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Man singt und es wird: Im Zuge eines Zusammenbruchs hat Max Gruber den Soloartist Drangsal gekillt und die Band Drangsal gegründet. Am Ende des Tunnels steht das im Juni 2025 erscheinende Album, Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen.

 Seit über zehn Jahren sichelt Max Gruber mittlerweile die Zick-Zack-Schneise Drangsal durch die deutsche Poplandschaft: Harieschaim aus 2016, Zores aus 2018 und zuletzt Exit Strategy – das ihm 2021 Platz 6 der Albumcharts bescherte – erdachte Gruber größtenteils im Alleingang. Und dann war da noch etwas nach seiner Exit Strategy: Ein Zusammenbruch. Max Gruber wusste nicht mehr, ob und wenn ja, wie er weiter Drangsal machen will, veröffentlichte im Ullstein-Verlag sein literarisches Debüt »Doch«, gründete Die Benjamins, holte so gemeinsam mit Charlotte Brandi, Thomas Götz und Julian Knoth Hans-A-Plast Frontfrau Annette Benjamin aus dem Ruhestand und reaktivierte unlängst das 2016 mit Stella Sommer gegründete Duo Die Mausis.

Und doch, von innen wie von außen, immer wieder die Frage nach einem neuen Drangsal-Album. Wenn es denn überhaupt nochmal eines geben soll, erkannte Gruber, musste er die Arbeitsweise, auf deren Grundlage Drangsal-Songs entstehen, fundamental verändern. Auf alles Ringen folgte, was unvermeidbar war: Der Reset. Max Gruber hat den Soloartist Drangsal gekillt und die dreiköpfige Band Drangsal gegründet – zusammen mit zwei Mitmusikern, die ihn aus seinen Gewohnheiten gelöst haben: Lukas Korn und Marvin Holley.
Erstgenannter ist Gitarrist und Produzent, spielt in der Band Lyschko, produzierte zuletzt das Album silber von Mia Morgan und hat seit 2020 als Bassist an der Drangsal-Liveband partizipiert. Zweiterer studierte Jazz- und klassische Gitarre sowie Komposition in Stuttgart und Wien, stand mit Sam Vance-Law und Fil Bo Riva auf der Bühne und arrangierte für Film und Theater. Lukas Korn und Marvin Holley haben dafür gesorgt, dass sich die zentrale Figur im Kosmos Drangsal dreiteilt.

Das Liedermachen in Bandkonstellation ließ alle Angst platzen: Getragen von Euphorie nahmen Gruber, Holley und Korn ab Ende 2022 etliche Songskizzen und damit den Unterbau eines siebzehnteiligen Albums auf. Nach Kreativurlauben an der polnischen Grenze und Ostsee stand eine von Max Rieger produzierte und von Lukas Korn Co-produzierte vierte Drangsal-LP. Sie trägt den schwergängigen Titel Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen und erscheint im Juni 2025. Gruber, Holley und Korn haben sich auf das Credo so wenig wie möglich, so viel wie nötig verständigt – und dadurch einen Umbruch im Klangkosmos Drangsals manifestiert, der völlig neue Dynamiken mit sich bringt. Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen hält Leerstellen aus, in seinem Zentrum stehen, statt Synthesizer, Akustikgitarren, die immer wieder an der Grenze zu Blues und Jazz wandeln. Wo speziell auf Exit Strategy noch überzuckerter Synth-Pop preschte, ist nun Klavier zu hören; Orgel, Klavinet und Cembalo; Xylophon, Violinen und Celli; von Ralph Heidel gespielte Querflöten und Saxophone.

Dazwischen drei Episoden, in denen sich Gospel Chöre und Technobeats breitmachen. Max Rieger hat die drei dazu motiviert, Echtheit, auch Imperfektion im Moment der Aufnahme zuzulassen – und großen Anteil daran, dass »Aus keiner meiner Brücken die in Asche liegen ist je ein Phönix emporgestiegen« ein realistisches Abbild des Trios bietet. Die Stimmung? Dagegen eher ein Wechselbad. Max Gruber singt von Selbstentfremdung, vom Für und Wider des Stillstands, vom Sichhingeben und Sichwegschmeißen – mal auf deutsch, mal auf englisch, mal zart, mal angewidert. Grubers Stimme klingt, nach einer klassischen Gesangsausbildung, die der Einunddreißigjährige angetreten hat, zielbewusster. Umarmungen Marke »Ich hab von der Musik geträumt und Inkomplett treffen auf Gewitterwolken à la Mein Eid und dem Sophia-Blenda-Feature Mein Mo(nu)ment. Entlang rigoroser Entkernung und Hexenjagd geht es Bergab – für dich, für mich, für Max Gruber sowieso. Er ist über weite Teile der Platte hinweg auf der Flucht vor sich selbst, den alten Geistern, dem leidigen Wachzustand: Wär’ ich doch bloß nimmermehr erwacht, ich schliefe in ewigem Glück. Gruber sucht und sucht: Nach innerem Frieden, nach Gnade, nach unverbranntem Boden, nach neuen Versionen seiner Selbst – und das vergeblich. Immerhin scheinen Erinnerungen mit der Zeit zu verschwimmen: Grubers Worte – zu sich und zur Welt – klingen im hinteren Teil der Platte sanfter, vergebender, resümierender. Ein Schlüsselmoment? Das von der Schauspielerin Rosa Lembeck eingesprochene, Monolog artig formulierte Klanggedicht Rosa – Es ist so: Man singt und es wird.

2025 Record Store Day title - now available for general sale. A very special album to mark Room In The Sky’s 200th physical release. A selection of beautiful instrumental tracks, and featuring some of the best reggae musicians: Vin Gordon who basically played 90% of all the reggae hit horn lines , from Studio One to Bob Marley & the Wailers; Ernest Ranglin top jazz/reggae guitarist, now 93 yrs old and still playing, he produced the first Jamaican number 1 record “My Boy Lollipop” for Island Records; Dean Fraser, the number 1 Jamaican sax player; The Megahband - Michael Fletcher and Alborosies’ riddim section; Sly Dunbar the greatest reggae drummer; Alan Weekes - UK jazz reggae guitarist who played on most of UK reggae created in the late 70s, and 80s, and produced Carrol Thompson’s Hopelessly in Love LP; Jackie Mittoo responsible for 80% of all the biggest reggae riddims.

