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VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Erstmals in audiophilem Glanz: ”Baker’s Holiday”, Chet Bakers swingende Hommage an Billie Holiday
von 1965. Das Album enthält eine Reihe von Songs, die Baker noch nie zuvor eingespielt hatte und präsentiert seine unverkennbare Trompete und auf vier Titeln auch seinen charakteristischen Gesang. Unterstützt
wird er von einer Saxofon-Sektion und einer vierköpfigen Rhythmusgruppe, zu der auch Pianist Hank Jones
gehört. Die farbenfrohen Arrangements stammen von Jimmy Mundy.

Isolation Berlin sind Max Bauer (Gitarre/Orgel), David Specht (Bass), Simeon Cöster (Schlagzeug) und
eben Tobias Bamborschke (Gesang und Gitarre).
Nach einer EP-Collection und drei Alben ist „ELECTRONIC BABIES“ nun ihr viertes Album und erscheint am 11.10.2024
Seit die Selbstinszenierung des Einzelnen zum Ultimum erklärt wurde, sind Bands aus der Mode gekommen.
Zeitgeistigen Aspekten steht die Band ISOLATION BERLIN jedoch mit Sicherheit gleichgültig gegenüber.
Stattdessen kreieren sie ihr eigenes Genre und nennen es treffend Protopop. Tobias Bamborschkes Gesang
ist eindringlich, melancholisch, mitunter nihilistisch. Das Spektrum der Band reicht von Pop über Rock
bis zum Chanson. Und es ist gewiss kein Zufall, dass Sven Regener von Element of Crime auf dem neuen
Album als Trompeter in Erscheinung tritt. Auch die Shoegazing-Anklänge des Plattencovers kommen nicht
von ungefähr.
Aber viel wichtiger sind das Leid, die Wut und der Humor in der Musik von ISOLATION BERLIN. So
etwas findet sich heutzutage nur noch selten.
Aufgenommen, arrangiert und produziert haben Isolation Berlin „Electronic Babies“ in ihrem eigenen ProtoPop-Studio.
Für zwei der elf Titel hat sich die Band allerdings Moses Schneider als Co-Produzenten hinzugeholt. Das
will was heißen, denn bisher haben ISOLATION BERLIN Produzenten strikt abgelehnt und stets alles komplett selbst gemacht. Dass sie dazu in der Lage sind, haben sie längst bewiesen und beweisen sie auch auf
diesem Album wieder.

Neue, radikal überarbeitete Remixe, die aus John Lennons Klassiker Mind Games entstanden sind. Diese 9
Meditation Mixes schaffen ihren eigenen Raum und sind gleichzeitig fest und authentisch in John Lennons
Originalaufnahme des Songs verwurzelt. Jeder von ihnen wurde radikal verändert, verlangsamt und verlängert, von 5 bis 10 bis zu über 33 Minuten, so dass der musikalische Soundtrack den Hörer umspült und
eine entspannende, eindringliche, tiefe Hör- und Meditationserfahrung bietet. Vier dieser Tracks werden
als binaurale Versionen präsentiert, die sich jeweils auf verschiedene Arten von Gehirnwellen konzentrieren: Beta, Delta, Gamma und Theta. Diese Tracks mit den Namen Mind„, Space“, Spirit„ und Love“
nutzen den Effekt, der entsteht, wenn die Ohren linke und rechte Frequenzen hören, die zusammen als
eine neue Frequenz wahrgenommen werden, die verschiedene Gehirnmuster für wissenschaftlich erwiesene
therapeutische Effekte aktivieren kann.
Über den Originalsong Mind Games sagte Yoko Ono Lennon: „John hat versucht, die Botschaft zu vermitteln, dass wir alle Gedankenspiele spielen. Aber wenn wir Gedankenspiele spielen können, warum sollten
wir dann nicht eine positive Zukunft daraus machen - ein positives Gedankenspiel sein?“
Produziert von Sean Ono Lennon, abgemischt und produziert von Sam Gannon mit zusätzlichen Aufnahmen von Scott Holingsworth, wird der Song nun eine neue positive Wirkung im Bereich der Meditation
und Achtsamkeit entfalten.

The Funeral Portrait stands to represent the outcasts from all walks of life. The misunderstood, the weird, neurodivergent, LGBTQ+, marginalised or otherwise given an unfair hand in life. To offer a sense of community, a place to belong and a space where they can feel safe and accepted for their differences. The band members all grew up as 'the weird kid' who was saved by music and alternative culture, so they now feel obligated to return this favour to the younger generation. This message is shouted to the masses through their over-the-top theatrics and dramatic, almost blown out presentation. The Funeral Portrait believes in the power of Devotion to their Music and to their unwavering fanbase, The Coffin Crew. The ritual is beginning and they want everyone involved. Join them to share your devoutness; excuses for not attending are forbidden.

