Alex Puddu's, second volume of the groundbreaking album of the soundtrack of The Golden Age of Danish Pornography from 2014, finally will be released as a new reissue on the artist's own label Al Dente in his entire original track list and with a brand new cover. The music on this record is inspired by and composed by Alex Puddu for "The Golden Age of Danish Pornography" - a collection of vintage hardcore short films from the early seventies,1971-74 directed by Danish porn pioneer Freddy Weiss - available on DVD from Pink Flamingo Entertainment.
Favorite Recordings proudly presents this new official single reissue of Music Madness by Beckie Bell: A killer disco anthem produced in 1980 by famous French producer, Pierre 'Berjot' Jaubert.
Pierre Jaubert has been one of the great producers from the Funk and Disco French music scene during the 70s and 80s, mostly known for his work with the group ICE, who he then transformed into Lafayette Afro Rock Band. During his long and prolific career, he's been involved with many artists and labels, including Motown, Chantal Curtis, Brenda Mitchell or Robert Helms to name just a few.
'Music Madness' is a brilliant disco track from Beckie Bell's rare album, In Need Of... After highlighting it in an extended version, on the compilation French Disco Boogie Sounds (2015), Favorite Recordings decided to reissue this killer song on a proper 12inch single. The package including the original album version and two hot remixes by Tom Noble and Voilaaa.
Some tracks don’t need fixing. They just need a bit more room. South African composer and keyboard wizard Don Laka has been quietly sitting in DJ bags for years, especially with people who like their synth music warm, slightly
mysterious, and impossible to date properly. Somewhere between jazz funk, township pulse and studio electronics, but really just its own thing.
Stages was an obvious candidate for extension. Prins Thomas what he does best here: opens the arrangement, lets the synth lines breathe, stretches the groove until it starts floating a little higher off the ground. Nothing forced, nothing added for
the sake of it. Just more of a very good thing. I Wanna Be Myself gets a gentle nudge from Gerd Janson. The idea was simple: keep the personality, and give DJs a version that lands naturally in a modern set without losing the original charm. It’s still the same track, just standing a bit straighter.
And because the source matters, the original version of “Stages” is here as well. Always good to remember where the magic started. Three versions, no drama. Just strong music that already knew what it was doing.
What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.
Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.
Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.
The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.
The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.
Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.
The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.
And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.
Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.
This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.
French composer, artist and co-founder of Transversales Disques, Jonathan Fitoussi has developed a distinctive body of
work over the past two decades, blending analog synthesis, minimalism and electronic music.
Inspired by the mineral landscapes and luminous atmosphere of southeastern France, DELTAS is his fifth solo studio album.
Combining hypnotic drum patterns, flowing pulses, shimmering electronic textures and contemplative movements, it unfolds as a deeply immersive journey through space, light and motion.
A rich and evocative work from one of the most singular voices in contemporary electronic music.
How do you define an artist who has never performed live, nor DJ’ed, nor ever had his photograph published and has never partaken in an interview? By the music of course. Jürgen Paape has proven this time and time again. How? Listen. Here. Right. Now. Co-owner of Kompakt. The house’s most elusive member remains the uncompromised, untainted shining star. He, who has launched the label with its very first release “Triumph“, Jürgen Paape has left a legacy of music that is a true core of the sound which Kompakt’s foundation is built on.
We celebrate Jürgen Paape with “Kompilation”. A well deserved opportunity to hear Jürgen Paape for fans and newcomers – revived and remastered and for the very first time on double vinyl – in a way that it plays through like a full length album. Some of the biggest moments of Kompakt over a three decade history are here; the chorus of “So Weit Wie Noch Nie” remains timeless – there to send shivers of pleasure down your spine as we feel at the end of exhaustive end of a night. “Take That” is an anthem for the still to be built rock stadiums of tomorrow. It’s a bonafide hit that put him in the charts in Australia and Italy. – “Come Into My Life” remains undeniably one of Kompakt’s catchiest pop tracks ever. “So Wird Die Zeit Gemacht” – builds on Paape’s signature sound with the spirit and vitality of classic house and a truly demented vocal hook. Then there’s the unique Schaffel quirkiness of “Ofterschwang” and so many other hits Jürgen Paape has delivered over the years. Well, it’s Paape!
Wie definiert man einen Künstler, der noch nie live aufgetreten ist, der noch nie als DJ aufgelegt hat, der noch nie ein Foto von sich veröffentlicht hat und der noch nie an einem Interview teilgenommen hat? Natürlich über die Musik. Jürgen Paape hat das immer wieder bewiesen. Und wie? Hört selbst. Hier. Genau. Jetzt. Er ist Miteigentümer von Kompakt. Das am schwersten fassbare Mitglied des Hauses bleibt sein kompromissloser, ungetrübter leuchtender Stern. Er, der das Label mit seiner allerersten Veröffentlichung “Triumph” aus der Taufe hob, hat ein musikalisches Vermächtnis hinterlassen, das der wahre Kern des Sounds ist, auf dem Kompakts Fundament aufgebaut ist.