Epitomising the very best of their hometown’s unparalleled musical heritage, Dames Brown are fully-fledged members of the extended Defected family following the release of slick, funk-filled record ‘What Would You Do?’ in 2021 and features on a number of the label’s vocal house hits. The Detroit trio continuously impress with their exquisite releases, striking lyricism and a hefty dose of house authenticity across their outputs. Now Athena Johnson, Teresa Marbury and LaRae Starr step out to properly introduce themselves to the wax lovers, with Detroit musical icon Amp Fiddler on production duties. Releasing ‘Introducing Dames Brown’ on 7”, this package also includes the Instrumental, as Detroit’s finest deliver a taste of what’s to come on their forthcoming album, capturing funk, house and soul from across the spectrum.

DO call it a comeback! Nach nicht weniger als 22 Jahren veröffentlichen die Wiener Beat-Maestros Urbs & Cutex wie aus heiterem Himmel ihr drittes Album namens "On Our Way". Die beiden Veteranen zeigen sich bestens aufgelegt und schaffen es auf diesem Überraschungspaket mühelos dort anzuschließen, wo sie vor zwei Jahrzehnten aufgehört haben. Sie bleiben sich selbst treu, finden aber auch neue Wege ihren sehr persönlichen Stil weiterzuentwickeln und HipHop und Downtempo auf eigenständige Weise zu verschmelzen. Urbs & Cutex (der auch unter Cut Ex firmiert) sind ein Produzenten-Duo aus Wien, das sich auf entspannte Instrumentalmusik spezialisiert und klassischen East Coast HipHop mit Elementen von Triphop und Downtempo verbindet. Beide begannen Anfang der 90er Jahre als DJs und machten ihre ersten Schritte als Produzenten unabhängig voneinander, um später eine der interessantesten Gruppen der florierenden Wiener Elektronik-Szene zu formen. Zwei gefeierte Alben wurden damals veröffentlicht und noch heute werden ihre Songs von immer neuen Generationen entdeckt, was zu Millionen Aufrufen auf den bekannten Streaming-Plattformen führt. Nach 22 Jahren, diversen Solo-Alben (u.a. Urbs' "Toujours Le Meme Film" und "Geheimland"), unzähligen Singles, Remixes und Kollaborationen, haben sie also beschlossen, wieder zusammenzuarbeiten und dabei ihr Mojo sofort wiedergefunden. Mit charmanter Sturheit produzieren Urbs & Cutex weiterhin Musik, die manche als retro, andere als zeitlos bezeichnen werden. "Wir suchen nach immerwährenden Wahrheiten" bemerken sie dazu achselzuckend. Das Album beginnt daher ganz im Stil ihres letzten Albums "Peace Talks!". Soul- und Jazz-Loops werden mit dopen Beats kombiniert und man wird sogar mit dem ersten Rap-Part überrascht, der es jemals auf ihre Alben geschafft hat: T.R.A.C. aus New York, bekannt als MC von Marc Macs Visioneers, unzähligen Drum&Bass Releases und nicht zuletzt Urbs´ Solo-Alben, glänzt auf der ersten Single "Wherever You Are". Nach einigen Songs lässt sich feststellen, daß Urbs & Cutex ihren Sound aber sehr wohl subtil weiterentwickelt haben. Durch gefinkelte Arrangements und gekonntes Übereinanderschichten von Samples wird eine dichte Atmosphäre geschaffen, die weit über das hinausgeht, was Boombap üblicherweise bietet. Urbs & Cutex schaffen es auf diesen 14 Songs die Fadesse von Chillout, Lofi und Boombap zu umgehen und bauen einen Spannungsbogen, der von uplifting bis deep und hypnotisch reicht.

Bonnie Banane and Joseph Schiano di Lombo present L'Orguasme, an album of bawdy and devotional songs accompanied by the organ of the Cité de la Musique / Philharmonie de Paris. Literally composed and written for pleasure, this work (of the flesh, naturally) pays tribute to the most spectacular expression of ecstasy - a paradise so near and yet so misunderstood. From the most restrained sighs to the most dazzling vocal outbursts, from the foreplay to the eruption, not to mention the bliss that follows the incandescence, Bonnie and Joseph sing about the art of reaching seventh heaven, of genuflection and "la petite mort" ("little death" a French expression for "climax") without shying away from the darker areas: those of guilty, forbidden, feigned, or selfish pleasures, for instance.
By turns light, explosive, mystical, burlesque, and poetic, this music diverts the organ from its centuries-old habits, achieving a union of the profane and the sacred, the crass and the beautiful, the body and the spirit, early music and pop - reminding us of the essential truth: it's better to come than to cry.
While the minimalism of the arrangements initially strikes the ear - no instruments other than the organ accompany these musical escapades - the album is infused with numerous unexpected influences: R&B (La petite mort), swing (Le cri), gospel (Simulation blues), jazz (Le calme après l'œuvrette), medieval ballads (Ronde génitale, Au plaisir), and even a famous 16th-century folk dance called the branle (Branle Censored).
A sexy, lush, stripped-down, and unabashed opus, glorifying what remains glorious: love, music, and the boundless joy of creation.







g B2. Branle Censuré







[g] B2. Branle [Censuré]

F.G.S.–the musical project of Los Angeles artist Flannery Silva–announces the first-ever vinyl release of her debut album ‘Tinker Bell’s Cough’, arriving May 27 via Scenic Route. Alongside the release comes a new single, ‘The Punisher (Tinker Bell’s Edit)’, and an exclusive vinyl-only live track, ‘Passions (Live at Tinker Bell’s Clubhouse)’.

Co-created with musician and producer Chase Ceglie, ‘Tinker Bell’s Cough’ is a surreal Americana record that filters the language of girlhood, heartbreak, and fantasy through a warped, theatrical lens. It’s Lana Del Rey meets David Berman in a cartoon whirlwind, with traces of Dolly Parton, Arthur Russell, and David Lynch.

