Search:made to dance

Gingerblack is a dynamic House Music DJ duo better known as Lilly & Kazan. With classic Chicago House beats Gingerblack are bringing sexy grooves back to the dancefloor while their original Lilly & Kazan moniker stands for trippy dj-sets & productions pushing Cosmic Disco and Indie Techno.

The duo has been enchanting dancefloors at renowned clubs and festivals across Europe while co-founding clubs like “Kasette” in Istanbul, “Christa Kupfer” in Berlin and the beach festival “Bloom” on the Mediterranean Sea.

Lilly's promoter expertise and Kazan's two decades of experience in the electronic music scene as a DJ, producer, and promoter make them a multi-discipline force to be reckoned with. The duo is known for spreading unique joy and passion on stage.

Through one of their club nights Lilly & Kazan made friends with „All That Jelly“ label boss Mr. Fonk who became a resident at their club. In „Christa Kupfer“ they also hosted House music legend Robert Owens, playing unforgettable nights with them. It was a match made in heaven!

Now all four of them have collaborated for this 12“ of the purest oldschool House Music, brought to perfection by the flamboyant prince of Vocal House and remixed by Wareika member Jakob Seidensticker and his producing partner MELINA.

I Talk To Water, the fifth album for Kompakt by Danish producer Kölsch, is the artist’s most personal statement yet. While all the trademarks that make his music so popular and powerful are still present – lush, melodic techno; swooping, trance-like figures; sensuous, shivery texturology – I Talk To Water is also a deep and intimate rapprochement with family and history, a beautiful, finely detailed document of loss and memory, and a tracing of the long, unbroken thread of grief that runs through our lives once we’ve lost those we loved.

The emotional core of I Talk To Water, then, is a cache of recordings by Kölsch’s father, Patrick Reilly, who passed away in 2003 from brain cancer. With time rendered elastic by the pandemic and its associated lockdowns, its sudden, alienating shifts in everyday living, Kölsch found himself reflecting on his father’s passing and ongoing spiritual presence, thinking about how best to memorialise such a significant figure in his own life. Those recordings opened a gateway, of sorts, for Kölsch to move through – a way to bring past and present together and entwine them in a sensitive, poetic manner.

Kölsch’s father was a musician – “touring in the sixties and seventies, in the Middle East especially, he was doing the whole hippy trail, playing guitar, and wrote some songs over the years,” he recalls. “But all in all, he decided to focus on family rather than pursue a musical career.” Reilly kept playing and writing music over the years, though Kölsch hadn’t listened to the material for some time: “I’d never had the guts to listen to it, because I just felt too fragile listening to his voice. It’s such a tough thing to go through.”

During the pandemic, though, Kölsch listened through the fragmented body of work that his father had produced over the years. “I decided I’m gonna finally release my dad’s music twenty years after his passing,” he reflects. “This whole album is about the process of loss, and for me it’s been one of my main driving forces in my musical life, the whole emotional aspect of whatever I’ve done has been based in that feeling that he’s not there anymore.”

Recordings of Reilly appear on three songs across I Talk To Water. His guitars drift pensively across “Grape”, offering a lush thread of melody that Kölsch wraps with clicking, driftwood rhythms and droning, melancholy bass. “Tell Me” is a lovely three-minute art song, a sadly beautiful reflection, minimally adorned with gentle keys and a muted pulse. And on the closing “It Ends Where It Began”, Kölsch lets his father’s acoustic guitar take centre stage for a lament that’s unexpectedly folksy, a guitar soli dream, which Reilly originally recorded in 1996. “He actually recorded it for my first album that never came out,” Kölsch reveals, “and I had it sitting around forever. That is purely him.”

These three imagined collaborations between father and son are poised and delicate. But their relationship also marks the gorgeous music Kölsch has made across the rest of I Talk To Water, from the itchy yet lush “Pet Sound” (titled in tribute to one of Reilly’s favourite albums), the flickering synths and yearning vocal samples that slide through “Khenpo”, the ecstatic shuddering that marks “Only Get Better”, or “Implant”’s slow-motion pans and subtle reveals.

