La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.
(limited red vinyl, including poster / lyric sheet) 'The Way You Talk Reminds Me Of Home' is the second album by Belgian indie band BLUAI. Two years after their warmly received debut 'Save It For Later' and an extensive run of shows across some of Europe's biggest festivals and venues, the three-piece return with their most ambitious and immediate record yet.
Across eleven songs, BLUAI explore what it means to live somewhere between past and present. Conversations with family, friends, partners and people who resurface after years away become starting points for songs about childhood, love, grief, responsibility and the uncertainty of approaching thirty. Rather than a traditional coming-of-age record, 'The Way You Talk Reminds Me Of Home' is about figuring things out while you are already in the middle of them.
Produced by Isabel Gracefield (Adele, Dua Lipa, PJ Harvey, Radiohead...) and recorded at London's legendary RAK Studios, the album was made with a deliberately instinctive approach.
BLUAI much as they sound on stage: raw, direct and closely connected.
PISS ist eine laute, genreübergreifende vierköpfige Band aus Vancouver, B.C. Durch die Kombination von Punk, Poesie, Soundcollagen, Performancekunst und bildender Kunst schafft die Band ein multidisziplinäres Gesamtwerk, das die Grenze zwischen Persönlichem und Politischem verschwimmen lässt. Angetrieben von durchdachter Musikalität, energiegeladenen Live-Auftritten und einer kristallklaren künstlerischen Mission schreibt PISS Punkmusik, die darauf abzielt, die Grenzen eines etablierten Genres zu überwinden. Ihre Arbeit schöpft Inspiration aus einer Reihe unerwarteter Einflüsse: literarische Größen, Philosophen, Filmemacher, Maler, Psychoanalytiker, Aktivisten, Kinder, Mitglieder einer deutschen anarcho-feministischen militanten Gruppe und Gespräche mit Zuschauern. Diese Stimmen repräsentieren unterschiedliche ideologische Überzeugungen zum Thema geschlechtsspezifische Gewalt und ermöglichen es PISS, Kunst zu schaffen, die herausfordernde und kontroverse Themen wie sexuelle Gewalt und verinnerlichte Geschlechternormen darstellt - ohne Vereinfachung, Romantisierung, Polemik oder Dogmatismus. you made me / skin on linen ist das Debütalbum der Band. Es schildert eine Kindheit, die von struktureller, systemischer und intimer Gewalt geprägt ist. Auf dem gesamten Album dienen Motive aus der Kunst als Metaphern für die unzähligen Arten, wie wir die Auswirkungen dieser Gewalt in uns tragen: Jede Erfahrung hinterlässt einen Eindruck und formt oder verzerrt nach und nach das Selbst - ganz wie ein Stück Ton, das durch jeden Abdruck, den es erhält, geformt wird.
PISS ist eine laute, genreübergreifende vierköpfige Band aus Vancouver, B.C. Durch die Kombination von Punk, Poesie, Soundcollagen, Performancekunst und bildender Kunst schafft die Band ein multidisziplinäres Gesamtwerk, das die Grenze zwischen Persönlichem und Politischem verschwimmen lässt. Angetrieben von durchdachter Musikalität, energiegeladenen Live-Auftritten und einer kristallklaren künstlerischen Mission schreibt PISS Punkmusik, die darauf abzielt, die Grenzen eines etablierten Genres zu überwinden. Ihre Arbeit schöpft Inspiration aus einer Reihe unerwarteter Einflüsse: literarische Größen, Philosophen, Filmemacher, Maler, Psychoanalytiker, Aktivisten, Kinder, Mitglieder einer deutschen anarcho-feministischen militanten Gruppe und Gespräche mit Zuschauern. Diese Stimmen repräsentieren unterschiedliche ideologische Überzeugungen zum Thema geschlechtsspezifische Gewalt und ermöglichen es PISS, Kunst zu schaffen, die herausfordernde und kontroverse Themen wie sexuelle Gewalt und verinnerlichte Geschlechternormen darstellt - ohne Vereinfachung, Romantisierung, Polemik oder Dogmatismus. you made me / skin on linen ist das Debütalbum der Band. Es schildert eine Kindheit, die von struktureller, systemischer und intimer Gewalt geprägt ist. Auf dem gesamten Album dienen Motive aus der Kunst als Metaphern für die unzähligen Arten, wie wir die Auswirkungen dieser Gewalt in uns tragen: Jede Erfahrung hinterlässt einen Eindruck und formt oder verzerrt nach und nach das Selbst - ganz wie ein Stück Ton, das durch jeden Abdruck, den es erhält, geformt wird.
