He's back once again is Monsieur Van Pratt with more of his so-wrong-they're-right disco edits. This fight volume has two edits reshaping source material with the usual deft touch. His opener 'Linda' runs on clipped drums, tight bass loops and bright string stabs then 'Oye Un Momento' keeps its original vocal but reinforces the groove with heavier kicks and 'El Ritmo Que Te Atrap' has a kitsch Europe feel. On the flip, Disco 86 shifts towards something classier with 'Crees Que Soy Sexy' riding lush chords and plenty of glistening melodies drawn from the Rod Stewart original and 'Tu Amor' is packed with electric vocals and retro future keys for a full send finish.
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Introducing the first in a series of reworks on GAMM from Macedonia's finest curator of urban music, DJ Goce...
Deeply rooted in hip-hop, Goce has a worldwide rep for exploring all things funky, soulful, and jazzy, releasing tracks on labels like Dusty Donuts and Baller Beats.
For his GAMM debut, he tackles a classic Beatnuts anthem, complete with a wild intro using the original sample source.
On the B, Goce keeps the momentum going with a rework of an Al Hirt rare groove classic, famously sampled by De La Soul and The Roots.
Keep an eye out - there is plenty more to come from DJ Goce on GAMM !
Finally, almost three years after the well-received Orange Wine EP, and three international tours, Okvsho is back with their fourth project “A place between us”. Georg and Christoph Kiss, the two brothers behind Okvsho, are showcasing a project that is more intimate and bolder than ever, offering an insight into their thoughts, feelings, and experiences during the last two years. The unique style Okvsho has become known for in recent years has once again evolved, combining organic and electronic elements with beautiful harmonies and expressive rhythms.
Okvsho’s second LP will also be the first full-length project to be released on the newly founded Zurich-based label Current Moves, with which the Okvsho-brothers aim to shape the young European jazz scene they are inspired by and also an established part of.
“A place between us is the frst step into a new era for us – We’re very grateful for the love and support we received during the past six years and we’ll continue to strive for the better. Thanks for becoming part of our journey.”
Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.
Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides with the publication of ‘A Cross-Worlds Angel,’ a 300-page book of O’Grady’s work by Phillip Zimmerman. The record includes an insert featuring liner notes, lyrics, and photographs. Celebrate Camille O’Grady, the artist Jack Fritscher described as an “earth mother, a leather lioness of the arts.”
On Last Night At Marienbad's latest, the imprint brings together three of the brightest souls found within the realms of Jazz, namely Mauricesax, 9ick and Milan93, with their collective talents synergising effortlessly on 'A Garden Between Us', alongside a stellar cast of remixers who add even further delight between the grooves….
As a genre, Jazz has perhaps lent itself the most to other musical universes, in that its curious heart, endlessly experimental nature, and parameter-defying spirit have wrapped itself deep within the core of countless albums, scenes, and music makers. It's a genre that welcomes reinvention, consistently defying its contents and always reaching out to find new methods of expressionism. Electronic music, in its many forms, has truly embraced Jazz perhaps like no other movement of music has, with a truly astonishing array of records surfacing in the past 40 years which have blended Jazz's unique motifs with grooves, chords, and emotive excellence. From 90s Jazz house and UR Techno, through to Future Jazz, downtempo, and Hip Hop, and around many other suns, there remains such an intrinsic and symbiotic relationship between the two musical realms that caters to those who wish to live music both within and out with themselves.
As practitioners of blending electronica and Jazz, few do it like the trio of Mauricesax, 9ick, and Milan93. All three are known for their distinctive soundscapes, yet share commonalities in terms of musical language, feel, and sense of progression. Bringing them together allows for overlaps in their sounds to emerge, and just like Jazz itself, this is where the intrinsicness of sound begins to blossom. 9ick brings his softly evolving vibe to the table, one which was so prevalent and celebrated on his 2025 album 'SMIL'; Milan93 draws from his focal point of exploring fill-laden grooves and a myriad of emotive sensibilities; and Mauricesax draws up his extensive musicality that exists at the corner of jazz, electronic, and experimental music, along with running musical workshops all over the globe.
'A Garden Between Us' represents the trio's core tenets, with this immediately obvious from the record's opener, 'Rhodora'. A gentle solo piano quickly evolves into a series of powerful rhythmic pulses, with brass lines bringing vitality and feel to proceedings. The track shifts gears with purpose, transitioning between musical vignettes of the highest order, with the synth work doing much to bind the transitions together. 'Tulip' emerges slightly differently, with glossy Rhodes tones and an unravelling rhythmic undercurrent setting an enthralling stage. The track flourishes amongst sweeping textures, coming up for air amongst a deeply hypnotic rhythmic section that holds on and never lets up. 'Honeysuckle' lands next, which sees the trio emerge with a boundless, dynamic soundscape. The drums shift within the undertones, as keys, chords, horns and hip-hop vocal samples dance around the pulse, capturing the imagination with their narrative-like placement. Wrapping up the A side comes 'Camellia'. A dazzling array of harmonic sounds converges around the transfixing rhythm section, which emerges from deep below to lavishly roll out over the midsection, with the delicateness of the instrumentation a real highlight here.
