen, das einfach und angenehm für die Ohren ist und sich gut anhören lässt", sagt Shad. Mit einem musikalischen Ansatz, der an die verspielte Soulfulness seiner frühen Veröffentlichungen erinnert, ist Start Anew erfrischend und unapologetisch direkt und steht im Einklang mit Shads fortwährender Mission, Liebe, Weisheit und Hoffnung zu verbreiten, um persönliche und gesellschaftliche Veränderungen anzuregen.

Die in Chicago geborene Musikerin keiyaA ist bekannt für ihren eigenen Sound-Mix zwischen R&B, Jazz, Elektronik und Soul. Schon ihr Debüt "Forever, Ya Girl" (2020) wurde international gefeiert, von Pitchfork als "Best New Music" ausgezeichnet und in Bestenlisten von The New York Times, Rolling Stone, NPR und The Guardian geführt. Künstler:innen wie Solange, Jay-Z oder Moses Sumney lobten ihre Arbeit. Ihr neues Album "hooke"s law" entstand über fünf Jahre hinweg - in einer Zeit, in der keiyaA zwischen künstlerischem Aufbruch und persönlicher Krise oszillierte. Es ist ein Werk radikaler Selbstbefragung, das Intimität, politische Wut und künstlerische Experimentierfreude verbindet. Klanglich finden sich schillernde Synths mit Videospiel-Anklängen, kaleidoskopische Jazz-Arrangements und fragile R&B-Momente. Emotional pendelt das Album zwischen Zartheit und Widerstand, zwischen der Suche nach innerem Frieden und der Konfrontation mit einer Welt, die queere Schwarze Frauen unsichtbar macht und zugleich überwacht. Songs wie "stupid prizes" oder "get close 2 me" erzählen vom Spannungsfeld zwischen Überleben und Selbstbehauptung, während "think about it what u think" unvermittelt von Sinnlichkeit in politische Anklage kippt. Wie auch in ihrem experimentellen Theaterstück milk thot entwirft keiyaA auf "hooke"s law" Räume, in denen Identität nicht fixiert, sondern ständig neu zusammengesetzt wird. James Baldwin schrieb, die Aufgabe von Künstler:innen sei es, die verborgenen Wahrheiten einer Gesellschaft ans Licht zu bringen. Genau das gelingt keiyaA hier: Sie verwandelt Schmerz in Klang und schenkt uns das Mutigste, was Kunst geben kann - die Freiheit, Widersprüche auszuhalten.

Shad hat sich eine Karriere als einer der beständigsten und vielseitigsten Hip-Hop-Künstler Kanadas aufgebaut. Seit 2005 erntet er kritischen und kommerziellen Erfolg, gewann den Juno Award für die beste Rap-Aufnahme für sein 2010 erschienenes Album TSOL und wurde fünf Mal für den Polaris Prize nominiert. Aber er ist noch lange nicht am Ziel. Mit seinem siebten Album Start Anew thematisiert Shad unsere kollektive Zurückhaltung, unsere Komfortzone zu verlassen, und greift dabei auf seinen typischen Witz und seine zum Nachdenken anregenden Texte zurück. ,Der Neuanfang, dieses positive, frische neue Leben, ist zum Greifen nah", sagt er. ,Aber oft liegt es auf der anderen Seite eines Risikos oder sogar eines Verlustes." In seiner bewegten Karriere hat sich Shad als Radiomoderator (CBCs ,q"), Fernsehmoderator (die mit dem Peabody- und Emmy-Award ausgezeichnete Netflix-Dokumentarserie ,Hip Hop Evolution"), New-Wave-Sänger-Alter-Ego (Your Boy Tony Braxton) und nun als akademischer Professor an der University of Toronto und Laurier einen Namen gemacht. ist die zentrale Prämisse von Start Anew eine, die Shad selbst von ganzem Herzen angenommen hat und die eine sozialbewusste Trilogie vervollständigt, die 2018 mit A Story About A War und 2021 mit TAO begann. Mit Kollaborationen mit Jon Kabongo, Raz Fresco und Phoenix Pagliacci aus Toronto sowie Chantae Cann aus Atlanta und dem Underground-Urgestein Homeboy Sandman aus Queens, NY, thematisiert Start Anew soziale Ungleichheit und die innere Stärke, um erfolgreich zu sein, sowie Shads charakteristische witzige und perspektivische Lyrik in wichtigen Tracks wie ,Happiness", ,K.I.S.S." und ,Bars and BBQs". " ,Musikalisch hatte ich diesmal das Bedürfnis, etwas zu schaffen, das einfach und angenehm für die Ohren ist und sich gut anhören lässt", sagt Shad. Mit einem musikalischen Ansatz, der an die verspielte Soulfulness seiner frühen Veröffentlichungen erinnert, ist Start Anew erfrischend und unapologetisch direkt und steht im Einklang mit Shads fortwährender Mission, Liebe, Weisheit und Hoffnung zu verbreiten, um persönliche und gesellschaftliche Veränderungen anzuregen.

The third and final volume of Classic’s 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label’s tight-knit family of collaborators.

Like the volumes before it, this 2x12” release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic’s earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label’s long-standing commitment to design, artistry, and collectability.

Record One kicks off with a certified Classic family affair. Home & Garden’s ‘Sexuality...He's 2 Young’ features the unmistakable voice of DJ Colette, a staple of Classic’s early era. Included here is JT Donaldson’s Porno Beat Down Remix—a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry.

Brett Johnson’s ‘Jiffy Pop’, from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett’s playful, funk-laced production style. Infectious, weird, and entirely unforgettable.

On the flip, Tiefschwarz’s ‘Acid Soul’ delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut.

Roy Davis Jr. closes Side B with the propulsive ‘About Love’ (Solid Groove Remix)—a tough and driving interpretation by Dave Taylor that’s long been a DJ favourite in the Classic vaults.

Record Two showcases Classic’s more recent sonic evolutions. JT Donaldson’s return to the label in 2019 came with ‘Stay Inside’, a rich and breezy groove featuring the soulful voice of Liv.e. It’s an elegant and understated slice of modern house with timeless appeal.

Then comes Dam Swindle’s funk-charged ‘Hey Mister’. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it’s been lighting up dance floors worldwide since its release.

Luke Solomon’s catalogue on Classic is vast, but ‘Come on Over’, his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp’s passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch.

And to close, a modern masterpiece: Honey Dijon’s ‘Work’ (Extended Mix), taken from her ‘Black Girl Magic’ LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.

To mark three decades of Classic, this special edition double vinyl comes housed in a raw reverse board sleeve, calling back to the very first ‘Season’s’ release on the label. The inner sleeves feature stunning orange and pink GMUND card stock, complete with embossed detailing—a tactile nod to Classic’s design-led legacy and attention to craft.

