House Vinyl New Releases - News

the new bush 2 bush release featuring chelonis r jones !!! contains remixes by jesse garcia and gregor wagner !!!

big R.E.M. cover, including remix by DJ PEDRO & STEPHAN M !!!

the remix edittion oif this r.e.m. cover !!

Ekman once gain keeping the Dutch west coast spirit alive with 4 dramatic and haunting acid voodoo tracks certain to draw a new generation to the beauty of the dark side.

Gecko Turner's "Chicken Wire" (the one with that video of those very funky elderly Mexicans) gets a stomping 4x4 boogie do-over by one of Lovemonk's favourite French duos, Souleance (DJ Soulist & Fulgeance), turning a laid-back shuffler into a make-room-I'm-gonna-show-you-my-moves-and-then-you're-coming-home-with-me dance floor shaker. Mo Kolours dons "I'll Do That" with a subtle hip-hop beat like only he can, and gives the tune an even more late-night, jazzy vibe than the original. Score!

Randy Barracuda can be easily dubbed as one of the founding fathers of Skweee music, the synthetic funk sound hailing from the icy shores of Scandinavia. After 25 vinyl releases, bunch of remixes and touring in 20 countries (including headlining Sónar by day in Barcelona), Barracuda is still hitting hard and doing what he does best: bubbly analogue funk for the children of the universe. During the years his productions have been heard on compilations and mixes of Dave Clarke, Radioactive Man, Kode 9, Cari Lekebusch, Dj Dmitri of Deee -Lite and the like.

Barracuda is also one of the members of legendary bass outfit Imatran Voima.

collecting orders for a repress!
A boy named Suzanne. Travelling from Los Angeles to Portland and back to Los Angeles again, Suzanne Kraft's vinyl debut) features four tracks of frenetic sunshine ecstasy.

Red 7 go back to the future with this 2 track slab of naughtiness tinged with a dash of acid......grab it quick! very limited pressing!

Israel's hottest export follow up excellent EPs on Hivern and I'm A Cliché with a 3-tracker for the global psychedelic cult of Multi Culti.

Tel Aviv's Red Axes are one of the most exciting new acts in dance music, with rich sound that is musical, deep, trippy and organic, while remaining precise and lethally effective in the club. The range in their sound is impressive, their talent unmistakeable. They are one of our favourite artists of the year, and this latest record is one of their best yet.

Lead track 'Waiting for a Surprise' builds around a mid-tempo disco bassline, with tough percussion, and rugged synth stabs, but it's the eerie and unique sounding vocals of Brazilian collaborator Abrao that bring everything together. This one is a guaranteed bomb for building up, tearing down, peak time or chilling out... an outstanding track in every sense, the kind that force trainspotters to the DJ booth to discover what's playing. Next up, 'Hope' kicks off with resonant, delayed toms, adding a haunting howl and synths before dropping into a wild, clanging, carnivalesque frenzy. It's understated, but advanced, with an interesting arrangement that really opens up in the second half. Finally, 'The Metal Bender' slows the tempo but ups the vibe into an elated, slow-burning space-disco anthem. Fantastic stuff!

Operating out of London's Cable Street studios, Moon Zero is the project of producer and composer Tim Garratt. This self-titled debut album is the culmination of the exploratory drone work of his first EPs, 2014's 'Tombs' and 'Loss' (Denovali). Drawing on the micro-polyphony of classical modernism and analogue-leaning contemporary electronic music, it's the finest incarnation yet of an aesthetic that's both minimal and cinematic. The music spools out of Garratt's mind in the form of extensively screwed up synthesizers, bowed cymbals, liquidated instruments and detuned tape loops. Bounced between effects chains, music software, mixing desks and tape, his materials are then inflated and tampered with, in different venues of a particular significance or suggestive atmosphere. The results are enigmatic, hypnotic and register a note of mourning. They are mercifully free of the obligatory club references of electronic music that's destined for a different mood but nonetheless confines itself to bygone 'post-club' tropes. 'I was listening to a lot of William Basinski, Bowie's 'Low', Swans, Messiaen, Stars of the Lid, Cluster, Eno... Carl Sagan,' remembers Garratt. Garratt seeks out spaces in the city which can be turned into echo chambers for his ambient, avant-gardist material. Yearning to derive some meaning from a point in space-time, these resonances turn back and pacify some of the frenzied and alienating forces in both the human and the place. Like the preceding EPs, 'Moon Zero' was recorded at St George in the East in Shadwell, London. Religious themes pervade the album, drones imported from ancient sects and the never-silent industrial era - a convergence that is mirrored by the dead history of the Thames and present-day flows of money and data outside his Limehouse studio. In the time between the project's inception and the 'Moon Zero' sessions, Garratt worked on readying his material to perform live. 'Because of the lack of pre-recorded material, and as the previous EPs were largely improvised, it meant that I was constantly performing new sets each time I'd play a show. So with this album I wanted to write a more coherent piece of music which could be loosely recreated in a live scenario.'

