Der Dritte Raum kehrt mit einem neuen Album ins Harthouse zurück: Hypnotischer Techno, abgefahrene SynthesizerReisen, verspieltes Sequencing und eine hochmusikalische Interpretation elektronischer Tanzmusik. Mit einer einzigartigen Mischung aus analoger Wärme und futuristischer Präzision erkundet dieses Album die Welt unterbewusster Muster, Traumlogik und körperbewegender Rhythmen. Einfallsreich und gleichzeitig clubtauglich erzählt Replacement Dreams eine Geschichte von Bewegung, Introspektion und klanglicher Transformation. Minimalistisch in der Form und doch reich an Klangtexturen, verbindet das Album mechanische Struktur mit traumhafter Abstraktion. Replacement Dreams ist ein konsequentes Techno-Statement. Dieses Album ist eine unerbittliche Reise durch hypnotisches Sequencing, präzise Drum-Programmierung und die unverwechselbare Wärme und Härte analoger Synthese – geschaffen für die dunkleren, intensiveren Momente der Nacht.
"Waxwork Records is proud to announce the next entry into their collection of FRIDAY THE 13th soundtrack releases on vinyl, FRIDAY THE 13th PART 3. Waxwork and composer Harry Manfredini re-visited the original analog tapes in an effort to faithfully master the complete soundtrack for vinyl. FRIDAY THE 13TH PART 3 includes every musical cue featured in the film and encompasses two 180 gram LP's clocking in at nearly one hour of chilling audio which serve as a dark musical backdrop to one of the most beloved franchises for horror fans. Originally released in 1982 and in 3-D, FRIDAY THE 13TH PART 3 is the first film to feature the legendary slasher, Jason Voorhees, wearing his signature hockey mask. This image of a machete wielding, hockey masked killer became the trademark for the franchise, as well as an iconic image in American cinema and horror films in general. To keep in tune with the original 3-D theatrical release of the film, Waxwork created a deluxe quality 3-D lenticular mounted album cover for the heavyweight old-style tip-on gatefold jacket which houses two LP's featuring the complete score.
Waxwork Records incorporated the lost, deleted final scene of the film into the inner gatefold illustration. This deleted scene from the film depicted an unmasked Jason Voorhees violently beheading the “final girl"". Deemed too graphic by the film studio, the scene was cut from the movie altogether. Here's your chance to see it up close and personal through the artistic vision of Gary Pullin.
And yes, this soundtrack release includes the now famous “Disco Theme"" from FRIDAY THE 13TH PART 3's opening credits!
Cassette edition of Death Is Not The End's contribution to the Blowing Up The Workshop mix series.
"A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."
“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"
Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)
The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.
Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.
Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.
Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.
The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.
KEY POINTS:
* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).
• Pressed on DJ friendly double black vinyl
• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.
• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.
• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering
Twin Dots is a brand new Music label founded by Alexia & Just1 based in Berlin exploring the interplay between sound & sight. The first release on the Twin Dots is by Moroccan/French DJ & producer Kizoku.
In Arabic, "Suad" suggests happiness, yet these nine tracks navigate more complex emotional terrain – bittersweet foundations supporting quirky, smile-inducing melodies born from contemplative moments.
"Suad" documents a musical journey from sample-heavy constructions toward more synthesized landscapes, paying tribute to the hip-hop Kizoku loves, from its organic roots to electronic contemporary developments. Each composition is a carefully assembled patchwork of sounds, transformed through his distinctly dreamy yet melancholic lens.
The vinyl release features a trippy illustration by Achot, whose dripping style echoes Kizoku's sonic world. Roger brought Achot's artwork to life through analog animation, adding his own experimental touch.
Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.
‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.
“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”
The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.
Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”
This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”
Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.
Since the 1940s, Library Music has lurked in the shadows, peripherally touching our lives through TV and film. Among the stalwarts of the industry was UK's Studio G, with cues heard on Doctor Who, and sampled by the likes of The Chemical Brothers, and Tyler, the Creator. Jazz Dispensary's Dream a Dream with Studio G: Cratedigger's Archive (1970–2009) culls some of their most sought-after cuts, with liner note commentary from Saint Etienne’s Bob Stanley, and illustrations by Ivan Minsloff.
File under house, breakbeat, techno and warehouse rave music. The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.
The compilation is inspired by a moment in time when musical boundaries were being redrawn in a wave of carefree optimism and the freedom that fueled new rave scenes across Europe and beyond.
The Mental Groove Classics series returns with a treasure trove of rare and hard-to-find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.
On Volumes Two and Three of the series released last year, Olivier Ducret (founder of Mental Groove and Musique Pour La Danse, half of WRWTFWW) takes us back to the turn of the '90s. It was a time when he was promoting parties in fields, squats, forests, warehouses and former factoriesin and around Geneva, all while working behind the counter of a record shop called Mental Groove. While others in Switzerland's emerging dance music scene gravitated towards trance and garage, Olivier and his crew opted for a sound focused on bass, breaks, and techno. This unique approach was inspired by their regular trips to clubs, raves, and record shops in the UK. Drawing directly from his own record box and a memory bank full of euphoric dancefloor moments, this fourth installment sees Olivier reaching for more cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant classics - each selection has left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, a historical archive, and a personal musical statement all rolled into one. The compilation is inspired by a moment in time when musical boundaries were being redrawn, if not exploded, in a wave of carefree optimism and thefreedom that fueled new rave scenes across Europe and far beyond.
