Search:mia

Bellini: Norma
Opera in two acts · Libretto: Felice Romani
Norma - MARIA CALLAS
Pollione - FRANCO CORELLI
Adalgisa - CHRISTA LUDWIG
Oroveso - NICOLA ZACCARIA
Flavio - PIERO DE PALMA
Clotilde - EDDA VINCENZI
Coro e Orchestra del Teatro alla Scala di Milano
Chorus master: Norberto Mola
Tullio Serafin
Recorded: 5-12.IX.1960, Teatro alla Scala, Milan

The Deepshakerz unite with Aaron Pfeiffer for their Crosstown Rebels debit ‘Fire’, back by a remix from, Cameron Jack.

Italian duo Domy Berardino and Mirco Sonatore, aka The Deepshakerz, continue to evolve their take on house music after a decade in the game - releasing material on their Safe Music imprint alongside globally renowned labels including Saved, Cajual, Circus, Moon Harbour and Knee Deep In Sound. Linking up with Miami-based singer/songwriter Aaron Pfeiffer, the iconic voice of Jaden Thompson’s ‘Closer’, the trio of talents make their debut on Damian Lazarus’ Crosstown Rebels with the vibrant ‘Fire’, with fellow debutant and Abracadabra singee Cameron Jack on remix duties.
A blissful yet driving production guided by Pfeiffer’s alluring vocals, ‘Fire’ is a resonant house offering combining crisp drums with an infectious wavering lead melody, while Cameron Jack’s take strips things back and crafts a medley of organic percussion grooves around the original’s charming vocal interludes.

A limited edition 7" release by MIAMI, both tracks taken from the "PARTY FREAKS" LP. Again DYNAMITE CUTS give you never been on 7" release. Including a wonderful re-production of the original sleeve.

Track A – "I CAN SEE THROUGH YOU" – Club classic in its own right, TOP CLASS CLUB track, massive rare-groove dancer. Super sexy vibes and feel. A long awaited 45 release, need I say more!!

Track B – "Chicken Yellow" Heavy Mid-tempo groove. Classic heavy drum break sample.

Another MUST HAVE 45 rpm 7"
Format: vinyl release with full colour sleeve VINYL

From his studio retreat in the heart of the Norwegian forest, Raaja Bones astral projects to adistant paradise, glancing the frosty tips of Norwegian fir trees on his way to exotic locations. Trading the Scandinavian fjord for a beach in Miami, Raaja finds a bounce in his step, moonwalking his way across groovy keys and shuffling beats through Boardwalks . A sonic palette echoing with the reverberations of bygone days, playing on a collective nostalgia, a Kodak moment turned gif, frozen on a telephone screen. Hazy chords and playful melodies glisten against temperate rhythmical zones as they roll through the arrangement. Disembodied vocals float in a steamy fog above warm tones, as Raaja's voice passes through the record like a spectral dream. A rusty vignette forms within crystalline tones as bold synthesizers are coerced into reluctant musical forms, ambling through cheery earworms and rousing rubber bass-lines.

Rediscover the most sampled original titles in the history of music! After the success of the first 5 volumes Soul, Funk, Groove,Jazz and Reggae, the Sampled collection is back with a new volume: Sampled Disco Funk! Find original titles sampled by: The Prodigy - Beastie Boys - Tyler The Creator - George Michael - 2Pac...

Local Action is proud to present Cyclorama, the long-awaited debut album by Ariel Zetina.

A resident DJ at Chicago’s iconic Smartbar, a long-standing Discwoman family member and a key part of the city’s dance music and LGBTQ+ communities, Ariel has established herself as one of the most exciting electronic artists operating today - through releases such as 2020’s acclaimed MUAs at the End of the World and 2017’s Organism, and her meticulous approach to DJ mixes - as recently evidenced on Sestina, her 2020 contribution to Mixtape Club.

Written across 2021 and honed this Spring, Cyclorama is Ariel’s most impressive and all-encompassing work yet, showcasing her as a producer, vocalist and also curator, pulling together an ensemble cast of her peers in Chicago (Cae Monāe, Mia Arevalo, DANNN) and some of the most exciting names in contemporary club music (Violet, Bored Lord).

Conceptually, Cyclorama draws heavily from Ariel’s background as a theater writer and producer. Popularized in 19th century German theater, a cyclorama (or cyc) is a large curtain, placed on the back wall of the stage. This creates an illusion of extra depth in the background, and often is used to represent the sky. In Ariel’s words, “I imagine all the tracks on this as the lights and action projected onto the cyclorama. The whole album is like the cyc, a representation of the sky. Or an imagined sky. An imagined dancefloor. An imagined theatrical production.”

As well as drawing conceptually from Ariel’s background in theater, the album draws on a personal level from Ariel’s journey as a trans woman of color - most directly on Cyclorama’s three vocal tracks, ‘Gemstone’, ‘Slab of Meat’ and lead single ‘Have You Ever’.

On ‘Have You Ever’, Ariel collaborates with Cae Monāe, a dear friend and fellow trans woman of color. “‘Have you ever been with a girl like me before?’ and all the lyrics refers to the fear and anxiety that cis men who are attracted to trans women feel, and also any woman that doesn’t fit the mold of a stereotypical woman”, Ariel explains. “Cae and I - and many trans women - have been in so many situations where society tells cis men they cannot be with trans women and this explores that and gives power to all trans women in this situation. The techno reflects that, as well as the “Spell my name” section at the end, showing the true power of trans women.”

