Cerca:not me

pdqb shows no signs of slowing down. Relentlessly productive and constantly locked into transmission mode, it delivers 13 tracks of its unmistakable Electro-Cognition sound. Sharp, futuristic, body-moving music wired straight into the nervous system.

From precision electro workouts to mind-bending synth transmissions, every track hits with purpose, style, and identity.

However, the remix lineup is equally heavyweight. Four elite reworks from four serious operators, each one twisting the source code into new dimensions.

---

Half pinball table, half neural reactor, wired directly into a wall of aging synthesizers. The so-called Transient Witness (aka Preconscious Data Quantum Buffer) records not what people did - but what they almost did: Every flash of hesitation, every thought that vanished before becoming real, every dream erased at sunrise.

At its center pulses a synthetic brain, decoding impulses too brief for language. These signal transients are micro-events that appear and disappear in milliseconds.

When activated, the table will not play sound. It remembers it. Each collision of steel ball and sensor triggers forgotten futures, lost timelines, phantom rhythms from decisions never taken. Basslines from parallel selves. Melodies from unrealized lives. Percussion patterns from collapsing probabilities.

The 13 original tracks featured on this release are a transmission recovered from one of its sessions. Electro pulses, synaptic breaks, machine funk, and signals from thoughts that never survived long enough to exist.

‘Cécile McLorin Salvant ... sings standards, show tunes and old novelties in a taut, flinty, elusively beautiful voice, erring toward material with difficult lyrics and tough places in history. Salvant wins over her audiences by tweaking them slightly: daring them to go there with her—not just into the archive, but toward the darkness of the past.’ – New York Times

‘Although Salvant is known as a jazz musician, her approach to music is defined by her instinct for experimentation ... Her music is beloved for ... embracing theatre and subverting classics with playful renditions.’ – Guardian

Salvant, who has performed with orchestras regularly over the last decade-and-a-half and intended to make an album with one sooner in her career, but logistics and her abundant creative ideas led to other new projects intervening. Having finally found time to make this album, With Every Breath I Take is a different sort of record than it might have been even ten years ago.

“It is a rare opportunity to be able to make an album at this scale, which has been a dream of mine for many years,” Salvant says. “Darcy James Argue wrote stunning arrangements and the Metropole Orkest, conducted by the extraordinary Jules Buckley, gave these stories a cinematic dimension. We overcame quite a few obstacles to even get into the recording studio for this project; it took almost four years for us to do so, and I am so incredibly proud to share it.

“I did not choose these songs because they are beautiful, but because they are crucial to me,” she adds.

Cécile McLorin Salvant, a 2020 MacArthur Fellow and three-time Grammy Award winner, is a singer and composer bringing historical perspective, a renewed sense of drama, and an enlightened musical understanding to both jazz standards and her own original compositions. Classically trained, steeped in jazz, blues, and folk, and drawing from musical theater and vaudeville, Salvant embraces a wide-ranging repertoire that broadens the possibilities for live performance.

Salvant’s performances range from spare duets for voice and piano to instrumental trios to orchestral ensembles. Her unreleased work Ogresse is an ambitious long-form musical fairy tale that is being made into a feature length animated film. She has performed at national and international venues and festivals such as the Newport Jazz Festival, the Monterey Jazz Festival, the Village Vanguard, and the North Sea Jazz Festival. Her previous Nonesuch albums, Ghost Song (2022) Mélusine (2023), and Oh Snap (2025) received critical accolades; the former two were both nominated for Grammy Awards. Salvant is also a visual artist, and Oh Snap was named a best album of 2025 by the Guardian, Jazzwise, JazzTimes, and the Francis Davis Jazz Critics Poll.