Original artwork by Mark Wigan, co-owner of Soho's Brain Club and an artist of early British club culture.
Berlin-based upstart Gadget Recs makes an entrance into the world with a display from four fresh European producers. With their scope on the melting pot of global bass music, they document the ever-morphing, liminal fringes of breakbeats, electro, dubstep, techno, and beyond! A multi-tool for any bass-facing DJs.
Fresh off producing a seminal documentary about the origin story of Portuguese rave culture, Shcuro returns to his mother tongue, music, to give us four slices of fresh yet classic Lisbon underground flavour right as the summer sets in. 'Echo Chamber' EP, Para?so's 17th outing, comes with two equally excellent remixes separated by the atlantic: Brooklyn's MoMA Ready and Berlin's Mareena. Side A starts with two tracks first blueprinted this past year as Shcuro prepared a new live set. 'No Expectations' opens the record with a high-paced sweat-breaker that elegantly evokes early rave culture as stabs, funk and feelings abound. A2 'Persistence' follows suit with the work that exudes proficiency: sound design, dub techno learnings and masterful layering all conspire to create a moment of pure techno draw. Closing side A, 'Deviation' pulls some of the previous track's energy even though it's a rework from the artist's earlier unreleased catalogue: another sign that we're talking realness here. Clever percussion and refreshing washes drive us well into dubby territories. 'Suspension' opens the B side, picking up where it left off with the last original: a beautifully produced piece with fleeting mutating stabs that seem to swim alongside us in an imaginary oceanic dancefloor. Liquid, refreshing sensorial motifs seem to underpin this record and that spirit spills into the remix pack, starting off with MoMA Ready's take on 'Persistence', bringing out the rawness in the original while adding a special sauce with Robert Hood-like funky yet minimalistic bleep work. Tresor's Mareena steps in for a centered, dancefloor-geared - but still mysterious - twist on 'Deviation', perfectly rounding up the record with the expertise of a club resident.
A few years in the making, Dauw finally announces the reissue of the humble bee’s quietly classic morning music. Now, for the first time, the remastered album is available on vinyl, presented as a double LP, alongside a digital edition.
Originally released in 2010 on Cotton Goods — Craig Tattersall’s own imprint — the extensive album was born from a simple yet committed daily practice: over the course of four weeks, Tattersall set aside an hour each morning — between 6:00 and 7:30 am, before leaving for work — to write, record, mix, and document a piece of music. This daily ritual resulted in 28 pieces, accompanied by drawings of his tape-looping systems and photographs of his setup and the snowy January view from his window.
For many listeners, morning music served as a first introduction to his music and sparked a lasting interest in both this alias and his wider body of work. The original cd edition sold out quickly after its release and only occasionally resurfaced in the form of unofficial uploads. As such, this reissue aims to bring renewed attention to morning music - and with it, the hope that it will find its way to new ears as well.
Das windgepeitschte Leben an der Ostküste Schottlands, die gemächlichen Klänge und das warme Gefühl, dass am Ende doch alles gut wird, vereinen sich auf Gulps drittem Album zu einem betörenden Erlebnis, auf dem die Band um das Duo Lindsey Leven und Guto Pryce (Super Furry Animals) ihren ätherisch-folkigen Psych-Pop zelebriert. "Beneath Strawberry Moons" ist ein hyperlokales Album mit minimalem CO2-Fußabdruck, basierend auf dem zart aufgeladenen Gefühl des Paares für das schottische Erbe und die erfrischende Nähe zum Meer. Eine Feier von Raum, Liebe, Verbindung und Zeit, durchzogen von einem zugrunde liegenden Bewusstsein für die Zerbrechlichkeit dieser Schönheit.
Spiritual World's first archival 12" vinyl release from the UK’s free festival dub pioneers.
The Ullulators, an experimental dub and world music ensemble from Bath, UK, have long been associated with the UK’s free festival movement, tracing their creative lineage back to the mid-1980s. For the first time ever, two pivotal tracks from their early cassette-only discography—“Simply Conscious Dub” and “Eternal
Now”—are being issued on 12” vinyl, marking the first archival release on Spiritual World.
The A-side, “Simply Conscious Dub”, originally featured on the 1986 cassette Beyond the Gates of Ull, exemplifies the band’s signature fusion of weighty dub rhythms with expansive and euphoric electronics.
In contrast, the B-side, “Eternal Now”, drawn from the 1985 cassette Share a Calm with the Ullulators, ventures into more introspective sonic territory. Built on minimalist structures and ambient textures, it evokes the kosmische tradition and aligns with the spatial sensibilities of Manuel Göttsching’s E2-E4.
Together, these tracks not only showcase the group’s wide stylistic range but also underscore their forward-thinking approach to genre hybridity. This release stands as a unique document of a formative era in the
evolution of UK underground, dub, and ambient music.
‘My Heart Goes Bang (Get Me To The Doctor)’ is the fourth and final single to have been released from Dead Or Alive’s 1985 CBS Records album, “Youthquake”. Once again, to give it a point of difference, the single was remixed. • This Limited Edition 7” vinyl picture disc continues the 40th anniversary celebrations of this album. • ‘My Heart Goes Bang…’ entered the UK Singles chart on 21st September 1985 and became the second Top 20 hit from “Youthquake”, reaching #23 with a six-week chart run. During the album campaign period, the four singles released from “Youthquake” stayed in the chart for 59 weeks • ‘My Heart Goes Bang…’ charted in Australia, France and Ireland, with its highest chart position being in Japan (#12), as well as hitting #15 on the Billboard Hot Dance Club Play charts in the USA.