Local Suicide are a Berlin love story. Having met across a set of turntables, DJs, producers and dancefloor all-rounders Brax Moody and Vamparela have connected as a German and Greek soundclash since 2007, and 'We Can Go Everywhere' rubberstamps their partnership on what is their debut EP.

The onetime members of the short-lived 'Local Suzie' band project have gone on to dominate Berlin's live spots, a grounding that has since seen them filling their passports from New York to Tunesia, Tel Aviv, Istanbul and Barcelona as well becoming event organisers and attractions both home and abroad wherever there's a set of decks. Multi-taskers coming with divergent interests in hip-hop, electroclash and most things in between, and with an intimate knowledge of their respective regional movements AND the pair also running a respected music blog, Local Suicide are not usually found without their hands to the pump.

'We Can Go Everywhere', chanting into a Balearic underworld , is in the classic mode of synth-pop, disco-house and indie dance brought back from the future and into a past discotheque philosophy. Just when you think it's about to bust out a set of 80s sized shoulder pads, and those synth injections scream out from a bygone era of bigger being better (admittedly the same can be said for the drop-down bass), the pair roll out the beats with a caution turning the vibe into something best served come witching hour. Sprinkling the glitz and glamour with grit and candour and a touch of Gallic groove sensibility, paves the way for three remixes to follow suit. The future-retro scale is further determined when you have the expertise of In Flagranti to truly quantize the boogie, looping the chorus just behind a mix of digital distress signals and road trip guitars until it becomes something near an incantation of Bananarama. Alex Gloor and Sasha Crnobrnja complete two halves of basement seriousness and a hop down a yellow brick road, giving off sharp catwalk glances before breaking out the worm in the name of Factory funk.

Inigo Vontier trains tracky, fractal-examining synths for a deep tech-disco hustle. Powered by low slung electrohouse blips that cram and gang up on the dancefloor so that it needs water cannon fire to disperse it, the Mexican simultaneously makes the original sound intensely alone and on the run, the vocal daring not speak its name until it rushes from the ground on the breakdown with a sense of release. The flashes of those kitsch-tipped synths again keep reminding you of the package's Euro destination.

Tom Tom Disco's Richard Rossa is another bringing sounds back and forward, putting spit and shine on mainframe sequences so a vintage glitterball can spin once more. With the ubiquitous synth shunts and bongo percussion not losing sight of the fact that there's a still pop-ish party going on, the Scandinavian revels in the dust and debris that his machinery comes coloured in, coming up with a snippy slice of incessant analogue disco ensuring Local Suicide's original revels in its retro roots to the last.

Vor ziemlich genau zwei Jahren befand die "De:Bug", Laurel Halo sei "eine der interessantesten
Künstlerpersönlichkeiten der letzten Jahre". Inzwischen ist die Sängerin, Musikerin und Produzentin von
Brooklyn nach Berlin umgesiedelt. Jetzt hat sie den Nachfolger zu den gefeierten Alben "Quarantine" (2012)
und "Chance Of Rain" (2013) vorgelegt. Während diese beiden Releases bei Hyperdub, dem Label von
Kode9, erschienen, kommt "In Situ" via Honest Jons in die Läden. Nach wie vor ist also ein Londoner Label
für sie zuständig, dennoch hat sich im Klangkosmos von Halo viel getan. Selbst wenn nicht jede in Berlin
produzierte Veröffentlichung zwangsläufig Berliner Luft atmet, so hat Halos Umzug in die Hauptstadt doch
offensichtliche Spuren hinterlassen. Stand bei den beiden Vorgängern noch eine verschrobene
Experimentfreudigkeit im Fokus, so wich diese auf "In Situ" einer geradlinigen Dancefloor-Tauglichkeit. Ihr um
Trance-Elemente sowie Dub- und Ambient-Versatzstücke angereicherter Minimal Techno ist zwar nichts für
die Peaktime, doch tanzbar ist er allemal. Auf den acht Stücken wummert, klopft und rummst es
unaufdringlich, doch deutlich vernehmbar: Nachtleben, ich komme.
e
S