If you can"t make an omelette without breaking some eggs, then you can"t make a debut album without making some mistakes. 20 years on, those mistakes play an integral part of what makes Is My Head Still On? a beautiful record. Loose, explorative, personal, embarrassing, true and all over the fucking place. I wouldn"t want to change a thing.

"The BBC Collection’ is an all-encompassing collection of the many recorded performances of Rory Gallagher at the BBC. Featuring eighteen CDs worth of radio concerts and sessions from 1971 to 1986, roughly 75% of this material has not been officially released before. Also included is two Blu Ray discs of BBC TV concerts and studio performances from 1973 to 1984, all of which has not been officially released previously.
Amassed from the BBC archives and Rory Gallagher’s own transcription discs and off-air cassette recordings, the boxset spans 16 years of his career (1971-1986), taking in highlights such as the 1977 dual television and radio broadcast Sight & Sound concert, Rory’s headlining set at the Reading Festival in 1980 to the emotional ‘At Midnight’ concert live from the Ulster Hall in Belfast, 1984.
A ‘best of’ from this collection will be available on 2CD and 3LP, titled “The Best of Rory Gallagher at the BBC”
These releases celebrate the importance of the artist Rory Gallagher, who was possibly the most recorded musician of the 1970s by the BBC.
“(‘Tore Down’) That was the first song I ever heard played…It’s a BBC recording of Rory Gallagher playing at the Paris Theatre in London in July 1972. And I was in the audience, aged 15, and those opening bars were enough to make me realise that this was something I wanted to do again and again… ‘Tore Down’ was my introduction to live, loud, amplified blues and when Gallagher had finished, my 15-year-old self could not contain his excitement. He ran down to the front to shake Rory’s hand…When the BBC did eventually broadcast the concert, I taped it by leaning the microphone from my clunky cassette recorder against the speaker of our old transistor radio and I listened to that tape over and over again” Nick Hornby, Author"

we would like to share this beautiful mini LP with you at the end of the summer. we were very surprised when we received this demo and knew immediately that we would like to release it on vinyl. The artist is from near the Karparten, we don't know much about him, but he's a nice guy and we like the tracks a lot.
You will certainly hear a lot more from him.. Vinyl Tastes Better...

Captures a night at London’s well known vintage venue Bush Hall when the stage was shared with Jerron ‘Blind Boy’ Paxton. Takes you on a musical journey through Mississippi and Louisiana performing music by artists such as Memphis Minnie, Blind Boy Fuller, Rev Gary Davis. Acoustic duo project of Sister Suzie and Andy Twyman. Part of a growing movement in the UK presenting stripped back acoustic blues. Be ready to be transported back to the 1920s with a show of early folk blues evoking the playfulness, power and soul of the music and the people who created it. The duo are singer/songwriter, guitarist, occasional member of Dana Gillespie’s Blues Band and sometime one-man-band Andy Twyman, and Sister Suzie, singer/songwriter and frontperson of The Right Band; both busy and popular artists in their own right. They have toured the UK and Europe extensively.

Nothing In Rambling as the project name is taken from a Memphis Minnie song which Sister Suzie describes as “very poignant – and like so many in that era, it sounds deceptively cheery and upbeat, but the lyrics are dark, telling a tale of danger and bravery in taking to the road rambling especially as a black person. and the struggles that women, especially black women, faced in that era.” Sister Suzie published a dissertation “Women In The Blues, Pre-1960’ detailing the struggle that women, especially black women, had against the ‘patriarchy’ and in their own sexual liberation. The latter element was often written about observing the ‘racy’ side of life, and on songs such as ‘Me And My Chauffeur’ and ‘Kissing In The Dark’ Sister Suzie takes the cue to deliver with particular juke joint panache. PRESS / ADDITIONAL SALES POINTS: Launched at The Sound Lounge (Sutton) September 12th - Feature published in September issue of Blues In Britain magazine - Reviews in Rock n Reel, Blues In Britain, Blues Matters - Radio play on IBBA and RMR stations - Live shows, and Festival appearances through 2024 – Red Rooster, Ealing Blues, Upton Blues, Tenby Blues, Glastonbury

2000 pressed. First time on vinyl for the gorgeous 'Late December', with a second LP featuring rare recordings from her Live Acoustic LA tour in 2006, the package includes new liner notes and a download of the studio album and live show. An album that's broader than Broadway, a panoramic view of life, love and loss filled with drama and theatricality. Plus a live set that's heart-on-sleeve time, bringing together songs from Lone Justice, plus covers of the traditional country anthem 'The World Is Not My Home', Richard Thompson's 'Has He Got A Friend For Me' and three songs that show the bittersweet beauty of her brother Bryan MacLean's song writing. In total, it's Kurt Weill, Springsteen, it's the million-selling global hit 'A Good Heart' delivered by the songwriter herself in all its Phil Spector-like baroque beauty.

