quête:ori

The beatmaker Moar finally presents on record a project that started to exist live more than 10 years ago. It took a world-wide pendency to finally take the time to settle down in the studio and put on tape the beatmaker's Mellow & Jazzy beats, accompanied by the excellent jazz guitarist Rémi Schnell and Jean-Louis Potin (Moar's father) who has been accompanying him since his first EP on saxophone.
In the end, an instrumental album oriented jazzy beat & chill with the soft jazz-soul ambiences of a George Benson (here Rémi on guitar !!) accompanied by a Grover Washington (here Moar's father !). 14 sweets to listen to without moderation.

The story of Lucia Rango, an Apulian singer who was active for a short period during the Sixties, rightfully belongs to that category and meets all requirements for becoming a legend. In 1967, when she was almost unknown, she recorded Lucia Rango Show, an entire album made of songs taken from the repertoire of her friend Piero Ciampi, who worked closely with her on their selection and arrangements. Being one of the most maudit and personal authors of national songwriting, Ciampi had always been a perfect outsider: blunt, shy, extremely talented, and unable to adapt to the rules of the music business. But above all, the Leghorn-born singer was a superb songwriter. The match between his songs and Rango's classical voice and ethereal beauty looked like a very promising one, but never brought any success.
Arranged and orchestrated by Maestro Elvio Monti, and embellished by the participation of Alessandro Alessandroni's I Cantori Moderni, the record is a perfect child of the Sixties, featuring beat tunes and “yè-yès”, Italian canzone, intense ballads, Brigitte Fontaine-like atmospheres and a rediscovered duet of Lucia with her friend Piero, Non chiedermi più, whose recording was known among insiders at the time but sadly appeared to be lost forever. Ciampi's voice lives again in a song that has remained unreleased for more than 50 years within this new expanded version of Lucia Rango Show, thanks to the long research of journalist Lucilla Chiodi (Musica Jazz). Needless to say, the album is an enormously valuable historical document for all fans of Ciampi's output and Italian music in general: along with classics such as Fino all'ultimo minuto, Quando il giorno tornerà and Hai lasciato a casa il tuo sorriso – all originally included in Ciampi's first LP released under the alias Piero Litaliano in 1963 – Lucia Rango's voice consigns to history as many as six songs conceived and written specifically for her recording debut by Ciampi along with Elvio Monti. To date, Rango's invaluable interpretations are the only versions ever recorded of Samba per un amore, Il tuo volto, Stasera resta qui, Primavera a Roma, Ti ho sognato and Sono stanca.

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series, NOW – Yearbook 1978; 85 tracks from a magical year in Pop! The 85 track special edition CD is housed in ‘hard-back-book’ packaging, including a 28-page booklet featuring a summary of the year, a track-by-track guide, a quiz, and original singles artwork. NOW – Yearbook 1978; 46 tracks on a 3LP set pressed on translucent pink vinyl - from a magical year in Pop!

'Insight Into Mind And Space' is the latest full length project from techno producer and label owner 30drop. It's a 10 track collection compiled out tracks previously released on Jeff Mills' Axis imprint in digital formats. The original albums 'Soroban' and 'Photosynthetic Zone Manifesto' have been released in the years 2020 and 2021 and will now be available on vinyl in a limited edition for the first time. The compiled album includes pieces that, like the mind, evolve as a consequence of each other in an orderly way. Starting with the early origins represented by the track 'Dunkelblau' with which the album begins, going through 'Accepting The Future', which represent the complexity reached by the human brain. 'Insight Into Mind And Space' portrays those hypothetical and alternative molecular combinations in the form of songs. Exposed to different chemical elements, gravitational and environmental conditions, dormant genes and signaling pathways are activated and uncannily combined. And just like the molecular events, sounds are combined in different ways, whether simple or complex, to create songs that provide an artistic vision to that scientific concept that opens a hypothesis to other types of intelligence that are far from human and that could exist in the vast out there. About 30drop. In his formative years, the artist responsible for 30drop discovered new synthetic and electronic sounds that would later influence his work. From the year 1996, his activity as a DJ powered his link with music, focused on Detroit Techno and Techno sounds that held the transgressive references of Birmingham, UK. These impressions saw 30drop magnetize toward an industrial, experimental, noise-based sound, particularly in the mid-2000s. After a creative pause, 2014 brought his new project, '30drop', at this time his label 30D Records of which he is the Manager and joint A&R with Angel Molina, was also born. The conceptual part of this project has been done in collaboration and with the supervision of Meritxell Rosell, PhD in biochemistry and molecular biology.