Die aktuellen Tanzbodenkracher aus aller Welt auf drei CDs bietet die Kompilation "Dancefloor Fever
2015/16" des französischen Labels Wagram. Auf der ersten CD gibt's die "Dancefloor HITS" zu hören; sie
werden unter anderem von The Avener, Bon Sinclair feat. Dawn Tallmann, Worakis und Chicaneur
beigesteuert. CD 2 führt mit Fritz Kalkbrenner, Alex Kenjim Kraak & Smaak feat. Keyhole und Alexia Coley
durch die "FUTURE Dancefloor HITS". Abgerundet wird das Hit-Feuerwerk mit den "Dancefloor NEWS" der
dritten CD. Sie bringt Terranova feat. Stereo, Tube & Berger, Kinky Movement, Amtrac und Grand Garden zu
Gehör. So, jetzt den Lautstärkeregler nach rechts und ab geht die Party!

Heute gilt der 1960 in Berlin geborene Bernd Kistenmacher als ein zentraler Vertreter der zweiten Berliner
Schule der elektronischen Musik. Doch der Anfang war steinig. Erst ein vom Mund abgesparter Korg
Mono/Poly legte 1982 den Grundstein für Kistenmachers Karriere. 1984 trat er erstmals mit der Kassette
"Dancing Sequences" öffentlich in Erscheinung. Und damit einem Werk, das sich stark am analogen Sound
von Klaus Schulze und Tangerine Dream orientierte. Mit "Music From Outer Space" und "Romantic Times"
folgten zwei weitere Kassettenproduktionen, bevor 1986 seine Debüt-LP "Head-Visions" auf den Markt kam.
Das Album ist geprägt durch repetitive Motive, weiche Melodiebögen, geschichtete Klanglandschaften und
rhythmische Basslinien. Die Reaktion auf "Head-Visions" war überwältigend. Radio-Airplay, große Konzerte
und Aufträge für Modeschauen und TV-Formate zeigten, dass er auf dem richtigen Weg war. Kistenmachers
Debüt wird nun als Digipak, Vinyl und Download mit dem Original-Cover des Berliner Bildhauers Rainer
Kriester wiederveröffentlicht. Parallel erscheint das Re-Issue von "Wake Up In The Sun", Kistenmachers
Nachfolger aus dem Jahr 1987.

Heute gilt der 1960 in Berlin geborene Bernd Kistenmacher als ein zentraler Vertreter der zweiten Berliner
Schule der elektronischen Musik. Doch der Anfang war steinig. Erst ein vom Mund abgesparter Korg
Mono/Poly legte 1982 den Grundstein für Kistenmachers Karriere. 1984 trat er erstmals mit der Kassette
"Dancing Sequences" öffentlich in Erscheinung. Und damit einem Werk, das sich stark am analogen Sound
von Klaus Schulze und Tangerine Dream orientierte. Mit "Music From Outer Space" und "Romantic Times"
folgten zwei weitere Kassettenproduktionen, bevor 1986 seine Debüt-LP "Head-Visions" auf den Markt kam.
Das Album ist geprägt durch repetitive Motive, weiche Melodiebögen, geschichtete Klanglandschaften und
rhythmische Basslinien. Die Reaktion auf "Head-Visions" war überwältigend. Radio-Airplay, große Konzerte
und Aufträge für Modeschauen und TV-Formate zeigten, dass er auf dem richtigen Weg war. Kistenmachers
Debüt wird nun als Digipak, Vinyl und Download mit dem Original-Cover des Berliner Bildhauers Rainer
Kriester wiederveröffentlicht. Parallel erscheint das Re-Issue von "Wake Up In The Sun", Kistenmachers
Nachfolger aus dem Jahr 1987.
D