Silva describes the record as “fairy tale theatre”. It’s packed with alt-universe country hits (‘Beth’s Deth’, ‘American Shield’), uncanny ballads (‘I’m Growing A Cross Around My Neck’), and leftfield pop songs rooted in character and place. ‘Passions’, the opening track, was inspired by Mary MacLane’s ‘I Await the Devil’s Coming’, while the title track imagines Tinker Bell herself singing a lullaby to God.

New single ‘The Punisher’ is an anthemic road song about loneliness and transcendence. “It’s about driving north on I-5 in California, worrying my car will overheat, bargaining with God, and falling in love with dust tornados,” Silva says.

Raised in the woods of upstate New York and formerly one half of the cult duo Odwalla88, Silva brings a visual artist’s sensibility to music. She studied art in Baltimore and continues to make sculpture and performance work that informs her songwriting. ‘Tinker Bell’s Cough’ was written on the Rhode Island coast, where she and Ceglie met weekly to write and record—drawing from old texts, visual references, and poetry.

F.G.S. has drawn praise from NTS, The FADER, Gorilla vs. Bear, The Line of Best Fit, Artforum, Sex Magazine, and more. With the reissue of ‘Tinker Bell’s Cough’ and the release of ‘The Punisher’, Silva continues to expand the strange, magnetic world of F.G.S., one that feels both deeply American and entirely her own.

Bergen-born Bare Folk's songs belong to the ballad genre, with clear elements of jazz and folk music. With harmonious, original melodies, the mood ranges from the melancholic to the life-affirming. Inspired by the greats of Norwegian ballad music, Bare Folk vitalizes the connection between poetry and music. Bergen's very own folk jazz song band Bare Folk has already been critically acclaimed and established as something unique on the music scene in the city between the mountains. Nevertheless, Bare Folk plays songs that songs should sound well-known but fresh, wistful but hopeful, humorous but serious. Their debut album is called "Noe Tror Jeg & Noe Vet Jeg" (Some things I think & some things I know). No surefire title, but it is sure that it contains something for every taste. Here you will find everything from socially critical satire to traditional harp songs to love songs - and everything in-between in beautiful harmony.

Musiklegende BRIAN ENO und Konzeptkünstlerin BEATIE WOLFE veröffentlichen mit den gemeinsamen Alben LUMINAL und LATERAL zwei Projekte, die ebenso eigenständig wie miteinander verbunden sind.

Das Alternative Music/Vocal-Album LUMINAL featured Vocals + Lyrics von Wolfe und wurde von Eno produziert. Beide nennen die Musik auf dem für beide Künstler ungewöhnlichen Album „electric-countrydream-music“.

LATERAL bezeichnen beide dagegen als „ambient-landscape-dream-music“ und „like the familiar, but better“. Eno selbst gilt als Erfinder des Begriffes „Ambient Music“ in den 1970er Jahren.

Beide Alben erscheinen am 6.6. auf LP, CD und digital. Die Künstler sind Mitglieder von EarthPercent, einer Non-Profit-Organisation, die Klimaschutz innerhalb der Musikindustrie einfordert und unterstützt. Die schwarzen und limitierten LPs des Projektes werden deshalb in BioVinyl (bio-basiertem PVC) gepresst.

Once upon a car park.
In the mid-90s, DJ Steve and Luca Lozano bonded over Mobb Deep, Droors, and the finer points of frontside flips. Soundtracked by skate videos and boombox freestyles, those formative years were more about asphalt than machines.
Time moved on. Steve found his way to stages from Sheffield to Sonar as half of an electro duo; Luca chased underground frequencies from London to Berlin. Life zigzagged. Contact faded.
Fast forward a couple of decades and a random reconnection just before lockdown sparked version 2.0 of their friendship—and a new chapter of collaboration. What started as nostalgia turned into studio marathons and shared sonic visions. The result: Closed Circuit.
This is the sound of two old friends channeling 20-year loops—where electro meets B-boy attitude, house nods to early Warp, and vocoders clash with vintage drum machines. Think sun-bleached jeans, fuzzed-out tape hiss, and that pre-internet rush of discovery.
To top it off, Running Back’s own Roman Flügel contributes a sharp remix flip, and the sleeve features archival photos taken by Lozano during his early London days (2002–2005)—moments frozen in grain and sweat from some of the city’s first DIY parties.
Friendship. Frequencies. Full circle.
Closed Circuit.

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

Elsden Music presents the vinyl version of 'Above The Clouds', by the Ilario Ferrari Trio, with two brand news tracks - a new recording of the title track featuring trumpeter Henry Spencer and a stunning live version of "Leah Meets Laika"

The release of the vinyl comes at the point of an extensive tour across the UK and Europea between now and the end of this year.

On the cusp of releasing this, his fourth studio recorded album, pianist and singer Ilario Ferrari has developed a distinctive compositional style that integrates instrumental contemporary jazz with vocal harmonies, adding hints of sounds and rhythms from both Indian and Mediterranean culture, alongside some classical nuances with additional influences from Ilario's southern Italian heritage. This approach is singular to Ilario Ferrari as an artist: a style that is perfectly complimented by his two well-known collaborators and rising jazz stars in their own right; drummer Katie Patterson and bassist Charlie Pyne.

At the heart of 'Above The Clouds' lies the notion of relationships. Between us and our planet, the musical and personal relationships between Ilario, Charlie and Katie, and, of course, with their loved ones. It is also about elevation and observation, from 'Above The Clouds' and from the grounded embrace of Mother Earth, impressions of love, loss, and home, expressed through a beguiling blend of vocal led songs and instrumentals.

This recording is more than just a simple jazz trio album, with the trio expanding and contracting as the song requires. The Ilario Ferrari Trio's innovative approach combined with their indisputable skill promises to be a breath of fresh air in the jazz world and beyond.