The B side features two exquisite remixes, with Pacific Coliseum's version of 'Tulip' landing first. Beginning with a signature four to the floor to get things going, his careful handling of the source material is seen in the tactful introduction of the blissful elements that made the original cut so impactful, with great focus placed on emotive fidelity. The result is a summer-bound house number that reimagines the original in all the right ways, flipping it into a euphoria-driven jazz-laden pacer that reaches for the heavens as much as it drives right into the heart. Teuteu then showcases their take on 'Honeysuckle', and at 9 minutes long, represents the longest cut on the record - and the experience is all the richer for it. Leaning heavily into dance music flavours, Teuteu shifts perspective totally into the realm of the club, with the walls beating hard to the kicks. The sax lines that drift ethereally up top keep eyes closed and souls full, as the dance shifts into the next phase.
An experience that drifts from the daydreaming, to soul-warming through to the club shaking - what else is left to experience, except for 'A Garden Between Us' and how it will brighten up life itself….
For the label's latest, Oath is proud to present 'Honey Tangerine', the newest mini-album from producer extortionaire Olsvangèr, who serves up his signature blend of hyper-kinetic, ever-shifting dance music.
Olsvangèr's sound and musical journey are forever rooted in the liminal spaces that make up the broad-reaching and ever-shifting electronic music landscape, with his records consistently channeling that in-betweenness that imprints lasting impressions. A classically trained musician with a profound passion for house and techno, Olsvangèr's sonic palette is one of both broad and delicate brush strokes, applying an array of compelling motifs within amorphous arrangements that blend and blur perspectives. His records seek out the faraway fringes as much as focusing on the intensity found in the detail, creating cavernous soundscapes that are impeccably tuned and effortlessly free-flowing. Seemingly genreless, his records are anchored in all that is known and loved, yet due to the music's perspective situated at the intersectionality of electronica, a beautiful anticipation resides within every stanza of his tracks at what may come next. His musical language has found him releasing on the likes of Kalahari Oyster Cult, Hooj Choons and Craigie Knowes, and follows through within his imprint Tofistock, which has been pushing some of the most forward-thinking dance music of recent times.
'Honey Tangerine' touches upon the classic motifs of Olsvangèr's sound, and as always, the room for growth within the record's parameters remains truly endless. Over six tracks, Olsvangèr lays bare the directions of travel, with paths unravelling that feel well trodden yet with some that branch out towards new horizons. 'Source of Thought' opens up proceedings with a captivating ambience, where twinkling hues and lively tones paint the parameters of sound. The chuggy breaks that land deep within the mix drop in and out of view, allowing a deft balance between pure ambiance and rhythm to exchange dialogue between one another. 'In a Nutshell' shifts gears in atmosphere and energy, with all eyes placed upon the club. The shifting rhythm section lifts the acidic melodic features up above, with driving bass notes and a euphoric vocal like lead linking the depths to the heavens. 'Tulpa Nine' swings into heads-down territory, where the drums swing slow and the throbbing bass hits heavy. The auto-tune vocal line up above creates an atmosphere of hazy, smoke-filled rooms, where the party yearns for downtime in anticipation of the next shift in energy.
'Sunrise on the Lips' gives over further chill out room vibrations, where the lights remain low, and smiles reside all around. The enriching drums provide the basis for sitars and glossy keys to glide across the top ends, with the mind invited to dip deep within this enthralling ensemble. 'Zoom It Out' provides the release into the room, with the ante upped. A breaky house leaning number, this cut grooves through its chiming melodic section and groove-laden bass line, with the polyrhythmic drumming pattern doing much to keep the energy residing very high indeed. The record is wrapped up with 'Some Air', which gives over one final jaunt through the airy, slowed-down slipstreams. A wondrous beat is complemented by melodic elements that chime, absorb and quiver, glowing through the night with such charm and feel. An engrossing composition that demonstrates what Olsvangèr is all about - a crafter of sound, where adventure is sought and found, never wavering but curating new connections, feelings, and tones, with an eye on what might come next.
Whether softly undulating or boundlessly expressive, Olsvangèr's music remains a beautiful enigma that serves up both the glorious knowns and the captivating unknowns - 'Honey Tangerine' is yet another chapter in his glorious discography.
Adam Freeland’s return continues with the relaunch of Marine Parade and the release of the Twister EP, marking his first solo material since 2007.