Volume 1 of the 3-part compilation series dives into Classic’s most cherished moments—spanning both foundational tracks from the label’s early years and key highlights from its post-2011 rebirth.

Record One celebrates some of the first outings of Classic's original era.

It opens with Matthew Herbert’s sought-after 1996 cut ‘Got To Be Movin’—a raw, Chicago-inspired groover that captures the sound of Classic’s roots.

Also featured is the monumental ‘Somewhere Between Distance and the Impossible’ by Chris Nazuka (of Rednail Kidz with Derrick Carter), a 1997 masterpiece steeped in atmosphere and widely regarded as one of the label's most transcendental releases.

Flip to Side B for Blaze’s legendary ‘Lovelee Dae’, remixed into a club ready, ethereal dreamscape by Jon Marsh of The Beloved.

To finish we have Gemini’s hypnotic ‘In My Head’, transformed by prolific remixers on Classic - Freaks (Luke Solomon & Justin Harris) into a dubbed-out vocal trip that oozes character.

Record Two picks up the story with Classic’s reawakening in 2011.

Seven Davis Jr’s ‘The One’ (Live Edit) was the track that caught Luke Solomon’s ear, paving the way for his Friends EP and long-standing connection with the label.

Red Rack’em’s infectious and eccentric ‘Wonky Bassline Disco Banger’ found its perfect home on Classic in 2016, quickly becoming one of the most talked-about records of the year.

Then there’s Eli Escobar’s ‘Happiness Pt. 2’—a rich, emotive standout from his Classic album work, showcasing his skill at blending deep grooves with raw soul.

Rounding out the release is the iconic ‘Play the Game’ by Kenny Hawkes & Louise Carver. A pillar of UK house history, this essential track was reissued in 2019 with a powerful remix from his best buddy’s The Space Children (Luke Solomon, Jonny Rock & Leon Oakey), honouring Kenny’s lasting influence.

Following Volume 1, this second instalment of Classic’s 30th Anniversary series dives even deeper into the label’s visionary, genre-bending catalogue—balancing pioneering remixes, cult favourites, and future classics.

Once again, this 2x12” release is beautifully presented in a raw reverse board sleeve, a tactile nod to Classic’s earliest releases. Inside, are deep teal and green GMUND card stock inner sleeves with embossed detailing elevate the package into a collector’s item worthy of the music it holds.

Record One opens with one of the most revered remixes in house history. Isolee’s ‘Beau Mot Plage’ (Freeform Reform Parts 1 & 2), originally licensed from Germany’s Playhouse and lovingly reworked by Freeform Five’s Anu Pillai with a live ensemble. It’s a sprawling, euphoric journey that helped define Classic’s international reach and is still widely regarded as one of the greatest house records ever pressed.

Up next is Greenskeepers’ off-kilter banger ‘Bang in Your Face?’, showcasing the quirky, ‘G-swing’ sound for which James Curd and his crew became known for during their long-standing relationship with the label.

On the flip, Pépé Bradock’s jaw-dropping rework of Iz & Diz’s ‘Mouth’ takes center stage—a remix composed entirely from human sounds, equal parts sensual and surreal. Universally praised, it’s a masterclass in sonic innovation and remains one of the most acclaimed house remixes of all time.

The side closes with Markus Nikolai’s beloved ‘Bushes’, The First Re-Creation (Version 1.2) by Classic co founder Derrick Carter—a distinctive and maximalist edit that draws out the Latin horns, strings, and quirky vocals, turning a cult hit into a distinctly ‘Classic’ anthem.

Record Two captures Classic’s renewed energy in the 2010s.

Folamour’s ‘Devoted To U’ from his Umami LP is a 10-minute odyssey in groove—warm, progressive, and cinematic, with soaring piano lines and narrative richness.

Then comes Crazy P’s ‘One True Light’, shimmering with spacey textures, cosmic energy, and the deep, effortless groove the band has perfected over decades.

On Side D, we have Girls of the Internet’s lush and emotionally rich ‘When U Go’, blending soulful vocals with clean, spacious production that balances melancholy with movement.

Closing out Volume 2 is Sophie Lloyd’s now iconic ‘Calling Out’, featuring the unstoppable vocal force of Dames Brown. A modern gospel-disco-house anthem, the track glows with raw energy, live instrumentation, and spiritual fire—cementing its place as one of Classic’s defining moments of the last decade.




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

Here to dazzle you by the power of the disco ball, Lack of Afro is your friendly neighbourhood ‘Love Dealer’. Two years on from the funk & soul rebirth of ‘Square One’, powered by the ubiquitous ‘Loving Arms’ featuring Greg Blackman, Lack of Afro aka Adam Gibbons is now close to two decades deep in the game with soundtrack credits galore and online streams doing calculator-busting numbers. With extensive touring taking ‘Love Dealer’ up and down the country this Autumn, Gibbons’ ninth studio album is all for "the thrill of seeing people on a dancefloor, all collectively locked into a track that you've produced - there’s nothing like it!”.


‘Love Dealer’ is the authentic modern disco experience, packing a stacked sole’s worth of club beats full of stardusted sing-alongs, style-outs and French touch-style cool. Despite being “written during one of the longest winters in living memory”, ‘Love Dealer’, featuring some co-production from fellow South Coast dancefloor scholar Flevans (and influenced by producer du jour Barry Can’t Swim), exudes warmth and will make you sweat when its highs take effect.


Entering the scene with the radiance of ‘Make It Shine’ featuring Greg Blackman, washing over the airwaves of BBC 6 Music and Radio 2 and taking up a 10-week residency on the Jazz FM playlist, Gibbons and his crack line-up of discotheque players are your go-to team when you can’t wait for the weekend to begin, as subtle as they are straight down to business. ‘Love Dealer’ offers you nothing but the best in sparkling string symphonies, the hippest guitar licks, samples of those invited beyond the velvet rope and struts soaked in night fever.


Double A-side ‘Walls Start Rockin’ and ‘Heart & Soul’ guide the album’s glamour-and-groove, while ‘Love Saves The Day’ and ‘Plain to See’ dramatically take to the podium in a shimmer of pure peak 70s theatre. ‘Keeping Me Strong’ is the synergy of disco chic and the sound of a global advertising tie-in with Dyson, ahead of Gibbons taking a slightly Moroder/Cerrone-ish detour on ‘Idolising People Like Madlib’. “'Love Dealer' is aimed unequivocally at the dancefloor" says Adam. "As an artist, I wanted to push myself in a slightly new direction - more into the land of disco and a four to the floor sound. 'Love Dealer' is quintessentially an upbeat record, full of joy, optimism and hope for the future”. Seek your inner ‘Love Dealer’, kink your ‘fro and let your funk flag fly.
















n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[BONUS TRACK]

Here to dazzle you by the power of the disco ball, Lack of Afro is your friendly neighbourhood ‘Love Dealer’. Two years on from the funk & soul rebirth of ‘Square One’, powered by the ubiquitous ‘Loving Arms’ featuring Greg Blackman, Lack of Afro aka Adam Gibbons is now close to two decades deep in the game with soundtrack credits galore and online streams doing calculator-busting numbers. With extensive touring taking ‘Love Dealer’ up and down the country this Autumn, Gibbons’ ninth studio album is all for "the thrill of seeing people on a dancefloor, all collectively locked into a track that you've produced - there’s nothing like it!”.