There’s also the title song, where Kölsch is joined by guest Perry Farrell (Jane’s Addiction, Porno For Pyros), singing a mantra for internal reflection: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrell’s appearance brings another timbre, another spirit to the album, aligning neatly with his recent interest in electronic music. “He was completely taken by this idea of talking to water,” Kölsch says, thinking about the ways we collectively lean towards the natural world as a comfort and a listener, a guide through mourning, a way to map out the terrain of the heart. This mapping is something that Kölsch has proven remarkably adept at through the years; dance music for both body and mind, but also both for the here-and-now, and for the hereafter.

“I Talk To Water”, das fünfte Album des dänischen Produzenten Kölsch für Kompakt, ist zweifellos das persönlichste Statement des Künstlers bislang. Während alle Markenzeichen, die seine Musik so beliebt und kraftvoll machen, immer noch präsent sind – üppige, melodische Techno-Tracks; schwebende, tranceartige Elemente; sinnliche, fiebrige Texturen – ist “I Talk To Water” auch eine tiefe und intime Annäherung an Familie und Geschichte. Es ist ein wunderschönes, fein ausgearbeitetes Dokument des Verlusts und der Erinnerung, und es verfolgt den langen, ungebrochenen Faden der Trauer, der durch unser Leben läuft, sobald wir diejenigen verloren haben, die wir liebten.

Der emotionale Kern von “I Talk To Water” besteht aus Aufnahmen von Kölschs Vater, Patrick Reilly, der 2003 an Hirnkrebs verstarb. Durch die Pandemie und ihre damit verbundenen Lockdowns, die plötzlichen, entfremdenden Veränderungen im Alltag, fand Kölsch sich in Gedanken an den Tod seines Vaters und seine fortwährende spirituelle Präsenz wieder. Er überlegte, wie er eine so bedeutende Figur in seinem eigenen Leben am besten verewigen könnte. Diese Aufnahmen öffneten ihm sozusagen ein Portal, um Vergangenheit und Gegenwart miteinander zu verbinden und sie auf sensible und poetische Weise zu verweben.

Kölschs Vater war Musiker – “er tourte in den sechziger und siebziger Jahren, vor allem im Nahen Osten, auf dem Hippie Trail, spielte Gitarre und schrieb im Laufe der Jahre einige Songs”, erinnert sich Kölsch. “Aber alles in allem entschied er sich, sich auf die Familie zu konzentrieren, anstatt eine musikalische Karriere zu verfolgen.” Reilly spielte und schrieb jedoch im Laufe der Jahre weiterhin Musik, obwohl Kölsch das Material lange Zeit nicht angehört hatte: “Ich hatte nie den Mut, es anzuhören, weil ich mich einfach zu zerbrechlich fühlte, seine Stimme anzuhören. Es ist so schwer, das durchzustehen.”

Während der Pandemie hörte sich Kölsch jedoch durch das fragmentierte Werk, das sein Vater im Laufe der Jahre produziert hatte. “Ich beschloss, die Musik meines Vaters zwanzig Jahre nach seinem Tod endlich zu veröffentlichen”, reflektiert er. “Dieses ganze Album handelt von dem Verlustprozess, welcher für mich generell eine der Hauptantriebskräfte in meinem musikalischen Leben ist. Der ganze emotionale Aspekt von dem, was ich getan habe, basierte auf dem Gefühl, dass er nicht mehr da ist.”