“Twister” draws on Freeland’s love of psych rock, drone, leftfield techno and breakbeat, combining raw bass, polyrhythmic grooves and cavernous dub hits before building into a hypnotic drone-driven climax and cinematic guitar finish. On the flip, “Kiligurl” pairs pulsing drone and broken rhythms with spring reverb for an organic dub feel.
The EP follows Transhuman, Freeland’s collaboration with Spooky’s Duncan Forbes, and marks the next chapter for Marine Parade, the influential label that helped pioneer the edgier side of breakbeat in the 2000s. After closing in 2009, the label’s return follows Freeland’s decade living off-grid in California’s Mojave Desert and his work with The Acid alongside Ry X.
Kampana brings you two reworks from Aroop Roy's essential DJ Weapons series, on 7" for the first time. 'Cross the Tracks' brings a bumping house groove to the funk classic.
'Spooky' reimagines the soul hit with brand new bass, guitar and rolling drums, creating a magical dancefloor moment.
‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.
There are albums you listen to, and there are albums you live with. ‘Finally’, the forthcoming new record from Catz ’n Dogz, belongs to the latter.
Across sixteen tracks, Voitek and Greg have created their most creatively ambitious and emotionally open work to date. An album about relationships, friendship and the people and places that shape us. At its heart is a simple idea: music should make you feel something, and sometimes the most meaningful moments are the quiet ones when you finally have time to yourself.
Finally is rooted in the emotional contradictions that make memories so powerful. Inspired by classic American Folk and Soul, its songs are happy and nostalgic; hopeful without pretending that the past doesn’t exist. There is melancholy inside the euphoria and warmth inside the sadness, a constant interplay between looking back and moving forward.
The album begins with the soulful breakbeat glow of 'We’re Gonna Be Alright' featuring Ajii, before moving through the smoky jazz and piano-led intimacy of 'Dance For You' with Miller Blue and the bass-driven energy of 'Sun Goes Down' featuring Charlotte Haining. Closing with the reflective 'Miss You' featuring Mateusz Krautwurst, the record takes in a rich cast of vocalists, musicians and producers, alongside a series of deeply personal Catz ’n Dogz solo productions.
Those collaborations are central to Finally. The album is, in many ways, a celebration of the creative friendships Voitek and Greg have built throughout their journey. Relationships that have allowed them to step outside their comfort zone and rethink what their music can be.
Written and recorded between Madrid, New York, Warsaw and the road, the album finds the duo placing renewed emphasis on songwriting, chord progressions and musical craft. Rather than simply chasing the next track, they took the time to learn, experiment and create something with a sense of permanence.
This is an album for driving without a destination. For watching the sun go down. For remembering somebody you haven’t thought about in years. For those rare stretches of time when there is nowhere else you need to be.
Imagine having a song go viral for 17 years - without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song - it's The Most Mysterious Song on the Internet, a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released - twice.
The Story in Brief:
Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was Subways Of Your Mind - only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled Like The Wind. Over time, the mystery deepened, and the song was given a nickname: The Most Mysterious Song - or simply TMMS.
Starting in 2019, a dedicated Reddit group, TheMysteriousSong, now boasting over 63,000 members, took up the search. They meticulously documented every lead, hoping to solve the riddle of the song's origins. Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael Hädrich after discovering a reference to his band FEX in an old newspaper article. Hädrich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, Subways Of Your Mind was the title.
What Happened Next:
Since then, FEX has released two singles - both featuring Subways Of Your Mind - through the Berlin-based independent label The Outer Edge. First, the demo cassette version was pressed onto vinyl, as the original NDR radio recording remained lost (see EDGE-028). The Remastered Demo Mix single instantly topped Bandcamp's global charts, holding the #1 spot for several days. By then, it was clear: this was more than just an internet curiosity. A real fanbase had formed. Enthusiastic comments on the sales page ranged from "best post-punk song to ever exist" to "FEX themselves (are) perhaps the most underrated musicians of all time."
But the story didn't end there. A higher-quality version of the NDR radio recording was rediscovered in late december, remastered, and now sent for a second vinyl pressing: the TMMS Version. This new vinyl 7" is backed with Talking Hands another great and unissued song that was found on the demo cassette.
Fame Comes with a Price
Suddenly, time isn't standing still for FEX. The band had to come to terms with the fact that they had become Lostwave super stars. A FEX fan club quickly formed on Reddit, fan-hosted FEX parties are popping up, and the internet is demanding more - an album, merchandise, live performances. But how does a band prepare for a comeback after a 40-year hiatus?
For now, FEX is carefully considering their next steps. Their demo cassette contains six songs - and a few other recordings have resurfaced which probably could be restored and compiled. But foremost, a brand new re-recording of Subways Of Your Mind is in progress.
One thing is certain: The Most Mysterious Song will continue its unstoppable journey around the world. Don't miss this (second) chance to own a piece of music history!