DE MANNEN BROEDERS ist die erste Zusammenarbeit feat. Colin van Eeckhout und der flämischen Folk-Ikone Tonnie 'Broeder' Dieleman aus Zeeuws.
Ersterer ist der Frontmann der belgischen Post-Metaller AMENRA, einer Band, die für ihre überwältigende Härte in Sound und Gefühl bekannt ist.
Letzterer ist ein holländischer Folksänger, dessen Musik von der Kultur seiner seeländischen Heimat inspiriert ist und der bereits mit Baby Dee und
Bonnie Prince Billy zusammengearbeitet hat. Als die beiden sich trafen, spürten sie sofort eine Verbindung.
Das Ergebnis ist das 9-Track-Album Sober Maal (was übersetzt 'nüchternes Mahl' heißt und sich auf die Praxis bezieht, eine einfache Mahlzeit zu
essen, um Dankbarkeit zu üben), das unter dem Namen DE MANNEN BROEDERS veröffentlicht wird. Es wurde in weniger als fünf Tagen in der
Doopsgezinde Kerk aus dem 18. Jahrhundert in Middelburg in den Niederlanden geschrieben und aufgenommen.
Klanglich ist Sober Maal eine eindringliche, emotionsgeladene Reise, die sich in einer vergangenen Welt verwurzelt fühlt, aber dennoch völlig
eigenständig klingt und eine melancholische, aber dennoch hoffnungsvolle Note hat. Der Gesang von Colin und Tonnie verschmilzt mit dem Chor und
einer sparsamen Auswahl an Instrumenten, darunter ein Banjo, ein Klavier, eine Drehleier und die mächtige Zentralorgel - alles vermischt mit den
Klängen und dem Echo der Kirche.

Prepare yourself to ride a cosmic wave of progressive sounds with a touch of speedy acid baselines cooked by the unknown master of Osaka, Ryunosuke Tahara aka Paperkraft. The japanese producer and dj has been working non stop for the last 10 years, on a ride that has taken him to write this beautiful 4 Track EP called Acid Asia.

The EP starts with ”P Spectrum”, a psy trance oddisee containing all the elements to “give you the power” ;) Ravy sounds, fast bpm, and big acid baselines, following by the track tht gives the name to the EP: “Acid Asia”, a more cruising house track, with original sounds from the country of rising sun. B side follows with “Munchakoopas” a nice house track, with sweet melodies, acid synths and the sample of my favorite nintendo character: Yoshi. The EP ends up with Cosmic Flower, a strong percussion over a progressive melody and psytrancy vocals that will make you lose your head.

4 Massive tracks, 4 DJ Cuts, 4 Club Use Only. Perfect for your local rave, or the main stage of your favorite festival.

Next up on Funnuvojere Records is label boss Massimiliano Pagliara’s highly anticipated ‘Hooking Up’ EP. Featuring four distinct club belters, each one is crafted to suit different moments of the party. The new EP once again truly showcases Massi’s deep understanding of the dancefloor.

The title track, ‘Hooking Up’, is a cosmic pop song infused with Chicago house influences, embodying Pagliara’s signature style at its best. The track is a journey through lush melodies and infectious rhythms, capturing the essence of Pagliara’s sound and setting the tone for the rest of the EP.

‘Last Kiss (On Acid)’, is a pulsating acidic banger designed for late-night parties where the energy is high, and the walls are dripping with sweat. ‘Fave Rave’ is characterised by its dirty bass line that conjures the foggy, intimate atmosphere of a packed dance floor.

Closing the EP is ‘Poseidon’s Dream’, a cheeky Italo disco hit that brings a playful, nostalgic, but no less energetic finish to the release. With its catchy melodies and upbeat tempo, the track is the perfect way to end the night on a high.

Drawing inspiration from David Hockney (a favourite artist of Pagliara), French artist Grav Jonz crafted the beautiful artwork. Hockney’s influence permeates not only the artwork but also serves as the muse for the entire EP, weaving his unique artistic spirit throughout.