Auf “I Talk To Water” sind Aufnahmen von Reilly in drei Songs zu hören. Seine Gitarren ziehen nachdenklich durch “Grape”, bieten einen üppigen Melodiefaden, den Kölsch mit klickenden, treibenden Rhythmen und dröhnendem, melancholischem Bass umwickelt. “Tell Me” ist ein schönes dreiminütiges Kunstlied, eine traurig-schöne Reflexion, minimal geschmückt mit sanften Tasten und einem gedämpften Puls. Und auf dem Abschlusstrack “It Ends Where It Began” lässt Kölsch die akustische Gitarre seines Vaters im Mittelpunkt stehen, ein überraschend folkiger Klagegesang, den Reilly ursprünglich 1996 aufgenommen hatte. “Er hat es tatsächlich für mein erstes Album aufgenommen, das nie veröffentlicht wurde”, enthüllt Kölsch, “und ich hatte es ewig liegen.”

Diese drei erdachten Kollaborationen zwischen Vater und Sohn sind ausgewogen und zart. Aber ihre Beziehung prägt auch die wunderschöne Musik, die Kölsch im Rest von “I Talk To Water” geschaffen hat, angefangen bei dem nervösen, aber üppigen “Pet Sound” (benannt als Hommage an eines von Reillys Lieblingsalben), den flimmernden Synthesizern und sehnsüchtigen Vocal-Samples in “Khenpo”, den ekstatischen Erschütterungen in “Only Get Better” oder den langsamen Schwenks und subtilen Enthüllungen in “Implant”.

Es gibt auch den Titelsong, in dem Kölsch von Gast Perry Farrell (Jane’s Addiction, Porno For Pyros) begleitet wird, der ein Mantra für die innere Reflexion singt: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrells Auftritt bringt eine weitere Klangfarbe, einen weiteren Geist in das Album, der gut zu seinem jüngsten Interesse an elektronischer Musik passt. “Er war völlig fasziniert von der Idee, mit Wasser zu sprechen”, sagt Kölsch und denkt darüber nach, wie wir kollektiv zur Natur als Trost, Zuhörer, Führer durch die Trauer neigen, um die Gelände des Herzens zu kartieren. Diese Kartierung ist etwas, in dem Kölsch im Laufe der Jahre erstaunlich geschickt war; Tanzmusik für Körper und Geist, sowohl für das Hier und Jetzt, als auch für das Leben danach.

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

Dive into the electrifying soundscapes of Wooka's latest EP, "Somethin You Dress Up," as each track becomes a meticulously crafted journey through the realms of electronic house. With his typical beats and rhythms, Wooka takes us on a kaleidoscopic ride through four distinct compositions that embody the very essence of his artistry. From the sun-soaked vibes of "I Hope You Breathe" to the pulsating precision of "People Fucked Up," the EP dances through a spectrum of emotions. "London Somethin" pays homage to '90s UK bass with intricate percussive artistry, while "No dress code", made with Acheel, delves deep into sub-bass syncopation. Hailing from France, Wooka seamlessly blends house, break, and electro, channeling the energy of hip-hop and UK garage. His live performances showcase the dedication to his craft, crafting sonic symphonies that transport audiences to the heart of his musical universe.

After a long hiatus Klaus Benedek comes back on his own mothership Fortunea Records with a brand-new production. ‚Tombstone’ heralds the autumn. You can feel the melancholy that brings the end of the warm and bright days with it. Although the subject matter is dark and eerie, the track wanders with its epic instrumentation through pensive optimism. The remarkable chopped hookline and the concise and soft bassline are casted in a flowing deep sounded carpet full of hope. An epic excursion that you definitely should give a try.

A considerable move into a different sound sphere goes Berlin-based artist and Tieffrequent-founder Siggatunez. He has had an outstanding array of vital productions this year and with his remix he lets you „feel the unknown“. In a very detailed way he made a serious dancefloor intended track, in the signature style of his current output, where beats and groove take the lead, but keeping the soul of the
original with the use of its pads, strings and bass.

Tombstone will come out on limited 200 copy vinyl and in its digital form onstreaming services and download stores on the 27th of october. There will be no repress!ö

Drumcode welcomes another debutant to the fold, as one of techno’s most exciting new artists, Space 92, shares his thrilling two-tracker ‘Time’.

