Erstmals auf Vinyl als 2LP-Set erhältlich, gepresst auf 180g schwarzem Vinyl. TIMELESS - THE ALL-TIME GREATEST HITS enthält 21 zertifizierte Klassik-Tracks von einer der kommerziell erfolgreichsten und renommiertesten Bands der Welt in der Geschichte der Popmusik. Jeder Track auf TIMELESS wurde von Barry Gibb persönlich ausgewählt und sequenziert.
We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).
Universal Eyes Ist Eine Experimentelle Noise-supergroup Der Detroiter Formationen Wolf Eyes Und Universal Indians, Bestehend Aus Nate Young, John 'inzane' Olson, Aaron Dilloway (pan, The Trilogy Tapes, Dais) Und Gretchen Gonzales Davidson (ex-slumber Party-mitglied/kill Rock Stars). "four Variations On Artificial Society" Ist Das Ergebnis Ihrer Reunion, Aufgenommen Und Produziert An Einem Wochenende Mit Der Detroiter Underground-legende Warren Defever (his Name Is Alive/4ad) Und Gepresst In Superlimitierten Auflagen. Cd Im Jewelcase, Lp Auf Farbigem Doppelvinyl Mit Download-code & Poster. Die Lp-erstauflage Erscheint Auf Weißem & Colaflaschen-klarem Vinyl, Eine Spätere Auflage Mit Roten Und Violetten Farbspritzern.
Mit brachialen Tempowechseln und sägenden Gitarrenriffs sowie klebrig-süßen Arrangements und ungestümen Ausbrüchen zwischen Hardcore, Punk und Alternative stiegen die Pixies gegen Ende der Achtziger zu Independent-Superstars auf. 1987 nahmen Frank Black & Co. bei einer dreitägigen Session 17 Songs für das Demo "The Purple Tape" auf. Eines dieser lila Bänder fiel Ivo Watts-Russel in die Hände, der die Pixies schließlich bei 4AD unter Vertrag nahm. Acht der Demo-Stücke landeten auf der EP "Come On Pilgrim", der ersten Veröffentlichung der Band. Im Jahr 1988 entstand das Debütalbum der Pixies, "Surfer Rosa", produziert von Steve Albini. Wieder hielt sich das Quartett nicht lange im Studio auf, in vierzehn Tagen war alles im Kasten. "Surfer Rosa" enthält "Where Is My Mind?" und damit den sicherlich berühmtesten Song der Band. Das Debüt begeisterte die Kritiker, "Melody Maker" und "Sounds" zeichneten es als "Album des Jahres" aus. Auch rückblickend gilt die Platte als eines der wichtigsten Rockalben jener Zeit. Zum 30-jährigen Veröffentlichungsjubiläum bringt 4AD die beiden Meilensteine zusammen mit dem 1986 mitgeschnittenen Radiokonzert "Live From The Fallout Shelter" noch einmal als Triple-Album heraus.
The inaugural release on enigmatic conceptual artist and Freerotation regular Aboutface's new label Coordinates- a limited physical release series exclusively showcasing his music and original art, depicting conceptual themes and exploring the aural terrain of two sets of location coordinates around the world. Coordinates #1 explores ultra-sonic bat recordings from Lincolnshire, England, and ancient mayan culture from the Chiapas region, Mexico.
Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.
Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.
The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.
This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.
Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.
Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).
His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.
He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.
The band formed in late 2013 by former Coldworker members Joel Fornbrant (vocals), Oskar Pålsson (bass) and Anders Jakobson (drums). The line-up was completed by guitarist Kristofer Jankarls (also in Livet som insats) a few months later and the quartet focused on songwriting. The first recording took place in the spring of 2015 and the 12 tracks were released on the two 7' EP's Time and again and Mankind crawls.Following the releases of the EP's and a few live shows Axis of Despair continued to work on material with the ultimate goal to create a striking grindcore album with an aggressive, yet diverse selection of strong songs. The writing process was spread out over a year until the band went into the studio and begun the recordings in the summer of 2017.Contempt for Man propels with twenty super-charged raging songs, clocking in around the half an hour mark - short enough to retain attention, and long enough to serve a good taste of the bands particular brand of European grindcore.
At a time when on every street corner, adolescent wannabe gangstas believed they had to tell everyone and their dog about their greatness and the inferiority of all others, there was a cadre of Munich-based Hip-Hop artists producing incredibly fresh and imaginative music, inspired, of course, by the golden era of the 90s. They played gigs in small clubs in front of some dozens of people, spread mixtapes and Eps and were celebrated by their friends and the rest of the scene. The world took no notice - until now ! Tramp Records, specializing in unearthing forgotten pearls of musical art, documents with "Golden Hits", an era of Munich underground Hip Hop which flew completely under the radar, spanning ten years from 2005 to 2015. The musical bandwidth and quality of the tracks is astonishing, but so much more could have been possible. Much of this music remained fragmented or unreleased for a host of reasons, families, stressful jobs, musical reorientation, and even lost hard disks... but one story has a happy ending! When Masta Ace had a live show at the legendary Atomic Cafe, Primatune's Fid Rizz was able to hand over a CD with demo beats. Unfortunately the CD was blank by mistake! But the curiosity of Masta Ace had been piqued, and he got back to him, the rest is history. Features of other stateside rap heroes like Wordsworth or Declaime followed.
The very best of this era, including tracks never before heard and ideas remaining fragmented, has now been compiled by Tramp Records to take you for a fascinating listening journey.
Hip Hop, as it was since it's inception in the Bronx, fresh and real, and made with passion by neighborhood kids spitting truth about life and the struggle!
Key selling points:
- including many unreleased songs
- the vinyl LP comes with a full album download code
King Coya ist das digitale Alter Ego des argentinischen Musikers, Produzenten und Komponisten Gaby Kerpel. In den Neunzigern entwickelte Kerpel die furiose Theater-Performance "De la Guarda" mit, später setzte er seine Kreativität für das preisgekrönte Showprojekt "Fuerza Bruta" ein. Abgesehen davon ist er bekannt für die innovative Verbindung lateinamerikanischer Folklore mit moderner elektronischer Musik. Seit seinem 2009 veröffentlichten Solodebüt "Cumbias de Villa Donde" fertigte der König Remixe für Acts wie Amadou & Mariam, Brazilian Girls, Julieta Venegas, Luzmila Carpio, Chancha Via Circuito, Tom Tom Club, Petrona Martinez und Magin Díaz an. Weiterhin beteiligte er sich als Mitglied der Band Terraplén an den Aufnahmen zu "Tira Torito" (2010). Mit "Tierra de King Coya" setzt Kerpel den eingeschlagenen Pfad weiter fort. Zur Geltung kommen neben kolumbianischer Cumbia und argentinischem Folk insbesondere traditionell in den Anden gebräuchliche Instrumente wie das Zupfinstrument Ronroco oder die Schnabelflöte Tarka. Natürlich werden alle Sounds vom King so lange am Computer aufbereitet, verfremdet und geschichtet, bis sich explosiv-tanzbare Songs ergeben. Neun Stück sind es auf "Tierra de King Coya" geworden. Bei diesen wird er von La Yegros, Iara Nardi, Isabel Pinedo Rengifo, La Walichera, Balvina Ramos und Queen Colas am Mikrofon begleitet.