Y’KNOW returns to Spiritual World on October 4th with Why Now, an 8 track 12” that is so stacked with groove that you can physically feel the claps when you run your hand over the record.

Why Now lifts the fog established on the duo’s digital 2023 two-song debut, pushing their signature beat forward minimalism into digital dancefloor soundscapes. Following in the tradition of dub records, Why Now features four vocal cuts on the a-side backed with four reimagined and stripped back dub versions on the b side.

Lyrically, Bally takes on the narrative of a detective in search of the perfect groove, even if it ultimately leads to their own fictional demise. Y’KNOW is clearly in pursuit of the perfect vibe, and while doing so exceeds the imagination of most traditional guitar-based bands with a mesmerizing mix of dub, post-punk and synth pop.

Limited to 200 12” copies.
RIYL: Colour Box, Maximum Joy, Tom Tom Club, George Clinton & Brenda Ray

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks. Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time." The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

To celebrate 40 years as a solo artist, Alison Moyet releases Key, a collection of 16 reworked singles and deep cuts, alongside two brand new tracks. Key is a blazing showcase of the depth and breadth of Moyet"s song writing ability that unlocks who she is as a creative artist. With nine studio solo albums to choose from to celebrate her fortieth year as a solo artist, Moyet wanted "to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time." The album distils 40 years of music making, presenting a cohesive overview of a long and dazzling journey.

"A landmark in 80s experimental ambient music - previously tape-only, here released for the first time on vinyl, spread across a double LP with five additional tracks, four of which were previously unreleased. Remote Dreaming has been freshly remastered and includes an insert with photos and liner notes.

Dark Entries summons Philadelphia synthesizer scribes The Ghostwriters to rouse their ambient masterwork Remote Dreaming. The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters.

Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate. Following their debut album, Objects in Mirrors Are Closer Than They Appear, they were approached by ambient outlet Mu-Pysch. Remote Dreaming would take shape in various studios over nine months. Jeff Cain's instruments on this project included electric and acoustic pianos, the Juno 106 synthesizer, and a Mirage sampler, while Charles Cohen used his signature Buchla 200 Series Electronic Musical Instrument. A stark departure from the tightly wound first LP, Remote Dreaming shows the duo unfurling with soothing pianos and psychoacoustic textures, its somnambulant drones just skirting the edges of the uncanny. Although ignored in its time, Remote Dreaming is now heralded as a landmark in 80s experimental ambient music.

Proceeds will be donated to SOSA (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking"

As we approach the threshold leading us back to the Black Lodge on our transformative 8th journey, we are escorted through and beyond the mystical portal by the vigorous and fierce forces of Sneaker. Portrait in House is a collection of 3 resonant works, which are unified into a singular vision within its uncanny language that is rooted deeply in the foundations of Jak, New Beat, EBM, and Wave. Existing inside the liminal spaces of where light meets dark, we are presented with a documentation of dissonance and harmony. We begin our voyage with Jihad, a sluggish and slogging piece that unforgivingly drags us through the grime and the dirt in a ritualistic fashion that would have the ghost of Georges Bataille dancing in circles. Voices call out and howl into the dark as the drum patterns of the 707 rhythmically grasps onto its anarchic components. In the dark, we can see the light beyond the known universe. In the words of Sneaker "The name is not our message, but a document of an evident, traditional concept in (y)our world." As we find ourselves sprawled out on the ground following the 1st sonic stanza, a menacing voice bellows and warns that this is a Sax Track. Referencing Chicago icon Lil Louis, this work juxtaposes classical elements of house music together with the bare knuckled spirit of Jak. A magical spell led by disharmonious Portasound FM keys in conversation with a teetering sub bass, where at its core, this plus this, equals something that is uniquely familiar and unfamiliar at the same time. A number fit for any uncanny ritual that will fall under the night sky. Bringing our cosmic procession to a close we pick up the pace with a commanding number titled, Dance On, a no holds barred work that will possess your soul in the name of Jak. Flangers wail unforgivingly alongside a pulsating 101, as samples of the human voice are chopped up and arranged into a conversation that hypnotically calls for our bodies to be transformed into soft machines, while powered by ceremonious motions that are generated from the liberating process of ritual movement. We command you to dance! Words by Justin Aulis Long

ALONZO and M PARENT join forces bringing their gutter-laced sound, through combining their analog and modular studios into a dark cohesion for Juanita Recordings. ALONZO is a Brooklyn based producer, originally from Miami and has released on W.T., ZEMENT, Cultivated Electronics, Kraftjerkz, Rotterhague (as Lithium Parasites with Vidrio), and LSE amongst others. M Parent is a Philly based producer, originally from Connecticut and has released on ZEMENT, Sons of Traders, Acid Camp, Lost Soul Enterprises, and Spectral Sound (as SEER with Maroje T) amongst others.

