quête:like a tim

"60s Greatest Hits, a newly-curated compilation of the ""Jersey Boys"" chart toppers from that decade includes ""Sherry,"" ""Bye Bye Baby (Baby Goodbye),"" ""Big Girls Don't Cry,"" ""Walk Like A Man"" and many more. On 140g Sea Blue Vinyl, spinning this record will instantly transport the listener to a soft breeze by the Jersey Shore, soda jerks, ice cream sundaes, and sock hops.
Highlights: On sea blue vinyl for the first time as part of Rhino’s Summer Vinyl Campaign"

Two times UK Blues Award winner second album for APM Records released on CD. HSLB carries the narrative of a bluesman upto no good who when his world falls apart, admits what he’s done and atones. Produced by Phil Dearing (Eliza Carthy, Gretchen Peters, Lauran Cantrell). Features special guest Vaneese Thomas (daughter of Rufus and sister to Carla Thomas). Radio for HSLB : no.1 IBBA radio chart two months running , Top 50 iTunes Blues album chart (US) / no.3 Roots Music Report Blues Album (Global)/ no.1 Roots Music Report Blues song ‘Blind Leading The Blind’ (Global) / Top10 Living Blues radio chart (US) / Top 20 National College Radio (US), airplay on 50 stations (US) / airplay in Netherlands, Australia, Canada, Switzerland, Croatia, France, Italy, Germany, Israel Press for HSLB : Blues In Britain front cover, reviews Blues Matters, Blues in Britain, Rock & Reel, Living Blues (US), Blues Blast (US), Charlotte Blues Society (US), Blues Roadhouse (US), Big City R&B (US) Bluestown (NL) “Mississippi MacDonald riffs like a fabulous Albert King circa his Stax days”. • Mississippi MacDonald is playing: Love Fields Stage-Glastonbury, Linton Blues Festival, Dereham Blues Festival, Brightlingsea Festival, Over The Hill Festival, Mississippi MacDonald won Traditional Blues Artist of the Year 2024 and Acoustic Blues Artist of the Year 2024 at the UK Blues Awards in April. HSLB Nominated for UK Blues album of the year

Resonance is one of the most powerful forces this world has,
simply because there is no way to stop it. A drop of
condensed water separates itself from the concrete ceiling.
Propelled only by its own weight, it plummets down towards
a cacophony of naked bodies and §ailing arms to shatter on
a the forehead of an ecstatic dancer. And while all this is
happening, a voice resonates through the entire room,
making the walls shake and the crowd lose themselves even
further : “Move Your Body, Move Your Soul”. Narciss emerges
from a grimey basement in Berlin to bring us two heavy
utility dance§oor cuts on Actions Speak Louder Than Words,
his ¦rst Solo EP on Seelen. The title track is truly something
to behold. With a breakneck tempo, hard hitting percussions
and a legendary house vocal, it wields an absolutely
hypnotizing power that, before you know it, will make
everyone in attendance grind and juke till the early morning
hours. There is a palpapable vibe of mid 90s Detroit-Techno
but still it manages to cut out an identity for its own, with
razor sharp sound-design and a very uplifting attitude for its
genre. And while the tracks arrangement and sound-design is
very minimal, it is on Brennpunkt that Narciss really §exes
his trademark way of building tension with remarkably few
elements. Everything here is stripped down to its most
functional core. The synth-lead is simple yet menacing, the
kick-drum hits like a boxer, and you can be pretty sure that
the hihats will leave burns if you get too close to the record.
As is custom on this label, the B-side is dedicated to thereconstructive efforts of friends or family. This time the
mastermind of Manhigh and Grounded Theory, Mr. Henning
Baer, and Seelen’s very own Shaleen have both let their
actions speak. Henning Baer has taken on the title track in
his Remix and has transformed it into a true vintage electro
cut. A distorted synth and pad add heavy grit to the original’s
vocal, and the warehouse sized kickdrum will knock anyone
unprepared off their feet. Meanwhile Shaleen’s reinterpretation of Brennpunkt strips it down even further,
swirling the original’s elements into a groovy maelstrom.
This version rumbles, clicks and sneers, with sampled voices
from a Shakespeare play giving the whole ordeal a truly
macabre feeling. This is a tool for only the most darkest of
warehouses when the night is at its peak. So now, to
summarize this record : it is a call to action. And because of
this, it continues to resonate, even when the last track has
been played. And a resonance can never be stopped.