It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.
As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.
It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.
RedNilo is an Italian-Moroccan duo composed of Reda Zine and Danilo Mineo, two musicians based in Bologna linked by a deep passion
for world music, particularly African music. Their ongoing and tireless musical exploration has led them to collaborate for over a decade
on numerous artistic and recording projects. Their new album, eponymously titled RedNilo, features six tracks characterized by a sound
reminiscent of Gnawa, Hassani, Tuareg, and experimental rock. The psychedelic, raspy riffs of the electric guitar, the repetitive rhythms
of the percussion, and the rhythmic-melodic lines of the guembri represent and evoke their journey. The resulting sound material is the
culmination of their journey and their encounters with masters, artists, griots, artisans, and instrument makers in the Draa Valley in
southeastern Morocco, bringing together the two musicians' urban and experimental backgrounds and souls. The album's artwork was
designed by Moroccan artist Aali Wica, initiator and mentor of their spiritual and artistic journey to the southern African continent,
across the long black snake.
Réda Zine, a musician and documentary filmmaker born in 1977 in Casablanca, launched his musical career in the 1990s, contributing
to L'Boulevard, Africa's largest independent festival. Raised in the Casablanca medina, he was introduced to Gnawa music by various
Maallems. After studying at the Paris 3 Sorbonne University, he founded Café Mira, a project that has performed at several international
events.
From 2011 to 2014, Zine was artistic director for Creative Commons (Middle East and North Africa), where he won the #CC10 Korea
award in 2012 with the project "It will be Wonderful," which brought together musicians from over 12 countries. He has also been
involved in exhibitions on music and censorship, participating in events in major cities such as Paris, Buenos Aires, and Seoul. In Italy,
he continued his musical research with the Hardonik project and was part of the Afrobeat group Voodoo Sound Club, recording the
album Mamy Wata. Zine collaborates with artists such as Seun Kuti and has initiated educational activities related to Gnawa music,
contributing to initiatives such as the African Symphony Laboratory for improvisers. He is the co-founder of Fawda, a Gnawa-based
project, and is part of the Gnawa Rumi collective, which explores the music of the Moroccan diaspora in Italy. He directed the documentary "The Long Road to the Hall of Fame" about Public Enemy, which won an award at the Pan African Film Festival in 2015.
Danilo Mineo graduated as a national educator from the AMMnationalscholl music academy in Milan, with a thesis entitled "Afro-Cuban
Music and the Rhythm Section." Over the years, he has attended workshops and masterclasses with international artists and masters
of percussion and drums, including Horacio El Negro Hernandez, Airto Moreira, Trilok Gurtu, Luis Agudo, Arto Tuncboyaciyan, Dudu
Tucci, Dom Famularo, Karl Potter, Rodney Barreto, and Eno Zangoun, exploring the rhythmic language of various musical genres and
styles.
In addition to publishing several educational manuals for percussionists, music critics consider him a versatile percussionist, active in
various musical productions and recordings: Mop Mop, Fawda, Guglielmo Pagnozzi "Voodoo Sound Club," Fabrizio Puglisi "Guantanamo," Panaemiliana, The Mixtapers, and many others, with whom he has performed at numerous national and international music festivals (in Europe and Africa). As a percussionist and side man he has recorded numerous albums and collaborated with Italian and
international artists including: Giancarlo Schiaffini, Gianluca Petrella, Roy Paci, Roberto Freak Antoni, Famoudou Konate, Melaku Belay, Baba Sissoko, Kalifa Kone, Jamal Ouassini, Deda, Dj Lugi, Bioshi.
What is it about New York City, that concrete jungle that continually inspires the creative spirit? From Warhol’s Factory to Larry Levan’s Paradise Garage to David Mancuso’s Loft, collectives that celebrate and nurture unfettered, organic artistry have been absolutely intrinsic to the story of this sprawling metropolis. Its latest chapter is being written at the hands of ‘The Maestro’, Grammy Award winner Louie Vega and his Expansions NYC parties, the sound documented in his latest album Expansions In The NYC (Nervous Records).
Starting in February 2019 in Manhattan and Brooklyn venues, Vega’s Expansions NYC parties have their origin not in his revered prowess as a DJ but rather his whole-hearted appreciation of the different elements of the dance floor surrounding him: the dancers, the musicians who bring their instruments to join him ad-hoc on the night, the small, dedicated crowd of clubbers whose ears to the ground keep them informed on the underground party information. The events included 6-hour DJ Sets with Louie under his select curation, and would usually end with 3 AM jam sessions involving keyboardists, guitar players and poets all performing in front of a jam packed crowd. In just a few short years the Expansions NYC events have evolved into an NYC-clubland institution, an intimate celebration of house, funk, disco, afro, R&B and more.