‘Love Dealer’ is the authentic modern disco experience, packing a stacked sole’s worth of club beats full of stardusted sing-alongs, style-outs and French touch-style cool. Despite being “written during one of the longest winters in living memory”, ‘Love Dealer’, featuring some co-production from fellow South Coast dancefloor scholar Flevans (and influenced by producer du jour Barry Can’t Swim), exudes warmth and will make you sweat when its highs take effect.


Entering the scene with the radiance of ‘Make It Shine’ featuring Greg Blackman, washing over the airwaves of BBC 6 Music and Radio 2 and taking up a 10-week residency on the Jazz FM playlist, Gibbons and his crack line-up of discotheque players are your go-to team when you can’t wait for the weekend to begin, as subtle as they are straight down to business. ‘Love Dealer’ offers you nothing but the best in sparkling string symphonies, the hippest guitar licks, samples of those invited beyond the velvet rope and struts soaked in night fever.


Double A-side ‘Walls Start Rockin’ and ‘Heart & Soul’ guide the album’s glamour-and-groove, while ‘Love Saves The Day’ and ‘Plain to See’ dramatically take to the podium in a shimmer of pure peak 70s theatre. ‘Keeping Me Strong’ is the synergy of disco chic and the sound of a global advertising tie-in with Dyson, ahead of Gibbons taking a slightly Moroder/Cerrone-ish detour on ‘Idolising People Like Madlib’. “'Love Dealer' is aimed unequivocally at the dancefloor" says Adam. "As an artist, I wanted to push myself in a slightly new direction - more into the land of disco and a four to the floor sound. 'Love Dealer' is quintessentially an upbeat record, full of joy, optimism and hope for the future”. Seek your inner ‘Love Dealer’, kink your ‘fro and let your funk flag fly.
















n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]

Mit dieser besonderen Jubiläumsausgabe feiern Nathaniel Rateliff & The Night Sweats 10 Jahre ihres
explosiven Debütalbums. Mit den zeitlosen Hits, die ihren kometenhaften Aufstieg einleiteten, darunter
das unaufhaltsame „S.O.B.“, ehrt diese Veröffentlichung den rauen Soul, die Vintage-Grooves und den
kraftvollen Gesang, die Fans auf der ganzen Welt in ihren Bann zogen.
Auf dieser Anniversary Edition kommen elf bisher unveröffentlichte Demos zum Original-Album hinzu.
Dazu ein paar Worte von Nathaniel Rateliff selbst:
”Die Reise eines Songs muss irgendwo beginnen. Lieder können Ideen sein, die jahrelang schlummern.
Manchmal verstecken sie sich in unserem Inneren und es liegt an uns, uns ihnen zu öffnen und ihre melodische Geburt zu begrüßen. Hier sind elf ungehörte Ideen, die vor etwas mehr als zehn Jahren auf meinem
Dachboden entstanden sind. Ich hatte ein Mikrofon, ein zweikanaliges Interface, einen zweikanaligen
Vorverstärker und meinen Laptop. Ich habe diese Werkzeuge damals gerade gut genug genutzt, um die
Ideen in dem Moment einzufangen, in dem sie auftauchten.”
Erleben Sie das Album, das den modernen Soul-Rock neu definierte und eine Band bekannt machte, deren
Musik nach wie vor Herzen und Tanzflächen auf der ganzen Welt bewegt.

Rediscover some of the best Reggae tracks ever made in a double vinyl package.

Featuring : The Wailers – Errol Dunkley – Max Romeo – Horace Andy – Sly & Robbie – Tenor Saw – Chaka Demus & Pliers - Sean Paul – Sister Nancy – Yellowman – The Mighty Diamonds – Lee “Scratch” Perry & The Upsetters

Die Cinematic-Funk-Visionäre The Diasonics liefern mit ihrem neuen Album ,Ornithology", das am 3. Oktober über Record Kicks veröffentlicht wird, ein weiteres solides Set aus östlich angehauchtem Psychedelic, Cinematic und Disco-Funk. Nach ihrem 2022 von der Kritik gefeierten Debütalbum ,Origin of Forms", das von PopMatters zum Library Music Album of the Year gekürt wurde, kehren die in Moskau ansässigen Instrumentalisten The Diasonics mit ,Ornithology" zurück, einem zweiten Album, das ihre klanglichen Grenzen erweitert und gleichzeitig ihrem unverwechselbaren Stil treu bleibt. Aufgenommen in ihrem eigens errichteten Studio 23, das sich in einer umgebauten Lampenfabrik aus der Sowjet-Ära befindet, ist das Album das Ergebnis von zwei Jahren intensiver kreativer Erkundungen und Experimente. Mit ihrer ganz eigenen Mischung aus cineastischem Funk, östlich angehauchten Melodien, instrumentalem Hip-Hop und analogem Soul haben sich The Diasonics einen einzigartigen Platz in der globalen Funkszene geschaffen. ,Ornithology" markiert ein neues Kapitel: Inspiriert von wiederkehrenden Vogelmotiven in ihrer Umgebung, von Zügen und Bahnhöfen bis hin zu lokaler Folklore und den Schreien der Vögel, die über ihrem Studio kreisen, kanalisiert die Platte Ideen von Bewegung und Freiheit, sowohl thematisch als auch musikalisch. ,Das Thema Vögel und Ornithologie ergab sich ganz von selbst - wir fingen einfach an, überall um uns herum vogelähnliche Namen zu bemerken: Züge und Bahnhöfe, Geschäfte, Orte, Nachnamen von Menschen, Bücher und Filme", sagt die Band. "Wir besorgten uns ein paar alte Synthesizer und stimmten die Oszillatoren, während wir den Schreien der Möwen lauschten, die um die Fabrik flogen, in der sich unser Studio befand. Die Ideen von Flug, Freiheit und Raum wurden zentral für die Musik des neuen Albums." Klanglich gehören zu den wesentlichen Merkmalen von Ornithology nicht nur die Synthesizer, sondern auch Diana Grebs hypnotischer Gesang, der sich nahtlos in die Klangpalette einfügt und dem instrumentalen Funk Leben und Seele einhaucht. ,In unserer Vorstellung balancieren wir wie Vögel zwischen der Erde und dem Himmel und haben versucht, unsere eigene musikalische Sprache innerhalb des Konzepts der Ornithologie zu erschaffen, die den Wunsch eines jeden Menschen widerspiegelt, den Vögeln näher zu kommen und frei zu schweben, jenseits von physischen oder mentalen Grenzen." Die 2019 gegründete vierköpfige Band, bestehend aus Daniil Lutsenko (E-Gitarre), Kamil Gazizov (Keyboards), Maksim Brusov (Bass) und Anton Moskvin (Schlagzeug & Perkussion), erlangte durch eine Reihe von begehrten 45er-Scheiben auf Mocambo Records und Funk Night Records schnell Kultstatus. Ihr von der Kritik hochgelobtes Debütalbum Origin of Forms,, das von Henry Jenkins, dem Produzenten der australischen Kultband Surprise Chef, gemischt wurde, erschien 2022 auf Record Kicks und wurde von PopMatters (US) zum Library Music Album" des Jahres und von FIP (Radio France) zum Album des Monats gekürt. Das Vinyl war innerhalb weniger Wochen ausverkauft und ist nun in der internationalen Cinematic-Funk-Szene sehr gefragt. ,Origin of Forms" erhielt begeisterte Kritiken von Zeitschriften wie Wax Poetics, Mojo, Rolling Stone FR, Clash, Uncut und wurde von Jamie Cullum (BBC2), KEXP, Radio France und Huey Morgan, Don Letts, Cerys Matthews und Tom Ravenscroft von BBC 6 Music, um nur einige zu nennen, unterstützt und gespielt. Mit dem neuen Album Ornithology tauchen The Diasonics in üppige Synthesizer, stripped-down Grooves und rohes instrumentales Zusammenspiel ein, schöpfen aus der Library-Musik der 1970er Jahre, sowjetischer Jazz-Fusion und Disco-Funk und liefern eine weitere supersolide Veröffentlichung, die all die Einzigartigkeit bestätigt und vorantreibt, die ,Origin of Forms" so verlockend machte. Unverzichtbar für Fans von Khruangbin, Surprise Chef und instrumentalen Funk-Grooves.