Bulkhead present their debut album - Aft Pressure - due June 1st on 2MR Records. In 2015, during the coldest Toronto winter on record, two old friends - Pop District and Patrik Benjamin - locked themselves away in the studio to experiment with a medley of hardware. Both solo artists in their own right, they had overseen their own projects prior, but had never considered how a collaboration might sound. Exploring the polarity of extreme cold and immersive warmth with a distinctly analogue feel, the duo carved themselves an aesthetic. And so Bulkhead was born. Using a raw, organic palette they repudiate formal structure and polish, opting instead for a freeform blend of unhindered mechanical techno and fuzzy ambience - slambient, if you will. Debuting in 2016, their 'Worker's Kampf' cassette album on LA imprint Far Away Tapes sold out quickly, warranting another release on 2MR featuring highlights of the cassette on 12' and digital. Continuing with the purveyance of abstract arrangements and machine wizardry, their forthcoming album - Aft Pressure - is a striking exploration of the intersection between frenzied techno and harmonic warmth.Fragments of techno and EBM mutate without strict guidance, rebuilding themselves into new forms with stunning physical qualities. Whilst many of the tracks might file under dance music, the DIY spirit of the album transcends a nightclub, occupying a peculiar space between the uncensored grit of the post-punk scene and some melancholic form of ambient minimalism. Angular percussion slices its way through dizzying synth leads whilst serene harmonies wander on their own accord. Darting melodies are made all the more powerful by their harsh timbre as drum-less excursions provide a cinematic backdrop. Aft Pressure is a statement of intent, blurring the parameters of dance music culture with equal doses of insanity and serenity. At the same time, it's also a hell of a lot of fun...
originally released in 1990-with Liz Lamere - Never released on vinyl-
Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.
Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.
For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.
Spazio Disponibile hits release number 13 in style with a collaborative effort between label co-founder Donato Dozzy and longtime friends Retina.it. It is a typically experimental release that features five weird and wonderful tracks, seeing the label taking yet another dip into the more leftfield areas of electronic music.
Malik Hendricks is a rhythmically inclined aesthetic enthusiast born in the 80s, and raised in the 90s. Here he delivers his debut EP of bumpin', soulful, and inspired House music.
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***
Our grief falls flat and hollow
upon the billion-blooded sea.
These mad dogs of glory
moving this little bit of light toward us.
It was a shameful waste of
madhouse time.
***
Written, performed and produced by Thomas Moen Hermansen @M57 Studios Asker Jan-Sept 2016
Published by Smalltown Supermusic/Sony ATV Scandinavia
Mastered by Schnittstelle , Photos by Ragnhild Fors, Design by Metric Design
After the slightly more conceptual "Principe del Norte"album, "5" takes two steps forward and one step back
collecting a batch of tracks that was recorded right after it's preceder and in tandem with the recent "Square One"album with Bjørn Torske.
A "freedom"album of sorts, beyond the slightly misleading album opener "Here comes the band" there's a variety in these tracks tracing inspiration from 35 years (unhealthy)obsession with all things "good music" played enthusiastically.
"5" also marks the launch of my new label "Prins Thomas Musikk".
A run through the tracks with a couple of hints to titles and inspiration:
"Here comes the band"
A planned album of a fake band consisiting of me only was ditched. This is their only entry...
Very loosely inspired by "Bandwagonesque"era Teenage Fanclub
"Villajoyosa"
Melodic ideas hummed into a handheld recorded and specific notes about instrumentation scribbled down while on holiday in Villajoyosa in Spain turned into this little ditty when back in slightly colder Norway.
"Bronchi Beat"
Made in bed during a rough patch of bronchitis. Heavily influenced by prescription cough medicine.
Orbe from Madrid made a dizzy techno version which comes out soon enough...
""
I find great inspiration in working on new ideas while travelling the skies. Partly inspired by a detour into the soundtrack of my early teens (Paul Hardcastle, Warp 9, Maze, Mtume...)this particular one was started on a bumpy flight home from Athens and later finished in my tiny M57 Studio(R.I.P.)
"Æ"
Another bronchitis-ridden idea. Slow and low is the tempo. Beat originally inspired by Brian Briggs "AEO", melodies beamed in from Wally Badarou.
"Æ"is the norwegian pronounciation of the A in Acid refering to the 303 screeches going through the "song"
"Ø"
By the title you might think I'm running out of ideas. Not sure what happened here and why...
"Lunga Strada"
The track that took me the longest to complete hence the "long road".
Personal favourites The Pilotwings from Lyon sent over 2 ridiculously good and fun remixes which will
be released on a separate 10"
"London til Lisboa"
Another idea made on a plane when I should have tried to catch some sleep.
Direction steered by Plaid and Pat Metheny. Thank you for the inspiration
"Å"
Initially the final track AND then: scrapped idea for the alphabet soup of "Principe del Norte".
Later evolved into what we have here. Comes with a really nice remix by Pional on a separate 12"
"Venter på Torske"
The final recorded addition to the album. Made while waiting for Bjørn Torske to reply on a text message...
"Aske Hermansen"
In all seriousness, this is probably as soppy as it gets with me.
Tears into my computer keyboard, made on the road missing my wife and kids.
Grammy® Award-winning Rock and Roll Hall of Fame inductees Green Day will release Greatest Hits: God's Favorite Band on 17th November. The playlist includes 20 hits spanning the band's prolific 21 years as a band, plus a brand new song called Back In The USA' and a new duet with award-winning Country Music superstar Miranda Lambert on Ordinary World.' Green Day frontman Billie Joe Armstrong previously collaborated with Lambert at the 56th annual Grammy® Awards in 2014 for a live duet in tribute of the late Phil Everly of The Everly Brothers.
On 22nd March, God miraculously came down to the Ed Sullivan Theatre to introduce Green Day as God's Favorite Band' on The Late Show with Stephen Colbert. When God speaks people listen, and he granted Green Day the title: Greatest Hits: God's Favorite Band. The collection chronicles the sonic journey of one of the most essential and dynamic rock bands in recent history. Formed in 1986 in Berkeley, CA, Green Day achieved breakout success with 1994's Dookie which has sold over 10 million copies to date in the U.S. alone. Widely credited with popularizing and reviving mainstream interest in punk rock, Green Day would go on to release Insomniac (1995), Nimrod (1997), and Warning (2000). In 2004, Green Day released the rock opera American Idiot which captured the nation's attention and sold more than six million copies in the U.S. Mojo declared It's exhilarating stuff, the kind of record that sets new parameters as to what is possible from a punk rock'n'roll band in the 21st century.' In 2010, a stage adaptation of American Idiot debuted on Broadway. The band went on to release the critically acclaimed 21st Century Breakdown (2009) and the album trilogy Green Day ¡Uno!, Green Day ¡Dos!, and Green Day ¡Tré (2012).
Green Day is one of the world's best-selling bands of all time, having sold more than 75 million records worldwide. The group has won five Grammy Awards. On April 18, 2015, the band was inducted into the Rock and Roll Hall of Fame as a part of the 2015 class in what was their first year of eligibility for induction. Green Day's 12th studio album Revolution Radio was released on 7th October, 2016 and debuted at No. 1 on the UK Official Album Chart. Upon its release, People proclaimed: The punk vets still have a tattooed finger on the national pulse.'
Classic LP reissue - a 17 track double LP set with download code.
Cypress Hill's 4th album originally released 1998, includes Dr. Greenthumb, Tequila Sunrise, Audio X ...
A rare collaborative statement of Laurine Frost and G76 on Tablon's Ten Inches series. Swinging jazz, funk and adventurous techno utopia in a gentle conversation of sounds. A unique soundscape that stands far way from the actual trends.
Obvious trademarks of Frost's unusual drums and wacky structures give birth to two peerless compositions with Florin Gojnea's floating micro-house visions. Sweet cake for silent rebels.
40 years after the huge international impact of OXYGENE, and 20 years from its second volume OXYGENE 7-13, Jean-Michel Jarre is fulfilling a trilogy of albums with OXYGENE 3, containing seven newly composed and recorded pieces, consistently titled parts 14-20.
His inspiration for the newly added parts on OXYGENE 3 was not to go back in time, but to add a sense of now' to his iconic piece of work. Plunging into the environment of OXYGENE with its highly original dark, moody and at times quite upbeat musical language, Jarre references some of the music from his entire body of work on OXYGENE 3. It's a state-of-the-art recording, embracing both classic and modern ways of music production.
This release is available on single LP heavyweight vinyl.