As with his parties, so goes his album. The collective vibe that forms the beating heart of Expansions NYC parties is absolutely front and centre in Expansions In The NYC, Vega drawing in one of the most comprehensive lists of collaborators in recent memory. House heavyweights Honey Dijon, Joe Claussell, Moodymann, Kerri Chandler and Anané rub up against legendary vocalists Bernard Fowler, Cindy Mizelle, Lisa Fischer, Audrey Wheeler and Tony Momrelle. Gospel royalty BeBe Winans and Debbie Winans, pop icon Robyn and rising star Karen Harding sit alongside disco-era champions Unlimited Touch, Cuban jazz pianist Axel Tosca, Nico Vega, Two Soul Fusion with Josh Milan and Vega and underground legend DJ Spinna. At the centre of it all, fingerprint on every beat, touch on every groove, sits a master at work, weaving the individual threads into a rich dance music tapestry.
"In the past few years I’ve found new inspiration both from the musicians I’m working with and the audiences coming to see me at my DJ shows,” Vega says. “So for me this album represents new beginnings, bringing together a beautiful mosaic of artistic perspectives to express musically what we call Expansions In The NYC."
At its heart, Expansions In The NYC is a love letter to New York, as much as melting pot as the city it represents, the scope of its line-up possible only because of the influence and reverence of Vega the artist, the DJ, the producer, the curator. In creating this album, Louie Vega has once again utterly enriched the lives and libraries of music lovers the world over, far beyond the hustling streets of NYC that have so indelibly left their mark on his work.
Berlin-based musician and media artist Michael Vorfeld celebrates the 20th anniversary of his unique sonic explorations with a new volume of his Glühlampenmusic (Light Bulb Music). Mastered by Rashad Becker.
Michael Vorfeld is a musician and media artist, plays percussion and self-designed string instruments, and realizes electroacoustic sound pieces. He works in the field of experimental, improvised music and sound art, realizing installations and performances with light and sound, and working with photography and film. In addition to his solo activities, he is a member of various ensembles and collaborates with artists who work in many different art forms, e.g. Burkhard Beins, Mazen Kerbaj, Ute Wassermann, Reinhold Friedl, to name a few. Based in Berlin, his list of activities includes numerous concerts, performances and exhibitions in Europe, America, Asia and Australia. Michael Vorfeld participated in the documenta 8, Kassel with the sound performance group "Heinrich Mucken".
Since the mid-1980s, Vorfeld has been realizing a multiplicity of partly site-specific light works (most of which also included sound) and where the incandescent lamp played an essential role. He conducted many tests to research the interplay of light and sound, experimented with all kinds of incandescent lamps in relation to various light-controlling devices and used many different types of microphones and pickups to "eavesdrop" into the acoustic potential of the various light events. The result of this research is Glühlampenmusik (Light Bulb Music), an electro-acoustic and audio-visual performance where sounds are generated through the use of different light bulbs and actuating electric devices. The incorporation of different analog light controllers such as switches, dimmers, relays, flashers and various others leads to diverse variations within the light event, made audible with the help of various microphones and pickups. The changes in the light intensity, the incandescence of the filaments and the rhythmic variety of the flickering and pulsing lights is directly transformed into a comprehensive and microcosmic electro-acoustic world of sound. First performed publicly under the titleGlühlampenmusikin the Labor Sonor series at Kule, Berlin in January 2005, and released in 2010, this new volume of Glühlampenmusik celebrates its 20th of these sonic adventures that can range from sparse abstractionism to almost "clubby" pulsations.
“We All Jack” marks the first vinyl release from the Heattraxx label — a true celebration of the Chicago house scene. The original track features a powerful Klassik Mix by K'Alexi Shelby, his second release on the label, a living legend of Chicago house who earned critical acclaim with The Ron Hardy Memo and is now back on the label stronger than ever. The record also includes three heavyweight remixes: Sirus Hood, a longtime friend of the label, talented artist and producer, founder of Mood Child, and deeply connected to the Chicago scene — having produced a documentary featuring interviews with some of the most iconic names in house music; The Checkup, label head of Heattraxx, delivers his deep and driving grooves as seen on labels like Kaoz Theory, Snatch! and House Puff; and Joe Smooth, another legendary Chicago pioneer, known for classic acid house sounds and immortalized by the anthem “Promised Land.” A tribute to house heritage, infused with the spirit of the Windy City in every beat.
This 15-track album features the original score composed by Nicolas Godin (of AIR) for Fire of Love, the Oscar-nominated documentary directed by Sara Dosa in 2022 (available for streaming on Disney+), as well as original music inspired by the film.
Fire of Love tells the extraordinary love story of fearless French volcanologists Katia and Maurice Krafft, who died as spectacularly as they lived, capturing some of the most breathtaking footage ever recorded of their greatest passion: volcanoes.
The landscapes of Orlan 19 resembled the dream of a mad cartographer: cliffs were floating above the surface, horizons were bending and vanishing into infinity, and energy vortices were flaring up beneath their feet in psychedelic patterns. The familiar laws of physics didn’t apply here — gravity shifted chaotically, and time flew with unpredictable intensity. As Spacelunch, absorbed in thought, stroked the ground which distorted like a mirage under his touch, Cat’s grumbling echoed simultaneously from the past and future:
— Doc, don’t you think we’re just walking in circles?
— No wonder. That’s how inverse modelling works. Every action we take reshapes the surrounding space.
— Can you explain it in simpler terms? There’s only one genius here.
— Ever heard of the Philadelphia Experiment?
— Of course! You know how much I love sushi rolls!