Ilario Ferrari: piano, piano effects & vocals
Charlie Pyne: double base & vocals
Ketie Patterson: drums & vocals
Plus: Henry Spencer: trumpet (on "Above The Clouds")

As part of the Acoustic Sounds series, three of Diana Krall’s most beloved albums will be reissued on vinyl throughout the year, with the first, her dazzling Grammy-winning 2001 album, The Look of Love, to bow May 31st. The record boasts such standouts as “S’ Wonderful”, “Cry Me A River”, and her bewitching take on the Burt Bacharach-penned title track. Krall’s 1999 album — celebrating its 25th anniversary this year — When I Look In Your Eyes, will follow July 5th with her 1996 LP, All For You: A Dedication To The Nat King Cole Trio, to come September 27th. The two-time Grammy-winning album, which was also nominated for Album of the Year, When I Look In Your Eyes, features Krall and her excellent ensemble performing a sultry set of updated standards, including highlights like “Let’s Fall In Love”, “I’ve Got You Under My Skin” and “Let’s Face The Music and Dance”. All For You: A Dedication To The Nat King Cole Trio is a superb salute to the mighty Nat King Cole Trio with Krall putting her unique spin on 12 of Cole’s classic cuts like “Frim Fram Sauce”, “Boulevard of Broken Dreams”, “You Call It Madness” and “Hit That Jive Jack”. The albums will be mastered by Bernie Grundman from the original tapes and pressed on 2-LP black vinyl.

DJ Support: DJ Harvey, Hunee

SIRS returns with Volume 7 of his beloved SIRS Cut series—a four-track EP of deep-digging edits spanning disco, beatdown, and soul. Already supported by DJ Harvey, Hunee, and more, each track has been reworked with SIRS’ signature touch—tasteful, floor-ready, and full of character.

The Second Installment of “Versions” PART TWO by NYC’s Multi-Talented GE-OLOGY.
A VERY SMALL RUN of VINYL ONLY 2x12", NO DIGITAL CONTENT

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

When one makes mention of Deee-Lite, the 90's house-funk trio of Lady Miss Kier, and DJs Dmitry and Towa Tei, invariably their Billboard smash single “Groove Is In The Heart” will come up, and for good reason. With its Herbie Hancock-sampling bassline, some classic rhymes from Q-Tip, and guest vocals by Parliament-Funkadelic legend Bootsy Collins, the song became an indelible classic of 90s music, a massive commercial hit for Deee-lite and is widely considered one of the greatest dance songs of all time. Although a massive success for the group, “Groove Is In The Heart” led to some pigeonholing from critics and reviewers, who had specific expectations for future records. Rather than deliver more of the same free-wheeling, breezy dance music of World Clique, Deee-lite took a more politically-minded approach with their second album, spurred largely by front-woman Lady Miss Kier, who had a lengthy history of political activism prior to forming the group. 1992's Infinity Within rendered several Dance-chart hit singles, but was not as commercially or critically lauded as its forebear. Deee-lite were undaunted by their change in commercial fortune, regrouping with the addition of junglist DJ Ani, replacing the absent Towa Tei to record their third record. 1994's Dewdrops In The Garden was the result of their efforts, which struck a remarkable balance between the celebratory grooves of World Clique, and the social justice-driven Infinity Within. Lady Miss Kier had done a lot of world-traveling in the time between albums, and the material in Dewdrops was a reflection of her experiences, applying a spirit of global togetherness to their house-funk grooves. Regrettably, Dewdrops In The Garden was not a commercial success, yet it still managed to render its share of #1 Dance Chart singles; the atmospheric techno bounciness of “Bring Me Your Love”, and the spacious funk-house track “Call Me.” Though Deee-lite would disband soon after Dewdrops In The Garden's release, the record remains an unheralded favorite among dance music devotees for its coupling infectiously bright, and soulful melodies, with banging dance-floor grooves, and unshakably optimistic vibes.

Pop and dance music fans, rejoice! Pop icon, singer and performer Louise, is set to release her sixth solo album, 'Confessions' Following the success of her Greatest Hits compilation in 2023, Confessions marks an exciting new chapter for the artist, promising a bold and unapologetic exploration of electronic pop. The album, which Louise has been crafting over the past 18 months, features collaborations with some of the music industry's most sought-after talents. She has teamed up with Jon Shave (Charli XCX), Anya Jones (Benjamin Ingrosso, Lola Young, Kylie), Karen Poole (Becky Hill), Tre Jean-Marie (Perrie, Mabel), and Hannah Robinson (Annie) to create a soundscape that takes listeners on an exhilarating journey of selfdiscovery straight to the dance floor. "This album is a true reflection of where I am right now--both as an artist and as a person. It's raw, it's emotional, and it's full of energy," Louise shares. "I wanted to create something th

José James just can’t leave the ’70s alone. Or maybe it’s the other way around. The singer, songwriter, bandleader, and producer was born in 1978, after all, but over his past 17 years of fundamentally forward-looking, blessedly mercurial music, he keeps getting pulled back in. His 2013 Blue Note breakthrough No Beginning No End revisited the hooky, funky, jazz-streaked songcraft of the time through a modern crate-digger’s ears. On 2020’s No Beginning No End 2 — James’ debut on his own Rainbow Blonde Records — he went back through the portal with a small army of fellow celebrated eclecticists. Just last year, there was the album 1978, a richly layered love letter to said year that felt deep, luxe, and cool. It’s as if — vested with the restless fluidity of jazz, the tuned-in sensitivity of soul, and the revisionist grit of hip-hop — he is trying to play his way into the exact moment when, culturally speaking, everything was about to change.

“I'm still so fascinated by the tension in that era of all these seemingly clashing things happening at once,” says James. “The loft scene, the jazz scene, Elton and Billy, Bob Marley, the Isleys, Funkadelic, disco being this behemoth in a way I don't think we even understand today… And then there’s where everybody went from there — into hip-hop, into punk rock, exploding jazz. It's like a summation of the ’70s, and it's about to transform. It's the peak of the rollercoaster.”

Literally breaking into history is impossible, of course, but James’ new LP, 1978: Revenge of the Dragon, does feel like breaking through or bursting out. In loving contrast to its predecessor, the fresh set plays hot, like a Friday night out at the Mudd Club in its prime. Though he’s dreamt up albums with collaborator counts approaching the dozens, James gathered a tight crew for this one. Himself and Taali on vocals. BIGYUKI on keys and analog synth. Jharis Yokley on drums. Bass split between David Ginyard (Blood Orange, Terence Blanchard) and Kyle Miles (Michelle Ndgeocello, Nick Hakim). And an all-star brass lineup: Takuya Kuroda on trumpet, young lion Ebban Dorsey on alto sax, and genre-spanning ronin Ben Wendel on tenor sax. They set up in Dreamland Studios near Woodstock, a restored 19th century church, and recorded live to tape, two tracks, drums pushed to the max — “a small homage to the rise of punk,” says James.