Hey, we should start a band. Dann Verpflichtungen und Logistik und Leben und Zeit und Raum. Das klappt nur selten, egal wie gut geplant es war. Gegründet 2014 auf dem Groezrock Festival in Belgien, wuchs Vanishing Life aus Unterhaltungen zu einer vollen Band.
Mit Autry Fulbright II (...And You Will Know Us By the Trail of Dead) als Motor und Ideengeber entstand zusammen mit Walter Schreifels von Quicksand und dem Bad Religion Drummer Jamie Miller das Line Up. Anfangs sollten des Weiteren der Trail Of Dead Sänger Jason Reece und Thursday's Geoff Rickley dabei sein. Reece musste allerdings aus Zeitgründen passen und auch Rickley hatte zu viel um die Ohren.
Allerdings veröffentlichte dieser dann Vanishing Life's Debüt Single People Running auf seinem Label Collect Records und war somit auch an der Entwicklung der Band beteiligt.
Kepler. makes the second contribution to Silencio's catalog with "Planetary Systems I".
With refined ethereal elements rendered from what is surely an eerie origin, "186f", is truly engaging. This track is fueled with a seductive synth heralded by haunting vocals that effectively whisper over its steady, punchy bass line. Meandering in the background is the type of idiophone sound one would associate with a hand-percussion triangle instrument. Its particular effect provides a complex, rolling rhythm that vibrates in a beautiful tone until its objective has been achieved.
On the B-side "452b" is a great track to open up a set with, gentle yet still energetic in how it introduces itself to the audience. It begins with a series of echoing sounds that rise and dive throughout, seemingly reflected off the surface of one's subconscious, in a satisfying manner. Accompanied by a deep pulsating bass line that accents its driving drums, this track will set the tone time and time again.
Imagine the dawning of a realization formed from an inspiring event in nature. The second track, "Luzon", features a laid back tropical tempo and samples that feel transported from a lush, rhythmic rainforest. Kepler expresses this vision within the confines of a catchy groove, utilizing subtle bird sounds and rattles that resonate over layers of atmospheric synth. This is emotional music meant to move a crowd or manufacture a sincere moment of clarity.
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Jam Money is the shared musical vision of Kevin Cormack and Mathew Fowler. Mathew (Bons) and Kevin (Half Cousin, Harry Deerness) first began collaborating as part of the Blank Tape Spillage Fete, an ongoing collective project of art and music which focuses on the creation and perpetuation of small DIY exhibitions, related events and limited releases that celebrates the hobbyist nature of home recording.
Jam Money revolves around a passion for the simple and sometimes restrictive nature of four-track cassette recording. Using old half-broken guitars, clarinets, charity shop keyboards, toys, family heirlooms, zithers, home-made percussion, and household objects a shared dialogue appears, involving both mark making and musical mishaps, allowing the makers to be carried along as the music finds its own way.
Genre definitions melt away in Jam Money's music as ambient dissolves into lo-fi rock, noise into fragile naive classroom melodies. Creativity beyond easy categorisation.The first recordings titled 'Blowing Stones' were self-released in 2014. The cover and insert artwork for this record featured abstract paintings by the artist Aimée Henderson whose work and process is a great influence on their music. Having played gigs alongside kindred spirits National Bedtime and Plinth, the tail end of 2015 saw the the band travel to Germany to play with the Notwist and Le Millipede for a series of 'Alien Disko' nights organised by Alien Transistor, a label with a shared kinship of both the weird and wonderful.
'A Gathering Kind' is the second album by Jam Money: a journey of sound and colour, subliminal images and narrative. The roots of this collection found Fowler and Cormack using an earthier, more instinctive language, making it a rougher-edged sibling to their other recordings, with parallels to the home-spun worlds of Flaming Tunes, Pumice, Maher Shalal Hash Baz and World Standard. Aimée's artwork features again, both paintings and music forming a collective language of dream-like adventure.
"Poignant and exploratory. Melting together acoustic and electronic elements, the narrative throughout is one of a ghostly world heading for winter. A firm fan favourite Stephen Pastel (The Pastels & Monorail Music) on Blowing Stones.
"Created in question and answer form, their songs exist like little sculptures - wayward and peaceful, sometimes whirring into automatic life under the pair's combined attention."
If we talk about ideas, we surely talk about "Idee 1", one of the best collaborations between Massimo Catalano and Remigio Ducros - together with "La fatica", that will be reprint in a while - with contributions from the amazing Daniela Casa. Daniela is one of the few women in the "Italian libraries" scene, but she's more talented than some of her better known male colleagues. If Daniela, and so her husband Ducros, are names linked to a tiny niche of soundtracks' lovers, Catalano has instead worked for television, being a well-known composer for the audience. His great technique and composition, combined with those of his 2 colleagues, is one of the strong points of "Idee 1", published (but never released) by Team on February 1972, fulfilled with experimental sparks (Astrazione per Flauto, Astrazione per Piano, Filanda, La Fonderia), staggering orchestrations, breakbeat and funky (Lunedì ore 7:45, Ducros), mournful atmospheres (Venerdì ore 20:30, by Casa; Ripensandoci by Catalano) and world music influences (Tibetano, Catalano). If we have to explain this record with just one track, this would be the fourth one, Creatività (Creativity): unrestrained, with no limits or filters, this song is ready to get heavy rotation on your record player.
Veteran dub techno producer Brendon Moeller dons his Echologist alias on 'The Flame' EP.
The title track is the most experimental, opening the record with tripped-out machine melodies and off-beat drum hits. 'Kavorka' follows in the same vein but is more obviously dancefloor-focused. Its arps build up the tension until a thick 303 line takes things to tipping point and eventually release. On the B-side, 'Dirtbox' is a fast-paced, Echologist take on warehouse techno and a deep, atmospheric cut 'Candy Mountain' finishes the record in Moeller's signature style.
Mastered by Neel (EnissLab Studio, Rome). Pressed on 180g, 12' vinyl at Optimal Media, Germany. Packaged in a house sleeve. All artwork designed by Christopher Honeywell.
Vinylmania: As classic disco came bounding through the late '70s and into the electronically orientated sounds of the '80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-'80s, Grappone and his staff played a significant role in New York's own dance music story. Through the '90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan's newest production project. Fronted by Kofi Morny and Brodie Williams, their dubut single 'Love Honey, Love heartache' was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources, 'Love Honey' was heaviliy inpired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. 'Love Honey' is always attached to Larry Levan's tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church. Remember when you'd buy a record after hearing it at the Club We miss that. As a result, We are proud to Introduce Get On Down Sound with the aim to bring back our favorite Dance 12's to a new generation of Vinyl-DJs. Re-mastered for optimal club use, these are official re-issues of some of Dance Music's most influential cuts.
Some records just barely nudge your consciousness, but they do so in such an intriguing manner that their tentativeness and ephemerality lure you in deeper than you expect. Such is the case with Overflow Pool by Mogador, a new project by Will Long. This prolific producer—who is best known for his profoundly meditative ambient music under the name Celer—favors the longform, beatless approach to composition, as he lets his rigorously honed tones unspool with a gentle insistence. Overflow Pool consists of three lengthy pieces full of lingering, aqueous chords that are spaced out by suspenseful lacunae. Each piece revolves around episodes of briskly struck piano chord clusters that are left to decay to near silence, for maximal contemplativeness. These are followed by a lowerkeyed retort, as if to ground the listener and to keep her from getting overly optimistic from the preceding burst of Harold Buddonuppers tones. Similarities to Brian Eno's Thursday Afternoon are also evident, as Mogador methodically doles out morsels of oceanic calm geared to align your chakras like some 21stcentury Stephen Halpern LP. It sounds ideal for flotation tanks, deeptissue massages, and general relaxation. Long observes that Mogador differs from his Celer output because it's completely unprocessed. This is a pure room recording with no extra effects, only piano and reeltoreel delay.' The Yokohama, Japanbased musician says that his primary aim with Overflow Pool was to make something that doesn't happen all the time—it's so sparse, that it blends into the room. It happens so seldom that it's easy to forget about. You just catch it here and there. That's the feeling I wanted.' It's a feeling that's all too rare in modern music—peacefulness without sentimentality.