— Well, I set myself up for this predicament… Back in my university days, we experimented with magnetic fields trying to program them by thought. You get where I’m going, don’t you? The planet is reacting to our intentions. So, focus on visualizing the portal.
The confusion on Cat’s face gave way to a mask of detachment. Clusters of matter began to tremble pulling the threads of reality to their breaking point before finally forming a vortex. Having devoured as much as it could, the vortex snapped shut with a loud pop and dissolved in a blinding flash.
As the scene began to take shape, silhouettes emerged under the soft glow of a desk lamp, evoking an overwhelming sense of nostalgia. A worn desk and a small bed stood by the wall adorned with faded photographs, while the floor let out a gentle creak underfoot. The clearer the interior came to be, the more paralyzing the realization, and the more elusive the explanation for what had happened became.
— Holy…! Cat, are we looking at the same thing?
— Yeah, but… This can’t be real.
Spacelunch slowly approached the window and froze still. A single thought raced through his mind: “The only force strong enough to pull me this far… was love.”
Rocker’s Revenge was a studio musical project, assembled by producer Arthur Baker in 1982. The band comprised of Baker himself plus Donnie Calvin, Dwight Hawkes, Tina B and Adrienne Dupree Johnson. They are most remembered by their 1982 post-disco hit "Walking on Sunshine", which peaked at number 1 on the US Dance Chart and number 4 in the UK.
On the A side of this release, the track is reset for 2025 with a remix by post punk indie rockers Yard Act, where they have include their own guitar, synths & vocals to give their unique stamp to it. – It’s become a track they have been performing live. On the other side is an unreleased 9 minute remix by New York’s legendary Sound Factory co-founder Junior Vasquez back from 1988, to make it proto acid house bassline & driving percussion journey.
Boston-born Arthur Baker launched his music career as a Disco DJ, but soon made his way into music-making, producing classic Disco for legends Northend and TJM. Arthur is one of the most visible and widely imitated early Hip-Hop/House producers; masterminding breakthrough experimentation with tape edits, sampling and synthetic beats on such records as Afrika Bambaataa's 'Planet Rock', New Order's 'Confusion', Freeez's ‘IOU’, and his own break Dance classic ‘Breaker's Revenge'. Baker would go on to become an award-wining DJ, music and film producer, working for and with the likes Dylan, Hall & Oates, Al Green, Springsteen, The Rolling Stones, Fleetwood Mac, Diana Ross, &many more; on film music for 80s/90s classics such as Beat Street, Ferris Bueller’s Day Off, and Life Less Ordinary. Turning his hand to film documentary’s, Baker has produced Finding The Funk and 808 the Movie. Baker has also directed a documentary on Rocker’s Revenge ‘On A Mission’ along with completing their debut album.
MIKE & Tony Seltzer präsentieren das Doppelvinyl ihres zweiteiligen Albums "Pinball". Das Original aus 2024 wurde von Fans und Kritik begeistert aufgenommen, war es doch etwas Neues, MIKE in dieser Direktheit rappen zu hören. Dieses Neue ersetzt MIKE auf "Pinball II" mit verfeinertem Songwriting und einigen der besten und energiegeladensten Raps seiner Karriere. Tonys Produktion klingt dabei kraftvoller und mutiger als je zuvor. Nach zwei Kollaborationen haben die beiden Künstler eine gemeinsame Chemie gefunden und schaffen ein Projekt, das vielleicht MIKEs zugänglichstes ist, das gleichzeitig aber die Essenz bewahrt, die ihn bis hierher gebracht hat. Zu den Gastfeatures und Kollabos beider Teile gehören Earl Sweatshirt, Clams Casino, Jay Critch, Akachi (Chief Keef-Produzent), Lunchbox, Sideshow, Niontay und viele mehr.
Jüngstes Lob für Pinball II:
* "Der Rapper und der Produzent aus Brooklyn haben sich für eine energiegeladene Fortsetzung des letztjährigen Pinball wiedervereint. Es ist eine leichter verdauliche Version von MIKE, die sich dennoch authentisch anfühlt." – Pitchfork 8.1
* "Der immer produktivere Rapper aus Brooklyn liefert eine Reihe Trap-beeinflusster Tracks, die es schaffen, alle Genre-Schubladen zu sprengen, in die man ihn stecken könnte." – Rolling Stone****
* "Rap-Fans auf der ganzen Welt sollten dankbar sein, dass MIKE sich entschieden hat, mit Tony Seltzer zusammenzuarbeiten." – The FADER
Introducing Fleur Sauvage: A New Chapter Rooted in Emotion and Community
The idea for Fleur Sauvage first took shape in 2022, quietly evolving and shared only with a select few. It began with a desire to give new life to the spellbinding improvisations experienced at La Nature—those rare, unrepeatable instants that move us deeply and stay with us long after the sound has faded.
In the spirit of that beginning, the label will open space for a variety of releases: expect intimate solo works, carefully curated compilations, and other sonic offerings from artists close to our he(art).
More than just adding a new label to the world, our purpose is to grow with our community. Community is everything. At the end of the day, what matters most to us are the relationships we cultivate—with artists, supporters, collaborators, and the many spirited souls who help us create these rare and radiant gatherings.
Katatonic Silentio – Live at La Nature 2023
Captured in the immersive cocoon of the Hypnose Room during the 2023 edition of La Nature, this debut release on Fleur Sauvage is a raw transmission of Katatonic Silentio’s improvisational live ritual.