I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centrepiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. At the center of it all is Damian Abraham’s scream a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David who once came to life is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. Meanwhile, Lloyd Joyce’s lover was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close. Owen Pallett.

Outsider ambient soundscape by two musicians from the Paris alternative : Désiré Bonaventure & Zach.

An enchanted yet psychedelic dream-like ballad recorded in one take in an ephemeral delirium; borrowing from dub, drone, IDM & techno, reflecting singular inter-worlds and inviting us to join them.

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Rue des Garderies is a distillate produced by the spontaneous collaboration of Désiré Bonaventure and Zach, two musicians evolving in the Parisian alternative scenes and so named in homage to a former local hotspot of other-music Rue des Gardes - now bygone - where this improvisation took place. Accustomed to exorcising time and space with the multidisciplinary collective †een▲ge g:-)d, Zach has also been evolving in various frequencies - beatmaking, mastering - for over 15 years. Désiré Bonaventure, on the other hand, is a member of the duo Euphonic Alliances Ltd. and R.A.F. Soundsystem.

Rue des Garderies was recorded in one take, using samplers and effects, amidst a tangle of cables, with eyes closed, as dawn approached, in anticipation for another moment of the present. Here, Désiré and Zach delve into the in-between worlds (musical, but not limited to), immersing themselves in their cracks, folds and emanations, attempting to narrate them to us.

From this material they shape a new alchemy lasting over 1h30, akin to a prolonged journey into psychedelia, drawing from various currents (such as ambient, drone, IDM, dub techno, and the English electronic scene of the 1990s), rich in organic and analogue textures that overlap, stretch, fold and expand.

The result is a grand and ethereal fresco, with shifting colours and textures, evoking astral projections and sporadic rhythms; a whole other world, populated by shapes, hues and new lives, forming a complex but enchanting sound essay.

Born of a fragile chaos, Rue des Garderies is an ephemeral harmony that accompanies moments of existence; a dance without tangible movement.

Finnish drummer/Producer Teppo "Teddy Rok" Mäkynen returns with his alias The Stance Brothers with "Sao Paolo / Timmy", a new 7"/digital single release on July 26th on We Jazz Records. Lauded by the likes of DJ Koco aka Shimokita, Kenny Dope and Gilles Peterson, Mäkynen's studio creation released the new album Duktus in November 2023, the project's first full length in more than 10 years. Back a new version of album cut "Sao Paolo" polus an unreleased new track, "Timmy", the project a treasure-trove for everyone into crunchy jazz funk à la Bob James & CTI, but this is no retro exercise. Teddy Rok moves forward in all directions, constantly bringing new elements into his sound, which is more layered and deep than ever before. At the same time, the crunch & the breaks are there when you need them.

The Stance 7" sides are often dominated by crunchy drums and crystal clear vibraphone melodies, and that's the overall vibe here, too. That being said, Mäkynen keeps things moving forward at all times, achieving moments of pure bliss with tracks that sound compact but expand far and wide both emotionally and musically.

The Stance Brothers are active live as a four-piece band, appearing live over the summer in Finland at Odysseus Festival and Flow Festival in Helsinki, plus G Livelab Tampere.

Acid Jazz's announcement of the 30th anniversary 2LP remastered edition of Mother Earth's The People Tree is a momentous occasion for fans of acid jazz and soul music alike. Originally released in 1994, this album holds a significant place in the genre's history, blending elements of soul, funk, and folk-tinged rock from the 70s with a modern twist. The special edition reissue boasts the original album, along with three previously unreleased tracks and six making their vinyl debut. Remastered from the original analogue recordings, this release promises to breathe new life into the beloved classic. Featuring guest appearances from iconic artists like Paul Weller, Dee C Lee and Simon Bartholomew of Brand New Heavies, The People Tree is a testament to the collaborative spirit of the acid jazz scene. Notable bonus tracks include the previously unreleased alternative version of 'Apple Green,' an alternate take on 'Illusions,' and the title track itself. First-time vinyl cuts offer fresh perspectives on tracks like 'Jesse' and 'Slide Sweet Baby,' adding depth to the listening experience. The album's presentation is equally impressive, with a beautiful 'wide-spine' layout, printed inner sleeves, and insightful notes from label-founder Eddie Piller, accompanied by unseen photos from the original cover shoot. Overall, this anniversary edition of The People Tree is a album worth your time as it often selected for one of the best examples in the genre.