In that place out of time, the band laid down a handful of choice covers and some wild originals, like the single “They Sleep, We Grind (for Badu),” a decades-collapsing cut powered by an ugly groove. Steeped in dub, funk, and sampledelia, James chants an artists’ mantra (“They sleep, we grind / Man, f--- your nine to five”), makes lyrical callouts to Marley and Nas, and channels everything from George Clinton to J Dilla, not to mention the earthy mysticism of Erykah Badu. In 2023, James released and toured his Badu covers LP, On & On. “Living in her musical house for a year was transformative,” he says. “This is my summary of everything I learned through her, tying it to this idea that artists move differently. We are in society but we are outside, too, looking out and in at the same time. Our hours are different, our schedules are different.”

To that point, James and co. actually began each day in the woods, filming the album’s visual companion piece, Revenge of the Dragon, an honest-to-God kung-fu short complete with bad overdubs, training montages, camera tricks, and plot twists. The film pays tribute not only to the genre’s greatest year (1978, of course), but also its cinematic exchange with Blaxploitation, plus James’ own recent Shaolin training and admiration for Bruce Lee as a culture-bridging force (the LP’s cover recreates an iconic shot of Lee). On top of that, says James, “We had this immediacy in the studio. Live, one take, no overdubbing. I feel like that's where the martial arts piece comes in, where it's about being relaxed but also aware, and there's immediacy in your movements.”

Across the project, tribute takes that refracted, multifaceted form. From his personal late-’70s playlist, James chose four covers reflecting the era’s disco-fied churn: the MJ-meets-Quincy dancefloor masterpiece “Rock With You”; Herbie Hancock’s prescient vocoder fever dream, “I Thought It Was You”; and a pair of Black-radio hits from two bands whose fans typically wouldn’t have been caught dead in the same stadium: “Miss You” by the Rolling Stones and the Bee Gees’ “Inside and Out.” All of it gets filtered through a contemporary Black (and beyond) lens, coming out loud, free, funky, and buzzing — dynamic, yes, but also of a joyous piece.

1978: Revenge of the Dragon transports you to a crowded room where all this is playing out in real time. That feeling is helped out by opener “Tokyo Daydream,” a bass-driven swan dive into a neverending night of boutique bar-hopping and neon revelry. Later, “Rise of the Tiger” finds James bringing rare braggadocio to a propulsive track with growling synth lines and a hunger for whatever comes next. And then there’s the closer, “Last Call at the Mudd Club,” which with its upbeat energy and string of Stevie-inspired pickup lines, evokes the sort of unabashedly elated track the DJ throws on at 3:56 a.m. before everyone is kicked out. “I wanted to leave the album on that note,” says James. “If this was a night out in New York, this would be the last thing you hear before you get in that taxi and go back to your apartment.” Or, perhaps, back to 2025.

E-bony joins the INDUSTRIAS MEKANIKAS family to present DIGITAL DAWN, an album that defines his identity as an artist. Twelve tracks in which electro and techno intertwine to create a unique and personal sound. A sonic manifesto composed of twelve tracks that explore the darkest textures and the most hypnotic rhythms of underground electronic.

In this work, E-bony is not alone. The talent of Noamm is woven into four of the tracks, adding an additional layer of complexity and experimentation. The collaboration between both artists creates a unique synergy, elevating the DIGITAL DAWN proposal to a new level.

DIGITAL DAWN is released in 2×12″ format, a format that is still preferred by DJs and lovers of high-quality sound, guaranteeing a quality and sound pressure that will explode on the dance floor.

Green Sonic Opaque w/ White Ink Cassette & Red Opaque w/ White Ink Cassette. Minecraft is a dreamscape, a limitless world where anything is possible. Minecraft is a tool, a means of bringing the imagination to life. Minecraft is a community, a platform on which inventive minds of all ages can share their creations and ideas. Minecraft, of course, is also a game, the most popular and best-selling video game of all time. Created in 2009 by Swedish programmer Markus "Notch" Persson, this cultural phenomenon speaks volumes of our current zeitgeist's love for virtual spaces, but its unprecedented success couldn't be pinned on one factor alone. Countless layers of thoughtful artistry flow through Minecraft's singular experience, not the least of which is its transportive soundtrack by C418, the project of German composer and musician Daniel Rosenfeld. Minecraft Volume Alpha, the first installment of a two-part OST, helped breathe life into the game's voxel-based universe. Upon release, fans and critics were universally enamored with C418's beatless, nuanced electronic pieces. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music "remarkably soothing." The Guardian compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. Polygon distilled Volume Alpha to its essence: "It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime."

Shell Company & Older Brother tap into the Mancunian continuum to deliver heavy sounds for heavy times on 'Shards', their debut release on Numbers.

Born from voice notes sent between Manchester, London and Lisbon, the release took shape remotely before being recorded inside Manchester’s The White Hotel, then refined in the sonic labs of Numbers and La Chunky in Glasgow.

Set across one night, 'Shards' is the fragments of the never ending process of breakdown and placing pieces back together. Along four tracks, the voices of Shell Company (Rosabella Allen) and Older Brother begin far apart, then argue, reflect and collide, trying to find the ground they stand on, with the music laid by brothers Rob and Chris Banks. The two voices work both together and against each other, rendering images that could only exist in limbo: running taps, cans on the floor, and crumbling walls.

Shell Company & Older Brother say of the release —

“Shards is a scream that sings softly. A record that shifts between confusion and sense, hopelessness and hope. Despite moments of intense and perfect connection, the shards rarely fit. Shards is a record not about giving up, but giving in. A recording of the victory that comes from surrendering to float, all because 'it will all make sense one day'. Shards is about love that begins and ends with broken pieces."