Hanne Lippard and Renato Grieco's Today's Special is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices. Lippard's texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener Portrait of a Betrayal, a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco's instrumentation works with Lippard's language art as a form of acoustic typography. "I studied graphic design and I think about how you can express typography through voice," she says. "Renato's use of the viola da gamba becomes like an underline, or a font's brushstrokes, in ways that feel typographical." In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard's voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on Receiver and in conversation for final track The Black Rose. "Hanne's voice is an artist's voice, embodied as the artwork itself," he says. "But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona." In some tracks the structural connections are obvious - the matched tumbling delivery and stepped pitches of voice and piano in Aficionado sounding like two tipsy friends descending a staircase. In others, like the triptych of tracks Three Rungs Ladder, structured with rules derived from nursery rhymes, or cumulative song (akin to the 12 Days of Christmas). For the Colour 1 and Colour 2 pieces, the duo worked from palettes of colours connected to clusters of harmonies, which underlined the power of the word and its articulation. The absurd Labradorable personifies a people pleaser, A Story About Being Blue is an imagined playful monologue from the Deep Blue supercomputer - requesting in sing-song stop motion to be called Debbie, and Larry - as Grieco echoes in factual reportage. Hurtbeat unpacks and recomposes a tweeted non-apology by a Russian art collector about owning a piece of racist art, Grieco shadowing Lippard's generating a third `drop-shadow' performer from the resonances between the duo, typographic re-articulation of the source material. The Receiver includes lines from Robert Ashley's Improvement (Don Leaves Linda), Ashley existing as a spiritual parent of sorts to the practices contained on Today's Special, and here interpolated as if he is being quoted and written through within the audible world of the piece in a palimpsest of borrowed sentences. Closing track The Black Rose contains its own self-aware comedy, a lightly distorted conversation sourced from a Reddit thread about whether black roses exist, recorded as if it were an internet radio or a low budget podcast, the casual exchange stilted in the delivery of platitudes as scripted speech. Today's Special was developed in person over the course of a series of small residencies - at Deutsche Akademie Rom Villa Massimo, Rome; Fondazione Morra, Napoli; Callie's, Berlin. In these limited periods that rarely stretched beyond a week, Lippard and Grieco developed strategies for the works, keeping tightly locked to musical concepts. This, for Grieco, is about maintaining a solid, meaningful connection within the compositions, and committing to everything having a purpose for existing within the work. Each element pulls its weight; has something to say, literally and metaphorically speaking. In the same way that Lippard's work leaves nowhere for her to hide, he wants the music to exist with its own naked purpose: "It's is about exposing nudity via reduced materials," says Grieco. "This is a form of courage we want to embrace. Once we take off everything, it needs to be extremely precise to maintain a connection with the audience. We have a lot of tools to hide behind now, to protect ourselves and our identities as artists, performers, and in life more generally. It's something I don't want to do. I want extreme reduction: no hiding."
Cosmic Romance presents the debut album from Sua Galera, a vibrant 8-track journey shaped by friendship, late-night sessions, and a shared love for groove-driven music.