Split into four parts across two 12” records, this work moves between experimental abstraction, textured noise, and cinematic ambient. Tension runs like a thread through each piece—sometimes humming beneath the surface, sometimes rupturing into visceral sonic peaks that leave you breathless. Deep low-end pulses and granular ruptures twist through fleeting moments of stillness, creating a sense of instability that is both electrifying and intimate.
The recording documents more than a performance—it holds space for something elemental, unpredictable, and deeply embodied. As always with Katatonic Silentio, the sound is not just heard—it is inhabited.
Open Mike Eagle might not have all the answers, but few in life ask smarter questions.
Recorded in London with producer Paul White, Hella Personal Film Festival artfully dissects modern life's banalities and perils. Continuing where his 2014 Dark Comedy left off, it blends whimsical anxiety, social media addiction, and scorn. Known for collaborations with artists like Danny Brown and Mos Def, Eagle and White create tense, emotionally rich anthems that capture the disorientation of daily life and examine societal double standards and casual bigotry.
It’s been a journey, but thanks to the guys at Universal Music we are very grateful and privileged to bring you this fine piece of modern soul music on vinyl.
Both tracks, on the 7-inch, are taken from the MP3 only 2020 album “Vintage R&B”.
It’s an Anglo-Swedish affair, delivered to you by Swedish songwriters, composers and musicians, Henrik Wikstrom and Anders Lewen, together with UK producer Andrew Stannard.
Side A “Time to Make A Change”, features in Episode One of the 2023 BBC documentary “Fight the Power – How Hip Hop Changed the World”. A track to surely get the dancefloor moving.
After some deliberation of which track to include as a Side B, it was decided as a “Thank you” gesture to invite Universal Music to pick the song of their choice from the MP3 album. “Good, Good Feeling” was the proposal, a song title that is reflected in the composition.
The top side, with its driving beat and the strong vocal ability of Liverpudlian Tommy Blaize, is reminiscent of a Motown track at the peak of its popularity. After listening to the lyrics, it is understandable why this track was used in a “Civil rights” segment within a documentary. A timeless message that can be applied to many social and personal life situations. Listen to the tight musical arrangement. These guys know what they are doing. A track that will surely even get my ageing hips loosened up for the dancefloor. Don’t be tricked by the “paused” ending, a wonderful touch!
The title of the flip side, “Good, good feeling” is exactly that……… A “good feeling” song. Here, the tempo is lowered slightly and the sixties vibe here also leads to a more mainstream direction compared to the A side. Those floaty soulful tones from the UK’s Louise Marshall are very pleasant to the ears, lifting your spirits on any day of the week. Like the A side, get your earlobes in to that musical arrangement. There was no holding back with the broadness of musical instruments in the studio and I especially like the sound of the flute happily skipping throughout. Overall, an enjoyable easy listen.
Fashion Flesh tears the fabric of space and time. This is his first offering for the ESP Institute. With side A’s 'Atoms Revolt', ESP cordially introduces Fashion Flesh, AKA John Talaga, to the deepest corners of your mind. Using largely homemade electronics, circuit-bent gadgets, and tape manipulation, John manages to tap into the innate character of these otherwise introverted machines, eavesdropping and documenting their buried inner dialogue. His command of distortion is multi-tiered. On a micro level, he induces happy accidents and shepherds stray elements. Zooming out a bit, we begin to understand the sonic meat grinder that equalizes his bag of disparate ingredients. And from a macro vantage point, we fully recognize the greater tool that sculpts all of the above into form. Side B’s 'New Freedom' conjures a specific dystopian image—the byproduct of an artist involuntarily conditioned by the commute between up-river Bay County, Michigan and the Detroit metropolitan area. Like cutting away at flesh and muscle, breaking through the bone to suck the marrow, John depicts both the contrast and parallels between two post-industrial urban landscapes, the banal trek across The Thumb between them, and the gradual disintegration of agriculture as one nears the Techno city. Voice fragments begin to stutter in syncopation like radio frequencies interfering with our psyche, Geiger counters wail and moan, untamed oscillations mimic caged primates rioting at the zoo, and a steady-firing piston of drums struggles to break through a dense harmonic soot. The depth of personality John extracts through his manipulation process is remarkable— a point-of-view that foreshadows humanity’s looming technological singularity while hinting that it may have always been here, hiding in plain sight, waiting to be given a voice. These two songs will trip your circuit breakers.
Tauchen Sie ein in die faszinierende Welt des Italo Disco mit unserer exklusiven 4 LP Box „The Italo Disco Collection“.
Diese einzigartige Sammlung bietet Ihnen eine Auswahl der größten Hits aus den 1980er Jahren, präsentiert von einigen der bekanntesten Künstlern dieser Ära. Diese limitierte Auflage umfasst vier hochwertige Vinylplatten, die mit den zeitlosen Klassikern von Gazebo, Sabrina, Scotch, Koto und Valerie Dore gefüllt sind. Jeder Titel wurde sorgfältig ausgewählt, um die Essenz des Italo Disco einzufangen und Ihnen ein unvergessliches Hörerlebnis zu bieten.
Die Box enthält speziell ausgewählte Versionen der Songs, die speziell für diese Edition remastered wurden. Die Klangqualität wurde optimiert, um den authentischen Sound des Italo Disco zu bewahren und gleichzeitig das bestmögliche Hörerlebnis auf Vinyl zu bieten.