Wir feiern Jürgen Paape mit “Kompilation”. Eine wohlverdiente Gelegenheit, Jürgen Paape für Fans und Neueinsteiger wieder zu entdecken – aufgefrischt, remastered und zum ersten Mal auf Doppel-Vinyl. Einige der größten Momente in der drei Jahrzehnte währenden Geschichte von Kompakt sind hier zu hören; der Refrain von “So Weit Wie Noch Nie” bleibt zeitlos – er lässt einem noch immer Schauer der Freude über den Rücken laufen, als würden wir nach durchtanzter Nacht morgens aus dem Club taumeln. “Take That” ist eine Hymne für die noch zu bauenden Rockstadien von morgen. Es ist ein echter Hit, der ihn sogar in Australien und Italien in die Charts brachte. “Come Into My Life” bleibt unbestreitbar einer der eingängigsten Popsongs von Kompakt überhaupt. “So Wird Die Zeit Gemacht” baut auf Paapes charakteristischem Sound auf, mit dem Geist und der Vitalität von klassischem House und einem wahrhaft verrückten Vocal-Hook. Und dann ist da noch die einzigartige Schaffel-Schrägheit von “Ofterschwang” und so viele andere Hits, die Jürgen Paape im Laufe der Jahre abgeliefert hat. Well, it’s Paape!
Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12 140g Vinyl - The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995). - LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork
We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7 housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ryichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme 'Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a time
We’re very happy to announce the vinyl release of kuniyuki’s masterpiece “all these things”.
Originally it’s released on only cd in 2007. it was his 2nd album but it’s substantially his first album because the first album was a col-lection of kuniyuki’s early productions.
The first track “the guitar song” is one of our most favorite song of kuniyuki,it’s like a real good mixture of jazz, fusion, world music and electronic music.
The second track featuring african vocalist and percussionist “omar guaindefall”,we still love amazing henrik schwarz remix.
The third track “you get me” featuring our favorite singer “josee hurlock”,we’ve knew about her from the fantastic album “residue” by hefner in 2000. she is featured to the fourth track “all these things” too. we’re hoping to repress an amazing joe claussell remix.
The fifth track “flying music” featuring our good friend “alex from tokyo” as poetry reading and shuichiro sakaguchi( a popular trumpeter in tokyo) as a trumpeter. this long version was put to single cut release on 12inch.
The sixth track “the session” is a collaboration of song with henrik schwarz. they have met at mule musiq’s party in tokyo and clicked immediately.
The seventh track “touch” sounds very nostalgic african jazz or spanish fusion which is popular these days as balearic music.
The last track “rain of ocean” is a primitive african minimal deep house.this song is put to the single cut from this album(not put to the album) and we almost forgot this song but when we’re compiling the vinyl edition of album, we noticed how this song is beautiful.
Here are the collection of eight timeless and genreless music.
Sublime frequencies from the golden era of ambient electronica.
Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.
The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.
Press response to Io:
"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”
IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.
Peter McIntyre, Mixmag, UK 1994.
"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.
"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.
"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.
Four years after Nuova Napoli, Nu Genea are back with Bar Mediterraneo, a new album and journey, which projects the sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further.
Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers merging in a unique musical blend.
Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu Genea's hometown, Napoli, becomes a true place of encounter.
You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast.
Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté", where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song, giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic, deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multi-textured instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’ Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions.
Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions, they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to unexpected musical journeys.
Almost 2 years after the success of the album The Tony Allen Experiments and a few months after the release of the 7inch Amore, Nu Guinea returns to the scene with a new LP published by their newborn label NG RECORDS.
After touring the world looking for sounds suitable for their vibrations, NU GUINEA decided to go back to square one, Napoli, where Massimo Di Lena and Lucio Aquilina were born and raised. They watched their city from a distance reconstructing its energy from their studio in
Berlin, calibrating the synths on the meridian of Vesuvius, the volcano that has always protected and threatened Napoli.
Nuova Napoli is the result of a long musical research that has become a historical investigation on the sound that shaped Napoli during the ‘70s and ‘80s, starting from the contamination of genres (disco, jazz-funk, African rhythms) which ended up in Nu Guinea’s DNA.
In this album the synthesizers fill the spaces between the past and the future, tightening in a single body acoustic instruments, electronics and voices in Neapolitan dialect. It is the first time that the duo has worked with such a large group of musicians, some of whom are exponents of the contemporary Neapolitan scene.