»Chromacolor« is one of those records that immediately feels like home even though it is hard to locate stylistically. Written and recorded by Hanno Leichtmann in Berlin and Madeira between 2020 and 2022, it draws on rhythmic minimalism as a guiding principle and might call to mind organic, instrument-based ambient music, but also incorporates jazzy moments as well as Annie Garlids multi-layered vocals that permeate through these nine pieces.

The foundation for Leichtmann’s Chromacolor project was laid when the prolific Berlin-based producer, musician, and drummer borrowed a vibraphone and a Fender Rhodes from two friends. Combining their unique sonic affordances with those of a Guitaret, an electric lamellophone, he further expanded his sound palette by inviting other musicians—Anthea Caddy, Sabine Vogel, Tobias Delius, Els Vandeweyer, Sabine Ercklentz, Mike Majkowski, Andrei Ladeishchikov, Oona Farchy, Gonçalo Caboz as well as Rafael and Hugo Andrade—to play small but vital parts in the production of the album.

The opener »Kisses and Wine« masterfully sets the tone for an album that is as inviting as it is challenging. Working with relaxed repetitive rhythms, Garlid’s anthemic vocals and a sprinkle of saxophone and flute tones courtesy of Delius and Vogel, respectively, as well as tender piano notes played by Leichtmann, it evokes a lot with only few means: a certain melancholy, but also an elevated atmosphere that feels both exuberant and restrained.

Leichtmann’s elegant study of the power of repetition, minute rhythmic shifts and subtle use of melodic and harmonic elements creates ambiguities and polyvalences like these throughout the entire record, up until its understated finale, aptly titled »A Beautiful Day«—a drone-jazz piece, if you will, both longing and joyful.

As an album, »Chromacolor« is hard to pigeonhole, but rich and rewarding. All it takes is immersing yourself in it.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

Die niederländische Gospel-Soul-Sensation Michelle David & The True-tones feiert eine triumphale Rückkehr nach ihrem 2022er Werk "Truth & Soul", das von BBC Radio 6 zu einem der Alben des Jahres gekürt wurde. Mittelpunkt der Combo ist die ehemalige New Yorker Kirchenchorsängerin Michelle David, bekannt durch erfolgreiche Musicals/Shows (Mama, The Sound Of Motown, Glory Of Gospel, Mahalia) und als Backgroundsängerin (Diana Ross, Michael Bolton). Auf dem live im Studio aufgenommenen Album "Brothers & Sisters" gelingt es der Band wieder meisterhaft, die rohe, dynamische Energie und die gefühlvolle Atmosphäre ihrer Live-Auftritte im Studio einzufangen, wo sie mit peppigen Grooves, kraftvollen Vocals und starken Melodien, inspiriert von altem Gospel über Curtis Mayfield und Bobby Womack bis zu Klassikern des renommierten Stax-Labels, das Publikum in den Bann ziehen.

Mayday is the third LP by Montreal-based artist, Myriam Gendron. It follows her earlier, critically acclaimed albums, Not So Deep As A Well (2014) and Ma délire - Songs of love, lost & found (2021). Myriam began exploring the complex folk traditions of Quebec (and beyond), with Ma délire, which combines traditional and original songs with arrangements that make space for avant-garde musical interludes by such folks as guitarist Bill Nace (Body/Head) and renowned jazz percussionist Chris Corsano. Mayday presents an even more syncretic fusion of the elements Myriam uses to create her sound. Most of the songs are original, sung in both English and French, and they blend traditional and avant elements with abandon. She is often accompanied on this album by the guitarist Marisa Anderson and drummer Jim White (Dirty Three, Xylouris White), whose work provides a quietly aggressive sort of free-rock base. Additional players include Montreal bassist Cédric Dind-Lavoie, Bill Nace and saxophonist Zoh Amba. Mayday is a thoroughly thrilling effort that manages to create new vistas of sound while maintaining a feel that is both intimate and familiar. The music here certainly possesses a richly serious tone, but Myriam Gendron (like Leonard Cohen) is able to infuse her darkness with a subtle, powerful light that reminds us that even the most pitch-black night is but a transitional state. Beautiful work.