On ‘Slab of Meat’, Ariel delivers a hypnotic solo vocal performance that builds in intensity with each line (“I am treated like a slab of meat both emotionally and sexually sometimes, especially one left in the freezer on the back burner. Why did you bring this meat home from the market? For what? You’re wasting meat!”), while ‘Gemstone’, a collaboration with Mia Arevalo, continues the empowering themes of ‘Have You Ever’ in a different context:

“‘Gemstone’ is a call for trans women to take time with your transition because it will all happen eventually. As two girls who have started our transition almost a decade ago, I think we have both seen that we have always needed to take our time to take our time. Reminders not to rush or compare yourself to other girls. I love the metaphor of gemstone months representing different periods of transition. I’ve been so many different women in recent years, and I'm excited to continue my journey.”

It’s immediately followed by album closer ‘Tropical Depression’, the title of which is a reference to Ariel growing up with tropical depressions, storms and hurricanes affecting her hometown of Jacksonville, Florida as well as her family in Belize City:

“This track for me is about living day to day and continuing while dealing with my really intense clinical depression. The sample comes from “Why can’t you let me go?” but is supposed to be transformative and not necessarily legible. How we hold on to our trauma and depression like a protective shell. This is an attempt to deal with it in a different way.”

The Cyclorama album cover, directed by Dylan Bragassa, stars Ariel alongside Monāe and Arevalo in an imagined theater production. In Ariel’s words, “a theoretical performance starring only trans women of color - I wanted an ensemble shot to represent the ensemble nature of this album! Love how Dylan combines so many ideas to create a very unique image that asks so many questions.”

‘Horsepower’ marks the Dutchman’s third credit on Drumcode this year, following a strong collaborative work with Weska ‘Shades of Summer’ and the new remixes of ‘Your Mind’ from Charles D, his classic with Adam Beyer from 2018. Bart’s also been busy throughout the summer season, a fixture at our Off Sonar, Drumcode Miami and the Drumcode Ibiza event

His latest two tracker continues this reach vein of form. The title track is vintage Bart Skils; a searing festival-ready bomb built around a dreamy vocal sequence and long mid-section break that drops back into stomping techno territory. ‘Sunshine in the Dust’ brings the party with lively percussion, flamboyant vocal samples and tough bottom end. A super fun track bursting with Latin flavours.

A limited edition 7' release by MIAMI, both tracks taken from the 'PARTY FREAKS' LP. Again DYANMITE CUTS give you never been on 7' release. Including a wonderful re-production of the original sleeve x500

Track A1 - 'I CAN SEE THROUGH YOU' - Club classic in its own right, TOP CLASS CLUB track, massive rare groove dancer. Super sexy vibes and feel. A long awaited 45 release, need I say more!!!!!!
Track B2 - 'Chicken Yellow' Heavy Mid-tempo groove. Classic heavy drum break sample.

Clear Vinyl Repress

A true Balearic / Cosmic classic LP - Columbian brothers Elkin & Nelson's 1974 debut double album 'Angeles Y Demonios' is the perfect blend of traditional latin music, psychedelia, fuzz, glam, ethnic rhythms, progressive rock leanings and everything else in-between! The album had been received quite well on it's release, enabling the brothers to move to Spain and explore their ideas and melodies full-time, but it wasn't until the late 1980's Balearic explosion that the brothers unique musical vision struck a chord with those outside of Spain whose interests were rooted in the more esoteric corners of the record shop racks. Possibly the most well-known track from this LP was 'Jibaro (Enrolle)' that featured on the closing side of the set. This track was picked up and subsequently covered by Paul Oakenfold and the burgeoning wave of UK DJ's who had become enamoured with the white isle and her many sounds, thus birthing the term 'Balearic Beat'. 'Jibaro (Enrolle)' is perhaps one of the benchmarks of that particular microcosmic scene and sound but that doesn't mean the rest of this amazing LP should be ignored. A truly wondrous trip through the rock underground, not traditional by any means, if you dig the Balearic sound, psych-rock, funk and all of it's orbiting planets then this will certainly flip all the right switches for you. A very original set. This classic has been legally reissued by Above Board distribution in conjunction with the legal rights holders - Sony Music Entertainment. This high quality 2 x LP repress features original 1974 gatefold sleeve and label artwork and has been remastered from Sony's original sources by Optimum Mastering, Bristol UK.

THE CARSTAIRS, Cleveland Horne and Ray Evens, from Detroit, were first known to the UK soul scene for their storming cover of Motown’s “He Who Picks A Rose”, originally by Jimmy Ruffin and Edwin Starr. But, it is their legendary 1973 recording, “It Really Hurts Me Girl” that elevated them into the Northern Soul Hall of Fame. DJ Ian Levine first chanced-upon the song while on a trip to Miami and it is thanks to his foresight and determination that the Northern Soul scene embraced the new contemporary sound of Seventies soul and would consequently change forever. OUTTA SIGHT proudly present the original 1973 Gene Redd Jr. production coupled with the Tom Moulton remix.