2024 Reissue

Dark Entries celebrates its 15th anniversary by returning to where it all started, our initial darkest entry: Eleven Pond’s masterpiece Bas Relief, an ultra-obscure album from 1986 that would become a definitive dark pop holy grail. Eleven Pond was James Tabbi (vocals, acoustic guitar), Jeff Gallea (drum machine, synthesizer, vocals), Jack Schaeffer (guitar) and Dan Brumley (synthesizer, samples, vocoder, melodica). They met in Rochester, NY, while attending art school, brought together by their shared love of 4AD and Factory Records. Taking cues from acts like Joy Division, Fad Gadget, and For Against, Eleven Pond’s infectious basslines, churning guitar riffs, and atmospheric synths will charm all fans of moody music. But what really makes Bas Relief shine is the timeless songwriting on classics like “Tear and Cinnamon”, “Portugal”, and the anthemic “Watching Trees.”

With only 500 copies in it’s initial release, Bas Relief resurfaces with a fresh remaster that corrects a pitch shift from previous reissues. Each copy is housed in a screen printed jacket, like the 1986 edition, and includes a lyric sheet, two postcards and a bookmark. Bas Relief is a true lost relic of the cold 80’s and an essential piece Dark Entries history.

Air is the central element in Antonina Nowacka's third solo album Sylphine Soporifera. The title names an imaginary species and the land they inhabit, inspired by the unreal desert landscape of Paracas and the undulating tree-less hills of the Outer Hebrides, and comes from the writings of Rudolf Steiner, who describes creatures called Sylphs as the spirits of the air, and the Latin word sopor which means deep sleep.

As with all her releases, Nowacka's other-worldly vocals coming as if from beyond the veil, at once haunting, alien and utterly entrancing. "The voice is the most beautiful and resonating instrument,” she says. “When I sing I feel I create a field in between myself and the air in front of me," she explains. "It is not just that I'm singing – something in the space in front of me is happening, and I merge with this sphere.”

She conjures and is inspired by open environments and infinite landscapes: places full of light and air, manifested here in the sound of ocarinas from Budrio in Italy, whistles from Mexico, simple bamboo flutes from Nepal, alongside tremulous zithers, synthetic Hawaiian sounds from a vintage organ and the uncanny wind instrument presets from a 90s synth.

Nowacka’s first album was informed by vocal sketches made in caves in Indonesia, later recorded at a fortress in Poland; she studied Hindustani music in India with vocalist Shashwati Mandal, fell in love with early Cumbia in Mexico and Peru, and has more recently found inspiration in the landscapes of Italy. Hers is a new New Age soundworld that finds its origins everywhere and nowhere. Sylphine Soporifera gathers these sounds, visions and experiences into an album permeated with a sense of hope and fulfilment, that feels like sitting in an enlivening white beam of afternoon sunlight, as dustmotes swirl in the stillness.

2026 Repress

West London’s Slip ‘N Slide presents a special four-track package on wax for the first time, as Seth Troxler and Franck Roger deliver remixes of the 1997 Blaze favourite ‘Lovelee Dae’. An iconic artist who needs little introduction, Seth Troxler’s name is synonymous with American house and techno of the last two decades, with his formative years in Detroit shaping his sound before moving to the techno capital of the world Berlin. His ventures as a label boss, and with Night Tales, further cemented the talent as an underground hero - he now joins the likes of Carl Craig, Roman Flügel, and Isolée in giving ‘Lovelee Dae’ an expertly crafted remix, building from minimal grooves to a grand and immersive wash of sound. Also stepping up on remix duties is Parisian producer, crate digger and label boss of Real Tone Records, Franck Roger, who adds his signature beat focussed approach to the iconic track. This vinyl package also includes Blaze’s striking original, as well as one of the very first remixes from the late 90s, the 20:20 Vision remix of which used copies go for big money. This is an essential 12 inch EP for any true house fan.