Freunde der elektronischen Instrumentalmusik dürfen sich freuen. Parallel zu Bernd Kistenmachers Debüt-LP
"Head-Visions" von 1986 veröffentlicht Bureau B auch dessen 1987 erschienenen Nachfolger "Wake Up In
The Sun". Beide haben ihren Ursprung in Klaus Schulzes Album "Moondawn" (1976), dessen Strukturen,
Melodien und Klanglandschaften den damals 16-Jährigen verzauberten. Seit damals war Kistenmacher vom
Wunsch beseelt, es Schulze und Tangerine Dream gleichzutun. In Ermangelung des nötigen Kleingelds
dauerte es bis 1982, bevor Kistenmachers musikalische Abenteuer mit der Anschaffung eines Korg
Mono/Poly starteten. Nachdem noch diverse weitere analoge Synthesizer in seinen Besitz gelangten,
veröffentlichte er zwischen 1984-86 drei Kassetten. Doch erst mit seinem Debüt machte er nachhaltig auf sich
aufmerksam. Der Rest ist Geschichte. Während in den 1980ern die elektronische Musik durch Digitaltechnik
geprägt wurde, setzte Kistenmacher weiter auf analoge Gerätschaften und produzierte repetitiv geschichtete
Soundlandschaften voll weicher Melodiebögen und rhythmischer Basslinien. Heute gilt Kistenmacher als ein
zentraler Vertreter der sogenannten zweiten Berliner Schule.

Freunde der elektronischen Instrumentalmusik dürfen sich freuen. Parallel zu Bernd Kistenmachers Debüt-LP
"Head-Visions" von 1986 veröffentlicht Bureau B auch dessen 1987 erschienenen Nachfolger "Wake Up In
The Sun". Beide haben ihren Ursprung in Klaus Schulzes Album "Moondawn" (1976), dessen Strukturen,
Melodien und Klanglandschaften den damals 16-Jährigen verzauberten. Seit damals war Kistenmacher vom
Wunsch beseelt, es Schulze und Tangerine Dream gleichzutun. In Ermangelung des nötigen Kleingelds
dauerte es bis 1982, bevor Kistenmachers musikalische Abenteuer mit der Anschaffung eines Korg
Mono/Poly starteten. Nachdem noch diverse weitere analoge Synthesizer in seinen Besitz gelangten,
veröffentlichte er zwischen 1984-86 drei Kassetten. Doch erst mit seinem Debüt machte er nachhaltig auf sich
aufmerksam. Der Rest ist Geschichte. Während in den 1980ern die elektronische Musik durch Digitaltechnik
geprägt wurde, setzte Kistenmacher weiter auf analoge Gerätschaften und produzierte repetitiv geschichtete
Soundlandschaften voll weicher Melodiebögen und rhythmischer Basslinien. Heute gilt Kistenmacher als ein
zentraler Vertreter der sogenannten zweiten Berliner Schule.

SG Lewis announces his new EP along with opening single 'No Less'. Entrancing and measured, SG's meticulous production is partnered with newcomer Louis M^ttrs contributing vocals, taking the track even further into the soulful territory and exemplifying the young producer's ability to create arresting electronic music. SG introduced himself by way of his new label home PMR Records' Beat Club series back in February with his single 'Warm', a title indicative of the track's hypnotic pace and down-tempo flow. Having previously held a longstanding residency at Liverpool's Chibuku club as well as a spending the first half of this year playing shows across Europe, SG already has a busy summer ahead with appearances at Parklife Festival, Wild Life Festival, Lovebox and Bestival amongst many more. With support coming from Annie Mac, Pete Tong, DJ Target, MistaJam and Toddla T and a growing number of supporters online, SG Lewis is quickly establishing himself amongst the next wave of exciting and forward thinking producers

Re-press of the mega unfindable, but oh so essential ''Dance'' by E-Lover, almost 12 minutes of beats which remind of Kraftwerks ''Tour De France''. On the flip two parts of the legendary Pyramix which was only available on cd. Must have!!

WE ARE VERY PROUD TO WELCOME MR. MARCO BERNARDI TO THE RAWAX FAMILY!

510 COPIES ON 10 INCH - FIVE EURO TEN - PREORDER NECCESARY!

rawax welcome the new talent robin scholz - this won't be the last you'll hear!

Die Festival Saison ist vorbei und zog auch dieses Jahr wieder Millionen von EDM-Fans an. Und hier habt
ihr die fettesten Festival House und EDM Hymnen auf einer Doppel- CD! Mit Tracks von W&W, Blasterjaxx,
Deorro, J-Trick, Tujamo, Axwell, Kraak & Smaak und vielen vielen mehr!
EDM Anthems: Das ist der Festival-Sound!