Sie schrieb Rihannas Überhit "Diamonds" (in 14 Minuten!), sang und schrieb die David Guetta-Hits "Titanium" und "She Wolf" sowie Flo Ridas Millionseller "Wild One" und komponierte zahllose Songs für Katy Perry, Beyoncé, Britney Spears, Birdy, Christina Aguilera, Kylie Minogue und Eminem. Im vergangenen Jahr gab sie mit dem Song "Elastic Heart" (auf dem "The Hunger GamesSoundtrack" und auch auf ihrem kommenden Album) ihr internationales Chart-Comeback unter eigenem Namen. 2014 veröffentlicht die australische Sängerin und Songwriterin SIA nun endlich ein neues, eigenes Album "1000 Forms Of Fear". Die 1. Vorabsingle ist die in jedweder Hinsicht atemberaubende Pop-Hyme "Chandelier", die mit Jesse Shatkin entstanden war und von ihrem langjährigen Studiopartner Greg Kurstin (P!NK, Lily Allen etc.) produziert wurde. In ihrer Karriere veröffentlichte Sia bislang 5 Solo-Alben, zuletzt 2010 die LP "We Are Born", die Platz 2 der australischen Charts erreichte und ihr auch in Deutschland die erste Album-Chartplatzierung bescherte. Das Billboard Magazin widmete ihr eine Titelgeschichte mit der Headline: "This artist is responsible for 12 million track sales... and doesn't want to be famous".
The Sound Of Young Jamaica - More Early Cuts From The Vaults Of Studio One 1959-63
This is the second collection to bring together many of the visionary producer Clement 'Sir Coxsone' Dodd's early recordings made with Jamaica's most exciting young artists and musicians who helped define the world of reggae music over the decades following Jamaican Independence. These recordings were made when Sir Coxsone ruled the dancehalls of Kingston in the late 1950s and early 1960s with his number one Downbeat Sound System, where songs were tested out on dub plates at a dance to see a crowd's reaction - the most popular of which were then released commercially. Featuring early material by Roland Alphonso, Don Drummond, Tommy McCook (all of whom would form The Skatalites), Toots and The Maytals, young singers such as Bob Marley and The Wailers, Delroy Wilson, Owen Gray all captured in their formative days. The music here spans a wealth of styles - Jamaican rhythm and blues, jazz, gospel, proto-ska, Rastafarian - all of which were drawn upon to create the future sounds of Jamaican reggae that Sir Coxsone and the artists featured would soon create at Studio One which opened its doors in 1963. This collection is released on heavyweight triple-vinyl plus download code and double CD with slipcase. Sleevenotes and text is by the author Noel Hawks.
Full color inner sleeve with 3D art by Kanika Tupathi. Vivian is a great acid banger with high frequency Jupiter 8 eruptions and a
simple 'raga style' melody.
Vivian is a great acid banger with high frequency Jupiter 8 eruptions and a simple 'raga style' melody. The track was made after the last tour was cancelled due to health problems, and was finished after Charanjit Singh passed away. Vivian means alive and is dedicated to Charanjit Singh and the special vibe he and Thee J Johanz had together on stage. The B side a 16 and a half minute take from a live show at the magical Alsisar Palace in Rajastan, India. It's an ever progressing improvised journey, the result of over forty shows played in the US, Europe and Asia. Charanjit Singh is improvising on the Jupiter, like he did on his proto-acidhouse album in 1982, and Thee J Johanz is jamming with the 808 and 303 like he used to do, back in the heyday of acidhouse.
Soul Jazz Records' new 'Studio One Dub Fire Special' brings together 18 heavyweight dub cuts, all recorded at 13 Brentford Road in the 1970s.
Featuring a stellar selection of dub cuts to classic and foundation songs recorded at Studio One with music from the legendary in-house bands - The Sound Dimension, New Establishment, Soul Defenders and Brentford All-Stars - featuring the likes of reggae's finest musicians - Jackie Mittoo, Leroy Sibbles, Cedric Brooks, Freddie McGregor and more.
These fresh dub sounds employed the mighty mixing desk skills of The Dub Specialist, aka Clement 'Sir Coxsone' Dodd, Sylvan Morris and Scientist to full effect. Studio One Dub Fire Special features our latest chapter of raw, stripped-down bass and drum sounds direct from Studio One, 'the University of Reggae'.
Released as CD with slipcase and heavyweight 2xLP vinyl (with free download code).
Slipping Control derives from the text piece "Tztztztzt Î Í Í...." wrote last year by Ben Vida (and published as a book by Shelter Press). Composed to act as a score, a sound piece and as raw data for electronic control source, Tztztztzt Î Í Í... became the intrinsic element that tied all different pieces of art made by Ben Vida.
Minimal Wave present an album of long lost tracks by Dutch electronic music pioneer Das Ding, entitled 'Missing Tapes'.
Danny Bosten formed Das Ding as a solo project in the early 1980s and released his music and friends' music via his own cassette label called Tear Apart Tapes. At the time, he was studying graphic design at art school, and in turn he ended up designing the artwork, cassette-sleeves and illustrations for the label himself. Meanwhile, he recorded his own music as Das Ding. Powerful dark electro, he made several addictive and danceable tracks which later become Minimal Wave hits. Danny made all his music in his bedroom which essentially turned into a small recording studio. He went on to release many of his own tapes and also played some live gigs.
Old tapes were uncovered around 2010, and Minimal Wave released a remastered version of 'H.S.T.A.' and select other tracks. A wave of renewed interest followed the record's release and soon people were in touch to propose live shows. Twenty years later, and after some deliberation, Das Ding was reincarnated under its old moniker but now with a revised line-up and a working set-up that reflected inevitable technological change.
Recently, Danny came across further tape archives from those early days. And from the batch, we selected our favorites to present to you in vinyl release form. 'Missing Tapes' is a limited edition LP pressed on 180 gram creamy yellow vinyl, and housed in a heavy weight printed glossy black and white sleeve featuring one of Danny's original illustrations from 1982.
As for the 3rd release on the label, 9300 Records called in fellow countryman Walrus, The three original tracks on his EP take you to the Left-field side of the house music spectrum while the remix of the title track, modeled by Dj October, is a robust techno track that will simply hit you in the face.Limited to 300 hand stamped and numbered copies !
As Sure As Night Follows Day is Russell Haswell's landmark second album for London's Diagonal Records. Consolidating a quarter-century at the coal face of extreme computer music, techno and death metal in 19 tracks and 49 minutes, it's Haswell's most coherent yet varied burst of activity to date — zigzagging from improvised n0!se outbursts and asphyxiated R&B to a brace of thundering acid bullets that positively froth for the 'floor.
The album was extracted over a fast-working period in late 2014, and is best perceived as a sort
of fractured regression to his formative influences: you can hear the picnoleptic recollections of
grindcore shows in the Black Country, the refracted shades of mega-raves at Coventry's Eclipse,
the conflating toxic texture-memories of early Japanese noise, and the incandescent stomp of
Mills and Hood in that early 90s phase.
Fortunately for the ravers, this album includes some of Haswell's most direct dance floor attacks to
date. 'Hardwax Flashback', for instance, finds him in pure tekno panik mode — a four-to-the-floor
wrecking ball groove that someone, somewhere, may even be able to mix. 'Gas Attack' distils his
penchant for all things Belgium into a vicious strain of New Beat lactic acid. Haswell then doffs his
cap to Detroit electro legends Drecxiya on 'Underwater Electronic
Struggle' — a story goes that he once thrashed a jet-ski all over the Mediterranean while listening
to 'Wave Jumper' in his 'phones — before he does the salty freestyle electro flex 'ting on 'Industry
Knowledge (For Oscar)' while reminding his trusty apprentice, Powell, that he still has a lot to
learn. In between these 'floor-flexers, we find more freakish disturbances and intrusive drum-box
improvisations: the modular mind-floss of 'Rave Splurge Noise' or 'Noise Rave', for instance, or the
self-explanatory 'Improvisation #1'. 'In The Air
Today' investigates warehouse-ready electro-acoustic percussion, while the chaotic clusters
of 'Interlude' swarm and invade your senses with psychoacoustic incision. This is Diagonal and
Russell at their most f**ked up and fizzy, and an important reminder of the artist's stream-of-
consciousness genius — and the pressing need for more chaos and unpredictability in electronic
music today.