There are certain occasions when you can truly feel the stars align. One of these is when the interstellar voyager of cosmic soul Jimi Tenor finally lands his spaceship at full force on a Timmion recording. In 2024, he will be serving us two spaced out album sessions recorded together with Cold Diamond & Mink. Jimi is no stranger in these space ways as he has operated behind the Timmion scenes for years, furnishing several of the label's artists with his flute and reeds artistry. The first album out is titled "Is There Love In Outer Space?", which begs the question with the force of five extended tracks that are guaranteed to blow your mind to the stratosphere. The pieces are loaded with whooshing and glistening synth noises and span from lofi space funk to cinematic soundscapes. The sweetly floating title track is like some of those galactic ballads that rare soul collectors are spending their pensions on. At the other side of the spectrum, album closer `What Are You Doing?' sounds like Sun Ra sat down at a JBs session, and is straight up meant to get that booty moving. Combined with the raw soul prowess of CD&M, Jimi is able to refine new shades from his already impressive repertoire of talent. Even if you are a friend of his previous work you might not have heard him get down quite like this.

2024 Repress

Physically and mentally draining in the best way possible, Wet Will Always Dry is maybe the most complete statement from Blawan to date, and as such should be ignored at your peril. This becomes evident from the album-opening 'Klade,' a dizzying, tumbling flight of pure energy over overlapping fields of electrified menace. This sets the stage for 'Careless,' which retains the hazardous, crackling atmosphere but dials back the intensity just enough to make room for a new feature, Blawan's eerie and disembodied vocals.

'Tasser' ratchets up the tempo and the frenetic energy yet more, slinging chunks of audio shrapnel and grinding factory noise over the kick-heavy beat, only letting up the tension every now and then for a convulsive breakdown. By the arrival of 'Vented,' a more steady, cycling groove has set in along with the accompaniment of suspenseful melodic swells, but the element of surprise is far from gone: there still seem to be spectral entities lurking around every corner, and there's no shortage of intriguing tumbril weirdness blowing around the imaginary streets that this track conjures up.

The slamming 'North' keeps alive the record's persistent, darkly humorous feeling that things are about to go off the rails at any moment, using wildly contorted sequences and granular debris to shift between total abandon and regimented strictness. A moment of relative calmness, along with the return of the atmospheric vocals, comes about with 'Stell,' a faintly dubby track that leaves an impression like watching streams of traffic progress underneath rolling, deep grey clouds.

'Kalosi' brings back the percussive motif of 'Tasser' and 'North,' this time partnering it with loops that bring to mind radioactive bass strings. 'Nims' then shuts things down with infectious harp-like sequences, fuzz-shrouded percussion and an 'everything but the kitchen sink' mentality towards filtering and processes which will get the attention of all but the most jaded soundhead.

Available for the first time on vinyl, Whitney Houston's The Preacher's Wife: Original Soundtrack Album is the best-selling gospel album of all time. Released on November 26, 1996, the album features songs performed and produced by Houston, who also starred in the film. From the moment you press play, your heart will move to soul-stirring vocals like the hauntingly beautiful "I Believe In You and Me," and the spiritual "Joy To The World," "I Love The Lord," and "Step By Step." The album features guest artists including Shirley Caesar, the Georgia Mass Choir, and Houston's mother, the legendary Cissy Houston. This 2LP vinyl features a new essay by producer Mervyn Warren and fan testimonials of love.

Last month, Chase and Status returned to the limelight unveiling their hard-hitting and trailblazing singles “When It Rains” ft. BackRoad Gee, complete with a Jack McMullen starring, Hector Dockrill-directed cinematic visual and the addictive smash “Don’t Be Scared” ft. Takura. Today, the duo are making a true statement of intent for the year ahead, with the announcement of their sixth studio album, What Came Before. Created by Crown & Owls, the accompanying artwork captures a truly special and magnetic live moment. Speaking on the concept, Crown & Owls state:

“We wanted to create an image that captured the very human compulsion to gather in a dark room and dance and sweat. Such scenes have a different weight to them after they were off the table for a good while, and we were very interested in capturing a moment of collective catharsis in the shadow of a period of history that pushed isolation on so many. We were really interested in the stories of the individuals in the image - what drives them to want to be in that room? The whole campaign kind of works backwards from that moment in the photo really - the intersecting stories of the dance floor, and the sense of freedom and release it brings to the individual. The record sleeve, the single covers, visualisers and elements of the music videos were all captured at this special night - it’s been a joy to work on.”