To mark the 10th anniversary of Gidge's landmark album Autumn Bells on Atomnation, the label has assembled a brand new box-
set reissue. This deluxe and expanded edition features a 58-page photo book, poster, the original double album plus a nine-track bonus vinyl with alternative edits and demo tracks from the time, all on transparent wax. The exclusive, limited edition boxset comes first on September 27, then all tracks come digitally in mid-November.

Gidge is the Swedish duo of Jonatan Nilsson and Ludvig Stolterman, who has also taken all of the photos in the booklet. As
friends since high school, they have a deep connection, a great understanding of one another and a shared love of Nordic
woodlands. The spirit of the northeastern forests they grew up around has always coloured their music and lent it an organic,
ethereally, otherworldly edge that conveys feelings of inner peace.

Their brilliant debut album Autumn Bells captured all that in nine accomplished tracks that picked up critical praise from the music
media and millions of online streams. More importantly, it also won them a dedicated fan base who appreciate the art of Gidge's
craft and the sensitivity of their sound. Despite the early success of the album and the three more that have followed since, this
humble pair have chosen to remain low-key. They play only a few shows a year and consciously haven't chased wider commercial
acclaim.

Pulsar-driven groovetronics, folky modalisms in waltz time; dreamvitations to the cine-lounge. Rhythm-n'-mood experimenters Les Hommes return with a plasma-rippling suite of jazzified cuts. The new album – Sì, così – takes us into their usual unusual orbits; with re-explored mid-century Lowrey organ, mellifluous bass clarinet, Arcadian flutes, groovified piano electrique and oscillators scorched on re-entry, it's out there.

With compositions aired on BBC 6 Music, Radio 3, Radio 4 and stations around the world, plus sold-out live shows, global cult combo Les Hommes combine mid-century-cool organ group tropes and heavy percussion with contemporary arrangements and sound-sources. Their new 2024 release, Sì, così, takes the line-up further out again to explore spacier themes, esoteric modes and filmic stratospheres, as well as continuing expeditions into 'live' small-group recordings.

This very limited Future Primitive EP contains 4 ridiculously good remixes that have accumulated over the last few years, and finally get a full vinyl release! Radiophonic oddity brings his usual chaotic and ruff insanity to his version of Feel It, which Diakronik moves in a more classic and clean vein, with a lovely mid 90s remix. Lift Me Up gets an energy injection from Bustin and Skampy, and the EP is rounded off nicely by the early 90s slower remix from Sub Fundation, showing off how original old skool should be done...

Excellent robotic electro(nix) as Pan-Am Tracks welcomes DVS NME and Krypton 81 with this ambitious project that pays homage to German Electro producer Das Muster. Both artists set the tone with intricate rhythms and analogue warmth. Pulsating basslines and shimmering synths intertwine, creating a vibrant, futuristic soundscape. This dynamic interplay between the two artists continues throughout the album, as DVS NME and Krypton 81 counterpoint each others explorations into the sound. A sonic trip that will surely resonate with fans of the genre.

2024 Repress

'Solar Nights' is the long awaited second album from German nu-disco star Tim Bernhardt, aka Satin Jackets. Released on Eskimo Recordings this April, 'Solar Nights' follows on from Bernhardt's critically acclaimed, and Gold certified, debut LP 'Panorama Pacifico' and features 14 tracks of smooth disco and leftfield pop sounds with guest appearances from the likes of Future Classic's Panama, David Harks, Niya Wells, Emma Brammer and Anduze.

The global success of 'Panorama Pacifico' has seen Bernhardt coaxed out from his remote studio in one of Germany's ancient forests to play to fans across the world, from South Korea to Mexico and beyond, experiences that inspired both the album itself and its title, 'Solar Nights'.

"In recent years the world's become smaller, a more inter-connected place. It can be dark and cold here, with snow all around, and the next day I can be playing to people on a beach. Somewhere on the planet it's always daytime or summer, but beyond that day and night just blend into each other these days," Tim explains. "We have daytime discos so you can go and party while the sun is still high in the sky, and you can go and hit the gym at night. Beit day or night, Satin Jackets is your soundtrack."

And what a soundtrack it is, from the first chords of opening 'Welcome Back' it's clear we're in safe hands here, the warm pads, delicate guitars and pianos providing the perfect introduction to the album. Whether it's the slow burning seductive pop of tracks like 'Just Like You', piano led house tracks like 'String It Again', the Balearic haze of 'All For You' or bonafide hits like the Nordic inspired 'Northern Lights' and 'Mirage' that between them have already scored well over 10 million streams across streaming platforms, 'Solar Nights' takes everything we loved from 'Panorama Pacifico' and polishes it to an ultra high sheen.