Formed in Dortmund, Germany, located in the middle of the multicultural region Ruhr, Sua Galera brings together nine musicians who first connected through the city’s jazz music scene. Led by keyboardist and producer Eskil Bauer, the collective channels a multinational identity, reflected both in its sound and its name: “Sua Galera,” Portuguese for “your crew.” With vocalists with Brazilian and Moroccan background at the forefront, the project naturally blends diverse cultural influences into a warm and cohesive musical language.
The album moves effortlessly between Brasil funk and Mediterranean-inspired grooves, all filtered through the timeless sound aesthetics of 1970s and 1980s studio productions. Recorded through countless nights spent both in the studio and immersed in live music culture, the record captures the spontaneity and chemistry of a band deeply connected through performance and collaboration.
Perfectly aligned with the Cosmic Romance universe, Sua Galera’s debut delivers an organic, soulful, and rhythm-forward sound designed for DJs and listeners seeking emotionally rich groove music.
The meeting of 2 legends Armin van Buuren and Adam Beyer remixing the classic D-Shake 'Techno Trance'.
On the flip we have "No Mercy", their second joint venture and first fully original production together, released jointly through Armada Music and Drumcode. The track first saw a live preview during their B2B performance at Coachella 2026.
Pressed on tri-colour black white & pink effect vinyl and housed in a designed sleeve.
These rare unreleased tracks were a part of collection of recordings made specifically for the Jeff Mills Live At Liquid Room DJ Mix film/audio recording in 1995. Finalized and mastered only to ¼' reel to reel tapes, these recordings sat undisturbed and never heard since those infamous two nights in Tokyo.
Created along with the most notable track "i9", in this time period, Mills was also composing music for releases such as Waveform Transmission 5 (that was never released) and the initial tracks for the first release of the label Purpose Maker.
The Human League is renowned for their contribution to the synth-pop genre. Originating from the experimental electronic music scene, they achieved notable success as a pop band during the 1980s. The band's lineup has undergone changes throughout the years, but Philip Oakey, Joanne Catherall, and Susan Ann Sulley have remained core members.
This limited edition BLUE vinyl release captures their performance at The Dome in Brighton on December 19, 2003. It includes their iconic hits such as "Don't You Want Me," "Human," "Mirror Man," and "Fascination." The album showcases their talent for crafting catchy melodies, employing innovative synthesizer techniques, and featuring distinct vocals.
With their memorable songs and unique musical style, The Human League truly made their mark on the Synth-pop genre.
The first ever full official release of Orbital's legendary Glastonbury 1994 performance !
Originally performed and broadcast to a generation discovering electronic music in real time, Orbital's set at Glastonbury '94 became a defining cultural moment - not only for the band, but for dance music itself. At a time when electronic acts were still fighting for recognition on major festival stages, Orbital proved that dance music could be as emotional, cinematic, and powerful as any headline rock performance. The iconic headtorches, the energy of the crowd, and the sheer ambition of the performance helped cement the set as one of the most important live electronic shows ever witnessed. A gamechanger for the dance music scence.
Although the performance has long circulated online and remained a fan favourite for decades, there has always been overwhelming demand for an official release.
The first ever full official release of Orbital's legendary Glastonbury 1994 performance !
Originally performed and broadcast to a generation discovering electronic music in real time, Orbital's set at Glastonbury '94 became a defining cultural moment - not only for the band, but for dance music itself. At a time when electronic acts were still fighting for recognition on major festival stages, Orbital proved that dance music could be as emotional, cinematic, and powerful as any headline rock performance. The iconic headtorches, the energy of the crowd, and the sheer ambition of the performance helped cement the set as one of the most important live electronic shows ever witnessed. A gamechanger for the dance music scence.
Although the performance has long circulated online and remained a fan favourite for decades, there has always been overwhelming demand for an official release.