UK based studio wizard Timothy J. Fairplay returns to Italo Moderni with a masterpiece EP including remixes by Dj Overdose, Intergalactic Gary and Univac!

3 originals and 3 remixes influenced by italo disco with catchy basslines and acid harmonies. It is not a surprise that Italo Moderni & Timothy J. Fairplay are great combination together and this is a fine example of his quality studio productions. Welcome Timothy! Mastered by Alden Tyrell.

This Jensen Interceptor classic is finally getting it's due on wax and reinforcements have been called in with remixes from The Advent & Zein Ferreira, DJ Godfather, Exzakt BFX & Salome.

Ebo Taylor “Twer Nyame” is being reissued on vinyl by Comet Records, pressed on high quality vinyl, with label designs and artwork as per the original release.
Originally released in 1978 on Philips-West African-Records. Classic highlife sounds; uptempo grooves, vocals, tons of percussion, guitar, horns and organ lines. Featuring
the stand-out ‘Atwer Abroba’.

Ebo Taylor is one of Ghana's finest producer/arrangers.

Taylor was heavily influential in the unique sound that emerged from the country in the 70's; a combination of traditional Ghanaian with Afro-beat, jazz, and funk rhythms.

He worked with bands including Stargazers Band, Broadway Dance Band, Black Star Highlife Band (with Teddy Osei and Sol Amarfio who later joined Osibisa), Apagya Show Band and fellow musicians C.K.Mann, Gyedu-Blay Ambolley and the legendary Pat Thomas.

Here we‘ve got two tunes that come with a fascinating story. Recorded in the late 70’s, but never released, this music was thought to be lost.But let’s go back to the beginning. Rose was originally a member of family affair called „The Cornelius Brothers and Sister Rose“ heralding from Dania Beach, Florida. The group had early success with a recording contract with United Artists, which produced two albums in 1972 & 73 respectively, plus an extensive number of single release taken from these albums, which included the million seller ‘Too late to turn back now’.

But Rose’s story starts even further back, singing solo and as part of the Gospel Jazz Singers in the late 60’s, with even a solo appearance on The Ed Sullivan TV show. In 1970, at her mother’s request, she returned home to form the family group and to use her contacts in the music industry to move things forward. The group stayed together until 1976. Soon after Rose returned to a solo career, but few further releases appeared. During this time she recorded a number of tracks in Miami at The Music factory with producer Shirley Cowell, who later received a grammy nomination for her work with Lena Horne. Arrangement was done by gold-certified studio veteran Frank Owens. By this time the Disco sound had taken over much of the music industry and these tracks had a Hi-Energy feel that was much in favour at the time. This session produced the titles ‘Here’ and ‘I want you to stay with me’ but no release was forthcoming.

For many years they became almost forgotten, until the next chapter of the story.In 2018 DJ and record collector Dave Thorley saw an old & dusty acetate disc for sale online, credited to Rose Cornelius. When listening to it he realised that this was indeed Sister Rose of the aforementioned group and purchased it, initially with the intention of simply playing it in his DJ sets. Dave offered the disc to his friends of the Disco Bizarre crew from KitKatClub / Berlin for their record label. Rose, in turn, was contacted and she was kind enough to give permission for its release and additional contemporary remixes/ re-edits. Thus New York producer veteran DJ Duke and San Francisco Disco authority Jim Hopkins landed on the bill. You now have the results of this story on Disco Bizarre’s latest release - a story that has spanned fifty plus years. We at Disco Bizarre are excited about the final results and are happy we‘re able to share it with you.

Take one of the oldest library labels of the world, entrust its incomparable catalogue to the expert hands of two records scouts and sampling enthusiasts, and you get Cavendish Rarities, an exceptional 12-inch vinyl gathering brilliant producers who made the reputation of this prestigious Music Library founded in London in 1937.