At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.
More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world
Album Background
The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.
‘The late 70s, early 80s, that fierce period of time was all about wearing one mask after another, as we experimented, evolved. After the riot of Punk Rock back in ’76 /’77, which certainly taught us all a lesson, so many of us lurched back to Bowie, Roxy Music, Kraftwerk, at London’s one-nighters for the new breed of arbiters of taste, where the soundscape of early synth was such a contrast to what was on offer on the gay scene back then. Clubland was becoming a hive, substance with style. Dressed head to toe in PX, glittering like a score of Blackpool drag queens, accessorised with diamante, we danced like showroom dummies, future commuters in the metropolis.
The dance floor of Steve Strange’s Bowie Night at Billy’s on Meard Street, with DJ Rusty Egan at the decks, then Blitz, Hell, Club For Heroes, all held a weird sense of melancholy and narcissism. We were all monitoring with CCTV eyes, seeing our selves anew, reflected in slatted mirrors, as cameras went crazy for i-D, The Face, New Styles / New Sounds. FlashFlashFlash. White light. Seductive white light. The cameras of Graham Smith, Derek Ridgers, Nicola Tyson, Herbie Yamaguchi and Peter Paul Hartnett, pretty much strobing the assortment of fags and slags, high on poppers. Those photographers, armed with all manner of camera, shooting 35mm that would document every last detail for consumption. Over there, a teenaged Michael Clark from The Royal Ballet, surprising with moves rarely seen in a Soho dive. Over there, Gene October (John O’Hara) of the band Chelsea and film director Derek Jarman, lurking in the shadows.
Recording ‘Addiction’ (Music: Sam Dodson. Words: Christopher George, with improvisations from Peter Paul Hartnett in the final moments) at Gooseberry Studios in South London, remixed at Airport in Cambridge, catering to the needs of the emerging DIY electronic scene, with a splash of specific one-nighters in need, back in 1981. Another time, another world. The track was released as a two-mix 7″ of just maybe two fifty copies, as I recall. Yes, that scarce. Now, carefully remastered, reissued on delicious white vinyl as a 12″, with Steve Lippert working his design magic for the cover photograph by Andy The Furniture Maker back in the day, this is a gem of emotional and often improvised raw style, real style.’
– Peter Paul Hartnett, October 2026
Limited to approx. 200 copies, white vinyl, sleeve gloss lamination, polylined innersleeves, four double-sided hand-numbered postcards, download code.
Prohibition Prohibition pull from post-punk’s sharper corners, but filtered their record “Good Place To Stay” through something colder, louder, and more wired into the weight of history. Like a crack in the concrete, the past and present are pulling apart, and the narrator is using all his strength to keep the structure from collapsing
SFS World proudly presents Cytissorus, the debut solo album by SIL and also the first release from SFS World. Across eight tracks-Atlanta, Seine, False Promises, Osina, Purism, XL, Gerta, and Hader-the album explores immersive breakbeats woven with ambient textures, balancing rhythm, space, and emotion.
Rather than following typical club structures, Cytissorus unfolds as a continuous listening experience. Each track opens a different landscape, shifting fluidly between moments of tension and stillness, while maintaining a distinct sonic identity.
With Cytissorus, SIL delivers a deeply personal work-an intimate, cinematic journey that marks the start of his solo artistic voice and our label, SFS World.
Mastered:
Anton Zap
Written, produced and mixed by SIL
Artwork by Grigory Koloskov
Released by SFS World
Die größten Hits des Freestyle-Künstlers auf Vinyl!
Mit „Hit Collection Vol. 2“ präsentiert Stevie B eine Auswahl seiner beliebtesten Songs und lässt die große Zeit des Freestyle-Sounds wieder aufleben. Der US-amerikanische Sänger, Songwriter und Produzent steht wie kaum ein anderer für gefühlvolle Melodien, eingängige Beats und romantische Dance-Hits.
Die LP enthält unter anderem den Welthit „Because I Love You (The Postman Song)“ sowie weitere beliebte Titel wie „I‘ll Be By Your Side“ und „Children of Tomorrow“.