Don't be mislead from the name, the enigmatic M. Zalla, is one of the numerous alter ego of the italian maestro Piero Umiliani. Umiliani, during his period of fascination for psychedelic and electronic atmospheres, starts to compose a good number of musical portraits dedicated, as the title reveals, to the problems of his time. We are at the beginning of '70 and italians are worried by mafia, terrorism and social conflicts: so it has sense that the music choosen to represent this anxious problems has a sperimental nature, dark and disturbing a sort of unicum in the long and extremly productive Umiliani career.And if, in 2015, titles as Mondo in Crisi', Problemi Sociali', Azione Sindacale' and Mafia Oggi' sounds still sadly actual, it's even more surprising find that the music of Problemi d'Oggi' (Today Problems) is projected on the future, sounding still alien and uniques.
The record presents various styles: from Pink Floyd atmospheres (or Braen's Machine if you prefer...) to compositions characterized by a great use of drum machines and synthetizer (MOOG and Sinthy). We just have to listen the begginning of the opening track Produzione' to give sense to the words of Sean Canty (Demdike Stare) that defines the music the first techno/trance track of the history, but between the grooves of this vinyl it's easy to find intuitions that many other artist and musicians - from Residents to Aphex Twin and Four Tet - will be able to catch during their carrers.
"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.
Building on her first LP April Song Sara Mitra draws folk blues and psychadelic influences into her second LP. Recorded and produced by Ben lamdin / Nostalgia 77. The LP was previewed by Gilles Peterson on BBC 6 Music & Sara conducted an interview feature with Jamie Cullum on BBC Radio 2
Press quotes include the following:
Her skill as a songwriter and honesty as a performer shine through" Mercury Prize Recommends
Especially talented" The Daily Telegraph
Fresh sounding and free from cliche..., Sara is left to her own special devices and nails a good melody everytime." Blues and Soul Magazine
Mitra has a really fresh-sounding voice: a great night" The Sunday Times
I love her voice, I love her Englishness." Gilles Peterson
Balbinas Welt liegt etwas versteckt gleich hinter der Realität. Wie ein fernes Echo kreisen ihre Geschichten um die Magie des Alltags. Daraus entsteht ein buntes Potpourri voller Referenzen, das mit den Erwartungen bricht, dafür aber die Tür in eine andere Welt öffnet. In die Welt von Über das Grübeln, das neue Album von Balbina. Mit ihrer EP Nichtstun offerierte die Berliner Texterin und Sängerin bereits eine erste Kostprobe ihres Sammelsuriums kleiner Geschichten und faszinierender Beobachtungen. Im November 2014 folgte Nichtstun mit Band, die Live-Interpretation ihrer Songs, also die magische Lebenswelt ihrer Texte in einer neuen Facette, so eigen und faszinierend gesungen wie kaum jemand anderes aus der aktuellen Pop-Landschaft hierzulande. Daraufhin durfte sie für den Bundespräsidenten auf seinem Sommerfest im Schloss Belevue und für die angesagtesten Modedesigner auf der Fashion Week spielen. Die hiesigen Medien schrieben dazu, Balbina sei das Aufregendste, was deutsche Popmusik gerade zu bieten hat. Ab Mai begleitet Balbina Herbert Grönemeyer auf seiner Stadion-Tour.
* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.
* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.
* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.
* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.
* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.
* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.
* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)
aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
The most interesting, advanced electronic musicians create unique, hermetic soundworlds that seem to emanate from unknown realms. See/hear Aphex Twin, Autechre, Farmers Manual, Iannis Xenakis, and Bernard Parmegiani, among a handful of others. If Chloe Harris isn't quite in that echelon yet, she is quickly approaching it with Dose.(This album was originally issued on very ltd.-ed. cassette in 2012 and is now getting a vinyl release, mainly due to the urging of Italian techno magus Donato Dozzy.) A former globetrotting DJ, Harris has shelved that lifestyle and aesthetic for a more stable family life in the Seattle area and a more cerebral approach in the studio. With this collection of exploratory compositions, she decided to experiment with an array of synthesizers, mainly the Waldorf Q. Working on the eight tracks here in her home setup, Harris would 'layer as much as I could or sometimes there was no layering at all. I tried to let the machines talk. I was trying to find my own voice. It was sad and melancholy because I stopped DJing and decided to try something new in my career.' This change had financial and creative risks, but Harris has transitioned boldly into this more adventurous musical mode.
BEGR-001 by Basement Grey Records is a 3 track 12' EP produced by Teersom including a reinterpretation of B1 - Waves E by Felix K.
The EP includes minimalistic and experimental soundscaping through the record made for dark dancefloors. The label and the record keeps an eye on the atmosphere where people enjoy dancing eyes wide shut.
Package includes a Hand-Stamped 140g 12" Vinyl record.
Mastering & cutting by Helmut Erler @ Dubplates & Mastering, Berlin
Deambulation is a 23 minutes tunes, a long long evolution with no beat that really brings a superb sound experimence... B side stands a 16 minutes tune called Human Dissonance... A sound out of the usual fiealds as well, very groovy and progressive... This is not trippy, this is an Acid travel.
out of Stock
Last delivered 11 years ago available to reorder, subject to availability
Double album set featuring instrumentals of 14 of the ROOTS' classics. Hard to find mixes all collected together here. Includes "DISORTION TO STATIC", "ADRENALINE", "CLONES", and many more. Pressed from the original master tapes, perfect sound quality. Printed labels, plain sleeves
* TO CELEBRATE JAMAICA'S 50 YEARS OF INDEPENDANCE 1962-2012 We have put together a set of releases that cover the musical styles that reggae mutated into through it's history, SKA, ROCKSTEADY, ROOTS REGGAE, DUB, DJ STYLE &DANCEHALL.... So Listen Up! and enjoy!Welcome to the Dancehall Sound from Jamaica. The sound that grew out of the dances in Jamaica around the beginning ofthe 1980's.The musical style again slowed
the reggae beat down to give an uncluttered, sparce backdrop, allowing the singers and DJ's more space to express
themselves. Dancehall has never stopped but turned to a digital beat around the mid - 1980's. So Listen Up ! to some early Dancehall classics that set the style for the years that followed....
This is the last ever album from legendary German rock quartet Scorpions. This new x12 trk album will be supported by a three year world tour, including UK dates. Strong press support across specialist mags including Classic Rock & Metal Hammer, with ads, features, interviews & reviews. Database & Ecard mailout. Specialist radio plays across ILR, Kerrang. Student & rock club promo. MTV vid plays across MTV2. National poster & flyer campaigns. Ltd vinyl format (500).
French composer, artist and co-founder of Transversales Disques, Jonathan Fitoussi has developed a distinctive body of
work over the past two decades, blending analog synthesis, minimalism and electronic music.
Inspired by the mineral landscapes and luminous atmosphere of southeastern France, DELTAS is his fifth solo studio album.
Combining hypnotic drum patterns, flowing pulses, shimmering electronic textures and contemplative movements, it unfolds as a deeply immersive journey through space, light and motion.
A rich and evocative work from one of the most singular voices in contemporary electronic music.