ReVINYL Random Color Edition. Concrete is a bracing jolt of a song, racing forward on a tightly wound post-punk riff, its call-and-response vocals capturing the turmoil and schizophrenic internal dialogue of the song's subject matter."It's about someone who's trapped in a relationship and they're being pummelled into surrender," says singer and lyricist Charlie Steen. "It's not about a physically abusive relationship - more an emotionally and psychologically draining one. The call-and-response vocals between Steen and bassist Josh Finerty is the central figure's own internal dialogue. They are dealing with two different things that they don't want to address."The band cite The Fall, Country Teasers, Television Personalities and Wire among their biggest influences, and the icily claustrophobic sound of Concrete sets it in a lineage with Magazine, Joy Division. As a lyricist, Steen is a modern flâneur, forensically observing the lives of others around him as they unspool and fracture, with Hubert Selby Jr and Irvine Welsh his primary literary influences. "That graphic and harsh style of writing always interested me," he explains. "It's not about the shock factor; it's about the fact they are talking about these things in such great detail without stripping anything back."The London five piece have swiftly earned a reputation as one of the most visceral and exhilarating live bands in the UK, their combustible shows being honed through a heavy touring schedule in the UK and across Europe. Cutting their teeth on the squat-punk scene in the Queen's Head in Brixton in 2015, where they were taken under the wing of Fat White Family, the white heat of their gigs quickly landed them support slots with Slaves and Warpaint. They were also personally invited by Billy Bragg to play the Left Field stage at Glastonbury this year.Following two singles - the AA single The Lick/Gold Hole and Tasteless on Fnord Communications as well as the digital-only Theresa May-baiting Visa Vulture (described by Steen as "the worst love song ever") - Concrete is the first track to be released as part of their record deal with Dead Oceans."We started this band as a joke that went too far," deadpans Steen. "What we do is quite strange and quite weird, but I get to meet a lot of people and I get to hear a lot of things. I am interested in the surrealism of reality."

Side A begins with CEM3340 & 2030’s “I Don’t Know”, a Detroit-inspired electro cut merging crunchy basslines, warm strings and raw energy, showcasing the nostalgic yet forward-thinking music crafted by two key figures of the Italian electro underground. Lake Haze keeps the electro narrative moving with “Modular Processed Data”, a melancholic broken-beat piece that balances softness and strength with timeless poise. Closing the side, 3KZ unveils “Step Into Light”, pushing the emotional range further through radiant melodic layers and harmonic clarity: high-impact, luminous, and built for those rare moments on a big system when everything clicks.

The journey ends with three shape-shifting cuts on the B Side that refuse to play it safe. Passarani 2099 (an alias of Marco Passarani) warps the frame with “Golden Valley”, channeling dubstep tempo, neuro-basslines, and haunting sequences into mutant rhythmic territory. Peryl’s “Res Affair” follows as a modular techno bomb—wobbling bass, broken patterns, alien textures, riding the edge between chaos and control with surgical intent. Finally, Nothus closes the compilation with “Tango”, an uncompromising finale of gritty rhythm work and experimental propulsion: the perfect full-stop to a decade mapped in sound.

One of the UK’s best loved and most respected dance music producers, Michael Gray, unveils his exciting third artist album, ‘You & Me’, on his own ever vibrant Sultra Records. Featuring a superb array of both fresh and regular vocal and musical collaborators, Michael delivers another superb helping of lovingly crafted discofied, boogie and soulful dance treats, where meaningful songwriting, passionate vocal performances and impeccable musicianship combine to create one of Michael’s best bodies of studio work to date!

“I’m really excited about this album. I enjoyed making ‘Optimism’ 2 years ago, but I feel like my sound and creativity have developed further during the production of my third album ‘You & Me’. I think there will be a few tracks that people are not expecting from me… and that’s the joy of making an album! You can really get creative”. – Michael Gray