Auszug TRACKLIST:
DREIUNDZWANZIG - AXEL F (Radio Version)
MICHAEL NIGHT - STRIKE (Radio Edit)
MIAMI ROCKERS FEAT. BEN RUBIN - TIMEFLOW (Dark Intensity Club Mix)
BRYCE - BLADE THEME (Original Mix)
JUICYTRAX & SWITCH OFF - KEEP ON (Radio Mix)
FUEGO - EL DIABLO 2K14 (Falko Niestolik Radio Mix)
DJ TOMSTA FEAT. CATY B - IRREGULAR HEARTBEATS (Radio Edit)
SHAUN BAKER - ALL I EVER (Badpitt Remix Edit)
BORED MEN - FITTING ROOM (Radio Vocal Version)
TUJAMO - HEY MISTER (Original Mix)
BLUTONIUM BOY - TURN UP THE BASS (Radio Mix)
D.E.F - HELL YEAH (Radio Edit)
MICHAEL FALL - TRESHOLD (Festival Mix)
STEFAN DABRUCK - KNOWING (Radio Edit)
HOMEAFFAIRS - LET'S GO (David Puentez Remix)
WILDCHILD - MASTURBASS (Original Version)
DUCKFRONT VS. PANDABOYZ - PAYDAY (Radio Edit)
CRYSTAL ROCK & SHWANN - LEOPARD (Original Mix)
TURBO B. - LAST CALL FOR ALCOHOL (Falko Niestolik Short Edit)
JASON PARKER - LOVEWAVES (Tarabass Remix)
EXPERIENCE OF MUSIC FEAT. THE - MOVE IT MOMMY (Frrranz Remix Edit)
WILLY DJS FEAT. SWEET ROSS - IT'S GONNA BE LOVE (Uplink Remix Edit)

Invada Records (owned by Geoff Barrow/Portishead) are proud to announce the vinyl release of the critically acclaimed, Drive - Original Motion Picture Soundtrack on 28th May 2012. Released in full colour gatefold sleeves on 180 gram heavyweight vinyl and is available as a double LP black vinyl / double LP pink vinyl and a limited edition 2LP picture disc The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynthstyled songs by Kavinsky & Lovefoxxx ('Nightcall'), The Chromatics('Tick of the Clock'), Desire ('Under Your Spell'), College featuring Electric Youth ('A Real Hero'), and Riziero Ortolani featuring Katyna Ranieri ('Oh My Love'). Rolling Stone Magazine named Drive the No. 1 movie of 2011. In Variety, Laura Ferreiro wrote,'while a synthetic electronica score may seem an unusual choice for a cerebral action thriller, it plays a pivotal role in setting Drive apart from other heist-gone-awry films, and arguably helped it become one of this year's critical darlings.' The Drive soundtrack raced to the top of the iTunes album charts, hitting No. 4 within a week of its digital release and peaking at No. 35 on the Billboard Top 200. The soundtrack re-entered the charts in February 2012 when the film was released on DVD.

ltd. green vinyl in clear sleeve to 1000 copies for the world. 4 exclusive new re edits not featured on the cd. Burufunk Vs Carbon Community 'Community Funk', Francesco Diaz & Young Rebels 'It's Our Future', NuBreed 'NuFunk', Noir 'Super Skunk'

Following an acclaimed release on Ancient Monarchy and ahead of his debut for Blackest Ever Black, Rhythmic Theory returns to Idle Hands for the third time. 'Future Tense' channels the spirit of era defining mid-90s DnB but twists it with a contemporary techno feel. A contemporary of Livity Sound and Hodge, Rhythmic Theory's music sits closely to theirs but with a distinct sound palette all of his own. Never one to seek the limelight he has been working behind the scenes in the West Country music scene for many years, only now getting the recognition he deserves. The same could be said of our choice of remixer, DJ October - who here turns in a killer version of the original in the shape of 'Death Is Certain Dub'. A long time friend of Idle Hands, both the label and shop he really was overdue an appearance on the imprint. In fact, a little known fact is that were it not for a colossal hard drive failure many moons ago he would have appeared on one of our first releases. These things have a way of working themselves out eventually.