Celebrating ten years of independent music, Nerang Recordings returns with its sixteenth vinyl release, A Decade of Nerang Recordings - Mix Selections. Bringing together six artists from across the label’s history and extended community, the compilation showcases the diverse sounds that have shaped Nerang over the last decade. Featuring DJ Swagger, Nasty King Kurl, Subjoi, DOS, Low Tape and Moody McIvor, the release moves effortlessly between UK Garage, House, Tech House, Lo-Fi House, Electro and Synthwave while maintaining a clear identity throughout. Since its inception, Nerang Recordings has never been interested in following a single genre, scene or trend. Instead, the label has always focused on releasing music based on quality, individuality and atmosphere. Over the years that philosophy has resulted in a catalogue that crosses stylistic boundaries while remaining connected by a shared spirit. A Decade of Nerang Recordings - Mix Selections serves as both a celebration of the label’s first ten years and a statement of intent for the future. Each track represents a different corner of the Nerang universe, reflecting the sounds, influences and artists that have helped shape the label’s journey so far.
From rolling UK Garage rhythms and club-focused house cuts through to hazy lo-fi textures, cinematic synth work and darker electronic excursions, the compilation highlights the freedom that has always sat at the heart of the label. Rather than being confined by genre expectations, Nerang continues to embrace music on its own terms, allowing each release to find its own identity and audience. While thisrelease reflects on the past decade, it is equally focused on what comes next. The goal remains the same as it was on day one: support great artists, release music without limitations and continue exploring new territory wherever it may lead. Ten years in, Nerang Recordings remains committed to doing things its own way
You've never played a game like Blippo+ before, and you've never heard a video game soundtrack quite like Greatest Hits from Planet Blip.
Composed by Rob Kieswetter and Jona Bechtolt from the LA-based trio YACHT, the soundtrack collects 71 tracks from the cult classic video game Blippo+, reworked and sequenced into a continuous listen for this special release —a TV static-speckled gatefold double LP, out Oct. 16 via Hologram Opera, marking the soundtrack’s physical debut.
Taking the form of a cable TV simulator, Blippo+ captures the magical feeling of seizing a mysterious signal from outer space and discovering the television programming of an alien culture. Soundtracking the game’s pastiche of programs is Rob and Jona’s genre-spanning score—synth-heavy, eccentrically electronic, with a skewed sensibility that pays homage to cable access, library music, video art, and the late-night margins of the 80s and 90s underground.
TV obsessives will find plenty to love in Greatest Hits from Planet Blip: with surreal theme songs, jangly jingles, zippystings, catchy kitsch, period-accurate menu music and even pop hits from the alien airwaves, this propulsively playful soundtrack will have channel-flippers tingling with nostalgia.
“Planet Blip is an alien planet where art and music are the only currency and ‘consciousness particles’ form the basis of all media. To capture the spirit of this world, we drew inspiration
from all the music we felt best embodied this ethos and ran it through our own utopian blender,” say Bechtolt and Kieswetter.
Blippo+ is an award-winning, experimental, live-action video game created by YACHT and Telefantasy Studios, along with developers Noble Robot and Dustin Mierau, and published by Panic Games. It was released for Steam, Playdate and Nintendo Switch in 2025 to widespread
critical acclaim and has earned a devoted fandom. A Mac version followed earlier this year, and was nominated for an Apple Design Award.
"Simultaneously nostalgic and futuristic, otherworldly yet
welcoming, Blippo+ is an absolute artistic triumph.
" —Deven McClure, Screen Rant
"Blippo+’s presentation might ape old traditions, but the collective impact of its content is richer, deeper, and more entertaining than any mere remembrance.
" —Garrett Martin, Paste/Endless Mode
"In the increasingly reactionary and prescriptive landscape of video games, it is remarkable to encounter something so distinctive, so hopeful, so celebratory, so devoted to expanding the possibility space of art beyond a single medium." —Sam Bodrojan
Re-issue of Klakson 16! Dutch producer Frank de Groodt, well known for his projects like The Operator and Sonar Base, produces his 4th release under the name Fastgraph. He already made big impact on Adults Esatz Audio label and kicked ass with 2 releases on Klakson. Again he drops 4 deep and dark Drexciya style electro tracks!! The raw deal for what he is best known for.
The ALIENS ON MUSHROOMS/WAX crew come thru with 2 fresh reworks. NIKKI's "FTCU" gets a banging tech house treatment with extra jack added via rolling snares and toms. On the B-Side a BIGGIE classic gets twisted into a bouncy booty-shaking call out for the freaks.
Yuvi Havkin aka Rejoicer returns with an exceptional collaborative album, California Space Craft. On this aptly titled record, he joins forces with seasoned LA bass polymath Sam Wilkes — known for his inspired studio work with Sam Gendel and his dynamic live performances alongside Louis Cole and KNOWER — and drummer Tamir Barzilay, completing the LA-connected trifecta alongside a select handful of key featured guests. The idea for California Space Craft was born out of a series of inspired live sessions in Los Angeles between 2019 and 2022, notably at Listen to Music Outside in the Daylight Under a Tree, where the trio’s natural chemistry first began to bloom. The resulting recordings encompass a wide variety of inspired sound stylings, as one would expect from any of these accomplished artists on their own; however, the sum is truly greater than the parts here, with the fluidity of their freeform improvisations over a dedicated three-day recording session feeling remarkably focused as a cohesive whole. Opening track “Traveling Light” sets the LP’s tone with equal parts Sly & Robbie-style, space echo– drenched rhythms and the cozy kosmische, guitar-led feel of early-2000s genre-fluid explorers like Tortoise. As we continue on to “Ritual in G#,” we are reminded that this is indeed a unique and timeless sonic space the trio has created, as Havkin’s crisp Rhodes chords anchor an ever-evolving psychedelic sound bed. The soaring trumpet of Avishai Cohen adorns the Afrobeat-indebted “Lion Water,” with Barzilay laying down a proper Allen-esque groove, while “Further (with you),” featuring Nitai Hershkovits on keys, offers a defining look at the titular concept of the album — with pure Cali feels coalescing effortlessly into sciNew Release Information fi narrative modes and a proper dose of Rejoicer futurism. Elsewhere, “Her Hair in the Air” shines with fresh polyrhythmic intention, illustrating the balanced bond between the three collaborators at their conversational peak, and the brisk synth strokes of “Early Porpoises,” alongside LP closer “Oceanic Friends” — again ideally named — double as a grand, in-stereo ride into the blissful Pacific sunset horizon. California Space Craft embodies the power of open, collective intention and musical kinship, offering memorable, uplifting moments and an aural glimpse of hope, warmth, and loving melodious calm in an otherwise quite chaotic time for humanity.
Argentinian artist Juan Hansen presents his debut album 'Ultrasonido'; twelve tracks spanning indie dance, tech house, and soft melodic house, released on his own newly founded label Ultrasonido, with the second single 'Inside My Mind' coming out via belonging by Innellea.
After his breakthrough Boiler Room appearance in 2019, Juan has been on a relentless quest to push the boundaries, playing major stages around the globe, becoming one of the figureheads of the Argentinian electronic music world. As an exceptional live artist, multi-instrumentalist and vocalist, Juan brings a real sense of groove to the stage, merging two worlds effortlessly: deeply emotional songwriting and direct, dancefloor-focused club tracks. 'Ultrasonido' brings both sides together. The album is a clear evolution of Juan Hansen, presenting a wider range of his sound, which he also presents in his live performances. A journey through the musical world of Juan Hansen.
Across twelve tracks, with contributions from Clér Letiv, Santi Portillo, Franco BA, Rocio Giorgi, Miko Franconi, Brigado Crew and Marley Waters, Juan shifts between club-focused tracks and more intimate, song-driven moments, moving naturally between Spanish and English. It’s a debut album that captures both his roots and the direction he’s evolving toward.
Juan Hansen's story doesn't start on the dancefloor, it starts with acoustic instruments. He built his foundation in the indie and rock scenes of Argentina before crossing into electronic music, a journey that's still audible in every track he makes. After years of building his profile with live performances, mesmerizing audiences from Cosquín Rock and Ultra in Argentina to Watergate in Berlin, Burning Man in the Nevada desert, and Grand Factory in Beirut.