Across the album, Michael brings together an impressive array of world class talent. Rising 29 year old vocalist Bran Mazz features prominently, delivering fresh performances on the standout cover of Maxwell’s ‘Ascension (Don’t Ever Wonder)’, as well as on ‘I Like The Way’, ‘Medicine’ and ‘Breaking Away’. Chi town house legend Mike Dunn joins Michael on the title track ‘You & Me’, built around a clever sample of Freeez’s ‘Flying High’. Vocal powerhouse Tania Foster turns up the heat on the Latin disco flavoured ‘Shake’. New York singer Kelli Sae lends her unmistakable soul to ‘Give It To Me’ and ‘Detonate’, the latter also featuring singer/songwriter Errol Reid (China Black / Axwell). Jamiroquai’s Derrick McKenzie adds his signature live drums to ‘Detonate’ and ‘I Like The Way’. Sian Lee appears on the current single ‘Gravity’, which is sitting at the top of the Traxsource chart. ‘Universe’ sees Michael deliver an instrumental jackin’ house twist, set for a full single release on Toolroom in June. Adding further depth to the album, superstar diva Phebe Edwards brings her impeccable soulful tone to a cover of Cleo Sol’s ‘Life Will Be’, Brit soul favourite Dyanna Fearon shines on ‘I’m Falling For You’, and Audrey Martells lifts ‘Beautiful’ with her stunning, uplifting vocal.

A year or two back, original Nottingham deep house don Gavin Belton (famed for being part of Smokescreen and Drop Music-adjacent duo The Littlemen) returned to the UK after living in New Zealand. One thing led to another and soon he was back in the studio alongside former creative partner Steve Lee for the first time in 15 years. Featuring heady spoken word vocals from Hector Moralez, the result is 'House For Change', a lightly electrofunk-fired slab of classic East Midlands deep house. Raising funds for homeless charity Help The Framework, this surprise EP also includes 2004 classic 'Tell Me' (a free party deep house classic) and two fresh reworks: a TB-303-bass-driven revision of 'House For Change' by their old pals Inland Knights, and a squelchy, spacey take on 'Tell Me' by Lee under his solo alias, Positive Divide.

Bill Withers was a modest, gentle, and yet towering musical figure responsible for some of the most important, universally known soul hits ever written. It’s no wonder that “Just the Two of Us” and “Ain’t No Sunshine” won him two Grammy awards and undoubtedly played a huge role in getting him inducted into both the Songwriters and Rock and Roll Hall of Fame.

Live at Carnegie Hall is Withers' only live album, recorded on October 6, 1973 but not released until April 21, 1973. The fact that Bill got to play his heartfelt and honest soul at one of the most prestigious venues for both classical and pop music speaks volumes: his first two records Just As I Am and Still Bill were really that influential.

Bill Withers' Live At Carnegie Hall was recorded more than 50 years ago on a rainy Friday evening, but it is still regarded as one of the best live performances in the history of Soul music. Withers appears on stage with an ensemble of only the best session musicians the 1970s had to offer: Melvin Dunlap, Ray Jackson, James Gadson, Benorce Blackmon, and Bobbye Hall, at the time one of the few female session percussionists. They all had worked together on Still Bill and had the knack for expanding Bill's intimate songs to fit a hall of that size and stature. And as far as the recording goes, no corners were cut; it really feels like you're up there with them.

The set features evergreens such as "Ain't No Sunshine", "Lean On Me", "Grandma's Hands", but also tunes that are only available as part of this live set, such as "World Keeps Going Around" and "I Can't Write Left-Handed".

Bill Withers Live at Carnegie Hall is available as a limited edition of 5000 individually numbered copies on magenta vinyl, and includes printed inner sleeves and a 4-page booklet featuring liner notes on Bill Withers written by Ahmir “Questlove” Thompson and reflections by Aloe Blacc.

For the 10th Anniversary of the iconic and unique For Honor, Kid Katana Records teamed up with Ubisoft to bring you this high quality album on an exclusive double vinyl. With over 35 million players since its release, For Honor has kept on bringing new content in the game, enriching the players’ experience with new Heroes, Factions and Music to keep the battle for survival and honor alive.