Landing alongside the album announcement is new single “Mixed Emotions” - a euphoric and recognisably brilliant dose of true Chase and Status energy that landed alongside an incredible video, filmed in two halves and directed by UKMVA-winning Femi Ladi (Pa Salieu - “My Family”). Femi Ladi states:

“On nights out like this, sometimes you just want to get fucked up. Trying to get to that moment, when you’re out of your head and completely in the moment. Sometimes music gets us there, sometimes drugs and alcohol, sometimes it’s a combination of all 3.

I want to connect our camera to the chasing of that high. A visual metaphor for trying to reach that euphoria. Each time she takes a bump, a line or a pill, the camera closes in on her. The closer she gets to that euphoric moment, the closer the camera gets to her.

By the end I want the audience to have an uncomfortable and claustrophobic feeling as our hero goes slightly overboard, a feeling that most of us know but won't dare to admit.”

Consisting of 13 tracks, What Came Before distills 15 years of unparalleled experiences into a bold, invigorating sixth album; informed by global tours, sold out headline shows, five albums, multiple awards, chart success, underground kudos, top tier collaborations and remixes, and, above all else, that unwavering dance floor energy that remains as tangible and transformative now as it has since the very beginning. This pure, unadulterated exhilaration is the glue that binds all of these experiences together, cultivating a legacy of positive vibes, unforgettable moments and the continued progression of British club culture.

For trailblazers Chase and Status, the story is cyclical - a constant process of regeneration and refinement that comes full circle. Everything that came before, from their inception point to now, has brought them back to their essence.

Landing in the wake of their critically acclaimed specialist album RTRN II JUNGLE, and the more recent news of their headlining ParkLife festival this Summer, Chase and Status’s musical return is highly anticipated. After a series of teasers were published on their social media, the duo directed their fans to whatcamebefore , unveiling a plethora of forthcoming Summer festival dates.

The forthcoming album marks the inception point for the duo’s next phase; while on forced hiatus they also went back to square one with their live show. With What Came Before Chase & Status prepare to embark on the next chapter of their illustrious career as a seasoned act ignited by the same excitement

Scottish experimental/electronic musician Drew McDowall's lifelong interest in an elegiac solo bagpipe style called pibroch (ceòl mòr in Gaelic) has been an inspiration for much of his previous work (including Coil's legendary Time Machines). This form, often traditionally used for laments and for tributes to the dead, fuses modal drones with flickering dissonance and plaintive melody evoking an ancient, solemn mood. His latest work, A Thread, Silvered and Trembling, both incorporates and transforms these elements via exploratory electronic processing, weaving an electro-acoustic tapestry of strings, shudders, voids, and voices, alternately disembodied and displaced. Co-produced with engineer Randall Dunn at Circular Ruin Studios in Brooklyn, the collection's four pieces capture McDowall at his most elevated and elusive, in thrall to "the ineffable - that which refuses to be spoken." McDowall's palette here is unusually eclectic, sourced from a dynamic orchestral ensemble arranged by Brent Arnold and comprised of cello, viola, violin, harp (Marilu Donovan of LEYA), and french horn. Ebbing between shrouded electronics and enigmatic, sometimes spectralist orchestration, the album moves with a seething, simmering energy, surging into elegant, uneasy crescendos. The first two pieces are inspired by a liberatory hijacking and inversion of a grim biblical story (and by a cryptic and strange UK simple syrup branding). Opener "Out of Strength Comes Sweetness" shivers with short echo and resonant pads, before shifting into the album's centerpiece: the 14-minute saga "And Lions Will Sing with Joy." A murmuring electrical storm of keening strings and disorienting drones gradually grows darker and denser, until suddenly there's a crack in the clouds, revealing mutated choral voices and sparkling harp. McDowall describes the track as "an incantation to help usher in a break, and a new beginning." The record's latter half evokes a deep untamed animism shot through with spiraling radiance. "In Wound and Water" sways with harp, plucked strings and eerie cello undertows while lush layers of disorientated electronics hang in the dusk. There is no resolution, only a faint gradient of fragile dissipation, leading into the album's harrowing and climactic closer, "A Dream of a Cartographic Membrane Dissolves." Processed voices (credited on the liner notes to "The Ghosts Who Refuse to Rest") contort, whisper, and gather as the rest of the ensemble sharpens, poising to strike. Then it does - grand, tragic stabs of strings and horns lashing the sky, storming heaven by force. The fallout is poetic and inevitable, raining embers into a dark sea. But the journey and catharsis of A Thread linger long after it goes silent. Like so much of McDowall's multifaceted catalog, this is music of immanence and alchemy, attuned equally to the sacred and the profane, to the tile and the mosaic.