Ob für eingefleischte Stevie-B-Fans, Liebhaber des klassischen Freestyle oder Vinyl-Sammler. „Hit Collection Vol. 2“ bietet nostalgischen 80er-/90erJahre-Sound und jede Menge musikalische Erinnerungen auf schwarzem Vinyl
"Beirut City Pop" vereint zehn Aufnahmen aus der libanesischen Privatpress-Kassettenszene der späten 1970er und 1980er Jahre. Diese Songs, die von kurzlebigen Bands und Studioprojekten entstanden sind, bewegen sich zwischen Disco, Pop, Soul, Jazz, Bossa, Rock und AOR. Viele davon wurden während des libanesischen Bürgerkriegs produziert, zu Hause kopiert und nur im Freundeskreis und in lokalen Gemeinschaften verbreitet, wobei einige ausschließlich auf handkopierten Kassetten erhalten geblieben sind. Viele der Musiker waren über Ziad Rahbanis "Bypass Studio" miteinander verbunden, arbeiteten projektübergreifend zusammen und teilten eine gemeinsame musikalische Sprache. Inspiriert von der Genremischung des japanischen City Pop spiegelt der Titel sowohl den Klang als auch den Geist dieser Aufnahmen wider. Mit Künstlern wie Stephanie Stephanou, Force, Games, Andromeda und Walid Itayim dokumentiert "Beirut City Pop" eine eng verbundene Musikszene, deren Kreativität und musikalische Kameradschaft trotz außergewöhnlicher Umstände Bestand hatten.
Peerless man-machine outfit goat(jp) return with a brittle contemporary dance soundtrack that locks into the pointillist rhythmic micro-precision of the now classic "Joy In Fear". Directing an IRL physical performance, the band totter between rhythmelodic, ritualistic minimalism and intricate, pneumatic beat music - if you need a link between Daniel Schmidt, Autechre, "On The Corner"-era Miles and Midori Takada, this is it.
Masters at Work member Kenny “Dope” Gonzalez is the genius behind The Bucketheads – The Bomb! (These Sounds Fall Into My Mind). An established History of House hall of famer’, The Bomb’ is a 90’s house, party soundtrack essential that mixies electro, hip-hop and 4/4 house it features samples from Chicago’s ‘Street Player’ & Green Velvet’s ‘The Preacher Man’ fused into a disco-funk and house groove with edgy, funky, rough and ready beats and subtle latino flavour. It easy to see why its ranked in the 100 Greatest Dance Singles of All Time! Portuguese house producer Massivedrum is on remix duties. He has remixed dance royalty from Bob Sinclar, Axwell, Mory Kantè, Alexandra Stan, DJ Chus, Kentphonik, Yolanda B Cool among many others. He lends his house sensibilities and ear for the floor to enhance ‘The Bomb’ to new levels for an unforgettable experience. Besides the Massivedrum remix and it’s dub, also the full 14’51” minutes original version is available on this double A sided release! The Massivedrum remix is taken from the album “High Fashion Dance Music 5 – Mixed by Ben Liebrand”, which is available on LP/CD/MC and DCC.
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The Sound Of Soulfuric Vol. 3 continues the label’s commitment to vocal-led, soulful house music, bringing together four standout cuts that balance classic songwriting with contemporary club production.
This is another DJ-focused selection built for the dancefloor, moving between uplifting vocal house, deep grooves and energetic remixes. From the driving Romeo Louisa rework of Urban Blues Project’s ‘Testify’ to Souldynamic’s take on The Lab Rats’ ‘Music Is My Way Of Life’, each track brings its own character while keeping the Soulfuric sound firmly in focus.
Featuring vocals from Jay Williams, Lisa Millett, Michelle Weeks and Kelli Sae, with remixes from Romeo Louisa, Souldynamic, Fouk and D’Ambrosio & Tappert, Vol. 3 brings together some of the scene’s strongest vocal talent and production names across four highly playable house cuts.
DjRUM"s DJ-Kicks mix brings together his work as a DJ, producer and composer. Built around four new original compositions and exclusive contributions, "Flip" by Skee Mask and "Clonk Dual" by Clark, the release was developed from live vinyl mixes that were subsequently edited, collaged and expanded with overdubs. The mix moves between ambient, breakcore, classical music, punk, acid and experimental electronic sounds, combining a wide range of styles into a continuous sound collage.
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Yes, yes funky people, another super sexy, soul, classic dancer makes it onto the DYNAMITE CUTS 7” series. This all-time soul gem “That what friends are for” by the amazing Madeline Bell and Alan Parker. This version is taken from her solo album, uplifting, with a touch of Latin hip movement, is the fresh, must-have 45 everyone is waiting for. On the flip “That’s the way I like it” is a banging version club mover. When you get the best British Library musicians with one of the hottest American soul singers, the magic happens. The band is made up of some of the biggest library legends; Alan Parker, Alan Hawkshaw, Chris Karan and Duncan Lamont to name a few.
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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.
DJ Support: Dj Harvey, Bicep, TEED, Sarah Story, Joe Goddard, Make A Dance, Dj Subaru, Demi Requismo, Horsemeat Disco, Greg Wilson, Crazy P, Justin Strauss, Sean Johnston (ALFOS), Masilmiliano Pagliara, Red Rack’em Jordan Nocturne , Gina Breeze, Heidi Lawden, Eugene Whang, Neil Diablo, Gina Breeze, Marcel Vogel.