The physical edition is a premium 2LP designed in close relationship with the game's creative team:


● Track selection handpicked by For Honor team, including 2 new tracks (Year 10 exclusive) and a track never released before from Y1 Season 7
● 2 Golden vinyls
● Exclusive cover art with glossy effect on the logo
● Exclusive 16-page booklet with insights on each faction’s music, liner notes
from the game’s creative team and composers Luc St-Pierre, Danny Bensi and
Saunder Jurriaans



The tracklist is a selection of music from the 10 seasons of the game, one side per faction:

Recorded about a year after Scenery, his second album retains the delicacy and emotional depth of his playing, but adds a new strength that gives the world Fukui paints a clearer contour and striking dimensionality. From the bittersweet, heart-stirring melody of “Mellow Dream” to the vibrant, exhilarating drive of “Horizon”, the album is filled with performances that shine brilliantly. It is also notable that the number of original compositions only one on the debut—has increased to three here, allowing listeners to appreciate Fukui’s musicality even more fully. Considering its maturity and the richness of its content, it may even be fair to say that this work surpasses his first album. Ryo Fukui, who sadly passed away...

This third album by Ryo Fukui arrived a full 17 years after Mellow Dream, marking his first and only solo piano recording. Alongside signature pieces like “Scenery” and “Mellow Dream”, the album includes “Voyage” and “Nord”, both written during a trip toward the northern regions, as well as “Nobody’s”, a piece imbued with Fukui’s deep respect for his mentor Barry Harris. The selection is nothing short of a delight for fans.

Here, the depth and weight Fukui cultivated as a bebop pianist blend seamlessly with the profound “Hokkaido sensibility” that had always resided within him. It is a masterpiece that truly deserves to be passed down through time.

Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band's early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring, and three acclaimed albums, Downtown Boys have continued to grow as artists, musicians, and organizers. Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band's most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, "everything for everyone." It's the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. Sentiments like "everything for everyone," and "we will have it all" perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful sonic fusion that defines the album: anthemic punk and indie rock mix with Latin traditions, drum machines blend with acoustic drums, saxophones punctuate riffs, and layers of synths add flourishes from new-wave to industrial. The amount of ground covered on Public Luxury can't be overstated, and yet the album feels totally vital and cohesive. Public Luxury is a revisitation of the band's past for the sake of their future. It was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band's first home of Providence, RI. Victoria Marie's grandmother-a monumental figure for the band throughout their existence-passed away in May of 2025, and her influence looms large over the album; the songs "No Me Jodas" and "Sirena" are crystallized representations of the love between a woman and her ancestor. Beyond the loss, rage and frustration of the present, Public Luxury points boldly towards a vibrant, open-hearted vision of both music and the world: "Our music is simply for anyone and everyone who believes in the new future we can make together," Victoria Marie declares. "A world that will be awkward, inconsistent, yet truly free when it comes to all that matters."

State of Minds compilation features Finnish artists working across house, electro, and techno. Industry veterans Freestyle Man (Sasse), Ender, and Phonogenic, along with label co-founder RV820, highlight a range of sounds from hypnotic house to Detroit techno, reflecting the diversity and depth of Finland’s electronic scene. Four tracks of the highest quality, this album sampler from Meltdown Deejays is not to be missed!

Gold Panda returns with TON UP, a brilliantly stubborn new album for Studio Barnhus: eight rough-hewn dance tracks and two cozy little service-station interludes, all crafted with the robust determination of a producer who knows that 140 bpm is not so much a tempo as a way of life.
Made with Derwin Dicker’s unmistakable sampler-bashing touch, the tracks on Ton Up carry the raw knock of old-school hip-hop instrumentals, pushed through pumping house-music machinery and ready to cause absolute trouble on any half-decent sound system.
Here you’ll find zero of that dreaded, over-explained “maturity” usually demanded of beloved electronic artists several albums deep into the game. Instead, Gold Panda just sounds as happily locked in as ever, carelessly chasing the physical joys of pressure, swing and repetition.
TON UP is functional, funny and oddly tender club music, arriving just when the world needed it the most (June 26 that is.)

Antal, founder of the Amsterdam-based Rush Hour Records & Store and renowned for his global DJ touring and eclectic sets spanning house, techno, rare funk, soul, and jazz, curates a personal selection from the historic label Timeless Records.