And in an age when rough and raw production is seen as an easy shorthand for authenticity, Tim's love of über-smooth production has made him an unlikely iconoclast, "I had always been fascinated by how glossy people like Nile Rodgers made their music," he reveals. "It always sounded like the musical equivalent of a fashion magazine's cover. I'd been making more underground music for a while but really wanted to go in totally the other direction and instead create a really smooth, polished sound."

That obsession with sonic fidelity shines through across every track on 'Solar Nights', and the years since his debut was released have been well spent perfecting his craft. "Even in just the last couple of years I've made some big changes in how I produce music. Compared to my debut, everything under the hood has changed here," he explains. "Every day, with every production, I'm learning new things and when I listen to these new tracks, the depth in the mixes, the clarity, I like to think of 'Solar Nights' as Satin Jackets but in 3D."

From wanting to recreate the sound of magazine covers to appearing on them, the past few years has been quite some journey for the still enigmatic producer. The man behind the golden mask may prefer to stay out of sight but 'Solar Nights' reveals him to be fully in control, producing music that reflects the glamour and glitz of 70s Manhattan, artfully updated for the 21st century.

Not so long ago in 2017, the first release on Michiel Claus' and Ailsa Cavers' Basic Moves saw the light of day and especially the shine of night. Produced by founding father Walrus, BM01 set the tone for a record label that focuses on releasing hidden archives from the 90s, whilst combining them with modern club music from the here and now. By highlighting the musical heritage of the Belgian electronic music scene, the label illustrates the continuity between past and present, history and shaping identities of 21st-century artists, undeniably building on the strong foundations of their forerunners. Seven years and nineteen releases later, Basic Moves is rounding off the series with BM20, a final double 12'' by one of the major figures from the Belgian underground: Circadian Rhythms also known as Dj Deg. After many years of collecting, deejaying and producing music, his musical spectrum ranges from synth, library and wave, to jazz, funk and disco, from house to techno. His journey started in clubs like Bocaccio (1988 - 1993), and La Gait? (1979 -1989), where young Deg came across deejay's like Olivier Pieters or Eric Beysens who made him choose the path of becoming a devoted disc jockey himself. BM20 is a sonic witness of Deg's first musical encounters with his machines, revealing a withdrawn selection of six bedroom patchwork tracks produced between the years of '93 & '99, a time without the internet or user manuals to help you solve the riddles of technology. Though only at the very beginning of his creative process, Deg's unique personality is nevertheless already clearly identifiable: blending techno with jazz, where the sharp edges of 16-step drum-sequences are smudged and bent in different directions. In the lower countries, the second half of the 90s was a period of fast & funky, happy Detroit, 140 BPM techno. Whenever Deg was not oscillating between record shops or gigs and had a moment on his own, mostly during morning hours after the club, he would spend his leftover energy in the studio. Either by himself or with his loyal ally Mike DMA, he would benefit from these moments to slow down and give space to a different, introverted sound - processing moods, feelings and thoughts. This record therefore gathers only a few of many (unrecorded) one-shot live sessions which were never intended to be shared - and only existed for the love of music and its power to take you beyond all things known. Thank you Deg for sharing your music and giving us a glimpse of your universe. Without your productions, your memorable warm-ups and closing sets - many of us would not be where we are now, and Basic Moves might never have been founded. As a last note to a closing song, BM20 is about being fully committed to the music and the club, a medium and place of fruitful settings for encounters, creativity and growth. Where dreams and ideas have a chance to exist, being almost ready and thought out to shape future times to come - and many party nights. Gurl, December 2023

“The Blue Hour” is the second VA of Berlin-based THISBE Recordings, following “Black Ink” released in 2022. Curated by label owner Pyrame, The new compilation is an invitation to cruise through the blue hour, that unique time of the day from dusk to night.

During that special time lapse, as the sky goes through several shades of blue, so goes the record: Dominik Marz´s “Bura´s Hymn” brings us straight above the Earth´s surface with a track as atmospheric as it can get, before Radial Gaze & Balam´s collab tune “Foreclosed” sets the scene for a groovy dance above the clouds.

We have already lost sight of the ground when World Wild Web initiates an immersion into an enigmatic phase of the voyage with his track “Extase”, where we do not really know in which time-space we find ourselves any more. Agle hints at a possible spot: “Sahel”, a tune that feels like a breeze across the desert, before Philip Lawns shakes everyone up with the upbeat “Johns”, bringing our feet back just above the ground. Volta Cab wraps up our imaginary trip with “Krasnodar Nights”, bringing a treat for the soul and some peace of mind. The night can now settle down.