Yair Elazar Glotman is a Berlin based composer and experimental sound artist. Having trained in classical double bass and electroacoustic composition, he uses these traditions in combination with improvisation, with particular focus on analogue processes, to create textural and spatial works. In recent years, Glotman has been known for his notable pieces in film and media composition, working closely with influentential late composer Jóhann Jóhannsonn on acclaimed titles such Mandy (2018) and Last and First Men (2019), which he co-composed and produced the score. . Apart from his work in film and media, Glotman is a celebrated recording artist in his own right, venturing into dark corners of ambient drone and post-classical with acclaimed albums such as his 2020 album Emanate via Fat Cat’s imprint 13070, 2017 album Negative Chambers with close collaborator Mats Erlandsson released via Miasmah Recordings, and his solo album Études released in 2015 via Subtext, receiving him high acclaim from the likes of Pitchfork, Guardian, BBC 6 Music, The Quietus, Uncut, Electronic Sound and more.

Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements.
ADJ also performed his first LIVE set in a few years in March 2020 MUTABOR in Moscow.

As a DJ, he has played at many festivals including a BLOC residency, Glastonbury For BLOC, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, EVAC, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

The masters of the release are kindly made by Thomas Dunstan. Artwork made by our amazing designer Lawrence Cli

Ralph Falcon last collaborated with Victoria Wilson James on the Number 1 Billboard charting tune “I Need Someone.”

With its distinctively hypnotic, dark pulsating beat and haunting vocal, “I Need Someone” went from being a Club Space Miami anthem to a worldwide club hit. Now Ralph is back with Victoria Wilson James on a new song that is destined for greatness but with even more potential given the unending worldwide demand for fresh house sounds.

“Fade Away” has all the unique sonic elements that Ralph Falcon fans have come to expect over the years. Heavy Kick drums combined with synth sounds that you wont find in any software program. Ralph’s sounds are creations that only he could produce. This vinyl release gets a uniquely international remix treatment. Included are a remix from Ralph’s Murk partner Oscar G, rising Dutch producer star Dennis Quin, and emerging French producer star Ténéré.

Die neue Ausgabe der Bootleg Series von Bob Dylan, "Fragments - Time Out Of Mind Sessions (1996-1997): The Bootleg Series Vol. 17" erscheint als 5 CDs umfassendes Deluxe Boxset sowie als Standard-Version auf 2 CDs oder 4 LPs. Sie enthält in der Standardversion das Album "Time Out Of Mind" in einem 2022er Remix sowie zwölf ausgewählten Outtakes und Alternativversionen. Volume 17 der gefeierten Dylan-Reihe wirft 25 Jahre nach seiner Erstveröffentlichung einen neuen Blick auf das Meisterwerk "Time Out Of Mind" und zeichnet dessen Entstehung nach. Angefangen bei den bislang unveröffentlichten Song-Fassungen aus den 1996er Teatro-Sessions mit Dylan (Gesang, Gitarre, Piano), Daniel Lanois (Gitarre, Orgel), Tony Garnier (Bass) und Tony Mangurian (Schlagzeug, Percussion) bis hin zu (ebenfalls unveröffentlichten) Live-Mitschnitten aus den Jahren 1998-2001. Anfang 1996 begann Dylan, der seit der 1990er LP Under The Red Sky kein Album mit Eigenkompositionen veröffentlicht hatte, mit der Arbeit an neuen Songs. Von August bis Oktober ging er mit Daniel Lanois, der sein 1989er Album Oh Mercyproduziert hatte, ins Teatro Studio in Oxnard/CA, um dort Demos für eine mögliche neue LP aufzunehmen. Als die Songs im Januar des Folgejahres Form angenommen hatten, zog man ins Criteria Studio in Miami/FL um. Die Studiobesetzung wurde aufgestockt, und so fand sich in Florida ein illustrer Mix aus Session-Musikern und Mitgliedern von Dylans Tourband ein: Bucky Baxter (Akustikgitarre, Pedal Steel), Duke Robillard (E-Gitarre/Gibson L-5), Robert Britt (Martin Akustikgitarre, Fender Stratocaster), Cindy Cashdollar (Slide Gitarre), Tony Garnier (Bass, Kontrabass), Augie Meyers (Vox Orgel, Hammond B3, Akkordeon), Jim Dickinson (Keyboards, Wurlitzer E-Piano, Pumporgel) sowie die Schlagzeuger Jim Keltner, Brian Blade und David Kemper. Das Album "Time Out Of Mind", der schließlich aus diesen Sessions entstand, avancierte zu einem Dylan-Klassiker. Songs wie "Love Sick", "Can't Wait" oder "Not Dark Yet" wurden zu Lieblingsstücken der Fans. Mit "Make You Feel My Love" gelang Dylan sogar das Kunststück, dem Great American Songbook einen neuen zeitgenössischen Standard hinzuzufügen. Zahllose Künstler, darunter Billy Joel, Neil Diamond oder Adele, haben diesen Song gecovert. Bei den Grammy Awards 1998 gewann "Time Out Of Mind" in den Kategorien 'Album of the Year' und 'Best Contemporary Folk Album'.

Israeli artist Moscoman returns to Damian Lazarus' Crosstown Rebels imprint with Adventura, featuring a collaboration with alternative and electroclash band Zoot Woman and a remix from Love Attack label bass Alan Dixon. Transmitting twinkling house to emotive indie dance, each artist leaves a stellar stamp on Moscoman's sinuous release.