For the first time on Beatsqueeze Records, Mister Modo and Ugly Mac Beer have selected 13 original tracks impregnated with vintage spirit and cinematographic atmospheres, signed with Cavendish in the 70’s by Trevor Duncan, Ray Davies or Dennis Farnon.

A unique compilation on vinyl only, edited by two passionate crate diggers, for all music lovers in perpetual quest of rare pearls and fans of great old school sound!

Two lost Disco classics appearing for the first time on a single 12” featuring soul legend Leon Ware and Jo Ann Harris, a little known backing singer for Bob Dylan throughout the 80s.

Both songs originally appeared on the ‘20 Minute Workout’ Video and LP released in 1983 by Canadian label Ronco, ‘What Does It Take’ providing an uptempo crescendo to the third part of the workout and ‘Never Gonna Give You Up’ the final warm down track. Licensed from producer Ira Newborn, Hollywood soundtrack royalty who composed the scores for an incredible run of films including The Blues Brothers, Ferris Bueller’s Day Off, The Naked Gun trilogy, Weird Science, Ace Ventura and Uncle Buck. Ira’s lawyer persuaded him to get involved in the project for Ronco and it was Ira who hand picked Leon Ware and Jo Ann Harris to add vocals to two tracks to aid the commercial potential of the album.

There are two original versions backed with extended instrumentals sourced from a rare Lazer Disc Version of the album. It feels right to shine a light on one of Leon Ware’s lesser known performances, whilst the Jo Ann Harris cut has a distinct Balearic air featuring sultry keys and sax at a tempo of 98 BPM.

Stoned Part II is Lewis Taylor's pure, perfect dance-pop album. His second self-released album and fourth album proper, it initially appeared on his own label Slow Reality in 2004. It's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. Gravely misunderstood at the time by hardcore fans and the music press alike, it has aged quite magnificently. An experiment in the sounds of contemporary pop and dance music, Lewis's wonky take on funky pop would annihilate anything kicking around the charts, then or now. If only it were given half a chance.

Stoned Part II is brimming with Lewis's trademark soul, his singing as beautiful as ever, but the rhythms throughout are more upbeat, the overall sound a more smooth and slicker dance-funk presentation. Roughly half the tracks are absolutely essential, fascinating re-workings of tracks from the eternal Stoned Part 1, as Lewis explains: "When we were doing Stoned we were trying different approaches with everything so we ended up with more than one version of nearly all the songs which left us with more than an album's worth of material. There was a lot of really cool house tunes around at the time which we were both really into and that shaped the sound and production, some songs more directly than others." Amen to that.

The swoonsome, string-drenched opener "Madman" is quite the departure, a bleepy, bumping soulful disco-house record with a bassline to die for. Is there anything he can't do? It's followed by another huge dancefloor stomper, "Keep Right On" again riding another killer bassline over funky drums and featuring Lewis's dazzling vocals. There's no let-up with the sparkling "Reconsider" which sounds an awful lot like Daft Punk meets Nile Rodgers (prescient as ever, our Lewis). The wide-eyed French filtered house vibe is to the fore here, and how this wasn't picked up by someone like Kylie and taken wholesale to the top of the charts is something we'll never understand.

Opening the B-Side, "When Will I Ever Learn 2" really slaps, presenting a breezier, more upbeat funk take on the brilliant original and incorporating "From The Day We Met" from Stoned Part I. "Out Of My Head Is The Way I Feel" is absolutely fantastic and one of Lewis's very best songs. The vocals, self-harmonising and virtuoso playing are next level. To close out the side, "Carried Away" is a real standout, Lewis's gorgeous falsetto riding a quasi D&B groove to begin with before adorning a more classically funky 2-step rhythm. The marriage of undulating synths and guitars is stunning, giving way to Lewis indulging his goosebump-inducing Brian Wilson harmonies.