Stepping up for his maiden Drumcode release, ‘Time’ is stirring statement of intent. Staying true to its name, the title track was a slow burner, produced over a number of months between touring commitments. Space 92’s talent for crafting tracks that are tailor-made for big dancefloor moments is seen here in full flight, as tight drum programming leads into a stirring pad sequence before a boshing bass-laden breakdown arrives with crushing effect.

Kompakt unveils the third volume of Jörg Burger’s Velvet Desert Music compilation series, dedicated to music that hits the sweet spot between the cinematic, the (pop) ambient, and the psychedelic. With Velvet Desert Music Vol. 3, Burger and his friends wander afar, taking trips away from, or adjacent to, the dancefloor that’s acted so long as the crucible for the Kompakt aesthetic. Like its predecessors, it’s a gorgeous, lambent collection of late-night mood music.

Because it’s such a broad church, Velvet Desert Music admits all kinds of new experiences, as well, with Burger looking for music that "leads out of the desert into the velvet universe". Indeed, of all the volumes in the series, this third instalment feels closest to an album made by a true collective. The roster has changed, with new contributors Flug 8 and Seb Martel, both with his trio Las Ondas Marteles and with Chocolate Genius and Zsela as La Finca, joining regulars The Novotones, Mount Obsidian, The Golden Bug, Paulor and Sascha Funke.

Burger himself reappears, too, alongside Fritz Ackermann (of The Novotones), Max Würden and Thore Pfeiffer, in The Velvet Circle. Their contributions are pure lush life electronica: “Our Tribe” hitches a ride with a low-slung groove, flickering psychedelic reels of acoustic guitar traipsing across moody bass and taffeta layers of drone; their opening remix of Flug 8’s “Puerto Rico” gently introduces the album with softly tangling electronic tones, while guitars, drenched in reverb, pirouette in the background. A Mount Obsidian remix of “Sacrosanct” by Burger’s The Black Frame -project is a swirling treat for the ears.

La Finca’s electronics and voice miniature, “What Clouds Say”, is a masterclass in poetic restraint; Martel’s “Dark Mambo”, remixed by Burger, is one of the collection’s big surprises, for it indeed does what the title says, a drifting, surrealist take on the mambo form, full of pensive chords, rich with unrequited longing, a breathy saxophone whispering under the song’s sly rhythmic carriage.

Elsewhere, The Novotones chime in with a slyly propulsive, Krautrock-esque charmer, “Liberty Bell”, and the guitar-led tone-drift of “Valley of Oblivion”; Paulor’s “The Last Coke in the Desert” is a chiming, lilting dreamscape; Mount Obsidian are joined by vocalist Charlotte Jestaedt for two modern takes on early-hours art song, “Marole” and “Fade”; Sascha Funke’s “Mathias Rust” is a lavish dancefloor dream, vocal samples drifting through the song as it slowly envelops the listener in its opulent radiance.

This is just a taste of the rich pleasures of Velvet Desert Music Vol. 3, a triumph of a compilation that takes the psychedelic visions of its predecessors and looks for the desert within, a dusty kiss, a road-movie hallucination flickering on the listener’s eyelids, a cinematic projection from deep inside the mind.