EVERYBODY LOVES THE SUNSHINE is more than a classic. It is “THE” summer anthem, one of the most covered and sampled Soul tunes by Roy Ayers and the Ubiquity family. This vinyl re-release has been eagerly awaited by music lovers worldwide. This version was originally recorded as a cover version, produced by Soulciety Records for their label band project named The Soulsociety.

The performance was recorded with the original songwriter and producer of the song, Mr. legendary vibes controller and Soul superstar Roy Ayers. This recording follows the original 70s feel and instrumentation of the 1976 version, but this time also features Roy Ayers prominently on lead vocals. Another big difference compared to all other versions by Roy and Ramp is the fact that this version is arranged and produced as a midtempo track. It will fit perfectly into any DJs set with a focus on Soul, Funk or Hip Hop. For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl with full cover artwork, including the previously unreleased instrumental version on the flip side with added extra vibes by the master himself.

Eight years ago exactly, in April 2017, the Australian soon-to-be dark synth maestro Buzz Kull released his first full-length album Chroma via Burning Rose imprint.

The seminal album is a mass of jagged synth lines and pounding drum machines, a testament to Marc Dwyer’s personal sonic exploration over time. Each song on Chroma transcends the traditional archetype of darkwave by pushing pop sensibilities, focusing on different emotional states and boundaries. Since his debut, Dwyer has given the world tewo more album tackled multiple tours abroad, and continues to remain an elusive but omnipresent figurehead of goth electronics global underground.

With this dark gem being out of print for years now, it was time to bring it to life!

New run of 500 on black vinyl LP housed in reverse board jackets.

Mysticisms is delighted to present the music from one of the inspirations for the whole Dubplate series, the lesser known, but admired Digi Dub label. Hailing from the late 80s / early 90s South-East London squat scene, the music of label head Lee Berwick and cohorts was unlike any other at the time. Not simply a retake on digital dub emanating from Jamaica, Digi Dub mixed the heritage of reggae with the alternative-culture of Britain to forge a unique version.

Inspired by punk and the early electronics of the likes of A Certain Ratio, Cabaret Voltaire and Throbbing Gristle, Berwick came to music production later, after first quitting a career as a computer programmer to travel through Asia, returning after several years just as electronic “computer music” was gaining a fundamental new lease in 1988. A regular at Jah Shaka gigs over the burgeoning rave scene of the time, he steadily built a studio centered around the Akai Sampler.

Based, at the time, in South-East London, it’s lack of underground “Tube” lines and challenging transport links, helped create its own social and music eco-system. Squatted houses, shops, clubs and parties all thrived around the triangle of Bermondsey, New Cross and Camberwell. After meeting Kenny Diezel and the Mutoid Waste Company, he started to formulate his “dubby electronic sound” by literally play live to thousands of wide-eyed Ravers at Mutoid Waste parties.

Recording as Launch DAT, the first tracks with Kenny formed, soon joined by Harry and Nick, the trio progressed from building a sound system to L.S. Diezel being created. Friends since their teens Harry and Nik progressed from playing in bands, jamming Sly and Robbie dubs to moving from the countryside of the Home Counties to urban Peckham and into the orbit of Mutoid Waste and the squat and party scene.

Progressing to include Atari S1000HD, Akai S3200XL, Alesis Sequencer and Roland 303, the sound expanded but the raw spirit remained. The early recordings with Berwick, in the beautiful “Lovers style” that is For The Love Of and its stripped-back instrumental “Stepper” dub accompaniment in Bad Boys, as well as an early take on take on the merging of digital dub and hip hop in Skunk Funk, all capture the essence of that London period.

However, the inclusion of the seminal Suicidal Dub, that appeared as the title to their debut album and was recorded on a bus a few years later after Mutoid had relocated to Rimini, Italy, offers a glimpse to the future. Heralded as a proto-dubstep classic it has long been sought after and its inclusion makes for the essential.

Mutate The Mystery.

James Holvay is a key figure in the world of Chicago soul, whose songwriting helped shape the sound of the '60s alongside icons like Curtis Mayfield. Known for penning four Top Ten hits for The Buckinghams — including the million-selling US #1 "Kind of a Drag" — Holvay's influence runs deep. His career began on the road with The Chicagoans before co-founding The MOB, one of the first horn-driven rock and soul bands. With releases on legendary labels like Chess, Constellation, and Onederful, Holvay's work captured the heart of the Windy City's rich musical scene. His music has been championed on influential stations like WLS Chicago and earned him spots in the South Dakota Rock 'n' Roll Hall of Fame and the Lyons Township High School Hall of Fame.

Now, LRK Records proudly presents two new tracks, "Love That Lady" and "Don't Take Your Love", on a limited-edition 45. Drawing from his Chicago soul roots and a Curtis Mayfield-inspired sound, these songs bring that timeless, heartfelt groove to modern listeners. With the growing appetite for vintage soul, this release is essential for collectors, DJs, and fans of classic soul music.

2 x orange-marbled vinyl im Gatefold, 19 songs inkl. Live tracks & Remixen

Die britische Gitarrenvirtuosin und kraftvolle Singer-Songwriterin Joanne Shaw Taylor meldet sich mit ihrem elektrisierenden zehnten Studioalbum 'Black & Gold' zurück. Wieder vereint mit dem legendären Produzenten Kevin Shirley (Iron Maiden, Journey, Joe Bonamassa), verschiebt Taylor die Grenzen des Blues-Rock und verwebt Fäden aus Americana, Indie-Rock und Retro-Pop der 80er Jahre. Von herzzerreißenden Balladen bis zu knallharten Bluesrock-Krachern ist das Album ein Meisterwerk an emotionaler Tiefe und roher Energie.

- Ltd. Col. LP: (180g Color Vinyl mit Innentasche und Download Card)

Domino hat heute die Wiederveröffentlichung von Pete Shelleys ersten beiden Soloalben "Homosapien" und "XL-1" für den 6. Juni 2025 angekündigt. Beide Alben erscheinen in einem Gatefold-Cover mit dem restaurierten Original-Artwork, einer zusätzlichen Disc mit B-Seiten, Dubs und erweiterten Mixes sowie neuem Bildmaterial und Sleeve Notes vom renommierten Autor Clinton Heylin. Beide Alben werden erstmals seit 2006 wieder auf CD veröffentlicht.