The funky, Rhythm King drum machine soul of "Stoned Part 2" refashions the original in the style of an unearthed Sly Stone classic, circa There's A Riot Going On. Yes, it's that good. On we then glide to "Positively Beautiful 2" which, if it's even possible, manages to be better than the original. The epic, orchestral opening truly captivates before Lewis truly gets down with kaleidoscopic dancefloor-slaying Philly soul-funk. It's surely tracks like this which help explain why he was soon to be tapped up by Dangermouse and Cee-Lo for the musical director role with Gnarls Barkley. "Throw Me A Line" closes out the side

"Shame 2" is a blissful, restrained version of the massive original, without the crazy psych-soul wig-out. Definitely more radio-friendly, that's for sure. The gorgeous mellow vibe continues with "Won't Fade Away", featuring more Beach Boys harmonies over a barely-there pulse (a version of which later pops up in an altered state on The Lost Album). The album bows out with - you guessed it - a psych-soul wig-out! "Keep On Keeping On", a real highlight, opens with looped sampled drums a la Massive Attack and Lewis's multi-layered self-harmonising again very much high in the mix. It amps up gradually to feature vocals dripping with tune and bite before screaming guitars and crashing drums really blast this whole set into the stratosphere.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the twelve tracks over a double LP so it sounds exactly as it should. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned, Part II.

Diese 10-Track-LP ist eine umfassende Geschichte von 43 Jahren Star Trek-Musik von der Original-TV-Serie von 1966 bis hin zu J.J. Abrams' kinoreifem Blockbuster-Neustart. Die Musik von Star Trek steht im Mittelpunkt der Legende – mysteriös und majestätisch, geschrieben von einigen der angesehensten Komponisten der Welt, darunter Größen wie Jerry Goldsmith, James Horner und Alexander Courage. Blaues Vinyl.

HIPNOSIS wurde zu Beginn der 1980er Jahre von Stefano Cundari (Koto) gegründet. Er hatte auch die Idee den Vangelis – Hit “Pulstar“ zu covern . Der Titel schaffte es fast sensationell in die TOP 10 der Charts in Deutschland. Auch in Österreich und der Schweiz konnte sich „Pulstar“ in den TOP 20 platzieren.

Endlich ist das original Album aus dem Jahr 1984 wieder erhältlich. Die Vinylausgabe beeinhaltet 9 Titel inkl. der Hits “Pulstar“ und “Oxygene“ , die CD Ausgabe hat zudem noch 4 Bonustracks.

HIPNOSIS was founded in the early 1980s by Stefano Cundari (Koto). He also had the idea to cover Vangelis‘ hit „Pulstar“.

The cover reached the TOP 10 of the charts in Germany in an almost sensational way. In Austria and Switzerland, „Pulstar“ also reached the TOP 20.

The original album from 1984 is finally available again. The vinyl edition contains 9 tracks, including the hits „Pulstar“ and Oxygene“, the CD edition also contains 4 bonus tracks

Spanning some eight albums and multiple line-ups, "All Ages" contains the very best of Bad Religion"s Epitaph years. It includes live versions of "Do What You Want" and "Fuck Armageddon..." with artwork that is culled from original show flyers! The lyrics sheets are also the original hand-written versions; some of which were scribed on bedroom walls!

The Big G is back, but has Godzilla bitten off more than it can chew? 1992's GODZILLA VS MOTHRA is a triple threat treasure, with Godzilla battling the legendary Mothra and its dark doppelganger Battra, unleashed by a meteorite and is intent on destroying Mothra and, subsequently, the world. Throw in a rogue archaeologist, his ex-wife, and a multinational company exploiting the minute Mothra Cosmos twins, and you have a thrilling kaiju adventure with a stunning score by the original Godzilla composer, the brilliant Akira Ifukube. GODZILLA VS MOTHRA is undoubtedly one of Ifukube's most outstanding scores, bringing together the traditional booming brass and bass that accompanies Godzilla and Battra with a more ethereal sensibility for Mothra and her mission to save the Earth. Godzilla's theme is stomping in the foreground, and Battra gets similar material with a gigantic doom-laden motif for his destructive power. But the "Sacred Springs" theme for Mothra is a match for any of them, with Ifukube using it in minor and major modes, with a gorgeous rendition with a female chorus at the climax of the score, illustrating once again that when it comes to the music of Godzilla, Akira Ifukube is the master.

Our second release is made by the hands and ears of Torc.

X/Y/Secret cofounder and infamous YouTuber, Oscar from Underdog is showing us a lot of his technical abilities in this one!