For Timeless Presents From The Archives, he handpicked highlights from 1974–1994 by jazz luminaries such as Art Blakey and the Jazz Messengers, Pharoah Sanders, Carter Jefferson, Gary Bartz, Woody Shaw, and more. “I want to thank the Wigt family for allowing me to dig deeper into their catalog to compile a selection of personal jazz favorites. Their passion for jazz and independent labels has inspired me as a DJ and record store owner. A great song is a great song, no matter when or where it was made,” Antal reflects. For this double album, Antal shares his love for modal and spiritual jazz, celebrating a pivotal era in jazz and creating a must-have for collectors, selectors, and new explorers.

Timeless Presents From The Archives 1974-1994 is packed in a gatefold sleeve, featuring notes by Antal and artwork by Dirk-Jan Deckwitz. Affixed on the protective sleeve is the 50th Anniversary Timeless Jazz sticker.

Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.

Tibet opens the set and could be one of the best pop songs you've never heard. The innate sadness of the songs' content - the loss of a friendship, impending sorrow - is heightened to heart-melting level by McDowall's pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall's vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade's early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group's hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.

Rose McDowall's role in the canon has always been one of an outsider. Beginning in Glasgow's East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: 'They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, "that's power."

Night School's issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7' 'Don't Fear The Reaper.' First vinyl pressing is Clear w/ Black swirl; 500 only / has DL card and booklet, with a poster
CD has extensive booklet and is packaged in anO-Card.

Post-Hardcore nach Philly-Art. Unzufrieden mit dem metallischen Youth-Crew-Format, verfolgte Frail die wilde, lärmende Wut der Generation X gegen alles und jeden im rasanten Tempo von San Diego. ,No Indus Try" - die erste und einzige Vinyl-Compilation des Quintetts - enthält wichtige Singles für die Labels Yuletide, Bloodlink und Kidney Room sowie seltene Compilation-Tracks aus ihrer Zeit von 1993 bis 1995. Kommt mit 24-seitigen Zine, das die Band in Notizen, Zitaten, Fotos, Flyern und revolutionärer Literatur dokumentiert. Make Your Own Noise.

The arrival of REAL, Vol. 1 marks a seismic shift in the global music landscape, uniting two of Nigeria’s most formidable forces for a project that defines the current zenith of Afrobeats. This collaborative effort sees Wizkid, the smooth-talking pioneer of the genre’s international expansion, and Asake, the "Mr. Money" whose neo-Fuji sound redefined the street-pop aesthetic, finding a middle ground between luxury and grit. The project serves as a sonic bridge between eras, blending the minimalist, high-fashion sensibilities of Wizkid’s recent output with the high-octane, choir-backed energy that has made Asake a household name. It is less of a competition and more of a conversation between two masters of their craft, exploring themes of spiritual gratitude, the weight of superstardom, and the unyielding pulse of Lagos.

With soundscapes both cinematic and deeply rhythmic, the production moves beyond standard club formulas, opting instead for a sophisticated fusion of traditional Yoruba percussion, shimmering synths, and the heavy, resonant log drums of Amapiano. Wizkid provides the effortless, melodic swagger that acts as the project's anchor, while Asake injects a spiritual intensity through his signature layered chanting and rapid-fire flows.

Ultimately, REAL, Vol. 1 is a celebration of authenticity in an era of global crossover. By stripping away the pressure of conforming to Western pop standards, Wizkid and Asake have created a body of work that is unapologetically Nigerian yet universally resonant. It captures the spirit of a city that never sleeps and the ambition of two artists who have conquered the world without losing their souls. This is more than just a collection of hits; it is a blueprint for the future of African music, proving that when Wizkid and Asake occupy the same frequency, the result is nothing short of legendary.

