Cerca:la dreams

Coming hot on the heels of his debut on Distant Horizons, London breaks-master Yosh joins the core label family with a killer 4-tracker on Lobster Theremin.

As one of the most recognisable names from the emerging UKG re-rise (it never went away, y’know), Yosh has developed a reputation for dutty 2-steppers and screw-face breakbeats designed to delight and devastate the rave.

‘My Fire’ is a jungle-influenced cut of broken breaks - malfunctioning, soulful and electric - the perfect accompaniment as day turns to night, the atmosphere loosening as it does. A sun-setting stepper brimming with v i b e s.

‘Hold On’ sees Yosh venture towards his traditional garage territory - low-swung percussion, wubby stabs and ambient dreamscape aesthetics spraying contemplative thought patterns into the air as we sway from side-to-side, before ‘I Feel’ reignites the junglist inspiration with its rumbling bassline, bouncing breaks and underground energy.

We reach our climax with the most ‘heads down’ cut on the record; ‘Outa Sight’ maintains that light and dark sensibility that has become such a staple of Yosh’s productions, simultaneously taking us from moments of sweaty intenseness to moments of blissed-out ecstasy.

Boris Bunnik with a Vernon Felicity debut album! Days Of Leisure is a very well produced warm and analogue sounding house album. Think Metro Area vs. Larry Heard and you are almost there.. This is the sound of the summer and a future classic in the making.

Rome’s own disco wizard L.U.C.A. aka Francesco De Bellis is back for his second LP Terra, hot on the heels of his Venus 12” EP earlier this year. In this far-reaching album, the Edizioni Mondo founder explores the deteriorating relationship between Man and Nature, and the dire consequences. The album is split into two themes - part one is Consacrazione (Consecration) and side two is Coscienza (Conscience) - as L.U.C.A. charts a trip through mankind’s psychic universe, and imagines worlds beyond our physical dimension.

The opening composition Cities is an uptempo number that slowly comes into focus, as dreamy drum machines emerge from the urban bustle, before settling into a soulful groove as keyboard, upright bass and guitar figures dance across bright percussion. As it builds up a head of steam, the piece gives way to an ambient, tribal breakdown, which is also echoed in the following song, Drum Talk. This second tune sets up in a fourth world dreamscape of drums, synths, and abstracted echo effects, and is peppered with word fragments from the bush of ghosts. By the time we’ve reached the third track, Congiunzione sounds like travelling at singularity speed, beaming in from a future where human consciousness and gaia can finally dance on a cosmic plain.

Part two of Terra details how revelation of the spirit can guide the mind, as Time Spirals rises out of a drum motif with a nod to classic ragas, as a disembodied voice asks questions on the nature of corporeality. The sound design is just as front and centre as the sitar and fretless bass, and the song gives way to a richly-layered soup that sounds like the vast space between atoms. It’s this shift from composition to ambience that is the dynamic core of Terra, giving L.U.C.A. plenty of space to showcase his next-level audio and arranging skills. Midway through part two, Giallo Assoluto begins with reverb tails and choral voices before expanding in brightness and texture until the audio field is practically levitating your hi-fi speakers, vibrating them with drones, twinkling keys and shards of digital noise. The closing composition Ritorno al Domani is a perfect balance of optimism and mystery. Tension and release collapse in on themselves as waves of ambient pads crescendo and then break over stretched-out sonic turbulence, before reversed synths bring the listener to a closing door, and the end of the journey.

It’s a mind-expanding musical exploration of other worlds and parallel universes which are surely all around us, and in many ways serve to remind us of the marvel that is our own planet.

MASTERED FROM THE ORIGINAL ANALOGUE MASTER TAPES AND PRESSED ON MOFI SUPERVINYL

· A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra’s Eldorado Marries

Rock and Symphonic Elements, Includes the Aptly Titled Hit “Can’t Get It Out of My Head”

· Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and

· Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics

Transport the Listener to Faraway Horizons



Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.



Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered-edition 180g LP of Eldorado allows the long-time audiophile staple to resonate with previously unheard dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended.



Presenting the album with breath-taking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, this collectible reissue features reference-quality levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado LP also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.



Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool."



Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."



Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.



MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Love At Leeds is the realization of many dreams for Mikey Erg
A lifelong music obsessive, growing up in the early 90's,there was one sound he'd
always hoped to capture on his recordings. The sound of Steve Albini. Steve's
credits include The Pixies, PJ Harvey, Jimmy Page & Robert Plant and of course
Nirvana's 3rd LP In Utero, One of Mikey's absolute favorite records. Mikey had
never in his 20 plus year recording career ever gotten to make a fully analog
recording. Love At Leeds was the perfect time to rectify all of that. Using the
group of musicians that helped him realize his debut solo LP Tentative Decisions
(Jeff Rosenstock, Alex Clute & Lou Hanman), He Headed out to Chicago to make
this dream a reality. Recorded and Mixed in only 5 Days, Love at Leeds is a swift
25 minute long grunge-pop tour de force. Once the album was complete, Steve
and his trusty razorblade compiled the master mix reels and sent the band on
their way. The tapes then made the journey to Hollywood, California to the
legendary Bernie Grundman Mastering facility to be mastered and cut straight to
lacquer disc by Chris Bellman (Frank Zappa, Neil Young, Kenny Dorham, Pearl
Jam).

"Points of Light” is the debut album from Sơn FM, consisting of Nic Ford and Attiss Ngo. After being part of the Vinyan cassette, the Vietnam-based duo returns to Siamese Twins Records with the label's first album in 2xLP format.

The album is an ode to the patterns of nature, which are repetitive but never quite identical. Playing with the endless possibilities of phase-shifting is at the core of Sơn FM's heavy ambient sound, shaped by their signature live performances across art galleries or surrounded by nature. Weaving dreamy kinetic sound tapestries into morphing texture movements. Analog synthesizers loops slowly decay and unfurl, ranging from melodic elements to droning sequences in a fourth world atmosphere.

This is music for inward journeys and exploring the interstices between cosmic patterns. Commanding harmonies evolve in soft-focus, phase-shifting soundscapes reminiscent of how sound is perceived underwater, at mountain summits, in the womb, or in altered states. Resembling liminal spaces between places, like dreams that haven't been dreamt yet or forgotten visions at the edge of consciousness, gently corralling its audience towards transcendental points of light.

'Hotel Florida', the debut album by trombonist Andreas Tschopp and
baritone saxophonist Matthias Tschopp's Swiss sextet Sparks and Tides,
delivers an enthralling, improvisation-laced set of electro-acoustic
soundscapes
The first collaboration co- led by brothers Andreas and Matthias Tschopp, the
Swiss sextet makes a subtly enthralling debut with Hotel Florida, an album
marked by lapidary textures, extended melodies, and finely calibrated production.
Sparks and Tides also refers to the flow of their music, which unfurls in unhurried
waves until suddenly surging with quicksilver flurries. Cinematic and full of
intriguing passages, it's music for unsettled dreams. "There are lots of little things
like drum machine tracks, bass drones, live sampling of the horns by the
keyboardist and using the sounds as samples, and also some modular synth
processing of the saxophone," Andreas says.
The group brings together some of the most creative figures on the small,
intertwined and fervently inventive Swiss jazz scene. A member of the R&Binfluenced electro- duo True, drummer Rico Baumann is as deeply versed in hip
hop, pop and electronic music as he is jazz and improvised music, which is the
terrain he inhabits with Andreas in the collective jazz quintet Le Rex.

Dark Entries presents a reissue of Shawn Pittman’s 1989 Dreams, an obscure and highly sought-after private press gem produced and written by Art Forest. An undersung figure in the development of the late 80’s Detroit techno sound, Forest collaborated with, produced, or penned material for many of the key players in the movement, including Inner City, Suburban Knight, and the Belleville Three themselves (on Kreem’s “Triangle of Love”). This reissue gives Forest’s own productions some shine while providing a thrill for both dancers and collectors.