The result is a fast-paced journey through intricate club grooves, crafted with mastery.

The remix is courtesy of Insolate. She leads the original into bolder territories without disturbing its flow, which elevates it in all the right ways.

Akhenaten was the first album Nat released on the fledgling Gondwana label back in 2009,
it was the second release on the label and has remained a hugely popular and much sought after album ever since.
Jazzman Records issued a vinyl version in 2016 (which quickly sold out and is now a collector’s item)
and Nat reissued a CD version a few years later, but this is a much needed and long awaited new vinyl pressing.
Featuring four original compositions the album is a deeply meditative offering of heartfelt Spiritual Jazz,
in the classic mode of late 1960s/early 1970s John & Alice Coltrane and Pharoah Sanders

At the dawn of the summer of 2023, here is the telluric reading of four Bérurier Noir tracks (plus one unreleased track, signed by the duo NSA), engraved in a vinyl groove. The lyrics have been rethought, accompanied by a wild baritone sax to the rhythm of the original box (Electro-Harmonix DRM-16).

A dark and luminous vision of today's world, this vinyl maxi 45 is a cry!

High Roller Records, reissue 2022, black vinyl, ltd 200, lyric sheet, poster, restored original artwork, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2022, black vinyl, ltd 200, lyric sheet, poster, restored original artwork, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2023, black vinyl, ltd 200, lyric sheet, poster, restored original artwork, Mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in September 2020. Cutting by SST Germany on Neumann machines for optimal quality on all levels

High Roller Records, reissue 2023, splatter vinyl, ltd 200, lyric sheet, poster, restored original artwork, Mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in September 2020. Cutting by SST Germany on Neumann machines for optimal quality on all levels

Bringing their story to the present, The Boo Radleys new single, "Seeker", introduces the band’s eighth album. Where last year’s album, joyful in tone yet brooding with heavyweight lyrical themes, came together as an exploration of the isolated ideas of each member, Eight is, according to vocalist and co-songwriter, Sice formed of songs recorded “purposefully to appear together on an album.” Before adding, “There is also a greater depth of integration, which means that it’s more difficult to tell which member of the band the song originated with.”

Reflecting on "Seeker", the new album’s opening track, written about leaning on those we trust to share life’s highs and lows, bassist and co-songwriter, Tim Brown says: “This song started out as a three-chord synth pop tune and mutated into a brassy bop courtesy of trumpeter, Nick Etwell. The electric guitar flourishes were added by Louis Smith before Sice added layers of backing vocals which help drive the song along and bring it to its joyful conclusion.”

Die beliebte Band Bright Eyes mit der dritten Welle von Veröffentlichungen im Rahmen ihres laufenden Companions-Reihe. Das Projekt sieht vor, dass die Band ihren gesamten Katalog neu auflegt, wobei jedes Originalalbum von Neueinspielungen begleitet wird. Diese Companion EPs enthalten dazu Gastauftritte von Johanna and Klara Söderberg (aka First Aid Kit), Gillian Welch und Alynda Segarra (Hurray For The Riff Raff) sowie eine Coverversionen von "Wrecking Ball" von Gillian Welch. Eines der Dinge, die Conor Oberst auffielen, als er und seine Band durch mehr als zwanzig Jahre Musik gingen, war, dass er vielleicht tatsächlich die ganze Zeit über denselben Song geschrieben hat. Natürlich nicht klanglich, aber konzeptionell. Diese letzte Welle enthält mit Noise Floor frühe Bright Eyes-Songs, die so roh sind, dass Oberst sie damals nicht direkt veröffentlicht hat, sowie mit Cassadaga und The People's Key die ausgefeiltesten und anspruchsvollsten Alben der Band. Als Bright Eyes mit Cassadega auf Tournee gingen, spielten sie 7 ausverkaufte Abende in der Town Hall in New York. Was gibt es Erwachseneres als einen Rockstar? Und doch ... "Thematisch unterscheiden sich diese frühen Songs gar nicht so sehr von denen, die ich jetzt mache", sagt Oberst und schüttelt den Kopf. "Es hat etwas Bestätigendes und Entmutigendes an sich. Man fragt sich: Habe ich mich wirklich verändert oder bin ich gewachsen? Aber vielleicht liegt es auch nur daran, dass ich von Anfang an wusste, worüber ich schreiben wollte. Es war eine interessante Reise, all diese alten Songs wieder aufzugreifen und neu zu interpretieren."