Francois Kevorkian (Wave) : Lovely EP, atmospheric vibes.
Chris Udoh (Various) : Lovely !!!
Lea Lisa (Phonica Records / Folklor Club) : Fred P is a master of deep house. Live Long Love & When in Miami for me.
Will Hofbauer (Third Place, Wisdom Teeth, Rinse) : nice n deep ty!
Radio Slave (Rekids) : The King is back and what an EP ! Full support.
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Lovely vibes on When In Miami and Live Long Love!
Jacques Renault : Nice EP, into When In Miami and The Heights in particular
Danny Howells (Dig Deeper) : Love Fred so much, always the highest quality music with soul. All four are stunners.
Dan Beaumont (Chapter 10 / NTS) : Always brilliant.. deeep! When in Miami for me
DJ Sprinkles (Comatonse) : thank you
Kai Alce (Real Soon) : Live Long Fred P!
Tomoki Tamura (Holic Trax) : pure class, deep house
Raresh (ar:pi:ar) : super! thanks
Laurent Garnier : FRED P alwayssssssssssssssss
Marcel Dettmann : thx
Archie Hamilton (Microhertz / FUSE) : Nice thanks
DVS1 : thanks
Alinka (Twirl, Classic, Crosstown Rebels, Batty Bass) : Beautiful tracks
Pat Hyland (Northside Loft Society) : Fred P is a master of deep. AWEsome EP!
Thor (Thor-Thule Records) : Another great release by the master of Deep House. Full support
Colin Dale : One of my fave producers from way back! Excellent 4 tracker with all the cuts 'hittin' the mark'. Will rotate & support.
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Jaye Ward (Dalston Super Store / Netil Radio) : Syncrophone just continues to churn out the goodness.. love Fred P too. so deep and full of the good soul ace! thx
Ame (Innervisions) : thanks
Domenic Cappello (Subclub) : love this
Greg Gow (Restructured / Transmat / KMS) : cool vibes full support
Jerome Sydenham (Ibadan) : When Miami is the business! Overall nice E.P!
Bill Brewster (NTS) : FRED P RETURNS!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Live Long Love <3

Ryan Silva, known professionally as Plato III, is an American rapper, producer, and songwriter. He is recognized for his introspective lyrics, fusing personal narratives with sharp insights on race, class, and identity. His music blends hip-hop with influences ranging from indie rock to r&b and funk, creating a sound that is both boundary-pushing and deeply rooted in his experiences.

After self-releasing several projects throughout the 2010s, Plato III gained wider attention with his 2022 Polyvinyl debut, The Devil Has Texas, a vivid exploration of his trailer park upbringing in West Texas. On his new album, Grown, Silva pushes his artistry even further, with a more pop-forward approach that showcases his innovative sound and compelling storytelling. Produced by Phillip Odom (Militarie Gun, Say Anything), Grown features Silva’s most mature work to date, examining the weight of responsibility and aging under the strain of capitalism. Musically, the album bridges modern rap with "grown folks music," drawing inspiration from the soul of Al Green and Marvin Gaye to the funk and boogie of Prince and Earth, Wind & Fire. Grown offers a fascinating look at Silva’s reflective inner dialogue, cementing his status as one of contemporary music’s most original voices.

This Town. So lautet der Titel des lang erwarteten Debütalbums der österreichischen Rockband JUSSEL. Auf elf Songs breitet das Quartett mit Sitz in Wien ein Klangspektrum aus, das hörbar in der Soundästhetik der 70er verwurzelt ist. Der Blick ins Innere prägt die Songtexte genauso wie die Rolle des Betrachters unserer Zeit. Mit Elementen des Space-Rock, Singer-Songwriter-Einlagen, Soul, Rock & Roll, ja selbst mit Gospelpassagen bepflügen JUSSEL ihr musikalisches Feld, ohne dabei auf Stilsicherheit und Kohärenz zu vergessen. Während Artwork und Cover die Fragilität unserer Welt veranschaulichen, lassen JUSSEL auf This Town in musikalischer Hinsicht keine Zweifel aufkommen. Diese Band ist gekommen, um zu bleiben.