Dreams features two songs, both written and produced by Art Forest and featuring Shawn Pittman on vocals. The A-side contains two mixes of “Dreams”, a smooth R&B/modern soul number driven by Pittman’s vocal. While the song is undeniably radio-friendly, it contains some of the hallmarks of the Detroit techno sound – sparse arrangement, lush reverb, and booming bass. On the B-side, we are treated to two different versions of the clubbier “I’m Losing Control”. The original mix leans towards boogie/freestyle, with syncopated 909 beats and sassy synth vamps, and wouldn’t sound out of place next to Forest’s work with Inner City. The Extended-Bass-ment Club Mix strips things down and dubs them out, leaving us with shards of bass synth, brooding strings, and Pittman’s vocals eerily warped to the edge of recognition; a perfect late-night warehouse anthem.

All songs were remastered by George Horn at Fantasy Studios. The sleeve is a replica of the original cover art. Also included is a 2-sided postcard with lyrics and photos of Art.

Tropical Horses has been a figure of the Parisian underground for a little decade. After almost mistakenly seducing young talent runners who had only understood his music at its brightest, the boy released the very dark "Mirador" on Anywave in 2016, a hybrid between malevolent pop, walls of sound and assumed madness.

Since then, this great loner has never stopped rising to the hard, alone with his loopers, in intense and rough concerts while finely mixing extra-western grooves and melodies to his art. From these 5 years of maturation and opening results Fever, haunted, joyful and overpowering record.

Margaret Dygas may be based in Berlin but her unique sound can't be tied down to any one city or scene, as she proves on her latest 12" across three tracks for the consistently exciting Half Baked label. Not that there's anything half done here, of course, with A-side tune 'Butterfly Effect' a prime slice of groovy. resonant techno that's understated and restrained enough to gain comparisons to Jaydee's 'Plastic Dreams' classic. 'CC Is 33' is warmer, with nicely slidy, jazzy organ chords and itchy technofunk rhythms, with the most minimal of the three tracks, the static-infused, atmospheric 'Subliminal 20A7', coming last but by no means least. A great showcase for a great, original talent.

For more than twelve years, Morphology have been re-writing the rules of electronics. Michael Diekmann and Matti Turunen have melted electro, IDM and techno into their own unique sound. To celebrate their achievements, FireScope has sifted through the impressive discography of this Finnish pairing to bring long out of print tracks to a life.

Twelve 1 collects music released between 2009 and 2016, a dozen works that span labels like Abstract Forms, AC Records, Cultivated Electronics, diametric., Semantica, Stilleben and Vortex Traks. Opening with the cold love affair of “Manmade Woman,” this collection brings together frosted floor funk, cerebral armchair electronics and a quality of composition that only Morphology can provide. Embedded in the album are outposts of electro menace, tracks with that extra bit of bite such as “Dementia” and “Dalek Invasion. Deep and thought-provoking pieces abound, such as the otherworldly dreamscapes of “Magellan Probe” and “Moebius Strip” which were first heard on Arne Weinberg’s diametric. An understated balance permeates the record, broad concepts are interwoven with subtle shifts to bring a timeless quality to pieces like “Spacetime Interval”, “Europa” and “Plankton.” A perfect expression of over a decade of work.

Not only does this double LP gather rare tracks never before heard together, but also each piece has been lovingly remastered to breath new life into these wonderful works. Twelve 1 celebrates the music of Morphology in all its glory, two masters of modern electronic music who continue to re-define and re-design genres.

Mondo, in partnership with Back Lot Music Wright, are proud to present the premiere physical release of Steven Price's electrifying score to LAST NIGHT IN SOHO, the latest film by Edgar Wright.