Die beliebte Band Bright Eyes mit der dritten Welle von Veröffentlichungen im Rahmen ihres laufenden Companions-Reihe. Das Projekt sieht vor, dass die Band ihren gesamten Katalog neu auflegt, wobei jedes Originalalbum von Neueinspielungen begleitet wird. Eines der Dinge, die Conor Oberst auffielen, als er und seine Band durch mehr als zwanzig Jahre Musik gingen, war, dass er vielleicht tatsächlich die ganze Zeit über denselben Song geschrieben hat. Natürlich nicht klanglich, aber konzeptionell. Diese letzte Welle enthält mit Noise Floor frühe Bright Eyes-Songs, die so roh sind, dass Oberst sie damals nicht direkt veröffentlicht hat, sowie mit Cassadaga und The People's Key die ausgefeiltesten und anspruchsvollsten Alben der Band. Als Bright Eyes mit Cassadega auf Tournee gingen, spielten sie 7 ausverkaufte Abende in der Town Hall in New York. Was gibt es Erwachseneres als einen Rockstar? Und doch ... "Thematisch unterscheiden sich diese frühen Songs gar nicht so sehr von denen, die ich jetzt mache", sagt Oberst und schüttelt den Kopf. "Es hat etwas Bestätigendes und Entmutigendes an sich. Man fragt sich: Habe ich mich wirklich verändert oder bin ich gewachsen? Aber vielleicht liegt es auch nur daran, dass ich von Anfang an wusste, worüber ich schreiben wollte. Es war eine interessante Reise, all diese alten Songs wieder aufzugreifen und neu zu interpretieren."

Die beliebte Band Bright Eyes mit der dritten Welle von Veröffentlichungen im Rahmen ihres laufenden Companions-Reihe. Das Projekt sieht vor, dass die Band ihren gesamten Katalog neu auflegt, wobei jedes Originalalbum von Neueinspielungen begleitet wird. Diese Companion EP enthält dazu Gastauftritte von Johanna and Klara Söderberg (aka First Aid Kit) und Alynda Segarra (Hurray For The Riff Raff) sowie eine Coverversionen "When You Were Mine" von Prince. Eines der Dinge, die Conor Oberst auffielen, als er und seine Band durch mehr als zwanzig Jahre Musik gingen, war, dass er vielleicht tatsächlich die ganze Zeit über denselben Song geschrieben hat. Natürlich nicht klanglich, aber konzeptionell. Diese letzte Welle enthält mit Noise Floor frühe Bright Eyes-Songs, die so roh sind, dass Oberst sie damals nicht direkt veröffentlicht hat, sowie mit Cassadaga und The People's Key die ausgefeiltesten und anspruchsvollsten Alben der Band. Als Bright Eyes mit Cassadega auf Tournee gingen, spielten sie 7 ausverkaufte Abende in der Town Hall in New York. Was gibt es Erwachseneres als einen Rockstar? Und doch ... "Thematisch unterscheiden sich diese frühen Songs gar nicht so sehr von denen, die ich jetzt mache", sagt Oberst und schüttelt den Kopf. "Es hat etwas Bestätigendes und Entmutigendes an sich. Man fragt sich: Habe ich mich wirklich verändert oder bin ich gewachsen? Aber vielleicht liegt es auch nur daran, dass ich von Anfang an wusste, worüber ich schreiben wollte. Es war eine interessante Reise, all diese alten Songs wieder aufzugreifen und neu zu interpretieren."

This release takes a look back at Knuckle Puck's early years -- Retrospective is a vinyl combo that collects several releases, all originally pressed on vinyl by Bad Timing Records between 2014 and 2015.

The great jazz-fusion band Weather Report released their self-titled debut album in 1971. Featuring Joe Zawinul and Wayne Shorter amongst others, the young musicians created an original and fluid record, which would define the state of the jazz rock by that time. Shorter’s (1960s Miles Davis ensemble) soprano sax shines and reveals with full force the extraordinary rapport the members of the group established from the start. The music consists of subtle melody lines and is mostly an atmospheric adventurous journey. Influences from Miles Davis’ In A Silent Way / Bitches Brew sessions can be heard throughout this record. Altogether they’re performing this historical document.