Bones return with the second release in their new series from a mysterious underground House & techno heavy weight DJ & producer.....
3 new top notch house cut ups aimed directly at the dance floor & beyond! Vinyl Only!!!

special triple package for all you PurePureMUsic lovers out there - contains 3 classic releasesatr001: various - dancing sheep epppm006: sven hanke & 1125x - strichcode ep ppm007: hakan ludvigson - style+++non returnable+++non returnable+++non returnable++

In its original incarnation, Shit Robot's 'Losing My Patience' - a choice cut from 2010's From the Cradle to the Rave — strikes a balance between iciness and warmth, with Hot Chip frontman Alexis Taylor's soulful vocals melting the track's frosty synthlines. Now, Hot Chip and Unabombers remix the track and redefine its feel.

this is what we call a techno house monster !! fresh beats and sounds will move to your brain and stay there for weeks !!!!

The Fantasy are 2 veteran Detroit DJs making their fantasy versions of untouchable songs. "Nite Flights", Walker Brothers, USA/UK, 1978; Always Randy" aka "50 Hz", Severed Heads, Austrailia, 1981; "All I Do Everyday", The Meters, USA, 1977. Guaranteed to kill the dance floor!!

FBNM presents two killer cuts by Finnish House and Techno master Jori Hulkkonen and we've backed them up with a beefy dub mix from the genius international collaboration of Balihu Records head honcho Daniel Wang and J.E.E.P. aka Jules Etienne.

It's all in the arpeggios as Jori headlines with 'Something Left To Learn' an homage to italo disco in both sound design and methodology. Written almost exclusively using the rare Italian made Solton Programmer 24 (1985), he turns out an authentic moody original of groovy electronic bleeps, disco drums and emotive pads whilst featuring some heavily effected vocals of his own!

Daniel Wang and J.E.E.P. continue to collaborate and this time with a mix at the personal request of Mr Hulkkonen, they don't fail to impress! Their Dub-apella treatment strips back the arrangement and pull out the heart, giving back some breathing space to the mix, but if only so they can add some disco percussion and fatten everything right back up again!

Finally 'Distant Cities' sees the android Hulkkonen head deep into the future, Detroit 2192 to be exact. Detuned oscillators and dissonant keys pump out over a precisely rigid drum machine groove chorused with the wonkiest robotic vox you've ever heard! A big one for the late night dance floor freaks...

And as usual FBNM provides on point mastering from Andreas LUPO Lubich at Calyx, Berlin and a complete custom colour sleeve design for the fully premium vinyl experience!

Fis will release his debut album, The Blue Quicksand Is Going Now, on June 29th, 2015. Following a series of EPs on the likes of Samurai Horo and Tri Angle, the record was written by Olly Peryman during stints living in Europe and his hometown of Wellington, New Zealand, and strikes a spectacular balance between the meditative and disruptive. The Album marks a continued move away from the high-octane experimental D&B productions that initially marked him out (notably 2012's Duckdive EP), towards something that both viciously rips away and cascades with calm. Ultimately, despite its alien sounds, it is a move towards something more human, sonic explorations made in glorious isolation.

The Mexican collective Future Feelings is made up of Fernando Dimare, Juan Soto (an existing Nang warrior), Thomass Jackson and Dan Solo. The talented bunch make accessible dance tunes which are easily at home on the floor or for listening too. After a string of festivals and appearances in South America and a slew of remixes (for artists such as Lindstrom, Donna Summer, Goldroom, Treasure Fingers and The Knocks) we are pleased to be releasing their debut album on Nang.

The album seamlessly darts from leftfield electronic-art pop to dance floor energizers to downtempo soundscapes. What is for sure however is the song-writing is key in each track. The package all hangs together with a production sheen which is polished, adventurous and accomplished.

The album opens up with the guitar driven mood piece "Over Me" featuring Karla Gonzalez. Sounding like a cross between an Anthony and The Johnsons album track and a smoldering Carly Simon album track from 1978 it opens up the album with the lightest of touches. All before heading to locked on groove territory with "Find Out" and "Creature Of The Night" (sounding like the Scissor Sisters taking a funk lesson).

Next is recent single "Downtown Girl", which mixes a solid European dance floor groove with a touch of New York / DFA indie 1982 nu-wave. "Rite There"is another song piece, this time driven by smooth picked acoustic guitar and a sublime vocal. "Empty" adds touches of Zero 7 and Ibiza and "Jungle Light" and "Don't Let Go" take things to a funkier plane.