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

It’s been a few years since Captain Mustache took a ride with Kompakt – 2021, to be exact, when he released the “Everything” single, and subsequently made an appearance on that year’s entry in the Total series. But this visionary French producer has been busy, indeed fiercely productive, ever since, appearing on Helena Hauff’s Return To Disorder and John Digweed’s Bedrock, collaborating with Dave Clarke, Popof, The Advent, Paris The Black Fu, Keith Tucker from AUX88... and two beautifully eloquent albums, Tourbillon Nocturne and Indigo Memories. But with The Super Album, Captain Mustache returns to Kompakt with his most sublime collection yet. On The Super Album, the Captain soundtracks an imagined “whole day for party people.” He welcomes friends old and new on board: opening with the poetic club banger of “About Love”, with guest appearance from Speakwave (aka dynArec), The Super Album shifts gears into the lush, sunny “Shifting Basslines”, where Captain Mustache’s pulsing electro-disco is the perfect fit for a third collaboration with electroclash pioneers Chicks on Speed. After the deep techno pulsations of “Laser Me” and the glitzy pop shine of “Gimme Ya Mustache”, more guests arrive: Arnaud Rebotini of Black Strobe on the slinky “I Love Watching U”, and then a spoken cameo from the truly legendary French disco diva Amanda Lear on “Mustache Of The Universe”, a glitzy glitterball of a song that’s shrouded in ghostly synths. All those tracks appear on the 12” version of The Super Album – download the digital version and you get six more slices of Mustache magic. Here, the narrative turns more insular, more dancefloor focused – the party people have moved through the daytime and they’re in their element, diving deep into the night-time economy. The album spirals, beautifully, into stark electro, driving techno, with great moments of beauty and melancholy – see the pointillist arpeggios of “Everything” (which features Play Paul), the disco stomp of “Acapulco Citron”, and a breath-taking double-bill of stripped back psychedelic electro on “Pulsions Organiques”, and the layered, luscious, swooning “Clair-Obscur”. From there, it’s an astral glide into the Dopplereffekt-ish “Galaxian Symbiosis” before Foremost Poets join Captain Mustache to wave the night goodbye with the brittle, brilliant “Floorwax”. It’s a day in the life, but all in service to the pleasures of nightlife; the dancefloor is The Super Album’s beacon, your body the pliable material moulded into evocative new shapes by this dense, hypnotic, brilliantly pop album.

The wax is hot. The tunes are massive. Oath’s sub-label, Last Year at Marienbad, dispenses a foursome of punchy house tracks for its fifth release, lovingly crafted by some of the genre’s finest producers.

‘The Way We Flow’ by Sam Paradise pairs detuned, lo-fi samples with thumping kicks, and muffled drums. Just when those innocent lo-fi elements simmer, the drums slam back into your periphery harder than ever, making for an absolute dancefloor smasher.

‘De Nuit (3 A.M)’ by Nu-Cleo descends deeper. Swinging drums and chocolatey, indulgent keys lay the basis for a hypnotic acid bassline. Real tension builder.

Flipping over to the B-Side – careful, it’s hot – is ‘She Wrote’ by Gloved Hands. Seemingly just a ride through a well-made bouncing synth and house groove combo at first, this track soon shows off Gloved Hands’ knack for leftfield flavours. There’s an unexpected trap-esque vocal that gets re-contextualised for the club alongside piercing synths and a bulging broken beat.

‘Hard Deep’ by Rick Wade is an obvious one. The stalwart of the house scene serves up another of his zesty, masterful grooves. Shimmering, effortless keys steer a tight drum groove while a subtle bassline nestles between the kick’s low end.

Four cuts from four house experts. Is there much more a dancefloor could ask for?

Unmissable!

Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus. The music ended up in several of her films as well as being performed in her hot live shows.

Discographically at the time only a few tracks were released on 7″ and 12″ singles that are now cult collector’s items for fetishists and weird DJs.

At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP.

Thus we find persuasive, nocturnal and mischievous tracks in perfect nightclub style such as “Amore Tossico”, “Autostop”, “Ultima Notte” and “La Gabbia” side by side with more Dance tracks such as his main hit “Supermacho”, the Dance-Rock “Impulsi Di Sesso” and “Gate One (Aeroplano Telecomandato)” and the Funky “Rocky.”

2025 Repress!

On the label (A-Side):
This special release is dedicated to Detroit DJ Legend Ken Collier. His untimely passing deeply touched me personally, as he was one of a small few who always supported me & my music. Because of Ken Collier, Detroit developed a dance scene, which inspired artist & producers to make dance records, which gave birth to Techno, which has provided careers for many of you in the business today. So I dare ask all you techno producers, djs, record labels, record shops, techno magazines, clubs which play techno music, and fans of techno to pay respect to Ken Collier just as you would our other fine music innovators.