After a mysterious hiatus, one of The essential edit labels of the 2010’s has returned just as inexplicably as it disappeared..
The previous 4 volumes now change hands with private collectors for $$ .. These limited run edits will no doubt sell out in similar fashion..
The A side see’s the most dance floor oriented but often over looked track from Bjork’s album Debut receive the DJ edit it always needed . A2 a unique rework of a very rare nrg record that started out like as Aerobics accompaniment album..
On the Flip B1 take Turn toward the Funk , PBR giving the heavy dub treatment to one of The Whispers most criminally ignored tracks. Rounding things off the B2 drifts into the work of wonky, sleazy Italo.. Magari uses the little understood “wrong speed” technique to sublime effect, combined with some extra synth work it delivers a an entirely different track…one for the heads..
This is the reissue of original 1993 Rephlex double vinyl album, completely remastered from DATs by Beau Thomas, with the original artwork, and photography by Richard James. µ-Ziq's Tango N'Vectif was released in 1993, a classic year for auteurist electronic music that didn't always fit on the dancefloor. Written by Mike Paradinas in his late teens with some help from Frank Naughton, it still stands up really well today and its influence on electronic music in the decades since is obvious. Across an expanse of ideas, taking influences from early Aphex, Detroit Techno and UK Hardcore, Mike created this spirited, funky, jerry-rigged, lo-fi version of rave; with crunchy drums and a knack for melody that fell somewhere between John Barry and classic TV themes. Without owning a computer, Mike had been writing techno, house and industrial tracks on and off since 1990, playing live keys alongside drum machine rhythms on his 4-track recorder. µ-Ziq started when Mike linked up with Frank who was also writing dance-influenced music, and importantly owned an Atari 1040ST computer with Cubeat software. They pooled their equipment and Mike would travel up to Frank's house a couple of miles away in Wimbledon to record together. By 1992, and after a false start when a proposed EP for Mark Pritchard and Tom Middleton's Evolution label got shelved, Mike had started at Kingston University where he deejayed and met like-minded people including a couple of guys who knew Aphex Twin who was also a student at Kingston too, and they passed Aphex a demo of Mike's material. A few days later Mike got a message from his mum to 'call Aphex Twin' and he gave Mike some advice, and seemed interested in releasing something. So when Frank and his family went on holiday that summer Mike borrowed his Atari and synths and wrote the majority of the Tango N'Vectif album during that 2 weeks. By the end of 1992 a release with Aphex Twin and Grant Wilson Claridge's Rephlex label had been agreed - Aphex had moved to the house in Clissold Crescent where he recorded a lot of his early classic albums and Mike went over to collect his advance, in the form of his very own Atari computer.
,Memories Linger" ist das erste offizielle Album des britischen Duos 50/50, fast 50 Jahre nach der Gründung der Band. Die langjährigen Freunde Richard Haines und David Cowles verbanden Anfang der 1980er Jahre eingängigen Synth-Pop, New Wave und klassisches britisches Songwriting der 1960er Jahre zu einem eigenständigen Sound, der an die goldene Ära von Synth-Pop und Sophisti-Pop erinnert.Aus einem Archiv von über 150 zwischen 1979 und 1985 entstandenen Aufnahmen wurden zwölf Songs ausgewählt, darunter mehrere bislang unveröffentlichte Stücke. Die Mischung aus warmen Synthesizern, eingängigen Melodien und nachdenklichen Texten zeigt die musikalische Bandbreite des Duos zwischen Pop, Rock und elektronischer Musik. Obwohl 50/50 zu ihrer aktiven Zeit nie den verdienten Durchbruch schafften, gilt ihr Werk heute als bemerkenswerte Wiederentdeckung einer übersehenen Synth-Pop-Perle.Die Veröffentlichung wurde von Light in the Attic sorgfältig aufbereitet, neu gemastert und mit umfangreichem Archivmaterial sowie neuen Liner Notes ergänzt. ,Memories Linger" dokumentiert nicht nur eine außergewöhnliche musikalische Partnerschaft, sondern auch die jahrzehntelange Freundschaft zweier Musiker, deren Songs nun endlich das Publikum erreichen, für das sie ursprünglich gedacht waren.
Mit "Devagar Que A Vida E Curta" präsentiert Ana Lua Caiano ihr zweites Album und führt die außergewöhnliche Verbindung aus portugiesischer Folklore, Elektronik und experimentellem Songwriting konsequent weiter. Ausgehend von einem alten Rat ihres Großvaters reflektiert die Künstlerin die Spannungen zwischen Beschleunigung und Achtsamkeit, Vergänglichkeit und Gegenwart. Traditionelle Instrumente wie Dudelsack, Flöten, Adufe und Bombo treffen auf Synthesizer, präparierte Klangobjekte und Alltagsgeräusche, die zu rhythmischen Elementen werden. Die vielschichtigen Gesangsarrangements stehen dabei im Zentrum eines Sounds, der folkloristische Wurzeln mit zeitgenössischer Produktion verknüpft. Inhaltlich kreisen die Songs um Isolation, Routine, Erschöpfung und Wandel, während die Musik zwischen Intimität und eruptiver Energie oszilliert. Mit diesem Album festigt Ana Lua Caiano ihre Position als eine der spannendsten neuen Stimmen der europäischen Musikszene.