His search is real and visceral; a search for the different, mixing genres without prejudice, with a seriously playful attitude. Positioned within a new generation of artists dedicated to improvising on stage, Juan fuses electronic sounds with analog instruments and organic soundscapes. There's no genre cage. 'Ultrasonido' is his debut album and the launch of his own label, also named Ultrasonido. A long-form statement after years of singles, EPs, and shows around the globe.
Sublime frequencies from the golden era of ambient electronica.
Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.
The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.
Press response to Io:
"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”
IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.
Peter McIntyre, Mixmag, UK 1994.
"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.
"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.
"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.
Sublime frequencies from the golden era of ambient electronica.
Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.
The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.
Press response to Io:
"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”
IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.
Peter McIntyre, Mixmag, UK 1994.
"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.
"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.
"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.
EELS, eine der eigenwilligsten und beständig gefeierten Bands der Rockgeschichte, melden sich mit ihrem 16. Studioalbum zurück. COOKIE HAPPENED findet E (Mark Oliver Everett) dort, wo er am stärksten ist: in den kleinen Siegen des Lebens, den unvermeidlichen Enttäuschungen – und dem stillen Wunder, überhaupt hier gewesen zu sein.
Den Albumtitel erklärt E mit einem Zitat des großen Philosophen unserer Zeit, dem Cookie Monster: „Me no cry because cookie is finished. Me smile because cookie happened." Alles wird vergessen werden – aber war es nicht trotzdem etwas Schönes, dass es geschah?
Die erste Single 'Cap In Hand' gibt einen bittersüßen Vorgeschmack: ein abgeklärt-bewegender Song aus der Perspektive von jemandem, der seine Fehler endlich eingesteht und versucht, die Dinge wieder geradzubiegen.
COOKIE HAPPENED folgt auf das 2024 erschienene und vielgelobte EELS TIME! und beweist einmal mehr, dass kaum ein anderer Künstler so gut darin ist, im Chaos des Lebens Bedeutung zu finden.
EELS, eine der eigenwilligsten und beständig gefeierten Bands der Rockgeschichte, melden sich mit ihrem 16. Studioalbum zurück. COOKIE HAPPENED findet E (Mark Oliver Everett) dort, wo er am stärksten ist: in den kleinen Siegen des Lebens, den unvermeidlichen Enttäuschungen – und dem stillen Wunder, überhaupt hier gewesen zu sein.
Den Albumtitel erklärt E mit einem Zitat des großen Philosophen unserer Zeit, dem Cookie Monster: „Me no cry because cookie is finished. Me smile because cookie happened." Alles wird vergessen werden – aber war es nicht trotzdem etwas Schönes, dass es geschah?
Die erste Single 'Cap In Hand' gibt einen bittersüßen Vorgeschmack: ein abgeklärt-bewegender Song aus der Perspektive von jemandem, der seine Fehler endlich eingesteht und versucht, die Dinge wieder geradzubiegen.
COOKIE HAPPENED folgt auf das 2024 erschienene und vielgelobte EELS TIME! und beweist einmal mehr, dass kaum ein anderer Künstler so gut darin ist, im Chaos des Lebens Bedeutung zu finden.
On Last Night At Marienbad's latest, the imprint brings together three of the brightest souls found within the realms of Jazz, namely Mauricesax, 9ick and Milan93, with their collective talents synergising effortlessly on 'A Garden Between Us', alongside a stellar cast of remixers who add even further delight between the grooves….
As a genre, Jazz has perhaps lent itself the most to other musical universes, in that its curious heart, endlessly experimental nature, and parameter-defying spirit have wrapped itself deep within the core of countless albums, scenes, and music makers. It's a genre that welcomes reinvention, consistently defying its contents and always reaching out to find new methods of expressionism. Electronic music, in its many forms, has truly embraced Jazz perhaps like no other movement of music has, with a truly astonishing array of records surfacing in the past 40 years which have blended Jazz's unique motifs with grooves, chords, and emotive excellence. From 90s Jazz house and UR Techno, through to Future Jazz, downtempo, and Hip Hop, and around many other suns, there remains such an intrinsic and symbiotic relationship between the two musical realms that caters to those who wish to live music both within and out with themselves.
As practitioners of blending electronica and Jazz, few do it like the trio of Mauricesax, 9ick, and Milan93. All three are known for their distinctive soundscapes, yet share commonalities in terms of musical language, feel, and sense of progression. Bringing them together allows for overlaps in their sounds to emerge, and just like Jazz itself, this is where the intrinsicness of sound begins to blossom. 9ick brings his softly evolving vibe to the table, one which was so prevalent and celebrated on his 2025 album 'SMIL'; Milan93 draws from his focal point of exploring fill-laden grooves and a myriad of emotive sensibilities; and Mauricesax draws up his extensive musicality that exists at the corner of jazz, electronic, and experimental music, along with running musical workshops all over the globe.
'A Garden Between Us' represents the trio's core tenets, with this immediately obvious from the record's opener, 'Rhodora'. A gentle solo piano quickly evolves into a series of powerful rhythmic pulses, with brass lines bringing vitality and feel to proceedings. The track shifts gears with purpose, transitioning between musical vignettes of the highest order, with the synth work doing much to bind the transitions together. 'Tulip' emerges slightly differently, with glossy Rhodes tones and an unravelling rhythmic undercurrent setting an enthralling stage. The track flourishes amongst sweeping textures, coming up for air amongst a deeply hypnotic rhythmic section that holds on and never lets up. 'Honeysuckle' lands next, which sees the trio emerge with a boundless, dynamic soundscape. The drums shift within the undertones, as keys, chords, horns and hip-hop vocal samples dance around the pulse, capturing the imagination with their narrative-like placement. Wrapping up the A side comes 'Camellia'. A dazzling array of harmonic sounds converges around the transfixing rhythm section, which emerges from deep below to lavishly roll out over the midsection, with the delicateness of the instrumentation a real highlight here.
The B side features two exquisite remixes, with Pacific Coliseum's version of 'Tulip' landing first. Beginning with a signature four to the floor to get things going, his careful handling of the source material is seen in the tactful introduction of the blissful elements that made the original cut so impactful, with great focus placed on emotive fidelity. The result is a summer-bound house number that reimagines the original in all the right ways, flipping it into a euphoria-driven jazz-laden pacer that reaches for the heavens as much as it drives right into the heart. Teuteu then showcases their take on 'Honeysuckle', and at 9 minutes long, represents the longest cut on the record - and the experience is all the richer for it. Leaning heavily into dance music flavours, Teuteu shifts perspective totally into the realm of the club, with the walls beating hard to the kicks. The sax lines that drift ethereally up top keep eyes closed and souls full, as the dance shifts into the next phase.
An experience that drifts from the daydreaming, to soul-warming through to the club shaking - what else is left to experience, except for 'A Garden Between Us' and how it will brighten up life itself….
On Left At Sunset, Tornado Wallace taps into those fragile, glowing moments after a long night in the club, when the lights come up just enough, the bass softens, and the first hint of morning slips through the windows. Time feels suspended.
The lead track Asahi Ga Yondeiru (“the morning sun is calling”) captures that feeling perfectly. Built around Courtney Bailey’s gentle vocal, it drifts somewhere between late-night house and early morning reflection. It is not about the peak. It is about what comes after it. That quiet euphoria when you realize the night gave you something you will carry back into the real world. The rest of the EP stays in that same emotional zone: warm, slightly melancholic, but full of light. These are tracks for the very last dance, when the floor is half-empty, hearts are wide open, and every sound feels a little more meaningful. Not an ending, really. Just the beginning of whatever comes next.
There's something about summer that makes everything fall into place. Maybe it feels even more significant to us, especially if you know MM Discos through its Balearic leanings. It's that time of year when the whole scene reaches its peak, with everyone dreaming of being in Ibiza-or at the very least, somewhere on a forgotten beach or island in the Mediterranean.
For that very moment, Desert Island Disco make their MM Discos debut with a record tailor-made for the summer of 2026. Splitting their time between London and Lisbon, the collective have already shown a deep affinity for African-rooted midtempo sounds through releases on Shades of Sound and Mister T Records, alongside a steady stream of sought-after self-released edits on their Bandcamp.