"The Feeling" is a pure Nang sound.. stabby synth, rolling disco synths and punchy bassline.. .all wrapped up with a smooth vocal. "Can't Hide It" is next bringing the emotive song to the for once more before we finish proceedings with the uptempo "Wonder" with its 80's synth stomper greatness.

Catch Future Feelings on the Road in South America and beyond and stay tuned for more singles from the Mexican wonder team here on Nang

This EP of sometimes disorienting but always engaging pieces recorded as works with violin and voice is a sparse but rewarding listen allowing both artists' contributions space to be fully appreciated. Out on limited edition vinyl and digital.

Imagine there is a seven-headed rythmic beast with a percussionist, drummer, bassist, keyboardist, two horn players, and a DJ up on the stage embracing the musical totality of the world without any folklore kitsch, its subtlety and urban club grooves crossing various divisions in musical genre. Feindrehstar is standing on the stage. The studio recordings of this unique Jena-based band have long been known to capture the live energy of their onstage performances. And now Feindrehstar presents their second album named - Love & Hoppiness - fve years after their brilliant debut - Vulgarian Knights . A lot has happened in the meantime: countless club and festival gigs, an inspiring African tour as well as countless hours spent working in the studio. - Love & Hoppiness matured over three years, a musical puzzle that was composed at different locations - the frst recordings developed in the fall of 2012 with Michel Baumann (Soulphiction, Jackmate) and Nik Reiff in Stuttgart. Further overdubs with a trombone, violoncello, guitar and vocals followed at various home studios and conservatories. That's right, vocals have been brought onboard this otherwise instrumental band. Owing to these vocal tracks with Dave Aju, Ebo Taylor and Tina Keserovic on the microphone, Feindrehstar's sound continues to develop. Jazz, soul and funk vibes shine through on tracks like - Antelope , a track featuring the vocals and guitar of legendary Ghanaian musician Ebo Taylor. however in the end, things got mellow and he had so much fun that he recorded guitar tracks with enthusiasm. It was clear right from the start that everything clicked with Dave Aju - the smooth soul-soaked hiphop of - From Bob To Stevie standing out on the album. Feindrehstar call their music Krautclub, and the reason brought to become clear in - Caje Sukarije : a classic Balkan funk sound taken over by wild synth loops that become fused together in a haze of electro-funk. It is in act a Roma anthem sung by Tina Keserovic. The album akes a chiller, newer direction with - The New Ballad, - Blues For Bagdad as well as the completely acoustic ballad - Love & Hoppiness Int. with cello and clarinet, anchoring the album in a captivating calm.Despite the many new directions, the genre defying yet danceable club sound of Feindrehstar remains. - Love & Hoppiness , - Deep Horse , - Shake That und - Night Rainer Diskodub show once again that after 15 years of rocking dance foors, Feindrehstar's energy hasn't diminished. Feindrehstar will ensure that clubs and festivals will be well supplied with their estatic performance into the future.

composed & written by Feindrehstar,
produced by Michel Baumann

composed & written by Feindrehstar,
produced by Michel Baumann
bass clarinet: Andy Geyer trombone: Christian Kohlhaa

composed & written by Feindrehstar,
produced by Michel Baumann & Feinsrehstar
vocals: Ebo Taylor, trombone: Christian Kohlhaas

composed & written by Feindrehstar,
produced by Michel Baumann

composed & written by Feindrehstar,
produced by Michel Baumann
trombone played by Christian Kohlhaas

composed & written by Feindrehstar,
produced by Michel Baumann & Feinsrehstar
vocals by Dave Aju

composed & written by Feindrehstar,
produced by Michel Baumann & Feinsrehstar
trombone played by Christian Kohlhaas

composed & written by Feindrehstar & DJ Légères,
produced by Feinsrehstar & DJ Légères

composed by Feindrehstar, written by Emsa Redžepova,
produced by Michel Baumann
vocals by Tina Keserovic

composed & written by Feindrehstar, produced by Michel
Baumann & Feinsrehstar
vocals by Tina Keserovic electric guitar played by Friede-
mann Ziepert

composed & written by Feindrehstar, produced by Michel
Baumann & Feinsrehstar
bass clarinet played by Andy Geyer violoncello played by
Friedemann Ziepert

composed & written by Feindrehstar,
produced by Michel Baumann & Feinsrehstar

Seven albums, in excess of 15 million records sold and counting, sold-out international tours, festival headliners