Side B:
However, this special compilation isn't about techno, it's about H.O.U.S.E. sounds - broadcasting it to you live from the inside in lovely Ste - re - o!!. This record contains no artist or track listing because i don't want this to be about who made the tracks, track titles, or even who wrote this commentary. This record is my personal tribute to him and how he has motivated me to make my contributions to house music. Thank you Ken Collier, for helping me grow not just as a dj or record producer, but as a person. Every dj and dance artist here in Detroit owes thanks to you for going out into the musical forest, chopping down trees, thus paving the way for us to build HOUSE!.

"In Loving Memory Of Detroit DJ Legend Ken Collier"

This new project is directed by Miho in collaboration with Robert Drewek, the owner of respected label RAWAX.
It is a special edition 'RAWAX - AIRA EP vinyl series".

Concept and mission will always be, to connect and invite great musicians who produce and create "essence of the real music',
not following the trend but let the music speak itself with groove, melody, vibe, energy and soul....

Roland has made evolution in dance music all over the world in 80's, Music needed those machines, and machines needed those creators of music.

AIRA are not rehashing of the legendary original TR or TB, But respecting those great machines from the past, AIRA continues to evolve toward into the future simultaneously, newly developed, new generations tools to keep the music alive and to bring more possibilities for the future.

We seeks out this exciting movement of dance music history, as the music lover who has actual experience the flow of this evolution, and connections between musicians and machines to make their musical pieces on this project to inspire listeners and to challenge the genres they represent by each series.

The new EP on It’s a Pleasure imprint is conceived as a kaleidoscope of Jaisiel’s previous releases where pop and house converge in a seamless embrace.

A side is all about the infectious radio hit “Nada Que Ver” and its mesmerizing Remix by Lipelis who made its magic to turn the original track into a super fun and dynamic certified dance floor journey, where thick bass frequencies and classic M1 organ bass sounds will take you on a trip alongside Jaisiel’s hypnotic voice.

In the B side we entry into the dreamy realms of a UK rave in the 90’s with the pulsating energy of “El Amanecer” (Tenerife ’89 Mix), a synesthesia feeling where you can almost see the sun rising in your imagination while listening to it.

Following and closing the EP, an intimate and groovy acid tune “Sobre Cien” that invites you to chill and re-connect with your inner nostalgia, lyrics are about a big theme nowadays after Covid times, which is escape the noise of big cities and remember the value of your hometown, family and all time friends.

Radio Slave drops ‘Wild Life’ on Rekids this May

Following the recently dropped ‘Strobe Queen’, which picked up support from Honey Dijon, Sean Johnston, Laurent Garnier, BBC Radio 1’s Pete Tong and Danny Howard amongst many more, Radio Slave returns with another standout House cut ‘Wild Life’, turning in two exceptional Disco and Dub mixes.

“I’ve always adored the “Wildpitch” era of DJ Pierre, Roy Davis Jnr, DJ Duke and labels like Power Music It’s definitely influenced my work as Radio Slave and “Wild Life” started out as a nod to that early nighties sound. Conceived during the pandemic, I had the track mapped out and then with help of a good friend I decided to add live bass, loads of analogue keyboards and record the whole thing live and it became this super funky disco jam.” - Radio Slave

Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

Caserta’s favourite era of house was when the line between hip hop and house was really only made visible by the tempo of the songs. An art mastered by legends like Kenny Dope, Armand Van Helden and DJ Sneak to name a few.

FF to 2023, Caserta returns to that form with Joe’s Boutique. An obvious nod to the craftwork of the seminal album Paul’s Boutique by the Beastie Boy’s. Caserta fired up the samplers and sliced and diced his way to his first EP in years. With swinging drums, heavy basslines, chopped up vocals and music you might think you stumbled across a lost Strictly Rhythm acetate but mixed and mastered to year 2728 by the man himself.

Complete with vocal interludes segueing from track to track this truly is a listening experience as well as a dance floor filler all in one.

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















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