Freerange welcomes back dutch producer Yannick Roberts for his follow up to his 2022 I Can’t Hide From Myself EP. That release gained club spins and chart support from the likes of Dave Lee, Jamie 3:26, Luke Solomon and Fred Everything and became a hit with lovers of deep, disco-influenced Detroit house sounds as championed by fellow countrymen such as Dam Swindle, Fouk and Nachtbraker.

Opening track Grace sets the tone with a chunky groover guaranteed to set the right mood on the dance floor. Next up Yannick picks up the pace with Anyone (This Late At Night Mix) which uses syncopated synth stabs and a simple two note bassline to create peak time energy levels.

Amsterdam Nights keeps things bubbling along nicely with fat 909 beats, piano stabs and intense vocal samples while the EP closes out in fine fashion with All For You. Four tracks which perfectly demonstrate Yannick’s knack for producing quality club tunes.

Pleasure Planet’s kaleidoscopic debut album has been a long time coming, but good things come to those who wait. Developed over years of late-night studio improvisations, ‘Pleasure Planet’ is an affectionate and colorful patchwork of the New York City-based trio’s knotted influences that’s suspended between the rave and the chill-out room, weaving glistening pads and chunky basslines into vocal earworms and warm, saturated rhythmic cycles. Bandmates Andrew Potter, Kim Ann Foxman and Brian Hersey enter into a lysergic dialog with their discrete personal musical histories, drawing inspiration from vintage EBM, ambient music and heady early ’90s West Coast rave sounds and launching these classic elements into a transcendent new sonic universe.

Celebrated DJ and producer Foxman was a lead singer of Hercules and Love Affair when she first ran into DC rave veteran Potter, and the two rapidly realized their musical interests overlapped. So when Potter was recording with his studiomate Hersey, a NYC underground club scene mainstay, and they needed to bring in a vocalist, the choice was simple. Working together was a refreshing, freeing experience for the three seasoned artists, and the more they experimented, the closer they became; Foxman ended up moving into the studio, and Pleasure Planet was manifested into existence. “We’re like family,” says Potter. “We’re always on the same page – we couldn’t make this music solo.”

For Foxman, the open-ended jam sessions provided her with a chance to try something new, a few steps from the dancefloor-forward DJ tracks she’s best known for producing. And as the trio pooled their adolescent rave memories, reflecting on them with more mature ears, they began to develop the signature sound that was first heard on the Throne Of Blood-released ‘Animals’ 12″. Pleasure Planet aren’t trying to re-capture the past, but suggest a poetic contemplation that layers their recollections and musical obsessions into a hypnotic sci-fi dream. Harnessing a self-described “Aladdin’s cave” of analog and digital gear that help galvanize the timeline, they bridge the gap between avant-pop and icy bleep techno, curving suggestive words through lattices of tightly-engineered electronics.

On ‘Endless’, Foxman’s voice is echoed into a glistening haze that hovers around ethereal pads and tense, electroid pulses. Slow-moving and evocative, it’s a track that capture the open endedness of post-rave euphoria, touching the afterparty but moving far beyond the material world. She’s more recognizable on ‘Alien’, the album’s most upfront track, singing in a glassy, upper-register coo over urgent bass bumps, taut guitars and florid electronic atmospheres. “Are you an alien, or are you an angel?” she asks, fractalizing the borders between genres. And the band’s sense of cosmic togetherness bubbles to the surface on ‘Saved by the Bells’, a meditative after-hours experiment that diminishes the pulsing beats for a moment to bring out a spectrum of interconnected, serpentine melodies.