Das hochwertige Box-Set wurde mit großer Sorgfalt und Liebe
zum Detail gestaltet.
Holen Sie sich jetzt Ihre Kopie dieser exklusiven 4 LP Box „The Italo Disco Collection“ und erleben Sie den unverwechselbaren Charme des Italo Disco auf eine ganz besondere Weise. Tauchen Sie ein in die Welt der pulsierenden Beats und mitreißenden Melodien, die diese Ära geprägt haben.
4 track EP from Pain Struck Stanley Dumb, feat remixes from Radioactive Man & Paul Blackford.
The genesis of Pain Struck Stanley Dumb is as dignified as their sound. Picture this: 7am at an afterparty, and Doctor Luke Dumbstruck, commanding the decks. Neuro-dnb at its most raw, trousers around his ankle, and a single eyepatch completing the enigmatic tableau.
Amid this sonic debris, Christopher D Ashley found a kindred spirit - PSSD was born with a manifesto: to forge timeless electronics, drawing inspiration from Drexciya, Underground Resistance, Two Lone Swordsmen, and Juan Atkins.
Their latest release, "Breakfast At Brian's", marks a significant milestone: their debut on Radioactive Man's esteemed Asking For Trouble imprint. This record is a masterclass in stripped-back electro/techno production - a testament to the power of simplicity.
»White Noise« is a cooperation project between raster-media and the Max Planck Institute for Empirical Aesthetics. Artistic sound projects generated in the context of the scientific research institute will appear at irregular intervals. The themes and questions of empirical aesthetics research are taken up, questioned or challenged in very different ways. »White Noise« is conceived as an audio archive of the MPIEA artists in residence which records the artistic works on vinyl and documents the respective concepts and working methods in text form.
Victioria Keddie’s »Pshal P’shaw« (white noise #002) is a multimedia exploration delving into phonetic expression’s auditory and rhythmic nuances of phonetic expressions through an amalgamation of text, sound, video, data, and customized learning software. Drawing inspiration from the painter and architectural theorist Hermann Finsterlin who made speculative architectural renderings, the project originated during a residency at the Max Planck Institute of Empirical Aesthetics in Frankfurt in 2023.
The project’s engagement with the sonic landscape of the eight diphthongs in US English, documented through recorded sessions at EEG labs with participants of diverse international backgrounds, is not just a technical analyses. The applied script for the recording session, infused with a contemporary Western US dialect, ventures beyond, exploring the primal essence of phonetic expression and its impact on the oral landscape of mouth, throat, and tongue.
This work focuses on the spoken aspect of language: the art of oration, conversation, and mimicry. It reflects the beauty of our perpetual change, speaking directly to our humanity and the raw, tender moments of existence. It embraces the awkward, beautiful and vulnerable essence of our shared human experience.
Victoria Keddie is a multidisciplinary artist delving into sound, video, installation, and performance. Her work uncovers hidden narratives within ordinary artifacts and spaces, emphasizing their role in shaping our collective story. The examination of acoustic phenomena and language is a recurring theme in her artistic work. Keddie’s current projects navigate the acoustic complexity of language and dialects.
For over a decade, Keddie was co-director of E.S.P. TV, exploring the televisual medium for performance and sound. Keddie has performed and exhibited internationally. Recent fellowships include the NYSCA/NYFA for Music/Sound (2022), the Max Planck Institute for Empirical Aesthetics (2023), and the Bemis Center for Contemporary Art, Sound Art and Experimental Music Fellowship (2024).
»White Noise«, 40 p. magazine English/German, vinyl LP, cardboard box
Human Engineering LP started with a performance photograph, taken during the first stages of the global Coronavirus lockdown in a disused municipal building in Easthampton, Massachusetts. Taking the form of a proficient and emphatic high-jump, with a recording of its sound, and a spoken text, amplified through the strings of an abandoned piano occupying the same space. The resulting photographic and sound documents formed the basis of an audio correspondence between Rick Myers, Andy Votel and Sean Canty which was recorded and arranged between Easthampton Mass. and Manchester from 2018 to 2024.
Diese exklusive, farbige 2LP bringt Dir die besten Hits aus einem der prägendsten Jahre der Italo Disco Ära und verspricht ein wahres Fest für alle Fans dieses einzigartigen Genres.
Die limitierte farbige Edition dieser LP bietet nicht nur musikalischen Genuss, sondern auch einen echten Sammlerwert. Sie enthält legendäre Tracks, die in der Szene der 80er Jahre Kultstatus erlangten, darunter unvergessliche Hits, die auch heute noch die Tanzflächen erobern. Mit dabei sind unter anderem: Doctor‘s Cat – Watch Out, Styloo – Pretty Face, Joe Yellow – Lover to Lover, Hypnosis – Pulstar, u.v.m.
Hol dir Italo Disco History 1983 und erlebe die nostalgische Zeitreise in die glorreichen Jahre des Italo Disco mit dieser exklusiven und limitierten LP!
Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?
If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.
There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.
In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.
Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.
Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities.
Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation. 7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.
Introducing DJ SO: The Digital Dancehall Alias of Ben Hauke
Celebrated producer and RINSE FM radio host Ben Hauke releases his latest project under the alias DJ SO, delving into the vibrant world of digital dancehall. This new moniker sees Hauke embracing the rhythms and textures of a genre close to his heart, marking an innovative step forward in his already illustrious career.