As summer draws to a close, Moscoman looks forward to the next chapter in his trajectory, undeterred by the change of seasons. The title track opens with a muscular kickdrum and organic percussion before an enchanting melody glide between the beats, igniting a dreamy, tripped-out feel. It's made for an open-minded dancefloor. Moscoman collaborates with Zoot Woman on Reinvention feat. Zoot Woman, blending the airy vocals of Johnny Blake with a shimmering synthline. One for the indie heads. Alan Dixon's remix follows suit with a cosmic disco offering, reworking the stems with verve and serving a slice of strut energy.

Moscoman is a producer, DJ and label boss. He heads up the imprint Disco Halal, showcasing the sounds of house, nu-disco and post-punk supplied by artists from all walks of life. With an ear to merge traditional tones from different dance music cultures worldwide, Moscoman garners an explorative approach to Disco Halal. So far, the label's discography boasts tunes by Simple Symmetry, Red Axes, Trikk and Auntie Flo. His DJ sets slink into long, storytelling sessions of low-slung grooves and post-punk flavoured beats, as heard in Space Miami, Panorama Bar, Glastonbury and Pacha Ibiza, amongst other iconic spots. British act Zoot Woman consists of seminal producers Adam Blake, Johnny Blake and Stuart Price. Since the mid-90s, the group have produced and performed electronica, alternative, electroclash, rock and synthpop. Acclaimed for their scintillating live shows, the group remains one of the most remarkable bands from the UK. London-based Alan Dixon is a producer and DJ celebrated for his disco edits. Labels like Watergate, Life and Death, Keinemusik and Pets Recordings have released his tunes alongside his own imprint, Love Attack.

Check point Catherine

“In the afternoon we performed in a rather austere theatre in East Berlin. Then I remember we crossed Checkpoint Charlie that evening to play in a club in West Berlin. The atmosphere was completely different. I felt as though we were living in a black and white spy movie.” Nicolas Fiszman recalls that chaotic day of 13 June 1982. Two outstanding guitarists, Philip Catherine and Nicolas Fiszman, who at the time was only seventeen years old, were taken from one side of Berlin to the other in pouring rain to perform to unlikely audiences. At both concerts, they played the same programme of seven pieces written by Philip, with the exception of “Crystal Bells”, composed by Charlie Mariano. The pair were not master and student. Rather, Philip remembers Nicolas like a young brother he might have taken to the beach. After the 1960s, Philip became a major figure on the jazz scene, working with the greatest: Charles Mingus, Chet Baker, Stéphane Grapelli, Dexter Gordon, to name only a few. Nicolas has played with Charles Aznavour, Vanessa Paradis, Francis Cabrel and Eric Serra, and travels the world with Sting.

On that gloomy afternoon, the two guitarists, alone on stage, decided to brighten up the morosity that reigned. The pieces they played bore titles such as “Janet”, “Babel” and “Petit Nicolas”. It is hard to believe that this varied, well-constructed, polyphonic music was not entirely written down on paper. Philip says, “Nothing is written from beginning to end. I compose the themes and some harmonic bridges. Then we have a chord chart … and that’s it.” The foundations are written; inspiration, taste, fantasy and friendship do the rest. We feel as though we are taking a nonchalant walk through Rio or Miami. The concert is punctuated by thunderous applause.

For these brief minutes in that year 1982, the East Berliners were able to fly over their tightly closed borders.

We are privileged to have unearthed this unique concert where two outstanding artists bring together two cultures to create an intense blaze of happiness.

Philip Catherine, Guitar
Nicolas Fiszman, Guitar & Bass
With the kind authorization of the Artists

repressed !

After the trilogy of King Sporty & The Ex-tra's EPs in 2018, Emotional Rescue returns to the music of Noel Williams with this first ever single release of his 1976 reggae disco bomb, Safari, backed with a special discomix by Lexx.

Taken from William's debut album, Deep Reggae Roots, it can be considered a culmination of his career to date, from growing up on the streets of Kingston, Jamaica, to his first singles for Studio One and Trojan, his relocation to Miami and the birth of his Konduko label and moves to incorporate the local clubs growing affiliation with funk and disco.

Prescient to the coming wave, Williams enlisted some of Miami's finest in George Perry and Clay Cropper (Chocolate Clay), Ron Smith (KC & The Sunshine Band) and legendary producer Alex Sadkin (Compass Point, Bob Marley, Grace Jones, Talking Heads).

The stand out from the album, Safari, with it's hazy, low slung groove of razor sharp rimshot, guitar licks and funk bass is topped with an incessant chant 'Disco, Safari'. Criminally brief, the choice of Lexx to step in the mix was a simple one. His dubbed rework is perfect, laidback, letting the groove roll and King Sporty's mantra shine.

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

The phenomenal debut album by an extraordinary keyboardist and
composer Surya Botofasina.

Surya was taught in the tradition of Alice Coltrane, by Swamini
Turiyasangitananda herself, at her Ashram in California where he grew up.
Produced by and co-performed with Carlos Ni o in Los Angeles, this is a unique, deep listening masterpiece of spiritual jazz and meditative sounds from a progressive Sonic Artist devoted to: "OneLove. Family. Music."