Chad R. Matheny veröffentlicht seit 1998 exzentrische, textlich dichte Underground-Popmusik, oft unter dem Namen Emperor X. Nach seinem Studium der Physik, Philosophie und Musikkomposition legte Matheny eine Pause von der akademischen Arbeit ein und verbrachte einen Großteil der letzten zwei Jahrzehnte damit, die Welt mit Bussen und Hochgeschwindigkeitszügen zu durchqueren, um an Orten Musik zu machen, die von einem kleinen, aber vollbesetzten Konzertsaal in Portugal über eine leere Messehalle im Norden des Libanon bis hin zu buchstäblich unterirdischen Metal-Bars in der ganzen Ukraine reichten. Er tourt oft allein mit Gitarre und Synthesizer, teilt sich aber manchmal die Bühne mit Weggefährten wie Ratboys, The Hotelier, The World is a Beautiful Place and I Am No Longer Afraid to Die, Foxing, AJJ, The Front Bottoms und Xiu Xiu. Er produzierte das neue Brian-Sella-Album ,Well I Mean", war Co-Produzent des Sub-Pop-Albums ,Bits" der Jangle-Punk-Legenden Oxford Collapse zusammen mit Eric Topalski von Don Caballero und Storm & Stress und komponierte Videoundermusik für gemeinnützige Organisationen wie Planned Parenthood und SEIU. In den Jahren 2011 und 2012 wurde Mathenys Ambient-Werk ,Keeling Curve" in einer Multimedia-Installation des Fotografen Joel Sternfeld verwendet, die im Rahmen einer Retrospektive im Museum Folkwang zu sehen war.

Leopard DaVinci is the official keyboardist of Dabeull's Band.

“Casual Conversation” pairs Leopard DaVinci’s high-gloss funk production with Moniquea’s signature vocal charisma for an instantly addictive modern funk single. Flirty, confident and groove-heavy, the track balances retro-inspired synth textures with a contemporary boogie pulse, making it a strong fit for editorial playlists centered around funk-forward, danceable and soulful music.
Moniquea already holds a respected position in the global modern funk community, and this release delivers exactly what that audience wants: attitude, melody, replay value and undeniable groove. “Casual Conversation” has crossover potential between dedicated funk listeners, nu-disco audiences and feel-good R&B selectors.

“Flaws” pairs Leopard DaVinci’s signature synth-led funk production with Helena’s fresh and expressive vocal presence for a release that feels both timeless and relevant. Built around a message of self-acceptance and inner strength, the track transforms vulnerability into groove, offering a refined mix of modern funk, boogie and soulful pop energy.
Its lyrical theme makes it especially effective beyond niche funk circles, opening space for playlisting tied not only to groove and retro-funk aesthetics, but also to confidence, empowerment and uplifting mood. “Flaws” is melodic, elegant and emotionally direct — a strong crossover track with both artistic identity and listener accessibility.

Leopard DaVinci is the official keyboardist of Dabeull's Band.

“Casual Conversation” pairs Leopard DaVinci’s high-gloss funk production with Moniquea’s signature vocal charisma for an instantly addictive modern funk single. Flirty, confident and groove-heavy, the track balances retro-inspired synth textures with a contemporary boogie pulse, making it a strong fit for editorial playlists centered around funk-forward, danceable and soulful music.
Moniquea already holds a respected position in the global modern funk community, and this release delivers exactly what that audience wants: attitude, melody, replay value and undeniable groove. “Casual Conversation” has crossover potential between dedicated funk listeners, nu-disco audiences and feel-good R&B selectors.

“Flaws” pairs Leopard DaVinci’s signature synth-led funk production with Helena’s fresh and expressive vocal presence for a release that feels both timeless and relevant. Built around a message of self-acceptance and inner strength, the track transforms vulnerability into groove, offering a refined mix of modern funk, boogie and soulful pop energy.
Its lyrical theme makes it especially effective beyond niche funk circles, opening space for playlisting tied not only to groove and retro-funk aesthetics, but also to confidence, empowerment and uplifting mood. “Flaws” is melodic, elegant and emotionally direct — a strong crossover track with both artistic identity and listener accessibility.