The debut release from DJ SO comes in the form of a limited edition 7" vinyl, a nod to the golden era of dancehall's physical format. The artwork pays homage to the iconic aesthetics of the legendary label Shocking Vibes, capturing the spirit and visual language of classic dancehall culture.
The 3-track release promises to electrify dancefloors and delight vinyl collectors alike.
Enter the glittering world of Italo Disco with the exclusive 4LP
box set „The Italo Disco Collection Vol. 2“.
This limited edition box features four vinyl records that capture
the essence of the Italo Disco era. Discover and enjoy musical
treasures from Ken Laszlo, Miko Mission, Baby‘s Gang, and
Laserdance. „The Italo Disco Collection Vol. 2“ is not only a
musical journey through time, but also a collector‘s item for
all vinyl lovers and fans of Italo Disco. This carefully compiled
collection has been designed with great care and attention to
detail and includes a colorful beach ball as a summertime fun
maker. This box brings the best of the 80s straight into your
living room and guarantees unforgettable musical moments.
Tauchen Sie ein in die glitzernde Welt des Italo Disco mit der
exklusiven 4LP Box „The Italo Disco Collection Vol. 2“.
Diese limitierte Box enthält vier Vinyl-Schallplatten, die
die Essenz der Italo Disco Ära einfangen. Musikalische
Schätze von Ken Laszlo, Miko Mission, Baby’s Gang, und
Laserdance werden hier geborgen. „The Italo Disco Collection
Vol. 2“ ist nicht nur eine musikalische Zeitreise, sondern
auch ein Sammlerstück für alle Vinyl-Liebhaber und Fans des
Italo Disco. Diese sorgfältig zusammengestellte Kollektion,
wurde mit großer Sorgfalt und Liebe zum Detail gestaltet und
enthält als sommerlichen Spaßbereiter einen farbenfrohen
Wasserball. Diese Box bringt das Beste der 80er Jahre direkt in
Ihr Wohnzimmer und garantiert unvergessliche musikalische
Momente.
Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page. Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.
It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.
In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail. Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.
Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single. Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.
Passing Currents aims to stand out from the predictable by offering a deeply human touch in its music. This five-tracker backs that up by melding academic expertise with dancefloor intuition and the A-side features txted by Phil Moffa remixed by Yamaha DSP coder okpk after they met during doctoral studies, they flip technical mastery into bass-driven energy while Atrevido' fuses California warmth with analogue electro, Josh Dahlberg's rediscovered 2009 electro gem, 'Ass On The Floor', still bangs and Detroit's Kevin Reynolds delivers hypnotic grooves before Hazmat Live pushes boundaries with a sound rooted in soulful, experimental innovation.
Following on from the celebrated first instalment, the second part of The Male Body Will Be Next compiles an entourage of daring sonic experiments, composed in response to bell hooks’ landmark book The Will to Change. Prompting artists and musicians to envision cross-gender solidarity, Osàre! Editions founder Elena Colombi presents an enrapturing, narrative album, conceptualised around collective transformation.
Resonating with hooks’ challenge to men to reclaim the sensitivity that patriarchy denies them, the name of the record arises from a photograph by Peter de Potter and Rebecca Salvadori’s film of the same title. In these depictions, naked flesh is exposed, made vulnerable and trembles with emotion as the fragility of masculine bodies are examined through the queer and female oppositional gaze. Transforming this visual language into musical expression, The Male Body Will Be Next swirls with punk vitriol, electrified noise, acid, electro and free-wheeling encounters charged by love, lust and limerence.
Gently plunking chords signal Pose Diva’s reimagining of lover’s rock before Sissy Fuss smashes in with a heavy-weight instrumental version of their erotic anthem ‘No Restraint’.
Made up of Turkish musician Etkin Çekin and Belarussian songstress Galina Ozeran, God is God delivers a gentle lullaby, while Low End Activist flirts with dark and brooding bass, shattering penetrating frequencies into luminous fragments. Riffing off the 2020 documentary about female early electronica pioneers, Loma Doom crafts a slowly oscillating drone zenith, the ultimate climax. In line with the conceptual underpinning, there are plenty of collaborations – Daytripper’s Riva and Sitar player Tommy Khosla, Lebanonese experimentalist N R and Swiss-French producer John Silvestre (AKA Typhon), as well as Colombi herself and trans author/activist Juno Roche. Within these partnerships, new modalities come alive as mediums, practices and perspectives are ignited and pushed in otherworldly, metamorphic directions.
* Comes with two remixes from the hugely adored Italian DJ Producer Adiel, and Ukrainian Electronic sound artist Hanna Svirska, who is newly signed to Emika Records.
* Brand new bass-heavy, moody pop songs, taking it back to her Bristolian roots: Emika delivers 4 tracks ‘Frames’ which documents her life in sound, lyrics and minor chords as she transitioned from Berlin after 17 years, to The Black Forest. Having unknowingly let the devil in the back-door, the EP tells the story of how self-taught spirituality and meditation brought no light, and a return to nature saved her. ‘Frames’ is about putting hard experiences into a frame, to respect and remember them. Emika put them here into some heavy songs.
* Emika included an instrumental and vocal acapella like in the good old days.