On in february, Isik Kural works like a photographer of sound, documenting the passing and returning of time as if material snapshots of life's temporality. Across the album's twelve songs, each composed from chance loops and cocooned within the soft container of Isik's memorable voice and melody play, time is held on to hopefully, impossibly, eternally.
Born in Istanbul, Isik studied music engineering at the University of Miami, alighted in New York City, and eventually settled in Glasgow, immersing in a sound design masters and audiovisual practice. While these paths guided him between different projects and cities, a voice was simultaneously growing inside the artist, informed by a vision of the world in its everyday luminosity. This voice was expressed in the lyrical and instrumental waves of 2019's As Flurries, a cassette collection for Italian label Almost Halloween Records.
Isik Kural's in february will be released on October 15, 2021 on vinyl, cassette, compact disc, and digital formats. On behalf of Isik, a portion of the proceeds from this release will benefit Turkiye Egitim Gonulluleri Vakfi, an organization that creates and conducts workshops, educational training programs and after school programs for children across Turkey.

Sought-after disco funk recorded in Miami, 1981, available officially for the first time on reissue 45. Strength, Trust, Unity and Determination hailed from Augusta, Georgia. Bandleader and trumpeter Robert Blount played in The J.B's touring line-up for a brief time in the 70s and later started S.T.U.D. Band, forming a septet to gig and record in Miami, Florida.

2022 Repress

.For this from that will be filled is the debut album by Clarice Jensen, artistic director of the American Contemporary Music Ensemble (ACME). The album explores the variable differences between acoustic and electronic sound as well as depiction of the simulated and the unconscious. It was originally conceived as a collaboration between Jensen and the artist Jonathan Turner as an audio-visual work, but is here presented in it´s pure audible form.Building on a long and romantic tradition of solo cello repertoire, Jensen expands and confuses the familiar sound of the cello through the use of effects pedals, multi-tracking, and tape loops recorded at variable speeds, presented in works she has written for herself as well as a piece she conceived together with Icelandic composer Jóhann Jóhannsson. Also featured is Michael Harrison's Cello Constellations for multi-tracked cello and sine tones, written for Jensen, which meditates on long, sustaining tones.With For this from that will be filled, Jensen has made an incredibly strong first album that feels like a surreal and futuristic journey through an alternate timeline.

Live At Robert Johnson proudly presents the new »Holographic Witness« EP by Niall Mannion aka Mano le Tough!

Please enjoy four very special tracks made by experienced Irishman Mannion near beautiful Lake Zurich. Four tracks to jump into like Zurich folks jump into the Limmat to get carried away. Now here's YOUR chance to get carried away too!

Let's start with the hypnotic grooves of »Holographic Witness« with its subtle handclaps and percussions turning this bass-line driven monster to further heights - a bass-line quite reminiscent of that special Miami sound made famous by the Murk guys back in the early 90ies. Add some balearic guitar riffings and wait until that mighty bass drum comes back in after 6 minutes and you'll find yourself dreaming on a dancefloor in heaven.

Niall continues with more pounding drum sounds in next tune »Kakooja«. Stabbing synths sounds dominate this track while Niall manages to create another dreamy vibe again for this monotonous (in a very positive way that is) work of art - a dreamy vibe which can be found on any of Niall's EP's tracks. This leads us directly to »Last Floating Figh, Liufe Floating« where Mr. Mannion floats into much quieter shores. It's a very meditative affair which makes you want to listen to it over and over again once the tune comes to an end. We think that Señor Villalobos might unleash this one very soon onto some European dancefloor … don't you think?

On »Weather Master«, this EP's last track, Niall masters the art of trippy sounds for a fourth time building another dreamy hypnotic groove that is just beautiful. Maybe too beautiful for this world … we don't know, but what do we know? We're fans. Fans of Mano Le Tough who does not seem so tough at all considering his first offering for Live At Robert Johnson.

Maybe you should consider becoming a fan too - in case you aren't already …

Sláinte, Niall! We raise our glasses respectfully!

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than w hat had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

Two years after their album with the significant title Enkel Duetten (Only Duets), Arne Omloop, Boris Van den Eynden, and Noah Melis have again invited a motley collection of guests. Besides Dutch, you can now also hear Japanese, Slavic pronunciations, English words, and Dutch dialects – wriggled between the beats and melodies

Ask the members of Borokov Borokov to say something about their new album De Verkeerde Fout (The Wrong Mistake), and they will answer you that it is the best record they have ever made. And then something about sliced white bread or dry shampoo. No, you don't get much wiser when the trio has to interpret or analyze themselves and their unconventional, asymmetrically bouncing synthpop.

Two years after their album with the significant title Enkel Duetten (Only Duets), Arne Omloop, Boris Van den Eynden, and Noah Melis have again invited a motley collection of guests. Besides Dutch, you can now also hear Japanese, Slavic pronunciations, English words, and Dutch dialects – wriggled between the beats and melodies. Maybe these participants do have something (un)sensible to say about De Verkeerde Fout and BB's freaky universe?