WARNING: We recommend listening to Nuova Napoli while walking in the alleys of Napoli’s
historic center, around wet clothes hanging and street vendors on tiny three-wheelers.
Comet is pleased to announce the third volume of the Afrobeat Makers Series: Nu Guinea - The Tony Allen Experiments.By re-working the original magic drum patterns from the Afrobeat master Tony Allen, Nu Guinea created a compilation of tracks which is charged by a voluminous electronic jazz-Psyche funk imprint.For this release, Comet Records teamed up with Early Sounds Recordings, the berlin label, also home to duo Berliners Nu Guinea.The Naples formed, Berlin-based duo, is a project that arose out of jam sessions, melting synthesizers with instruments, containing a handmade sound that is not aiming for perfection but genuineness. It can be understood as a steadily shaping form, always open for collaborations with other musicians.
They've previously collaborated with singer Wayne Snow (fellow berliner artist on Comet) for the vocal edit of Nu-World, also delivered a remix for Wayne Snow' Rosie Ep' both recently released on Tartelet Records.Nu Guinea - The Tony Allen Experiments LP due to be out on February 9th 2016, as vinyl LP.
Omasta step into their own voice with “Hits Different”, marking a new stage in their evolution as musicians and storytellers.
Following their debut “Jazz Report From The Hood", which proved a major success and brought attention to Omasta as one of the most distinctive groups emerging from the contemporary jazz scene, the musicians return with their second album, “Hits Different”. The record develops the language established on their debut, pushing it into new territory and shifting the perspective from that of the protagonists themselves to that of a narrator telling the story.
While the debut album was a story about the lives and emotions of the band’s members, “Hits Different” adopts the perspective of a narrator, giving the album a more cinematic structure. As on the first record, the story is never told explicitly. The track titles merely point the way, leaving space for listeners to bring their own emotions, imagination, and experiences to the music. Each track becomes another scene in a story that moves through a broad spectrum of emotions, from happiness and excitement to anxiety, tension, and disorientation. It is a story that allows everyone to create their own interpretation, but its ending leaves no room for doubt. There is no happy ending here.
Pax Nicholas is one of the last living veterans of Fela Kuti’s Africa 70. Born in Accra, Ghana, he joined Africa 70 as conga player and backing vocalist in 1971, appearing on landmark recordings including Lady Shakara.
In 1978, he left Africa 70 at the Berlin Jazz Festival alongside drummer Tony Allen, and settled in Germany, where he built a remarkable second chapter — leading the twelve-piece Afrobeat ensemble Ridimtaksi, collaborating with Finnish jazz maverick Jimi Tenor, and reuniting with the African diaspora in Berlin for Ebo Taylor’s celebrated 2012 album Appia Kwa Bridge released on Strut Records.
In 2009, Daptone Records reissued his 1973 cult classic Na Teef Know De Road of Teef, earning him long-overdue global recognition.
Now signed to Paris-based Afrobeat imprint Comet Records, Pax Nicholas returns with his new single “Mind Your Business” — a heavyweight dancefloor Afrobeat cut built on thundering brass, interlocking percussion and a razor-sharp guitar riff. The release features an exclusive remix by Gabriel Belabbas, producer, DJ and co-founder of Parisian label Positive Future, who recasts Mind Your Business in deep, minimal territory — a sparse, tension-laced groove that channels the hypnotic darkness of Moodyman and Ricardo Villalobos. Stripping the arrangement back to its percussive skeleton, he lets the Afrobeat elements — brass, rhythm, heat — surface and recede like smoke, leaving just enough space for the tension to build and the dancefloor to fall. Slow-burning and devastating on a proper soundsystem.
We are Excited to announce - The Department of Almost with our first full-length LP - Second Office. The Album
will be released via WSNWG on October 9th.
„Developed over extended Berlin studio sessions in January 2026, the record brings together two artists whose
respective platforms, STOOR and WSNWG, have long embraced artistic exchange and open creative practice.
Moving between crafty dancefloor material and more reflective and exploratory compositions, the album
develops a shared sonic language that extends beyond their two unmistakable, longestablished artistic voices.
Across eleven compositions, deliberate dancefloor material is elegantly intertwined with calm and spacious
soundscapes. A propulsive current gives way to passages of suspension and introspection. While rhythm and
atmosphere gradually fold into one another, the record favours gradual transformation over dramatic gesture.
The album's quieter moments open up a more contemplative space, extending its emotional register without
departing from its forward motion. Beneath, a subtle and understated sense of distance evokes spacious
environments and glacial landscapes – topographies in cold light.“
We have setup a preorder with the first Single - Fingerprints - on Bandcamp. A limited special edition will be
released via WSNWG Bandcamp on September 4th - 12.00pm CET.