The Discos Panorama series heads back to Colombia again for PAN016, pairing a heavyweight cumbia classic from Andrés Landero Y Conjunto with a wild Colombian take on one of the great Afro-funk records.
On the A-side, “La Pava Congona” is Landero in full flight. Known as El Rey de la Cumbia, Landero had that rare ability to make the accordion feel raw, hypnotic and completely dancefloor-ready. This one is all about the rolling rhythm, the call-and-response feel, and that unmistakable sabanero swing. Proper Colombian cumbia with weight behind it.
On the flip, Afrosound take on Manu Dibango’s “Soul Makossa” and send it straight from Colombia’s northern coast. Where the original is already a landmark Afro-funk groove, Afrosound bring their own Colombian flavour to it: fuzzed-out guitar, tropical percussion and loose psychedelic touches and that brilliant energy that made their records so special. A track that when we heard Hugo “Crucial Juice” spin, we knew we had to reissue.
Together, it’s exactly what the Discos Panorama series is about.
As always, PANORAMA Records is here to bring rare and essential music back into circulation with care, respect and admiration. Proper records, properly pressed, and ready for the dancers.
„I Thought We Were The Same“ ist das neue Studioalbum der gefeierten norwegisch-schwedischen Sängerin, Songwriterin, Produzentin und Independent-Künstlerin Ane Brun.
Mit ihrem bislang persönlichsten und fesselndsten Album – und ihrer ersten neuen Musik seit sechs Jahren –
kehrt Brun zurück: „I Thought We Were The Same“ ist eine kraftvolle Sammlung von Songs, die Themen
wie Vertrauen, Identität, Verrat und die bemerkenswerte menschliche Fähigkeit zum Neuanfang beleuchten.
Musikalisch zählt das Album zu Bruns experimentierfreudigsten Werken. Entstanden im Laufe von drei
lebensverändernden Jahren, markiert es ein eindrucksvolles neues künstlerisches Kapitel für die skandinavische Musikerin. Brun erweitert die Klangwelt ihres gefeierten Albums „After the Great Storm“ (2020) und
wagt sich in eine noch mutigere Electronic-Pop-Landschaft vor; dabei verbindet sie zutiefst intimes Songwriting zu einer Musik, die zu den unmittelbarsten und emotional berührendsten Stücken ihrer erfolgreichen
Karriere gehört.
Zehn Jahre nach ihrer ersten Scarlatti-Einspielung kehrt Angela Hewitt zu dem Barockkomponisten zurück,
dessen Musik „fruchtbaren Erfindungsreichtum, vielfältige Farben, kapriziöse Stimmungswechsel und eine
außergewöhnliche Kraft, unsere Empfindungen zu berühren“ vereint (BBC Music Magazine).
Für dieses neue Album hat Hewitt 16 weitere außergewöhnliche Klaviersonaten Scarlattis ausgewählt. Wie
der Scarlatti-Forscher Ralph Kirkpatrick feststellte, kann keine seiner rund 555 Sonaten als typisch gelten.
Ein besonderer Reiz liegt im starken spanischen Einfluss: stampfende Füße, das Schlagen der Gitarre und
ein lebendiger Sinn für Tanz.
Gramophone lobt Hewitts „Gabe als Programmgestalterin“, ihre „tiefe Affnität zu Scarlatti und beispielhafte Musikalität“. Mit charakteristischer Fantasie und Einsicht erweckt sie diese Werke zum Leben. Ihre
eigenen fundierten Booklet-Texte – auch auf Deutsch und Französisch – spiegeln ein Leben der Beschäftigung mit dieser unerschöpflich erfinderischen Musik wider.
Back to Pennsylvania, started (as so much great art does) in the beginning stages of a breakup in Brooklyn. Anna was weighted down by a sense of stagnation that required the kind of restart only returning home—to your childhood bed and bedroom, your parents backyard—can provide. So she went back to Pennsylvania. She sat at her hometown bar with her dad and his friends. She walked the sidewalks of her childhood. She spent time with her friends whose paths never quite diverged from that traditional, tale-as-old-as-time children’s chant—love, marriage, babies in a baby carriage. Despite all the shakeups of her life—no more New York, no more boyfriend, an impending nationwide tour with Joe P, frequent writing trips to L.A.—Anna still felt static. But it was on one of those fateful writing trips to L.A. that she regained a sense of motion, writing the record’s titular single. And what was supposed to be a single songwriting session with producer Gab Strum spun itself into 10 tracks reckoning with her new phase of life.