If it's really a post-genre world, why does everything sound the same? The two halves of Tampa rap duo They Hate Change_Dre (he/him) and Vonne (they/them)_first came together in front of the apartment complex where they both lived as teens. Dre had just moved down from Rochester, NY; Vonne was trying to sell him bad weed. It was clear from the start that the two listen to music differently from most people_they're sonic omnivores, obsessive deep-divers, lovers of rare and radical sounds. Starting as kids trawling the internet for tracks, they've been collecting music from around the world and across the decades, amassing a shared sonic knowledge so deep that "encyclopedic" barely begins to cover it _ not just the East Coast hip-hop that Dre grew up on, or the hyperlocal bass-music variants like jook (the Gulf Coast's twerkably raunchy answer to house) and crank (think "Miami bass meets NOLA bounce"), but also drum `n' bass, Chicago footwork, post-punk, prog (they're, like, seriously into prog), grime, krautrock, emo, and basically any genre on the map. Once they graduated to DJs on the Tampa DIY scene _ which includes everything from punk rock house parties to the black "teen nights" that pop up in rec centers and ballrooms _ they figured out how to pull all these disparate sounds together into a cohesive style. More importantly, they figured out how to make it something people will actually move to. When they made the transition to rapping and making beats, they brought that pleasure-seeking approach to sonic experimentation with them. "With this album, Vonne says, "it's really like, okay, you know how you talk about the internet breaking down borders? Here's what that actually sounds like. It's not just a hip-hop record with a couple more weird sounds. You want homegrown DIY? This is a record that was written, produced, and recorded in a 150-squarefoot bedroom from the least cool city you could think of." Finally, New is what a truly post-genre musical landscape is supposed to be: building deep connections that transcend outdated distinctions between them, spilling over with the joy of exploration and possibility, and daring other artists to think broader, go deeper, take bigger risks. Let the rest of them keep playing by the old rules_They Hate Change will keep changing the game.

Salsoul is the 9th studio album by trailblazing Filipino-African American singer Joe Bataan, featuring his classic single ‘Mujer Mia’.
Re-issued for the first time since 1973 on limited edition blue translucent vinyl, Salsoul was born out of Bataan’s love for salsa & soul, which developed during his youth in New York’s Spanish Harlem.
Such was the impact of Bataan’s new sound, that Salsoul served as the catalyst for the creation of a label by the same name. Formed by brothers Joseph, Kenneth & Stanley Cayre, Salsoul Records spearheaded a new generation of charismatic artists that, influenced by soul, funk & Latin dance rhythms, gave the label a signature sound.
Re-emerging in samples and remixes, the Salsoul Records catalogue is proof of the label’s enduring legacy and it’s crucial role in shaping the sound of a new wave of disco.

The sound company operating under the project name "Noiseshaper" is poised to release a very special vinyl album into record shops worldwide. The band received great acclaim for their first albums, which were released on the legendary and famous Rockers Hifi label Different Drummer. They later became celebrated for their musical contribution to the US television series CSI - Miami ! The Viennese coffeetable boys Axel Hirn und Florian Fleischmann achieved cult status with their 12-inch single "The Only Redeemer", which was later released in the US by Quango (Island Records /Palm Pictures) and fast became a permanent fixture on the playlists of the best and most popular DJs in Berlin, Vienna, Tokyo, Paris, London and New York. The next dancefloor filler followed with "All A Dem A Do", sung by Juggla, which was the band"s first release to get heavy rotation on many European and US radio stations. Next up were remixes by and for heavyweights such as Sly & Robbie, Outkast, Seven Dub and Carl Douglas. Noiseshaper"s defining sound has been distilled and condensed an utterly distinctive blend of "housey downbeats with a fat reggae flavour" has brought the Noiseshapers international acclaim and popularity. The very special VINYL release is the essential of what NOISESHAPER has ever done all over the years with a special focus on HEAVY bass remixes by Adrian Sherwood & Paolo Baldini. It is another very impressive display of how a musical style has progressed. Dub as a style with all its reference points between commerce and innovation ! 8 pounding dub flavour tunes all are best for bringing the dancefloors of the dub universe to boiling point. Heavy bass for heavy dancing!

TELE MUSIC is a label of Éditions Musicales Sforzando now owned by BMG Production Music. It is entirely devoted to the music library, that is to say, music for sound illustration used in audiovisual productions. Created in 1966 by Roger Tokarz,
just before advertising was allowed on French television, Editions Sforzando specialized from the outset in sound illustration for radio and television.
This collection, soberly entitled “Volume 2”, is the sequel to “Volume 1”, produced with equal care, passion and fervour by Lord Funk & DJ L.C. In the mid-90s, Tele Music vinyl was sold at ridiculously low prices. Often disparaged by collectors and record shops, considered by some as lift music or vulgarly called “music by the meter”, the music store was only of interest to fans of instrumental music! But in the 2000's, it had a second life and saw its prices soar on Discogs, thanks to sampling and digging in Hip-Hop mainly. This advent of the library is an era that Lord Funk, curator of this compilation, experienced when he brought several music library collections to New York City (NYC) to his A1 Records stronghold in 1997.
In this 2nd volume, Lord Funk & DJ L.C. have chosen a range of music from 1969 to 1983, from psychedelic jazz to electro funk via rnb, soul and jazz-funk. Most of the titles in this collection were recorded in the magic place that was the famous CBE recording studio set up by Georges Chatelain, Janine Bisson and Bernard Estardy. Bernard, nicknamed the giant, was a sound genius and a mixing perfectionist. Georges Chatelain was an electronic engineer. Together, they brought a sound,
a colour, a trademark. Bernard Estardy was also considered as one of the greatest French sound engineers and an energetic organist for Nino Ferrer or Nancy Holloway. We warmly thank Julie Estardy for her total and unreserved involvement in these reissue and compilation projects.
The combination of all these prodigies has given TELE MUSIC a phenomenal and unique sound colour in the service of a sound repertoire that is now part of the French heritage.