This time, Desert Island Disco dive headfirst into South Africa, drawing deeply from the worlds of Kwaito and Bubblegum to deliver a record steeped in the warmth, groove and unmistakable spirit of both genres.
From its South African foundations, *World View* reaches far beyond, weaving together tropical textures, Caribbean flavours and Balearic sensibilities into something fluid and difficult to pin down. A borderless collection where geography becomes secondary to feeling, yet every track remains firmly rooted in the dancefloor.
A dream come true for A Colourful Storm to be releasing an early gem by Tenniscoats, a duo whose DIY spirit, boundless creativity and lust for life and collaboration has left an indelible mark. From self-releasing albums and tapes on their own Majikick imprint to meeting kindred spirits The Pastels, Bill Wells and Jad Fair in between outings for Morr Music, Chapter and Häpna, to name but a few, Tenniscoats have embodied an understated determination and optimism for over two decades.
"A foghorn melodica, voice, fractions, fragments, nothing and everything all at once. We Are Everyone opens out slowly, a little eerily, magic tumbles into play in well-measured rations. Meanwhile, on the cover, Saya and Ueno's heads seem to merge into the sky as if living amongst the wisdom of the clouds. Or maybe somewhere between sleep and reality, like Ueno's description of Tenniscoats' music. We Are Everyone is one of those records where you almost feel engulfed in its making - you feel like you're in the room with Tenniscoats as they push themselves to the limit, trying to make the very best record they can." - Stephen Pastel
Welcome Tori Kudo back to A Colourful Storm with a new edition of Maher Shalal Hash Baz's Faux Départ, a document of a stateside tour that culminated in a recording session at the legendary Dub Narcotic Studio with a one-time ensemble of Greg Saunier and Chris Cohen (Deerhoof), Andrew Maxwell, McCloud Zicmuse, Arrington de Dionyso, Takashi Ueno, Saya Ueno, Naoki Otani, Akiko Hotaka, Masaaki Endo and Naoki Otani. Always spontaneous, never rehearsed. Music in and of this world, seemingly teetering on the verge of collapse.
"We flew to the US for a show with Red Crayola in Los Angeles and initially stayed at Rick Potts' house. There, I met up with The Curtains and hit the road in their car. We headed north, writing down every melody that came to mind. I slept in the gap between the wall and the sofa and got interrupted by a herd of cows along the way, but I finally arrived in Olympia and recorded all the melodies I'd written down, which became Faux Depart. There, I found McCloud, a noble beggar who was sleeping in the studio and playing the bassoon on the street." - Tori Kudo, 2026
"Chris Cohen, who played in Deerhoof from 2001-2006 or so, was an obsessive Maher fan. When our other band, The Curtains, was given a chance to support Maher on a West Coast tour, we got to see up close how Tori leads - often by not leading. He is an unpredictable, wild musical genius and card-carrying eccentric." - Greg Saunier, 2026
American DJ, producer, and Ovum label boss Josh Wink remixes Chris Liebing's 'Eye C' via CLR on 25th September 2026, one of the standout tracks from Liebing's first fully solo-produced LP, 'Evolver', which landed in March. The album featured collaborations with the likes of Luke Slater, Charlotte de Witte, and Daniel Miller, with Josh Wink the latest to rework material from the project. The Philadelphian is an electronic music veteran who has shaped countless releases on his own Ovum, while also remixing the likes of Depeche Mode, Moby, and Radiohead.
Josh Wink showcases his production skills once again with a blistering take on Chris Liebing's 'Eye C', rewriting it with fizzing synth modulations and prickly acid lines. The track grows in intensity as rumbling drums march on, and the synths become ever wilder before pulling back into a deep, atmospheric groove, rebuilding beneath the menacing vocals and icy, incendiary hi-hats.
The original version of Chris Liebing's 'Eye C' is a deep, rolling techno masterclass with pulsing synths and deft percussion peeling away from the groove. It's linear and heady, perfect for the small hours, with unsettling vocal fragments refracted around the mix and subtle hypnotism floating overhead as the drums grow ever harder.
The collaboration we’ve all been waiting for is finally here! Thee Sacred Souls asked him to... and Victor Axelrod delivers with two massive platters sure to usher summer in with a swing.
Thoughtfully plucked from their sophomore album, Got a Story to Tell, the Cupid struck ‘Waiting for the Right Time’ gets a soulful reggae reboot from Axelrod and session team The Inversions.
Josh Lane’s emotional delivery and impressive vocal range meld with the raw, heavy rhythms as if preordained—transforming the beloved tracks into something exciting and fresh whilst leaving its DNA intact. A testament to what a skilled producer can do with rock-solid compositions. Comes complete with respective HEAVY B SIDE DUB VERSIONS. Get into it!
The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).
For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.
‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.
The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.
To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.
„Mutant präsentiert in Zusammenarbeit mit Sony Music Masterworks und Amazon MGM Studios stolz den kompletten Soundtrack zu Lord & Millers epischem Meisterwerk ‚Project Hail Mary‘. Dieses Sammler-Boxset mit 4 LPs enthält Daniel Pembertons komplette Originalmusik – mit über 30 Minuten exklusivem Material, das in keiner anderen Veröffentlichung enthalten ist – gepresst auf 3 x 140 g Gold-Vinyl Das Original-Soundtrack-Album des Films – 10 Musikausschnitte aus dem Film, gepresst auf exklusivem Zoetrop-Vinyl Ein 16-seitiges Booklet mit Liner Notes des Komponisten Daniel Pemberton sowie von Name Namerson und Another Person „Project Hail Mary“-Slipmat „Project Hail Mary“-Aufnäher (3 Zoll)“
Ian Pooley returns with a brand-new collection of original productions, delivering exactly what you'd expect from one of house music's true craftsmen.
Road-tested throughout his recent live shows, these tracks have already proven themselves where it matters most: on the dancefloor. Staying faithful to his unmistakable MPC-driven approach, Ian delivers groove, feel and musical restraint in equal measure. Crisp drums, warm sampling, infectious basslines and subtle arrangements come together in a way that only he can deliver.
No overproduction, no unnecessary breakdowns, no gimmicks-just pure, functional house music built for DJs. Timeless, stripped-back and effortlessly effective, this is another reminder why Ian Pooley remains one of the genre's most respected producers.
Released first as three EPs, 9PM, 12AM and 3AM, each explores a different moment of the night, from the anticipation of getting ready, to the unifying energy of the dancefloor, and finally the conversations and reflections that linger long after the music stops. Together, they culminate in The Night's Not Dead, a complete body of work that celebrates nightlife as far more than a party.
The duo Jolie Gentiane come to us straight from a wild and unpredictable mountain peak, a perched place far from civilization, where the beauty and cruelty of mother nature reign but harmonize the elements. They walk the high, steep paths, looking down on the chaotic and industrial world. This increasingly smoky world, which, from the top of the mountains, looks metamorphosing dangeroulsy, but would only need a few changes to make it less crazy. Or perhaps infinitely more so. Jolie Gentiane is a skilful concoction of sound and daring. Unclassifiable, impalpable, the contemporary embracing the tradition and the acoustic swinging with the electronics. Autotuned/vocoderized vocals, 4th world, kitsch sax, psychedelic arpeggios, acoustic guitar, techno, it's all there: the story told by Jolie Gentiane on this album is rich and complete. Nature, love, celebration, struggle, work. Yes, even work. Because the energy deployed to create this album was surreal, patient, extremely methodical, and the abnegation of the protagonists has been vertiginous: the cliff of the highest peak is finally climbed. This album is like an ode to the earth, to the respect we owe it, an ode also to music in its purest essence, that which does not confine itself to borders, but shout for federation, dance and uprising.
![Maher Shalal Hash Baz - Faux Départ [LP]](https://www.deejay.de/images/l/6/9/1252969.jpg)