Edgar Wright wanted a score to soundtrack the two eras of Last Night in Soho and tie together the stories of these two very different young women. To achieve this, Wright turned once again to his now-regular composer, Academy Award® winner Steven Price, who successfully scored both Baby Driver and The World’s End.

While Price’s influences for the score included contemporary film music by the likes of Ennio Morricone and John Barry, a “’60s session band” sound with echoing fragments of dialogue add a different and sometimes subliminally sinister edge to the score. The sounds of ‘60s Soho blend into the present-day London scenes as Eloise is sucked further into the past. “The idea is that Sandie’s voice becomes part of the film, so you hear her siren song from the ‘60s coming through, and Anya became an intrinsic part of it… I was pleased that the lead actress is also the lead singer in the film score; the whole thing knitted together.”

The album also features songs performed by Anya Taylor-Joy, including the lead single from the film "Downtown (Downtempo Version)"

Solo bedroom-pop project of Michael Ramos (Flowertown, April Magazine, Hectorine). Mostly recorded between last Christmas and New Year's during a window of isolation at home, “Hey There Flower” preserves Tony Jay’s prowess at making beautifully eerie lo-fi pop; like a hazy memory where your favorite Sixties girl-group melody is perpetually slowed down. Without a band to practice with, Tony Jay recorded the music alone, but recruited a slew of friends to remotely record backing vocals: Karina Gill (Cindy), Griffin Jones (Galore), Kati Mashikian (Mister Baby), Alexis Harper (Al Harper), & Hannah Lew (Cold Beat). "Hey There Flower", the most recent release from the prolific and mysterious Tony Jay delivers real melodies -- both lacey with vocal harmonies and dusty with layered guitars -- as fans have come to expect. This release also carries forward and elaborates on Tony Jay's tradition of songs that express a kind of naked honesty about things we all know -- love and loneliness and all that -- while communicating at the same time a wry edge of skepticism, so that the songs are like coins spinning on edge before landing heads, tails, or lost under the couch. Tony Jay brings us into a nostalgia where we recognize moods from music of the past -- Marc Boland definitely comes to mind, as well as Velvet Underground of the Nico era, and Tony Jay even covers Francoise Hardy on this collection -- but the songs create a three dimensional space with what feels like a thousand layers so that instead of being thrown back in time, it's like stepping into a little world with its own laws of nature, of which the listener gets just a few hints. - Karina Gill, Cindy/Flowertown. “Hey There Flower” is introduced by thudding snare beats eliciting reverb-stained tattered noisy guitar scrapes, to weave abrasive shimmery emotive vibrations, imbued with shattered nostalgic dreams, lit by brittle yet dazzling forsaken keyboard flows, over submerged and distorted male vocal’s whispery deluge of obsessive longing, lonely melancholy, and dark desire to exude a hazy gritty concoction of awkward sadness and brooding unrest.” White Light // White Heat // “What Tony sketches are concise commentaries on love, loneliness and a few things in between. His mode of expression is sparse, intense, and captivating. The arrangements are invariably lo-fi and slow tempo, blanketed with a fuzzy hiss. And it only took one listen to decide that it is a very special album. It has a '60s feel, albeit washed in an eerie slowcore machine. An ace example is "September Skies", which could be the 1965 'last dance' at the prom for the introverted students.” - When You Motor Away

180g vinyl pressing.

During the late 2010s, music lovers around the world began obsessively listening to increasingly esoteric albums on Youtube. More often than not, they’d leave the browser on autoplay. This was how Facundo Arena, the composer and producer behind The Kyoto Connection, discovered the technonaturalistic pleasures of Kankyō Ongaku (environmental music), a distinctly Japanese interpretation of European, British and American minimalist composition and ambient music. “It was a kind of algorithmic magic,” he says.