Originally released in 1994 on Calypso Records / Irma Records in a triple vinyl promo white label version, Don Carlos's album Aqua is the
second album by the Varese-based DJ producer, already then known for his first two singles Alone and Mediterraneo, then both included in
his first album entitled Mediterraneo and released only in Compact Disc format in 1992 for the American market printed and distributed by
IRMA U.S.A., the American subsidiary of IRMA Records Italy.
The same fate will also have the Compact Disc format of the Aqua album, again printed only on the American market.
But the triple vinyl, printed in a limited edition of 500 copies in a white generic envelope, was never reissued and has become a rare record
over the years.
After almost thirty years, after countless requests for reissues, especially in the last few years in which the name and music of Don Carlos
has made a comeback, Irma Records has decided to reissue the vinyl in exactly the same original triple version.
DJ Don Carlos (born Carlo Troja) with his productions in the 90s has become one of the cult producers for DJs around the world.
His track Alone released in 1991 for Calypso was and still is one of the classics of House Music, played by all the major American and British
DJs.
At the time of its publication it was considered an underground song and therefore did not sell very much, but over the years its myth has grown
thanks to its subsequent productions as for example his second single, the EP entitled Mediterraneo, title which it will then inspired his first CD
album printed in the USA with the same title.
Several other singles followed, another album, always printed only in the USA, entitled Aqua, from which a triple promo vinyl was extracted which
today is one of the artist's most requested rarities.
In Italy his third album was released in 2002 entitled The Music In My Mind where Kim Mazelle, Michelle Weeks, Taka Boom and Kevin Bryant
were present as vocal guests. In 2009 a collection of the first two albums released in the USA titled Mediterraneo-Club Favourite Collection '90-
98 and in 2010 his fourth album entitled The Cool Deep which reproduced the sounds closest to his first productions.
Also active as a remixer for Italian and international labels, one of his most important works is the remix of Byron Stingily of the song You Make
Me Feel of which he made a worldwide hit. As a producer he also used other pseudonyms such as Montego Bay, Aquanuts, Sotterranea and
Love 2 Love Orchestra. He has played and plays in different countries such as London, New York, Miami and at various festivals, such as the
Robot and the Stickermule Festival in an evening with Apparat, Derrick May, DJ Koze, Lil 'Louis, Young Marco and Ellen Allien, LTJ Xperience

Exzellente Live-LP zum Jahrestag des letzten Nightmares On Wax-Studioalbums 'Shout Out! To Freedom...', aufgenommen mit vollständiger Band und dem New Yorker Vokalisten Haile Supreme im legendären Pikes auf Ibiza im Oktober 2021.

Nightmares on Wax spricht darüber, wie das Live-Album zustande kam: "Dieses Live-Album fängt wirklich die Momente ein, in denen wir aus dem Lockdown herauskamen und alle wieder zusammen sein und auftreten konnten, während wir die Möglichkeit hatten, all das auszudrücken, was wir bei der Entstehung des Albums fühlten. Wir spielten es live mit allen Musikern aus Ibiza, Haile Supreme kam aus New York City, nachdem wir lange Zeit keinen Kontakt zu ihm hatten, und wir konnten im legendären Pikes Ibiza auftreten. Es war unser erster Gig während der ganzen Pandemie und es war ein ganz besonderes Gefühl. Teil der Geschichte in diesen Mauern zu sein, ist etwas ganz Besonderes und liegt mir sehr am Herzen, denn Ibiza ist meine Heimat. Dieses Live-Album fängt diese Energie und Stimmung ein, ebenso wie all die wunderbaren Menschen, die ausgewählt wurden, um uns bei diesem Ereignis zu begleiten."

Mit einer Band bestehend aus George Evelyn alias DJ E.A.S.E, Haile Supreme, Michael Alcaras, Antonie Blakstad, Marlon Lopez, Omar Alcaide, Alessandro Doretto und Kwake Bass.

Als ein Drittel des New Yorker HipHop-Trios Flatbush Zombies arbeitete Meechy Darko bereits mit u.a.
James Blake, A$AP Rocky und Danny Brown zusammen. Mit ”Kill Us All” stellte er jetzt die erste
packende Videosingle aus seinem Debütalbum ”Gothic Luxury” vor, das am 26. August über Loma Vista
Recordings / Concord erschien.
Es ist die Komik der Tragik, die Meechy Darko zu seinem ersten Soloalbum geführt hat. Ausgehend von
dem entsetzlichen Tod seines Vaters, der im Januar 2020 von einem Polizisten in Miami niedergeschossen
wurde, ist sein Debütalbum kein Schritt aus der Komfortzone, sondern ein Stoß in die Realität: ”Ich hatte
keine andere Wahl, als es zum Persönlichsten zu machen, was ich je getan habe, denn glücklicherweise oder
unglücklicherweise befinde ich mich gerade in einer sehr aufrüttelnden Phase meines Lebens”, sagt der 32-
jährige Rapper über die Entstehung von ”Gothic Luxury” und die Bedeutung dessen als Momentaufnahme.
”Der, der ich gestern war, ist vielleicht schon nicht mehr der, der ich morgen bin. Ich bin nicht der,
der ich letzte Woche war. Man kann nicht sagen, wer ich nächstes oder übernächstes Jahr sein werde.”
Zusammen mit Dot Da Genius, dem langjährigen Partner von Kid Cudi und Produzenten für u.a. Jhené
Aiko, Lil Nas X und Denzel Curry sowie Grammy-Preisträger Neal Pogue (u.a. TLC, Outkast, Tyler The
Creator) hat Meechy ein vielschichtiges Debütalbum erarbeitet, auf dem sich der Flatbush Zombie so öffnet
wie nie zuvor.