Split#5 marks the fifth and final installment of the Split series on the Various Artists catalogue of Pi Electronics, pairing Spanish producer Hurtado and Greek producer Nikitas Grs. Despite their distinct approaches, Hurtado's industrial-leaning broken beat funk and Nikitas Grs' psychedelia-infused noise techno converge through a shared aesthetic of textured sound design, raw energy and dark atmospheres. On the A-side, Hurtado showcases his trademark production style through the driving cuts "Show of Force" and "Bad Company", while "The End", featuring vocals by Genevieve GV, reveals a more experimental side of his production. The B-side welcomes Nikitas Grs with two compositions that blur the boundaries between techno, trance and industrial music. The live version of "Susano" unfolds as a rolling, hypnotic dancefloor trip, while "Anoriotos" balances heavy rhythmic impact with an underlying sense of ambient nostalgia. The digital bonus track, "Pollinator 5000", reveals yet another facet of Nikitas Grs' sound palette: a relentless piece of noise-techno that rounds off the release with uncompromising intensity.
Bill Beau was born in Toronto, Ontario, Canada, but was raised in the western provinces, finishing high school in Edmonton, Alberta. It was while in high school that the "righteous rays" via radio struck Beau in the form of Meade Lux Lewis, Pete Johnson and Albert Ammons at the height of the Boogie Woogie rage. It was while in high school that Bill got his first gig. He played piano and worked with Wilf Harper, a guitarist of local renown. Beau played on weekends and during the week worked as a clothing salesman, stock clerk, refinery worker, service station attendant and freight checker. He travelled all across Canada, and finally landed in Los Angeles, California.
In 1958 his love of music compelled him to direct all of his energy toward the perfection of his musical talent, so he decided to settle permanently in Los Angeles. Beau first worked there as a vibraphonist, gigging with such stars as Ben Webster, Rex Stewart, Pete Fountain, and Stuff Smith. Once, when his regular organist failed to show up for a date, Beau ended up on the Hammond. Beau then formed his own group, and the trio got a standing date at the Blue Port Lounge. The other two members of the trio are Jo Stafford on guitar, Lorenzo Green on drums, plus the pretty and petite vocalist with the group, Chi Chi.
"Live at the Blueport Lounge" by the Bill Beau Trio is mod-soul-jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!
After fifteen years of shaping dancefloors around the world, Mele is set to release his long-awaited debut album Alive On Arrival via Defected Records Far from an introduction, the album marks the arrival of an artist operating with complete creative clarity, bringing together the sounds, collaborators and influences that have defined his journey into one cohesive body of work.
"Alive On Arrival draws inspiration from what feels like my entire life as a producer, a DJ and a music fan, bringing together everything I love about house, hip- hop, UK music, soulful R&B and wider global sounds. The name comes from Wu-Tang Clan's C.R.E.A.M., which felt fitting to where I'm at in my musical journey. It's been 15 years as Mele, but I'm still alive and feel like I've got so much more to give. I've finally arrived at this point with my debut album. The album was made in, and heavily influenced by, London, Miami and Liverpool - three places that are close to my heart. Sonically, it's inspired by some of the best: Jungle, The Neptunes, Gorillaz and Masters At Work." - Mele aka Krissy Peers Set for release on 25 September, Alive On Arrival is Mele's most expansive project to date. Across fourteen tracks, he draws together house, hip-hop, soul and R&B into a record that reflects a lifetime spent moving between genres rather than being limited by them. Created between London, Miami and his hometown of Liverpool, the album captures the energy and musical history of three cities that have shaped both his sound and perspective. At the heart of Alive On Arrival is collaboration. Rather than simply assembling a list of featured artists, Mele has curated a cast of voices whose individual perspectives deepen the emotional and cultural narrative of the album. Long-time collaborators sit alongside new creative partnerships, each contributing to a record built on shared musical language and mutual respect.
Athens-based multi-instrumentalist, songwriter and producer Raphael Meleteas presents "Someone Else", the title track and first single from his forthcoming debut album of the same name.
Written, arranged, performed, recorded and mixed entirely by Meleteas, the recording reflects an organic approach to songwriting, where warm analogue textures, cinematic arrangements and carefully layered instrumentation take precedence over studio polish. Every instrument heard on the track is performed by Meleteas himself.