Für sein treffend betiteltes Solo-Debütalbum "Introducing..." hat Aaron Frazer mit Dan Auerbach von The Black Keys zusammengearbeitet. Soft spoken und mit dem Aussehen eines leicht unzufriedenen Matinee-Idols aus den 1950er Jahren gesegnet, besitzt Frazer eine einzigartige Stimme, die sowohl zeitgemäß als auch zeitlos klingt. Der in Baltimore aufgewachsene, zurzeit in Brooklyn lebende Songwriter wurde als Schlagzeuger und Co-Vokalist von Durand Jones & The Indications bekannt. Jetzt tritt er mit "Introducing..." als Solist hinter dem Drumkit hervor und demonstriert nicht nur seine beeindruckenden stimmlichen Qualitäten, sondern auch sein Können als hochklassiger Songschreiber. Schon die erste Single "Bad News" sorgte für Aufsehen ("a gorgeous piece of vintage R&B" - CLASH), die sich anschließende Lead-Single "Over You" ist inspiriert von elektrisierenden Northern Soul 45s der 60er Jahre. Nur zwei Belege der erfolgreichen Zusammenarbeit zwischen Frazer und Auerbach. Die zwölf Songs auf "Introducing..." verbinden gekonnt den Soul der 70er Jahre mit Dan Auerbachs besonderer Sensibilität für Vintage-Sounds im neuen Gewand. "Introducing..." enthält klassische Message-Songs im Stil von Künstlern wie Gil Scott-Heron sowie motivierende Liebeslieder, die von Disco-, Gospel- und Doo-Wop-Einflüssen durchzogen sind. Das gesamte Album wurde innerhalb nur einer Woche in Auerbachs berühmten Nashville-Studio nach einer schnellen und produktiven Songwriting-Session aufgenommen. Auerbach holte auch den legendären Songwriter und Falsettspezialisten L. Russell Brown (schrieb früher Hits für Frankie Valli von The Four Seasons) an Bord, der den wunderschönen Opener "You Don't Wanna Be My Baby" auf dem Album mitkopmponierte. Für "Introducing..." rekrutierte Frazer eine beeindruckende Schar alteingesessener Session-Musiker aus Nashville. Darunter Mitglieder der legendären Memphis Boys (die in Dusty Springfields "Son of A Preacher Man" und Aretha Franklins "You Make Me Feel Like A Natural Woman" mitspielten), den Perkussionisten Sam Bacco sowie diverse Musiker aus dem Daptone/Big Crown Records-Umfeld.

Makhunik Records Presents: "Withdrawals" - A Bold New Vinyl Release by RAKANS Withdrawals, the highly anticipated follow-up to Emergence EP and Deep State (Midnight Stallion) EP, marks a bold new chapter in RAKANS's ever-evolving sonic journey.

Set for release on I Makhunik Records, Withdrawals explores the tension between desire and detachment, featuring five tracks that blur the lines between electronic, experimental, and club sounds. Available on vinyl, Withdrawals invites listeners to experience the raw and intimate emotions that inspired its creation. Following the success of Emergence EP (Gently Leftfield Techno from a Core Dresden Artist - Resident Advisor/Single Review by Andrew Ryce) and Deep State (Midnight Stallion) EP on Boudica, which gained recognition for their atmospheric intricacies and deep, immersive textures, Withdrawals delves deeper into personal and societal themes, paired with the artist's signature ethereal soundscapes and captivating beats. Each track carries a narrative, from late-night reflection to hedonistic encounters, with a pulsating intensity that mirrors the artist's own process of creative and emotional release. With Withdrawals, RAKANS continues to push boundaries, creating a profound listening experience that resonates both in its melancholy and its intensity.

Description of the Title: The title Withdrawals reflects a state of emotional and mental transition, where one is caught between the craving for connection and the unsettling effects of isolation. It symbolizes the artist's inner turmoil and process of reclaiming personal agency after experiences of burnout and separation. The tracks are an expression of that journey-tracking the highs and lows of life in a world that constantly demands more. Through these melodies, RAKANS has captured the intensity of longing and the aftermath of desire, inviting listeners to confront their own internal conflicts. The narrative is personal yet universally relatable, and the title speaks to the often painful but necessary process of letting go, detoxifying from past habits, and learning to be at peace with oneself. "With Withdrawals, He wanted to channel the emotions that often come from the struggle between desire and self-preservation, between the drive to connect and the need to retreat. he's journey, both as an artist and as an individual, has been filled with moments of intense reflection, self-discovery, and sometimes, disconnection.

These tracks are the culmination of that inner conflict, a raw exploration of what it means to both lose oneself and find a deeper, often painful, form of clarity. Like the music he's created before, the sound of Withdrawals speaks to the space between tension and release, the liminal space where truth is often revealed in its most vulnerable form. He's always believed that music is a mirror to the soul, and in this EP, He's tried to reflect that feeling of being both pulled in and out of something greater. It's a raw and intimate look at the way we navigate modern life, often feeling like we're running toward something that we can't quite reach, yet constantly pulled back into our own personal truths.

This EP is personal, but it's also for anyone who's ever felt caught between two worlds, the one they want and the one they need. I hope it resonates with listeners who are experiencing their own form of withdrawal, whether it's from people, places, or even from themselves.

Jocelyn Brown should need no introduction at this stage, one of the US's most respected vocalists famed for bringing the gospel edge into contemporary R&B and soul music. Brown was the voice behind the celebrated Disco and Boogie outfit Inner Life, whose 1981 self-titled LP you currently hold in your hands in the form of this luxurious reissue.

Cutting 2 LP's for the label in the early 1980's, Inner Life came
strong with club hit after hit, working with the top producers, mixers, arrangers and studios of the day the group were gaining cult status with their records becoming the taste of the dancefloors at the Garage, the Loft, the Warehouse and everywhere and anywhere else in-between! It's no surprise then, that these records are still coveted by music lovers and DJ's today, classic status bestowed upon this most soulful of catalogues.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully repressed across 2x12"s for maximum sonic playback. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Fully authorised and approved by Salsoul Records. Worldwide distribution by Above Board.

Brenda (Hudson Whitlock of Surprise Chef / Karate Boogaloo / The Pro-Teens) presents new album 'Bath Time', a suite of heartbreaking, cinematic indie-soul ballads from the hotbed of Melbourne, Australia.



Brenda encompasses the left-field soul sensibilities for which Whitlock has come to be recognised in cult instrumental groups Surprise Chef, Karate Boogaloo and The Pro-Teens, alongside heartfelt, introspective lyricism delivered in a sincere, delicate falsetto. Stylistically, lines can be drawn to the 1960s sweet soul ballads of The Delfonics, Jean-Claude Vannier's vivid arrangements for Serge Gainsbourg, and, of course, the unmistakable flavour of Melbourne's cinematic soul movement à la other Whitlock exploits Surprise Chef and Karate Boogaloo.



'Bath Time' contains ten entrancingly melancholic ballads that earnestly express Whitlock's dramatic indie-soul sensibilities; encompassing the classically introspective nature of the poetic lyricist and the idiosyncratic use of soulful instrumental arrangements. The songs encompass themes of old romantic habits dying hard, familial rifts and unrequited love.