Cinthie joins the Heist fam with an EP full of lush, epic house music with 3 originals and a St. David remix.

Cinthie is the kind of artist who seems to be everywhere all at once. In the past years, we’ve seen her compile a lush DJ Kicks compilation, release numerous EP’s on labels such as Aus music, run one of Berlin’s finest record stores (Elevate Records), tour the world fiercely, and create an all-new live show. Her EP for Heist has been in the works for a long, long time and it’s an absolute pleasure to finally present the ‘Music for Discotheques’ EP. Spoiler alert: It’s a no holds-back, ‘all killers, no fillers’ record. Just the way we like it.

In classic Cinthie fashion, this EP has the Berlin-based artist explore various sides of house music, starting with the vocal cut ‘Won’t u take me’. Lush pads, shuffling snares and a dreamy female vocal work together to bring a warm and classy house track with a clear nod to 90’s US house, but with its feet firmly rooted in the present.

Piano heaven takes you on an Italo-meets-deephouse excursion straight into…Drum roll…: Piano heaven. A driving 909 groove and a deceptively simple bass form the foundation of the track, but it’s the keys (and strings) that bring this track to its full peak-time potential. The energy in this track is of the ‘hands-in-the-air / screaming-out-loud’ type and it has already become one of the biggest tracks in Cinthie’s live-show.

On the flip, Cinthie explores the pacier electronic side of the dance spectrum, with the footwork inspired jam ‘Masterplan’. Think classic 808’s, loopy synths and a cheeky spoken word piece that lifts the song to a level where it’s extremely danceable and quite simply put; really fun.

The final track of the EP is the expertly crafted remix by Italian house maestro St. David; an artist Cinthie has always been a big fan of. He’s made a dazzling rework of ‘Piano Heaven’: A deep and driving deephouse version that’s layered in sweeps, fx and bleeps for an altogether mesmerizing effect.

We’re thrilled that we can share Cinthie’s music on the label and have her join the family after having played so many shows together and having spoken about doing something together for such a long time. As always, play it loud and dance, dance, dance!

Yours Sincerely,
Maarten & Lars

The original plan for Cactus was to release a debut album with the super group line-up of Vanilla Fudge rhythm section bassist Tim Bogart and drummer Carmine Appice together with guitarist Jeff Beck and singer Rod Stewart, though Beck’s car accident and Stewart joining Ron Wood in The Faces counteracted that.

Eventually joining Bogart and Appice were guitarist Jim McCarthy (Mitch Ryder’s Detroit Wheels) and singer Rusty Day from Ted Nugent’s Amboy Dukes for this self-titled album that is arguably the highlight in their catalogue.

Cactus is available as a limited edition of 1000 individually copies on translucent red coloured vinyl.

Tuff Darts was an American punk rock band. They reached their greatest fame in the mid-late 1970s with such songs as “Slash”, “(Your Love Is Like) Nuclear Waste” and their biggest single, “All for the Love of Rock and Roll”, which was originally recorded by Ram Jam. The band appeared at popular New York City clubs like Max’s Kansas City and CBGB and featured Tommy Frenzy (vocals), Jeff Salen (guitar), Bobby Butani (guitar), John DeSalvo (bass), and John Morelli (drums). In 1978, the group released their debut album Tuff Darts!, on Sire Records, produced by Bob Clearmountain and Tony Bongiovi.

This NYC punk rock classic, Tuff Darts!, is available as a limited edition of 750 individually numbered copies on translucent red coloured vinyl and includes an insert.