Diese Schallplatte vereint die fünf Titel der neuen EP Baignade au centre du fleuve und die vier Titel der 2018 erschienenen EP Feu de forêt. Antoine Corriveau erklärt den Hintergrund des Albums ,Baignade au centre du fleuve": ,Ich habe mitten im letzten Winter mehrere Songs in einem sehr minimalistischen Stil geschrieben, während ich versuchte, neue melodische Wege zu erkunden. Ich wollte sie schnell aufnehmen, ähnlich wie bei meiner *Feu de forêt*-EP, damit ich sie auf einer Schallplatte vereinen konnte. Ich hatte schon immer so einen kleinen Groll gegen EPs, also habe ich beschlossen, zwei davon zu kombinieren, um Unglück abzuwenden."
Arcane Allies sind ein in Berlin und Köln ansässiges Trio, das Psychedelic Rock, Krautrock, Ambient, Doom, Jazz und freie Improvisation zu einem hypnotischen, filmischen Klang verschmilzt. Angetrieben von motorischen Grooves, schimmernden Synthesizern, vom Surf inspirierten Gitarren und sich entwickelnden Klangtexturen bewegt sich ihre Musik zwischen meditativer Schönheit und dunkler, erdrückender Intensität. Inspiriert von Pionieren wie CAN, Neu! und Kraftwerk sowie den minimalistischen Komponisten Terry Riley und Steve Reich schafft die Band immersive Klanglandschaften, die eine Brücke zwischen analoger Rockenergie und zeitgenössischer elektronischer Produktion schlagen. Arcane Allies wurden 2016 von Christiana und Sidney Jaffe gegründet; 2018 stieß Joel Jaffe zur Band. Seitdem haben sie mehr als 300 Konzerte in 15 Ländern gespielt und fünf Independent-LPs veröffentlicht. Ihr bevorstehendes Album erweitert dieses Klanguniversum weiter, wobei Titel wie Aestesia hypnotische Wiederholungen und wechselnde musikalische Muster erkunden. Über die Musik hinaus sind Arcane Allies ein Familienprojekt, das kreatives Schaffen, Tourneen und das Familienleben mit ihren beiden Kindern miteinander verbindet.
Mit "Berati" legt Athina Kontou gemeinsam mit ihrer Band Mother das zweite Album nach dem vielbeachteten Debüt "Tzivaeri" vor. Inspiriert von einem traditionellen Tanz aus der nordgriechischen Region Epirus, verbindet das Quartett Volksmusiktraditionen, Eigenkompositionen und improvisatorische Freiheit zu einer eigenständigen musikalischen Sprache. Das Album spiegelt die Weiterentwicklung der Band wider: Aus einem Ensemble ist ein organisch agierender Klangkörper geworden, der Dynamik, Rhythmus und Melodie mit großer Selbstverständlichkeit miteinander verwebt. Einflüsse aus Nordgriechenland, Armenien und Kreta treffen auf zeitgenössischen Jazz und eröffnen einen faszinierenden Dialog zwischen kulturellem Erbe und künstlerischer Gegenwart. Gastbeiträge von Koray Berat Sari und Erini erweitern das Klangspektrum zusätzlich. "Berati" ist ein eindrucksvolles Album über Zugehörigkeit, Erinnerung und die kreative Kraft kultureller Begegnungen.
Anlässlich ihres zehnjährigen Jubiläums legen Bad Suns ihr Debütalbum *Disappear Here* neu auf. Diese
besondere Ausgabe erscheint in der Farbvariante „Neon Coral White Mist“. Zudem ist der bei Fans beliebte
Song „This Was a Home Once“ auf der Vinyl-Ausgabe enthalten – damit ist er erstmals überhaupt physisch
erhältlich
Das Christmas Album von Karajan vereint ausgewählte Aufnahmen seiner berühmten Barock-Weihnachtskonzerte
mit traditionellen Weihnachtsliedern, die er gemeinsam mit Leontyne Price aufgenommen hat.
Von Klassikern wie Stille Nacht und O Tannenbaum bis hin zu Tschaikowskis Tanz der Zuckerfee und
Vivaldis Winter bietet diese Sammlung den perfekten Soundtrack für die Winterzeit. Begleitet von den
Berliner und Wiener Philharmonikern entfaltet sich unter der Leitung von Herbert von Karajan ein festliches
Hörerlebnis.
Das Album ist erstmals als 1LP auf 180 g schwerem Vinyl erhältlich. Der Folienschnitt erfolgte durch
Sidney Claire Meyer in den Emil Berliner Studios.