Upload by upload, the utopian music of Hiroshi Yoshimura and his 80s Japanese contemporaries transported Facundo back to his childhood. When he was five, his father placed him in karate lessons and began watching martial arts movies with him. From those early experiences, Facundo became fascinated Japanese history, tradition, and culture, particularly that of Kyoto - the cultural capital of Japan. Kankyō Ongaku reminded him of hearing the sounds of Japanese folkloric instruments as a young boy, and suddenly, the way the influence of Japan had manifested in his music made sense. “I had the sensation that for many years, I’d been doing something similar to the style,” he explains.

Inspired, Facundo used an iPad and an old Akai cassette deck to record Postcards, his homage to Japanese minimalism and Kankyō Ongaku. By this stage, he was twelve years deep with The Kyoto Connection, the musical project he launched in 2005 in his hometown of Buenos Aires, Argentina. Over that late 2000s and 2010s, Facundo, later on joined by collaborators Rodrigo Trado (drums), Jesica Rubino (violin) and Marian Benitez (vocals, now his wife), released numerous D.I.Y albums. Project by project, they followed the threads between 80s synth-pop, ambient, new age, house, techno and acoustic composition.

Postcards introduced The Kyoto Connection to listeners around the world and brought Facundo into our orbit. During Argentina’s covid lockdown, Facundo received a set of soundscapes recorded in Kyoto by the Japanese musician and sound designer Masafumi Komatsu. Over several insular months, he decorated them with synthesisers, samples and subtle rhythms, creating The Kyoto Connection’s next album, The Flower, The Bird and the Mountain to be released via Isle Of Jura offshoot Temples Of Jura.

Ostensibly made up of twelve distinct tracks, listening to The Flower, The Bird and the Mountain feels more akin to spending calm, meditative time in twelve specific environments. Although the foundations they rest on are recordings made in geographic locations around Kyoto, Facundo has yet to visit Japan. As a result, the landscapes he paints sit somewhere between fiction and fact, richly pictorial sonic imagination juxtaposed with echoes of reality. Regardless, as his bubbling melodies and glistening synthesisers glide against Masafumi Komatsu's recordings, Facundo guides us into a blissful zone of tranquillity well worth spending time within.

Dama Scout's first full-length sees the London/Glasgow trio stretch their creative muscles, further building upon their unique, individual tastes to bring together a world that’s ever-changing, infectious and brilliantly fresh. By pushing through the barriers of genre, Dama Scout’s constantly curious dive into contrasting sonic landscapes allows them to craft new terrain that takes its cues from East Asian pop and film. Mimicking the unpredictability of playing live shows, the tension between audience and artist and the push-and-pull of creative collaboration, 'gen wo lai (come with me)' ushers in an authoritative new era for the band. Here, jolting nightmares and reality-bending dreams exist side-by-side, and Dama Scout are our guides for every unnerving, enchanting moment.

- FIRST EVER official vinyl reissue - definitive version with Nancy's involvement - Definitive reissue of Nancy & Lee's classic 1968 duet album - Includes the bonus tracks, "Tired Of Waiting for You" and "Love Is Strange," from the album sessions - Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin - Vinyl pressed at RTI - Q&A with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea - Never-before-seen photos from Nancy Sinatra's personal archive - Beautifully packaged and expanded gatefold LP featuring a 20-pg booklet // "We had sort of a love/hate relationship. Maybe it was a sexual tension because we never had any kind of affair. I don't know exactly what it was, but it worked." - Nancy Sinatra Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMYr-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks' "Tired of Waiting for You" and an uptempo version of "Love Is Strange" (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. After a string of successful duet singles with Lee Hazlewood, including "Sand," "Summer Wine," "Jackson," and "Some Velvet Morning;" the pair released the duet album Nancy & Lee in 1968. The album features the lush, orchestral arrangements of Billy Strange and the famed Los Angeles session musicians, The Wrecking Crew, at the peak of their powers. The unique vocal blend, the iconic cover and the selection of classic songs attracted a huge following and sold over a million copies.