Over 14 days at Henson Recording Studios in Los Angeles, Nikka created Pebble to a Pearl- a quintessential collection of soul, blues, funk & pop infused tracks.

Originally recorded and produced by Justin Stanley (James Lidell, Beck), the album was released on Stax Records in 2008.

This timely Deluxe Anniversary Edition features new feel-good funk track ‘Soulsucka’ and will be released alongside Costa's new album 'Dirty Disco' coming June 2024.

Antwerp's Forbidden Fruit bringing 6 vocoder-laced tracks for an EP on Gent's WeZienWel.

Giuseppe Scarano, an Italian Artist Based in Antwerp, Belgium, Has Established Himself as a Prolific Figure in the Music Scene. Over the Recent Years, He Has Released a Multitude of Vinyl Records on Labels Such as Nice People, Disco Disco Records, and Core Cardiology. His Work Aligns With the Emerging Italian Wave, a Movement Spanning From Rhythm of Paradise to St. David and Gourmet De Funk. What Sets Scarano Apart Is the Distinctive Punchiness of His Style, Which Seamlessly Fits Into This Musical Landscape. an Exemplary Demonstration of His Talent Is the Ep That Kickstarts the Groove With "De Folies," a Jubilant 90s House Track That Artfully Combines the Vibes of Artists Like Sneak and Dimitri From Paris. This Record Is a Clear Invitation to the Dancefloor, Poised to Get Feet Tapping and Bodies Moving. the Ep Maintains Its Momentum With "Pleasure Dreams," Continuing to Weave a Musical Narrative That Captivates the Listener. Flipping to Side B, We Are Treated to the Disco-Infused Hit, "Walking on Music," and the Closing Gem "Timeless." This 12-Inch Record Is a Manifestation of Spontaneity and Boundless Energy, Guaranteed to Captivate and Delight Audiences. Scarano's Music Exudes Happiness and Is Designed for People Who Revel in the Joy of the Moment. as a Nod to His Roots and Influences, He Also Pays Homage to the Legendary Folie's Pigalle Club, Where Skylax Once Held Court and Organized Memorable Evenings Under the Banner of "House De Folies."...

Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Zenwerk is an eclectic tech trancethusiast from Belarus, though based in Warsaw, Poland, where he has already established himself as a leading artist and party promoter.

Ne Quid Nimis:
Ne Quid Nimis is Latin for "nothing in excess" – the track is a perfectly balanced subaquatic blend of peaceful yet progressive trance and muffled bloopy sonics. Inspired by the mountains hikes, this tribal trip into the rainforest creates a drifting atmosphere of a celestial and dynamic ride meant to pass a healing power of nature alongside joyful turbulence and inspiration. Ethereal vibrations & deep sound textures create a dreamy universe of wonder and bright hopes for the future.

A2 ‘Dew Kissed Silk’ is a 4x4 walk in trance delirium across predator footprints which becomes satisfactory – silk is being kissed by dew, though not soaked with. This contemporary vanguard trance/breakbeat hybrid creates a perfect mental equilibrium.

Rising Bristol star JOELY brings 2 hot B side tracks which show how hot a talent he is at such a young age. Hive Mind creates a playful grit which will get a dance floor moving in the early hours of a set, providing a steady rhythm which never wavers. Jungle Walk takes us down a darker, ethereal path which will make any soundsystem wobble with the thick wonky textures that JOELY expertly weaves in. Mind this gap.

Contexture is another classic example of a true friends & family gathering. The Nijmegen based imprint, running for over 12 years was born out of a tight group of friends with the same passion. 12 years later, their strongest releases are still based on this exact same principle, collect and release music from the inner circle. Julien Fuentes, Dorcas label head, starts things easy with his Klaridub ambient mix. It's quickly followed by familiar ESHU faces Jocelyn and Yasin Engwer, classic dub techno beats from the ESHU vaults. There's also room for new faces, the recently launched collaborative project between Vand and Shoal as Voal dropping their 'Eight Ball' as their ESHU label debut. Flawless minimalistic grooves that make a perfect fit for their long awaited contribution. Label head Ivano Tetelepta teams up with Pirat Records own Christine Benz. After sharing the DJ booth together multiple times they also joined forces in the studio recently and crafted this squeeky techno drifter. There's also an additional 10", exclusive to the ESHU Bandcamp, includes two beats from Klaridub, bringing some excellent smoke ready, head steady dub-techno cuts.