True to his modest vagabond nature, Whitlock has 'released' six Brenda albums to date, each uploaded exclusively to bandcamp, gladly resigning the music to the underground. Whilst he created theses albums in solitude, playing each instrument himself, 'Bath Time' sees Whitlock relinquishes the isolationism of previous works in favour of including his trusted inner circle of friends and collaborators: Surprise Chef's Lachlan Stuckey and Jethro Curtin on guitar and keyboard respectively, Karate Boogaloo's Darvid Thor on bass, and production from Henry Jenkins (Surprise Chef, Karate Boogaloo, Frollen Music Library).

AVAILABLE IN BLACK ICE WITH ORANGE AND BLUE SPLATTER (COK015WW)

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

Men in Love is a collaborative concept album by Irvine Welsh and The Sci-Fi Soul Orchestra, exploring the complexities of love, relationships, and the human condition. The album blends classic Motown and disco influences with contemporary electronic dance production, creating a unique and powerful sound that is both nostalgic and fresh.

From soaring anthems to intimate ballads, Men in Love takes the listener on a journey through the highs and lows of romance, celebrating the power of connection, vulnerability, and the enduring search for love in a chaotic world.

The album will be released concurrently with Welsh's new novel, also titled Men in Love. The book is a sequel to Welsh's seminal work, Trainspotting, and continues the story of Renton, Sick Boy, Spud, Begbie, and other beloved characters. The album serves as a sonic companion to the novel, with its themes, lyrics, and musical atmosphere reflecting the experience and inner turmoil of its characters. The album also introduces The Sci-Fi Soul Orchestra, a unique musical entity with their own unique music releases in the pipeline

‘Maybe I’m Dreaming’ is the latest collection selected by Mikey Young (Total Control, EddyCurrent Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at AnthologyRecordings), the mangled minds behind the beloved ‘Follow the Sun’, ‘Sad About the Times’,and ‘…Still Sad’ compilations. The twenty tracks of ‘Maybe I’m Dreaming’ make a conscious(and unconscious) detour from its predecessors, sourced entirely from private press releases,spanning new decades and production modes within homespun folk, soft rock and otherwise70s and 80s FM radio adjacent music.  The magic of ‘Maybe I’m Dreaming’ is the untold story of the artists behind these songs; thosewho missed the big time, but whose song craft and unrequited care hit the right notes, bothhigh and low.
Where ‘Follow the Sun’ and ‘Sad About the Times’ introduced us to the fame chasing, ambitioncrashing crooners who missed their shot in the mainstream, ‘Maybe I’m Dreaming’ delvesdeeper into the isolated wilds - a private world where production quirks, late-night tape hiss andone-man studio dreams were not necessarily a choice but the hand that was dealt.
With the parameters set to ‘private press only’, Young and Abrahamsson follow a circuitous trailof invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier andoften a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent andprecious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingeringover even the brightest melodies.
As with their previous collaborations, Young and Abrahamsson weren’t interested inconstructing a museum or drafting a historical survey. ‘Maybe I’m Dreaming’ is a sentimentalmixtape, assembled late at night when the mind wanders and old memories blur with imaginedfutures, those within reach and those far too mysterious to ever encounter. Songs wereunearthed in personal collections, deep YouTube burrows, dilapidated web archives and thedim corners of Discogs, with many selections tied not only to intuition but to personalconnection.  Some tracks arrived via friends - Kelley Stoltz, a frequent guide for Young, tipped him off toboth Peter Kraemer’s lost gem ‘Let the Light Slip’ and Awakening’s revelatory closer - addingan unseen but deeply felt thread of camaraderie to the compilation.
The journey takes in a wide, strange sweep: The Watson Brothers Band’s ‘Just Whistle’ opensthe collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to beheard again. Jim Huxley’s ‘Tessa on a Magazine’, rediscovered after a long and winding searchby Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta’s‘My Story Changes’ and Twice As Nice’s delicate ‘Thoughts of You’ float easily alongside themore buoyant, radio-dream sheen of Barracuda’s ‘Baby I Love You’ and MAK’s sunshinedappled ‘That’s Life’.
Widening the aperture to the late 1970s and early 1980s allows for a deeper exploration intoevolving production techniques and musical technologies. The Squad’s ‘D.L.M.H.I.M.A.’ andChristoph Spendel Group’s ‘Forever’ crackle with the kind of bedroom synth warmth that couldonly come from the analogue age, while the soulful, yearning undercurrent of Awakening’s‘Gotta Do Somethin / Might As Well Cultivate’ caps the collection with a call for action - ormaybe just acceptance - in an accidental Brian Eno ‘Here Come the Warm Jets’ parroting.
While ‘Maybe I’m Dreaming’ moves away from the ‘sad man with guitar’ archetype that hoveredover its predecessors, it remains tethered to a familiar emotional gravity - a balance of longingand lightness that defines this corner of the musical universe. Each track shuffles gentlybetween resignation and hope, sadness and serenity, as if the artists themselves were chasinga dream just beyond reach, recording not for fame but for the simple act of getting it, thatprimal, creative itch, out into the world.
Available on CD and 2LP, featuring the third eye-opening artwork of Dang Wayne Olsen. Thedouble LP set arrives in an outrageous double-wide spine jacket with printed inners and adream journal entry by Pacific Northwest artifactual authority Josh Lewellen.

2025 repress in a new colour variant (Pearl White colour vinyl) with printed innersleeve. The third album proper for "Country-got-Soul"s finest, The Delines, on Decor Records sees them exploring the US Gulf Coast, not far from where Amy Boone grew up. The songs in this cinematic opus all focus around this area and are inspired by when Amy asked Willy Vlautin to write her a song like Tony Joe White"s "Rainy Night In Georgia" after her tragic accident being hit by a car in 2016 and her 3 year recovery. This follows on from 2019"s The Imperial which was number one in the UK official AMA charts for two weeks. Written and partially recorded before lock down the rest of the album was finished last Summer, produced by John Morgan Askew at his Bocce studios just outside of Portland, Oregon.

As part of Ace 50 BGP has hooked up with our old friends at Concord Music to reissue one of the most important albums in our story. In 1987 as the dance jazz scene morphed into acid jazz Billy Hawks ‘Oh Baby (I Believe I’m Losing You)’ was filling the dance floors where either Gilles Peterson or Baz Fe Jazz were playing.

The Prestige Records album, “Heavy Soul!”, that featured the track, was impossible to find, and frustrated DJs were desperately trying to find a copy. BGP - the Ace label that the two DJs helmed - reissued the album and put the in-demand track onto a 12 inch single. With supply sufficient it became a club smash, crossing over to become a mod classic and one of the most important cuts from our scene.