Drawing from the rich tradition of orchestral pop, cinematic music and library recordings of the late 1960s and 1970s, Someone Else balances intimate songwriting with understated orchestration, creating a sound that feels timeless while remaining unmistakably personal.
Recorded in Athens, Greece, the single introduces the atmosphere that defines the forthcoming album: melodic, reflective and rich in subtle detail, unfolding naturally through live performance rather than digital construction.
"Someone Else" offers the first glimpse of Raphael Meleteas' debut album, also titled Someone Else, which will be released by Veego Records in September 2026.
La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.
Space Ghost returns with Back From Reality, his first solo album since 2022. Blending ambient, downtempo and house, the LP explores themes of escapism, introspection and the search for moments of calm in an increasingly overwhelming world. Out October 9th, 2026 via Space Ghost’s own Peace World Records.
Drawing influence from late '90s and early 2000s ambient and electronic music, the record channels the nostalgic atmosphere of PS2-era video game soundtracks, console startup screens, and save menus. “I used to play games like Spyro, Crash, Ape Escape, Gran Turismo. It's fun for me to reimagine songs that could have lived in games from that era. ” The project reveals Space Ghost's interest in writing music for video games, with tracks such as "System Reset" reimagining an alternate PS2 startup screen or “VGM” visualizing a stage selection screen for an imaginary game.
Visually, the project emulates the minimalist design trends of album artwork from the same era: sparse industrial landscapes paired with minimal type. Space Ghost took the cover photo himself while driving around the quiet, empty Oakland ports at night. Tracks like “Sugar Cube” and “Back From Reality” mimic these late night environments and create a downtempo zone for listeners to get lost in. “One of my favorite things to do after writing songs, is to drive around Oakland listening to them. It's almost like the final test for the songs, to see if their emotion holds up.
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Written over the course of five years, Back From Reality reflects Space Ghost’s experience of balancing everyday life with the desire to be creative. “This album is me coming home from my day job and returning back to the place where I feel the joy and freedom in making my music. If I could, I would work on my music full time, but for now it's part time and often a form of escapism. ” Beneath its calming surface, the LP quietly wrestles with larger questions. Against the backdrop of global conflict, environmental decline, and economic uncertainty, the album searches for small moments of optimism through creativity and introspection. Back From Reality holds a moment of space away from these overwhelming times, allowing listeners to pause and recharge.
Back From Reality releases on Peace World Records October 9th, 2026
You'd be hard pressed to name a song with the driving, emotional intensity and raw energy of the Hamilton Movement's anthemic ode to heartbreak, "She's Gone." Issued as the B-Side of the band's 1976 single "We're Gonna Party," and distributed in and around Indianapolis, there is no evidence the song garnered significant attention upon release—yet over the past fifty years it has amased a cult of devotees across the globe. But while interest in the group's music remains strong, little information has surfaced about the Hamilton Movement's history, and until now, there have been no official reissues of their work. This collection presents the band's discography, alongside previously unreleased music discovered on tape; it is the Indianapolis soul album that should-have-been.
The keys to the Hamilton Movement's mystery can be found in central Indiana, where promoter Dick Melvin has lived the past few decades, in a rural suburb of Indianapolis, amidst forests and cornfields. Melvin served as the group's manager throughout their entire existence, but his involvement extended far beyond typical managerial duties. He co-wrote and co-arranged the band's music; he produced and released their recordings on his Look Out label. Dick is also the band's archivist. His home is filled with boxes of demo sessions, live tapes, contracts, posters, and promotional photos documenting his work with the Hamilton Movement. He entrusted his archive to Now-Again's care and they've assembled this album under his watch. Dick's story, and the story of his band, are presented in an extensive, oversized booklet with Dick's rarely-seen photos and ephemera and words by Now-Again's Egon and Naptown historian Kylie Long.