- FIRST EVER official vinyl reissue - definitive version with Nancy's involvement - Definitive reissue of Nancy & Lee's classic 1968 duet album - Includes the bonus tracks, "Tired Of Waiting for You" and "Love Is Strange," from the album sessions - Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin - Vinyl pressed at RTI - Q&A with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea - Never-before-seen photos from Nancy Sinatra's personal archive - Beautifully packaged and expanded gatefold LP featuring a 20-pg booklet // "We had sort of a love/hate relationship. Maybe it was a sexual tension because we never had any kind of affair. I don't know exactly what it was, but it worked." - Nancy Sinatra Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMYr-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks' "Tired of Waiting for You" and an uptempo version of "Love Is Strange" (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. After a string of successful duet singles with Lee Hazlewood, including "Sand," "Summer Wine," "Jackson," and "Some Velvet Morning;" the pair released the duet album Nancy & Lee in 1968. The album features the lush, orchestral arrangements of Billy Strange and the famed Los Angeles session musicians, The Wrecking Crew, at the peak of their powers. The unique vocal blend, the iconic cover and the selection of classic songs attracted a huge following and sold over a million copies.

- FIRST EVER official vinyl reissue - definitive version with Nancy's involvement - Definitive reissue of Nancy & Lee's classic 1968 duet album - Includes the bonus tracks, "Tired Of Waiting for You" and "Love Is Strange," from the album sessions - Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin - Vinyl pressed at RTI - Q&A with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea - Never-before-seen photos from Nancy Sinatra's personal archive - Beautifully packaged and expanded gatefold LP featuring a 20-pg booklet // "We had sort of a love/hate relationship. Maybe it was a sexual tension because we never had any kind of affair. I don't know exactly what it was, but it worked." - Nancy Sinatra Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMYr-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks' "Tired of Waiting for You" and an uptempo version of "Love Is Strange" (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. After a string of successful duet singles with Lee Hazlewood, including "Sand," "Summer Wine," "Jackson," and "Some Velvet Morning;" the pair released the duet album Nancy & Lee in 1968. The album features the lush, orchestral arrangements of Billy Strange and the famed Los Angeles session musicians, The Wrecking Crew, at the peak of their powers. The unique vocal blend, the iconic cover and the selection of classic songs attracted a huge following and sold over a million copies.

Die Musik entstammt weiterhin vom Komponisten Jonathan Larson selbst und beinhaltet 17 Tracks mit Gesang, die jeweils von den Schauspielern selbst eingesungen wurden, wobei der Film eine Starbesetzung zu verzeichnen hat

Fantasound is the fifth full length album from Slovenian Space Disco producer Ichisan. This debut LP on international label Gouranga Music follows recent singles Harmona and Margit Mono. Ichisan's sound is Space Disco Pop Bliss - swooshing synths collide with pulsing rhythms and twinkling melodies, creating a kaleidoscopic universe of pure joy.

The artist explains the process:

"The album was recorded during the 2020 lockdown period. In those long uncertain days I watched all kinds of movies and rediscovered the ‘1940 Fantasia' with my three year old son.

I started researching the story behind the production of the animated musical film and especially the sound production of Fantasia. Fantasound was a stereophonic sound reproduction system developed by engineers of Walt Disney and RCA. That is how I found the album title.

After the album was recorded I knew that the artwork must be related to Fantasia. I always had ‘The Sorcerer's Apprentice' in my mind as an inspiration for the album artwork. Mickey Mouse's dreams in the dark-blue space and Fantasia poster logo were guidelines. The illustrator Meta Wraber delivered the fantastic artwork in her signature watercolour technique."

'Fantasound' is a symphony of disco and italo rhythms, space synth waves and a happy-go-lucky driving rhythms. A sound that doesn't exist in the real world, the Fantasound is very much alive and in our mind during our happiest moments.

After teasing with several EPs, Ichisan blesses the world via Gouranga Music with the full Fantasound, an immersive ecstatic experience filled with twists and turns that will keep you on your Tip Top toes.