In the ensuing years the track's status has remained undimmed and the album has never turned up in significant numbers, and yet it has never been reissued since. With an attention to detail that has always been the Ace way, we have carefully mastered the record to be as close as possible to the sound of the original Van Gelder mastering of 1967, and created and accurate representation of the album and label cover art.

Hawks never lived to be rediscovered, but through our musical detective work we tracked down his brother and found out as much of his story as feasible and we also unearthed a couple of pictures. The Virginian born organist with the amazing voice was a fixture on the North-Eastern lounge bar circuit, which was the entertainment backbone off Black American music at the time, and his full story is told on the illustrated inner sleeve that comes with this release

While the drama continues and we keep fighting the demons of our daily struggle,.. a man from another place locked himself down in a black lodge, conceiving new material to share with the world. 214 isn't just a number, it's music from an extradimensional place, high up the North Bend mountains. Frequencies coming from a red room, filled with electronic circuitry parallel connected to our inner soul. Lyle At Dawn is Chris Romans third offering for the Frustrated Funk familia. Setting the pace for more to come, as we connect to the Shipwrec multiverse for a full album release to follow shortly after this mind bending EP. You have been warned..

Die queere Singer-Songwriterin jasmine.4.t ist die erste britische Künstlerin, die bei Phoebe Bridgers' Label Saddest Factory unter Vertrag steht. Ihr Debütalbum wurde komplett von Julien Baker, Phoebe Bridgers und Lucy Dacus, auch bekannt als Boygenius, produziert. Jasmine und ihre Band sind nach L.A gereist, um das Album in den Sound City Studios aufzunehmen und haben das innerhalb von 12 Tagen fertiggestellt. Die Songs des Albums entstanden inmitten persönlicher Umbrüche im Jahr 2021: ""I came out as trans to my nearest and dearest. Some did not accept me, but some did." Trotz der schmerzhaften Erfahrungen, bietet "You Are The Morning" einen persönlichen Einblick auf ihr Liebesleben. Jasmine lernte Gitarre spielen, als ihr Onkel, ihr sein altes Instrument geschenkt hatte. Sie spielte zunächst Songs Ihrer Lieblingsmusiker nach, doch Musik spielen und Texte schreiben gehörte für sie immer schon zusammen. Der Titeltrack paart Jasmines gezupfte Gitarre mit Streichern, die ein Gefühl von Leichtigkeit und Sicherheit vermitteln. Textlich handelt der Song von Zugehörigkeit und Verbundenheit. Auf dem abschließenden Track "Woman" wird sie von dem Trans Chorus of Los Angeles unterstützt. Dieser generationenübergreifende Chor besteht aus Transpersonen, die genau wie Jasmine ihre Stimme als Quelle für Zusammenhalt benutzen. Der Song beginnt mit einer Solonummer, die in eine Gruppenperformance aufblüht und handelt von der inneren Kraft, die daraus entspringt zu wissen, wer man im tiefsten inneren ist: "I am, in my soul, a woman". Für jasmine.4.t sind Aktivismus und Performance eng miteinander verbunden. Mit ihrer Plattform sammelt sie weiterhin Spenden und macht auf die Trans Mutual Aid Manchester aufmerksam, eine Organisation, für die sie sich ehrenamtlich engagiert hat. Sie möchte Gleichgesinnten etwas zurückgeben. Um ihre Geschichte auf "You Are The Morning" zu erzählen, bezieht sie sich immer wieder auf dunkle Aspekte Ihres Lebens. Umgeben von Freunden, war der Aufnahmeprozess jedoch voller Hoffnung. Durch ihre Auftritte, ihren Aktivismus und ihr künstlerisches Schaffen läutet jasmine.4.t eine neue Ära ein.

Peaceful electronic ambient and tribal echo environments. Music that explores feelings of calm, spirituality, and ceremony. Long-form voyages to temple meditations, “trips in search of something,” looking in as looking out.

The artist himself says: “This is an attempt to look into the heads and souls of "unnecessary" people, inconspicuous people, but striving to make the world a better place. People who have lost the horizon and the outlines of reality are desperate and stuck in the middle of nothing... people who cannot accept the rules of this world and unpleasant aspects of daily life, boring and unfair into unreality, other existence... it's all about escapism, rethinking their inner world, and discovering new facets of the soul.”

FFO Jon Hassell, O Yuki Conjugate, Bitchin Bajas, Laraaji, The Chi Factory…

"soft brushes of undefinable sounds and tropical field recordings that almost create ASMR-inducing vibrations in the minds of the listener" - Simon Eliasson

Folamour ist zurück mit seinem neuen Album. Diese 14-Track-LP ist ein wahrer Wirbelwind der Emotionen, eine Mischung aus Euphorie und Tagträumen, getragen von House-, Disco-, Funk- und Soul-Einflüssen. Nach einem dreiteiligen Album im Jahr 2024, schuf der Sänger eine kaleidoskopische Kombination aus Delirium und Euphorie, aufgebaut auf den Grundpfeilern von House, Disco, Funk und Soul. Er plädiert für Musik als verbindende Kraft, als Ort, an dem Barrieren zerfallen und Platz machen für den gegenwärtigen Moment und für Liebe in all ihrer Vielfalt. Das Album ist auch eine Ode an die Freiheit, die Freiheit, man selbst zu sein und zu akzeptieren, wer man wirklich ist. Auf der Tracklist und den beiden Singles finden sich viele lebendige Nuancen des elektronischen Spektrums, angetrieben von erhabenen House-Beats mit Kabusa Oriental Choir, und "Ça Va Aller", einer Hymne der Hoffnung mit viel Groove, gefühlvollen House-Vibes und einem eingängigen Gesangs-Hook. Der Sommer kann kommen!

2026 Repress!

LTD Edition Double LP, 1 x Pink & 1 x White vinyl version of Australian trio Rüfüs Du Sol's incredible sophomore album 'Bloom' - that went straight in at number 1 on the Australian album charts.

Featuring the singles 'You Were Right' and 'Like An Animal!' it's a journey through richly layered synths behind driving beats, atmospheric build ups and killer breakdowns - all married together with Tyrone Lindqvist's soulful vocals.

From the heartfelt epic that is 'Innerbloom', to the uplifting melody of 'Say A Prayer For Me', 'Bloom' will have Rüfüs Du Sol fans falling in love all over again.

Eudaimonia is the outcome of a spontaneous connection between two artists, united by a shared passion for deep and emotional sounds. What began as an unplanned session evolved into a deeper exploration, flowing so naturally that it felt inevitable to create something more.

Inspired by the ancient Greek concept of Eudaimonia - a profound sense of fulfillment found through living authentically and purposefully - this EP dives into the inner world of its creators. From moments of reflection to waves of intensity -each track serves as a chapter in a journey toward inner exploration, embracing both the light and shadow within.
Eudaimonia celebrates the beauty of imperfection, the power of acceptance, and the pursuit of authentic expression. It invites listeners to lose themselves, to feel deeply, and to find meaning and healing through sound, connecting to something greater within themselves and the world around them.