Die Alben markieren einen entscheidenden Wendepunkt in Shelleys Karriere, als er sich nach den Buzzcocks musikalisch neu erfand. Mit Produzent Martin Rushent entwickelte er einen elektronisch geprägten Sound, der sich radikal von seinen Punk-Wurzeln unterschied. "Homosapien" wurde 1982 veröffentlicht und sorgte für Kontroversen: Die BBC verbannte den Titelsong aus homophoben Gründen, doch in den Gay-Clubs wurde er zur Hymne. 1983 erschien "XL-1", auf dem Shelley noch weiter in elektronische und experimentelle Klangwelten vordrang. Er blieb zeitlebens ein Künstler, der musikalische Grenzen auslotete. Seine Soloalben zeugen von einem unermüdlichen Innovationsgeist, der weit über die Punk-Bewegung hinausging.

Limited edition deluxe box featuring the Blu-ray film, 2CD set, 180g 3LP on special crystal-clear vinyl, hardback book and x5 12” art prints. Recorded live on 9th November 2018 (their only UK show of 2018), ‘education entertainment recreation’ is the live album from London’s Alexandra Palace.

This strictly limited and exclusive deluxe box features:

● Blu-ray Film

● 2CDs of the audio

● 180g 3LP Vinyl *

● 48pg Hardback book *

● Five 12” art prints *

* Exclusive to the box

Sonically and visually spectacular, spanning 2 hours 20 minutes, the show joyously mixed New Order classics, their latest acclaimed album ‘Music Complete’ and Joy Division’s finest.

Opening with ‘Singularity’ from ‘Music Complete’, they eased back in time to 1993’s ‘Regret’, to ‘Love Vigilantes’ from 1985’s ‘Low-Life’ to ‘Ultraviolence from 1983's ‘Power, Corruption and Lies’. Later, their power over the dance floor was proven by sublime performances in the manner of the celebrated extended 12-inch remixes they are synonymous with - on ‘True Faith’, ‘Blue Monday’ and ‘Temptation’ before a three song Joy Division mini set to end.

65 years ago, on October 17th, 1959, Cliff Richard and The Shadows hit the No. 1 spot in the UK with ‘Travellin’ Light’. This was the first single credited to Cliff Richard and The Shadows – re-named from their original title - The Drifters.
This notable anniversary will be marked with a brand-new collection which focuses, for the first time, solely on Cliff’s output with The Shadows (or The Drifters for pre-October ’59 releases). All their classic hits are included going right the way up to their 2009 reunion; making it the most comprehensive Cliff Richard & Shadows collection to date.

Dez Dare launches into 2025 with his 5th album, ‘CHERYL! Your Love Shines Down Like A Supernova's Death'. Blending his unique mix of existential wordplay and experimental riffage to create an album that is at arms with itself while cohesive; cheeky and upbeat, simultaneously breaking our hearts. How often do we think about what we miss when we are distracted by shiny things? While fencing with social media, long winded stories, dreams of other lives, unnecessary toys, and irrelevant social experiments with happiness, we miss the things that make up our world. This album looks at those morsels of time and the bits that fill them, soaking existence… as well as manspreaders. Those people should be added to the 7th circle of hell… or suburbia. Either is probably a similar commute!
Dez Dare (AKA Darren Smallman of labels God Unknown, BATTLE WORLDWIDE, Low Transit Industries, and bands Thee Vinyl Creatures, The Sound Platform, Warped) grew up in Geelong, Australia, where he became involved in the local punk and rock scene in 1990. Sharing stages with the likes of 5678s, Cosmic Psychos, Fugazi, The Dirty Three and the Hard-ons, before shifting his focus to running record labels. In the 2020s we see Dez Dare take form in a spare room in Brighton, UK, where Dez starts building his own studio and producing music and videos that have been described as "sounds like MONSTER MAGNET and DEVO caught in a drug bust… highly unique and highly recommended" by MAXIMUM ROCKNROLL Nick Odorizzi to The Wire’s Edwin Pouncey "dynamically armed with a ten-pronged set of lyrical barbs and musical hooks that, once heard, sink deep and hold fast" to Crossfire Metal "minimalistic, electronic psychedelic hippie poop that is only bearable with a hell of a lot of acid, angel dust and LSD". On this album Dez was joined by Laura Loriga on backing vocals and Jonny Halifax on backing vocals and lap steel, expanding on the sound of previous records and adding a new dimension to his trademark weird-n-roll.


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A noughties classic, an earworming anthem, an eventual schoolyard ringtone favourite; Roman Flügel’s once inescapable ‘Geht’s Noch?’ celebrates turning 21 on Running Back, refreshed and remixed by a scene-spanning set of artists paying keen tribute to its absurdist energy.
Casually released as part of a Cocoon Records compilation in 2004, ‘Geht’s Noch?’ rose from the depths with the support of Sven Väth, becoming an international phenomenon, conquering and uniting the dominant scenes of minimal and electroclash alike. Some have said it laid the foundations for the ‘Dirty Dutch’
house scene, albeit from over the border in Germany.
Well known for injecting much-needed levity into the contemporary club landscape via her Live From Earth parties, DJ Gigola adds additional firepower to ‘Geht’s Noch?’, inducing a planet-shaking kick drum, before sending the track’s signature bleeps into nonsensical Morse code for even greater pleasure. Another rave
culture connoisseur, Luca Lozano, offers two alternate takes; his ‘Technocs’ mix rolls deep with additional cowbells, robotic voice commands and stadium-sized claps. Meanwhile, the ‘Gehts Garage Remix’ draws a savvy connection with the original’s as-yet-untapped UK funky potential.
Peder Mannerfelt, who straddles the line between innovation, functionality, humor and seriousness quite like its original author, takes ‘Geht’s Noch?’ to truly wuthering heights. His remix builds unexpected drama and catharsis around the enduring riff, before a collaboration with studio partner Par Grindvik as Aasthma
spins the club out with a glossy, anime-tinted take, full of whimsy and colour.
And while the digital release of Geht’s Noch? also spans interpretations from Audion, Domnik Eulberg & Moguai, this vinyl release presses Steve Angello vs Who’s Who remix to wax, that which helped take ‘Geht’s Noch?’ out of the underground and into the stratosphere. Twenty years on, and Flügel’s offbeat hit is always ascending. Love it or hate it, ‘Geht’s Noch?' will still get you good.
Words by John Loveless