Rio de Janeiro producer, composer and multi-instrumentalist Fabio Santanna returns with Copa Astral, an eight-track journey through modern Brazilian boogie, disco and Balearic grooves. Released by Rio’s Onda Boa, a label founded by Joutro Mundo, the album captures the warmth of the city's sunlit days and the cinematic glow of its nights, blending lush synths, live horns, percussion and rich vocal arrangements into an unmistakably Brazilian sound.
Opening with the slow-burning title track, introduced by the unmistakable cry of a cuíca, Copa Astral sets the mood before unfolding into the rolling grooves of "Ponto de Areia" and the Afro-Brazilian pulse of "Odoya Beat". Elsewhere, "Nesse Tempo" drifts into dreamy nostalgia, while side B moves effortlessly through the carefree boogie of "Jabuticaba", inspired by Brazil's beloved fruit; the warm, enveloping feeling of longing in "Senti Saudade"; the seaside romance of "À Beira Mar"; before closing with "Cantagalo", a heartfelt tribute to the neighbourhoods, memories and spirit that continue to shape Santanna's music.
Inspired as much by Rio's beaches as its neon-lit avenues, Santanna draws from Brazilian boogie, 1980s cinema, vintage record sleeves and classics such as Junior Mendes' Copacabana Sadia, filtering those influences through the city's unique rhythm. Produced at his Copacabana studio with live brass, percussion and vocal harmonies, Copa Astral is both timeless and contemporary - an album equally at home on the dancefloor, by the ocean or during a late-night drive along the coast.
Riva Starr teams up with Australian duo Close Counters for a sun-soaked debut on Heist.
What do you get when you put an Italian house legend in the studio with 2 of the most talented artists from Melbourne? Have a listen to the newest release on Heist and you’ll find out. On their ‘Push your luck’ EP, Riva Starr, Close Counters and UK soul singer Andre Espeut bring a heavy dose of jazz & soul and most of all, upbeat dancefloor energy. Whether it’s the deep soulful vibe of the title track or the house meets jazz-funk energy of ‘Gearbox’, this EP brings together everything we love about house music.
‘Push your luck’ comes right in the middle of Close Counters’ world tour, just after Riva Starr’s album ‘Keep me on the dancefloor’ and is the follow up to their recent collab ‘Jinga’ on Riva Starr’s own Snatch Records. We all know Riva Starr from his 2013 Fatboy Slim collab ‘Eat sleep rave repeat’, his work with Groove Armada, and more recently his collab with Prunk on his PIV records debut album. Close Counters have already worked with Heist mainstays Fouk and had their breakthrough moment with their 2023 album ‘Soulacousta II’, which got wide support ranging from Gilles Peterson to Jyoto and Folamour.
Their ‘Push your luck’ EP kicks off with the title track featuring the silky vocals of Andre Espeut. When we first heard this song, we immediately got transported to the soulful sound of the mid 2000s led by Recloose’s unique track ‘Dust’ with Fat Freddy’s Drop singer Joe Dukie. It’s moody, stripped back, and bouncy at the same time. The lush chords, disco bassline, and vocal harmonies all make for a track that goes beyond genres and trends. This is a future classic.
‘Gearbox’ is a disco-tinged piano jam full of live elements, rolling congas and disco bleeps, where the musicality of the Close Counters boys comes in at full speed. This song takes its inspiration from the Brazilian jazz-funk of legends Marcos Valle and Azymuth, with a clear sense of modern-day dancefloors and a love for electronic noise. Also; 10/10 for creatively naming the track after the glitchy electronic sound that freaks & funks throughout the track.
On the flip, ‘Dizzy’ sees the trio go more into disco-house territory, again teaming up with Andre Espeut for a track that blends catchy vocal loops with a tight groove and lush chords. The EP finishes with a club dub of ‘Push your luck’ for those in favor of more groove and less vocals.
We’ve had Riva Starr and the Close Counters boys on our radar for a while, and they landed on Heist with the perfect combination of musicality and dancefloor power. We hope you like this release as much as we do!