All Tracks Written, Produced & Performed by Speedy J & Rødhåd in January 2026 at WSNWG Studio in Berlin.
Mastered by Conor Dalton at Calyx Mastering Berlin Vinyl Cut by Lathesville Mastering Berlin
Cover Foto by Thomas Beutel
a A1 Cold Start 260114
b A2 Felt Temperature 260116.1
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]
[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]
[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]
[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]
[a] A1 | Cold Start [260114]
[b] A2 | Felt Temperature [260116 1]
[c] A3 | Fingerprints [260116 3]
[d] B1 | Your Neighbours Dog [260123 1]
[e] B2 | Double Shot (Floor Mix) [260119 1]
[f] B3 | Borrowed Lime [260120 1]
[g] C1 | Ulli’s Car [260125 2]
[h] C2 | Series Of Events [260120 2]
[i] D1 | Made In Finland [260123 2]
[j] D2 | Wolken [260125 1]
[k] D3 | Double Shot [260119 1]
The first release on Edition Hawara's new sublabel Hawara International is a record that leaves little room for ambiguity about its intended use. Produced by Takashi Shima of the band Piper and released as part of the Sun Tan Club series, "For Light Tanning" was designed to accompany the pursuit of the perfect summer tan. It came complete with tanning instructions and oil recommendations, and was the subject of a promotional partnership with Hawaiian Tropic. The music drifts between ambient, new age and lifestyle soundtrack genres, providing an elegant backdrop for beaches, pool parties and other seasonal activities. Having long been forgotten outside a small circle of collectors, the record now returns as an unusually thorough document of late-1980s leisure culture. Whether it actually improves the tanning process remains unverified.
2026 Repress Favorite Recordings proudly presents Voiciii, the 3rd and new album by Voilaaa, an immersive dip into its Afro-Disco universe spread across 14 tracks. Needless to say you’ll find in this new LP all the ingredients that made him famous: strong dancefloor-friendly festive bangers, irresistible funky arrangements and an undeniable sense of humor and irony.
Bruno “Patchworks” Hovart, behind Voilaaa, is as often surrounded by amazing vocal featurings from previous LP’s regulars (Pat Kalla, Lass) but also new voices you may already have heard on its recent EPs (David Walters, Rama Traore, Ayuune Suule), as well as the saxophonist Boris Pokora. The LP is also an occasion to pay tributes to major artists of the African sound, such as Fela Kuti (on “Water No Get Enemy”), or Manu Dibango (“Manu Écoute Ça” and “Tenor Jam For Manu”).
Since the release of Voilaaa’s previous LP’s Des Promesses and On Te L’Avait Dit and their massive international support, the Voilaaa Soundsystem did travel through the world to deliver its message of infectious joy and groove, from Equator to Thailand, from Kazakhstan to the infamous French “Fête de l’Huma”. Now you know: Voilaaa is everywhere and Voiciii (“here it is”) their new album.
Pursuing their explorations of international Funk and Disco music, Favorite Recordings and Bruno "Patchworks" Hovart present us Voilaaa. With this first 2 tracks single revealing the Afro-Disco inspiration of this new experience, Favorite also expands its new series of Disco 12inch singles recently launched with several fine reissues.
Under the imprint of the label and after their long years of collaboration in the achievement of projects such as The Dynamics, Mr President, Mr Day, Patchworks Galactic Project, or Taggy Matcher, the insatiable French producer therefore returns to his first love and specialty, Disco music, staring this time at the African and Caribbean influences.
Indeed, as everywhere in the 70s and 80s, Funk and Disco movements were extremely influential in these regions, and in most cases, the combination of the festive, yet sometime futile nature of Disco, and the instinctive, deep, sometimes rough nature of African music, sounds like a perfect balance. Aiming to respect this energy and specific sound, Patchworks quickly began producing a few tracks, Using his unique and ruling beats and bass lines as foundations, this time he dresses all with guitars, keyboards and brass distorted with vintage and DIY effects pedals and boxes.
Surrounded by a very dynamic music scene, where there is no shortage of artists with African origins, Patchworks decided to work with local singers, even if it means to accompany them on unusual musical paths. A more than successful bet with a result surprising of authenticity, as it's unveiled by these first two titles alongside Sir Jean and Pat Kalla, both from a musical background as rich than different.
With an album planned for the end of the year, that promises to be as explosive and magnetic, Patchworks and Favorite Recordings make a strike again... Voilaaa tout (Thaaat's all)!!
Bring home Freya Skye's live fan favourite "bad taste" on 7' translucent red vinyl. After performing the song for audiences across the globe on her sold-out Stars Align Tour, Freya is releasing "bad taste" for the very first time as an official studio recording. This collectible is a must-have for every Skylight -- get yours before it's gone