"Bookends" bildet soetwas wie das Herzstück des am 20. Juni erscheinenden Albums. Die weitläufige Ballade zollt ihrem verstorbenen Freund Riley Gale Tribut, ehemals Sänger der Band Power Trip. Sie ist auch inspiriert von John Careys Buch "Eyewitness To History", einer Sammlung von über 300 historischen Augenzeugenberichten zu prägenden Ereignissen der menschlichen Geschichte. Zu Bookends erscheint ein Video von Caity Arthur. "Im Video geht es um Tod und Absolution, wie der Tod eines der wenigen sicheren Dinge im Leben ist, der große Gleichmacher, nolens volens", so Arthur. "Es untergräbt aber auch das traditionelle Narrativ vom Tod als verzweifelte Leere und porträtiert ihn mit seinem halluzinogenem Sixties-Ensemble stattdessen als euphorische Übergangserfahrung samt TV-Pop-Performance und Taschenspielertricks, während Megs Lyrics den Tod in all seinen Formen beschwören." Für "Scratch It" hat Meg Remy mit Gitarrist Dillon Watson eine Band zusammengestellt - ursprünglich für einen einmaligen Festivalaufrtitt, aufgrund der guten Chemie schließlich gleich für ein ganzes Album. Mit Watson an der Gitarre, Jack Lawrence (The Dead Weather, The Raconteurs, Loretta Lynn) am Bass, Domo Donoho am Schlagzeug und Jo Schornikow und Tina Norwood an den Keys entstand "Scratch It" innerhalb von zehn Tagen in Nashville. Zwischendurch schaute auch Mundharmonika-Legende Charlie McCoy vorbei, der bereits mit Elvis, Bob Dylan und Roy Orbinson gearbeitet hatte und seine Künste für einige Songs einbrachte. Die Authentizität der analog produzierten Songs ist unmittelbar, ein Zeugnis der Chemie zwischen allen Beteiligten, Remy klingt relaxt wie kaum je zuvor. Das Album verwebt Country, Gospel, Garage Rock, Soul, Disco und Folk, während sich Remy in den Lyrics mit Patti Smith auseinandersetzt, mit junger Liebe, Mutterschaft, Macht-Dynamiken, der Kraft von James Brown, verstorbenen Weggefährten, dem Goldrausch am Yukon - oder dem eigenen nach einer Tequila-getränkten Nacht. Dabei lässt sie wie immer auch ihren beißenden Humor spielen.

Single Sided Repress!
We've watched the movies, seen the photos, heard the stories. As in all of New York City, crime was as rampant in the subway as it was on the streets. Thefts, robberies, shootings and killings were a frequent reality throughout the 1970s. In 1979, a group of angered residents led by Curtis Sliwa began taking crime prevention into their own hands, donning red berets - looking very much like a gang and calling themselves the Guardian Angels. This funky track produced by the Legendary Patrick Adams and uptown empresario Peter Brown is an ode to what was hapenning at the time. Like many of the P&P records of the time, this wasn't dance music for flashy downtown clubs, it was the real uptown funk! With bass as heavy as rolling stock, and field recordings from the subway tannoy echoing along almost empty train carriages late at night, Margo Williams's vocals supply the inner city funk menace with some almost ethereal soul.' At a crossroads between funk, soul and an emerging Hip Hop culture this track apealled to both the disco crowd and the bravado of the uptown b-boys.

Es gibt einen wilden Südstaatenmotor im Inneren des Debütalbums von Billy Allen + The Pollies Black Noise, das ein neues Kapitel in der der Entwicklung des ,Muscle Shoals Sound". Wie The Swampers vor ihnen, schöpft die Band aus unzähligen Einflüssen des Rock'n'Roll, klassischem Soul und Psychedelia zu einem um einen ganz eigenen, das Genre sprengenden Sound zu kreieren. Die Band wurde während der Pandemie Pandemie im Jahr 2020, als Billy Allen und Pollies-Frontmann und Haupt-Songwriter Jay Burgess begannen Demos auszutauschen und gemeinsam Songs zu schreiben. Als sich die Abriegelung lockerte, wurden mehr Mitglieder von The Pollies beteiligt, und aus einem lustigen Schreibprojekt entwickelte sich zu einer richtigen Band. Als es an der Zeit war, eine richtige Platte aufzunehmen, holten sie sich ihren Freund und manchmal auch Pollie Ben Tanner (Alabama Shakes) und sein Studio in Florence, Alabama. Das Ergebnis ist ein 11-Song-Klassiker, der stöhnt und jammert und tanzt und feiert, eine großartige Band, angeführt von einer der einer der wirklich großen Stimmen der heutigen Südstaatenmusik.

Es gibt einen wilden Südstaatenmotor im Inneren des Debütalbums von Billy Allen + The Pollies Black Noise, das ein neues Kapitel in der der Entwicklung des ,Muscle Shoals Sound". Wie The Swampers vor ihnen, schöpft die Band aus unzähligen Einflüssen des Rock'n'Roll, klassischem Soul und Psychedelia zu einem um einen ganz eigenen, das Genre sprengenden Sound zu kreieren. Die Band wurde während der Pandemie Pandemie im Jahr 2020, als Billy Allen und Pollies-Frontmann und Haupt-Songwriter Jay Burgess begannen Demos auszutauschen und gemeinsam Songs zu schreiben. Als sich die Abriegelung lockerte, wurden mehr Mitglieder von The Pollies beteiligt, und aus einem lustigen Schreibprojekt entwickelte sich zu einer richtigen Band. Als es an der Zeit war, eine richtige Platte aufzunehmen, holten sie sich ihren Freund und manchmal auch Pollie Ben Tanner (Alabama Shakes) und sein Studio in Florence, Alabama. Das Ergebnis ist ein 11-Song-Klassiker, der stöhnt und jammert und tanzt und feiert, eine großartige Band, angeführt von einer der einer der wirklich großen Stimmen der heutigen Südstaatenmusik.

Kip Moores sechstes Album 'Solitary Tracks' mit 23 Songs beweist, dass Moores innerer Kompass nach wie vor stark ist. Ein in jeder Hinsicht intensives Album - stimmlich, textlich wie auch klanglich -, auf dem Moore seine prägnante Feder nach innen richtet. Bis auf einen Song hat er alle Songs selbst geschrieben oder an ihnen mitgeschrieben und ein trotziges Gefühl persönlichen Wachstums in ein rohes Roots-and-Soul-Paket gepackt, das gemeinsam mit Jaren Johnston, Oscar Charles und Jay Joyce produziert wurde.