Modular bleeps and echoing percussion anchor the swooning ‘Planet Love’, one of Pleasure Planet’s most recent compositions and one of the album’s most outwardly psychedelic cuts, while the urgent and anthemic ‘Go With Madness’ steps back towards the main stage, evaporating Foxman’s memorable calls into a thumping procession of analog drums and squelchy, acidic bass tweaks. But they save the best for last, tugging at the heartstrings with ‘Remember (In Dreams)’, a giddy spiral of blipping synth arpeggios and haunting, reverberated chorals. It’s the perfect way to conclude an album that cryptically gestures towards the vulnerability of friendship, celebrating the shared experiences that result in some of the most meaningful memories of all.

Wendel Harrison, whose style evolved with the times from "Tribe" to "Wenha," discovered a male soul singer in his hometown of Detroit, William Odell Hughes. This is the first album of William Odell Hughes (1981), a male soul singer discovered by Wendel Harrison in his hometown of Detroit, who evolved his style with the times from "Wenha" to "Wenha". The vocals are extended and sung with great grace from the high tones to the low back, and the mellow soul number "Where Am I" (M3) to the sticky 80's funk "Super-Funk-A-Ga-La-Listic-Freak" (M4) featuring synths, "Super-Funk-A-Ga-La-Listic-Freak" (M5), "Super-Funk-A-Ga-La-Listic-Freak" (M6), and "Super-Funk-A-Ga-La-Listic-Freak" (M7). (M4), and the disco-boogie killer tune "Cruisin'" (M1), the highlight of the album, all of them are full of floor-like sounds that concentrate the best parts of the early 80's! Of course, "Wendel Harrison" also provides full support as an executive producer and contributes a wide range of parts from songwriting to saxophone, flute, and chorus. This mega-rare album has been matured over 40 years and is finally being reissued for the first time in the world!

We Could Be Flying" is a rare and classic album by KARIN KROG, a world-class jazz singer from Norway, which has been loved since its original release in 1975. The presence of New York pianist Steve Kuhn, who also composes four of the nine tracks, creates a masterpiece that combines a mellow, gentle comfort with a jazz-like groove. The album starts off with the title track "We Could be Flying" with its solidly sounding rhythm and soulful Karin's vocals, followed by "Meaning Of Love," and the album starts off with a sound that is sure to please fans of jazz-rock. The fourth track is a cover of Joni Mitchell's "All I Want," which not only has a pleasant jazz feel, but also a groove that reaches its peak with the interplay of drums and piano and other instruments, making it a must for fans of jazz, rock, and American music. The sixth track, "Raindrops, Raindrops," and "Hold Out Your Hand" also challenge the listener with a danceable samba style, making this an excellent album in its own right!

Sun Reflector is the debut LP collaboration by Heffernan (Ivan The tolerable, All Structures Align, King Champion Sounds, University Challenged) and Pärk (Black Tempel Pyramid, Teeth Of Glass, Kosmonaut). Sun Reflector is steeped in a haze of primitive drum machines, fanned phase and sustained scuzz-rippled guitar chimes, an ambient electronic creation with emphasis on repetitive trance-inducing rhythmic pulsations of electronic sound and subtle counterpoints that slowly unfold as the rhythmic drive marches forth utilizing the Motorik 4/4 beat with the lysergic kosmische sonic textures of Cluster. With Heffernan (bass, guitars and drones) based in the Northeast of England and Pärk (synths, drones and loops) based in Colorado USA on the border with New Mexico - the portal they opened up between these environments creates a travelogue that unites physical and inner space, a series of trance induced states rendered in vivid colour, a delirious portal into the ether. ‘Harmonic Coast’ opens and is a heady downtempo affair, an earthly vibration that slips effortlessly between peyote peaking trekking trips & Balearic sunset vibes. The somnambulistic drift of 'The Sun' sets the stage with a series of shimmering, circular synth pulses where hidden details slowly emerge over multiple listens. Album closer ‘Fever Mirage’ creates a clear-eyed appreciation of the pastoral beauty that surrounds us, it’s a journey that summons up an occult-like dream of glacial arpeggios and whispering synths that pull your attention in to this hypnotizing listening experience. Sun Reflector is a collective sound in which a lot is allowed, and a lot is done. That combined with the compositional ingenuity where the heterogeneous timbres create a time travelled cosmic mysticism that summons up the spirits and visions of Harmonia, Cluster, Eno and Phillip Glass. Shimmering and transcendent we present to you for your listening experience ‘Sun Reflector’