C1 | Meduza, Onerepublic, Leony – Fire (Official Uefa Euro 2024 Song)
C2 | Ofenbach Feat Norma Jean Martine – Overdrive
C3 | Kygo, Ava Max – Whatever
C4 | Felix Jaehn & Leony – Waking Up
C5 | Jaxomy X Agatino Romero X Raffaella Carrà – Pedro
C6 | Artemas – I Like The Way You Kissed Me
D1 | Michael Marcagi – Scared To Start
D2 | Cyril – Stumblin' In
D3 | Ariana Grande – Yes, And?
D4 | Jack Harlow – Lovin On Me
D5 | Tate Mcrae – Greedy
D6 | Natasha Bedingfield – Unwritten
E3 | Benson Boone – Beautiful Things
E4 | Teddy Swims – Lose Control
E5 | Sabrina Carpenter – Taste
E6 | Noah Kahan – Stick Season
F1 | Justin Timberlake – Selfish
F2 | Shawn Mendes – Why Why Why
F3 | Ariana Grande – We Can't Be Friends (Wait For Your Love)
F4 | Purple Disco Machine & Benjamin Ingrosso Feat Nile Rodgers & Shenseea) – Honey Boy
F5 | Lost Frequencies, Tom Odell – Black Friday (Pretty Like The Sun)
F6 | Hugel, Topic, Arash Feat Daecolm – I Adore You
G1 | David Guetta & Onerepublic – I Don't Wanna Wait
G2 | Karol G – Si Antes Te Hubiera Conocido
G3 | Fourty & Bausa – Vempa (Frx202445570)
G4 | Sampagne, Badchieff, Cro – Tempo
G5 | Billie Eilish – Lunch
G6 | Kendrick Lamar – Not Like Us
H1 | Zartmann, Ski Aggu, Dauer – Wie Du Manchmal Fehlst
H2 | Soffie – Für Immer Frühling
H3 | Sdp, Sido, Esther Graf – Mama Hat Gesagt
H4 | Nina Chuba – Nina
H5 | Luciano X Jazeek – Starboy
H6 | Shirin David – Bauch Beine Po
E1 | Lady Gaga & Bruno Mars – Die With A Smile
E2 | Gracie Abrams – I Love You, I'm Sorry


Bevor sich das Jahr 2024 dem Ende neigt, erscheint mit der „BRAVO – The Hits 2024“ der alljährlich
beliebte Jahresrückblick voller Hits und Chartstürmer. Ganz nach dem Motto „End Of Beginning“ vereint das Album von Anfang bis Ende die erfolgreichsten Songs und musikalischen Highlights des Jahres 2024.
Wenn Chappell Roan „Good Luck, Babe!” wünscht, Sabrina Carpenter „Espresso“ trinkt, The Weeknd in
den Flammen tanzt und MEDUZA, OneRepublic und Leony on „Fire” sind, kann das nur eines bedeuten:
Die „BRAVO - The Hits 2024“ steht in den Startlöchern und versorgt uns mit den größten Hits und beliebtesten Singles. Mit dabei sind internationale Bands und Künstler*innen wie Billie Eilish, Linkin Park,
Hozier, Coldplay, Justin Timberlake, Ariana Grande sowie deutsche Newcomer und Stars wie Shirin David,
Zartmann oder Nina Chuba.
Das Besondere dieses Jahr: Die beliebte Hit-Compilation erscheint erstmals auch limitiert als 4LP. „BRAVO
– The Hits 2024“ ab 08.11. als 2CD & Download und pünktlich zum Nikolaus als 4LP erhältlich!

The vinyl is a collaboration between two indie labels KXNTRAST and U JAZZ ME.

The record was pressed on 180g vinyl with printed innersleeve.

HER NAME WAS YUMI is the title of hoshii's second studio album, created by saxophonist Kuba Więcek in late 2022. On this album, the musicians deliberately free themselves from the burden of European music genres, exploring sounds that carry a spark of hope and a free spirit. In the musical layer, they focus on deep synthesizer basslines, intensification of electronic sounds and an extensive layer of samples, redefining their approach to composition.

The album title refers to YUMI (夢美 - from Japanese "beautiful dream") - a friend of hoshii who brings him to Earth when he feels tired of life on the distant planet Versus. However, even among earthly sounds, loneliness becomes inevitable. At the right moment, YUMI, overcome with longing, decides to fly and find her friend.

HER NAME WAS YUMI is a musical journey full of experiment, freedom and a new sonic identity. The album shows hoshii in a new version - even more conscious, bold and not limited by genre frames.

Kuba Więcek - alto saxophone, electronics

Grzegorz Tarwid - synthesizers

Max Mucha - bass guitar, synthesizers

Miłosz Berdzik - drums, glockenspiel

In the turbulent world of hip-hop, few artists are able to make the transition from hot young star to acclaimed rap luminary. Los Angeles emcee Blu has followed this rare path, graduating from a spot on the 2009 XXL Freshman list to an expansive catalog with more than 25 celebrated releases. Now, the talented lyricist is celebrating his remarkable journey with Forty, a new album entirely produced by influential beatsmith August Fanon, who has crafted tracks for Westside Gunn, Mach-Hommy, Tha God Fahim, billy woods, Navy Blue, and more. “This album is a celebration of me reaching 40 years of age,” Blu explains. “All the content is a reflection of where I am mentally at the age of 40.” With intricate verses packed with wisdom and maturity, the collection finds Blu and a host of guests reflecting on happiness, religion, love, knowledge, humanity, and more.
Fanon brings these tracks to life with a unique production approach, taking it back to basics with soul heavy soundscapes Blu describes as “straight loops, no drum programming or layers, just really soulful loops.” With appearances by Kota The Friend, Asher Roth, R.A.P. Ferreira, Mickey Factz, Homeboy Sandman, Chester Watson, Fashawn, and more, Forty is a timless experience from an artist who remains a vital presence in any decade of life.