(reissue)

Pluto Shervington's move from his native Jamaica to Miami had a huge influence on the musician, singer, engineer and producer's sound. That is captured in this gloriously fresh take on reggae: it reflects The Magic City's bright lights and shiny metropolitan feel, technological advancements of the time and urban swagger of the people. It was recorded by the former member of the Tomorrow's Children show band at Earthman Studio in late 80's Miami and brings in lashings of funk, soul and disco to the clean digital sounds and fleshy reggae drums. His own mic work adds to a sound that calls 'urban reggae folklore' and makes for a superb listen.

Brand new album from Polish jazz quintet EABS!

Mutant, electronic jazz, maneuvering elements of hip hop, Miami bass, trap and drill to forge one of the most forward thinking jazz albums of the modern era. Featuring Jan Ptaszyn Wróblewski, one of the forefathers of Polish jazz. ESSENTIAL release from Astigmatic Reecords!

A meeting of the minds between two Israeli DJs and producers. Adam Ten & Mita Gami release a combined two-tracker in September on Crosstown Rebels, dipping into dark and hypnotising waters while maintaining a club-cut aesthetic.

The pair pen a slow-burning chugger on the title track, merging tones of tech house, progressive house and techno. A high-pitched vocal weave’s throughout, in tandem with a distorted synthline and oddball sound FX—one for a wavey dancefloor. On the flip, Night Shift glistens with emotion as tribal-tinged percussion collides with long, drawn-out piano notes. A cosmic creation that blurs the line between melancholia and warmth.

Adam Ten is a Tel Aviv-born producer and resident DJ of institutional club The Block, located in his home city. Ten is a key artist on the Israeli scene, recognised for his all-night sets that blend a myriad of moods in electronic music. He’s played worldwide, spanning stints in Miami, Cape Town and Mykonos, amongst several other regions, and he’s channelled his compelling sound on labels like Diynamic, Multinotes, Disco Halal and Selador. As a co-founder of the event series TERRA, Ten curates some of the finest nature-orientated parties in Israel. Mita Gami hails from Tel Aviv. A multi-instrumentalist from a young age, he goes beyond the trope of entertainer. Instead, Gami invites his audience into immersive and almost trippy journeys during his performances via a hybrid set-up and enticing energy on-stage. Releases on REALM Records and Diynamic display his metaphysical approach. Beyond producing, Gami co-runs the label Blue Shadow Records and the Sunrise Kingdom area in Midburn Festival, based in the Negev Desert in Israel.

ONLY 400 PRESSED. NO RETURNS, ONLY ORDER TO DEMAND. With New Confusion they've usurped their own outré paradigms yet again, resulting in a demented heat-haze panorama of delirious beat-driven abandon and elucidated neural pathways. As ever the brainchild of Texan king of outlaw brinkmanship Craig Clouse, these nine abject and glorious meditations exist in an alternate dimension whereby a loop-driven exploratory framework is joyridden with alacrity offroad by a moonshine-swigging convict, a zone whereby aural scrap metal is alchemically transformed into gleaming, abstract and intimidating structures and sculptures anew. It may not have occurred to the average head that the sound of Tropicália melting gleefully in the sun (as here essayed on 'Miami') might be to their satisfaction, nor that the image of J Dilla trapped in a K-hole with Butthole Surfers would do anything but make them mildly anxious.

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than what had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

Emotional Rescue finally gets around to reissuing some House music with the start of a 3 x 12 series from Miami's Dancefloor Records. Covering House and Freestyle, this is music as worthy as any other explored to date.Founded by British ex-pat Jeffery Collins in 1983, Dancefloor Records was the culmination of a music industry journeyman's long career from swinging sixties London to bohemian seventies NYC before relocating to the sunnier climbs of Miami.Taking in the City's unique mix of American, Latin and Caribbean sounds, Dancefloors early success came via a long association with reggae turned disco star King Sporty. While his legacy will be looked at in future, this series concentrates on Dancefloor's shift to the growing club sounds emanating from Chicago and NYC.First is the little is known Eighth Ray. As often the case, a project by a group of musician friends who went on to release under various pseudonyms. From the opening spoken word intro of Axis Of Love, the spaced-out 4/4 and spiritual, pulsing arps, this could be mistaken for the then in-vogue 'Italian House'. With Rimini in its sights, the vocals are the journey, underpinned by simple, up'n'back bass and Mateo and Matos style keys, pure 6am sunrise. Backed with the deeper 8th Ray, the EP eschews the bumpin' House then coming from NYC and looks to the sound system vibes out across the Atlantic. Deep House before the term had grabbed hold, been twisted and contorted and donned head-to-toe in black. Simply, real House music.