Das Hip-Hop Duo Rae Sremmurd veröffentlicht das neue Album „STREMM4LIFE“ auf Vinyl. Die beiden Brüder aus Atlanta erreichten ihren internationalen Durchbruch 2015 mit ihrer Hit-Single „No Type“.
Seitdem wurde das Duo mehrfach mit Platin für ihre Alben ausgezeichnet, arbeiteten mit Künstler*innen wie Nicki Minaj, Travis Scott und Future und erhielten unglaubliche 40 Single Platinauszeichnungen für ihre Songs wie „Swang“, „No Type“ oder „Black Beatels“

”Peace...Like A River”, das 12. Studioalbum der Band und der Nachfolger ihres chartstürmenden und Grammy-nominierten Blues-Albums ”Heavy Load Blues”, wird am 16. Juni 2023 über Fantasy Records veröffentlicht. Die 12 Songs umfassende Rocksammlung enthält auch Gastauftritte von Billy Bob Thornton, Celisse und Billy F. Gibbons, der mit Haynes am vergangenen Sonntagabend bei den CMT Music Awards eine unglaubliche Hommage an Lynyrd Skynyrd darbot. Zusätzlich enthält die ”Peace...Like A River” Deluxe Edition (nur auf CD erhältlich) das 12-Track-Originalalbum plus die spezielle 5-Track ”Time Of The Signs” Bonus EP, die vier brandneue, unveröffentlichte Tracks und eine alternative Version des Albumtracks ”The River Only Flows One Way” enthält, bei der Warren die Lead Vocals übernimmt.

Der Star aus den TV-Serien “Homeland”, “Band Of Brothers” und “Billions” mal anders: als SingerSongwiter mit erdigem Roots-Pop.
Der britische Schauspieler Damian Lewis ist Serienfans auch in Deutschland als Nicholas Brody aus der Serie „Homeland“ bekannt. Vor seiner erfolgreichen Laufbahn in der Schauspielerei war Lewis vor allem ein Musiker, inspiriert von den Rockbands seiner Jugend und jahrelang unterwegs als Straßenmusiker.

Jetzt kehrt Lewis zu seinen Ursprüngen zurück. Sein Debütalbum bietet eine originelle Sammlung von rootsigen, rockigen und manchmal auch etwas jazzig angehauchten Songs aus eigener Feder plus zwei großartigen Coverversionen: ”Harvest Moon” von Neil Young und ”After Midnight” von J.J. Cale.

This new pressing of bassist Leroy Vinnegar's first album as a leader Leroy Walks! Is released as part of Acoustic Sounds celebration of Contemporary Records. Originally released in 1958 the album sees Victor Feldman, Gerald Wilson, Teddy Edwards, Carl Perkins, and Tony Bazley joining Vinnegar. Recorded by Roy DuNann this edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.

"Against The Grain" is screechingly released hot on the heels of the previous years punk hit `No Control" which sold so many copies, why not keep the formula untouched? The exuberance of this release is kinda tuff ta" blow off. Contains the superior original version of "21st Century Digital Boy" plus 16 more crucial cuts. A barrage of melodic, hyper-overdrive.

epressed! Proto-punk and garage Zamrock: the celebrated guitarist Paul
Ngozi’s essential debut album. Featuring Chrissy Zebby Tembo

Guitarist/vocalist Paul Ngozi’s debut album – under the name Ngozi Family - is an important record: not just in the Zamrock genre,
but in the global rock canon. Day of Judgement is an introduction to the most intense, raw and inimitable golden era Zamrock
recorded, as it paved the way for a dozen Paul Ngozi and Ngozi Family releases (the most famous being drummer Chrissy Zebby
Tembo’s My Ancestors) that straddled the line between funk and punk, of driving hard rock and Zambian folk melodies and rhythms.
Day of Judgement was released in 1976, the same year as other, now famous, Zamrock albums, from WITCH’s Lazy Bones!! to Rikki
Ililonga’s Zambia. But it sounds like none of its counterparts. Part of that stems from its frenzied primitivism, the Ngozi Family’s
attempt to overcome a lack of musical acumen with sheer force of will.
That will allowed Paul Ngozi to overcome a humble upbringing to become the most unlikely combination: Zamrock’s most beloved
star in its brief but now-well chronicled arc; the only musician to maintain his fame and recording prowess in the dark ages of the
’80s; an inspiration to not only aging but young Zambians — and now others, beyond Zambia’s borders.
But one cannot imagine Paul Ngozi without this album, a full-on aural assault that sounds as wild nearly forty years after its release
as it must have sounded in the developing Zamrock landscape from which it emerged. We listen to this anachronistic yet prescient
album now as a wholly original, completely unpredictable album in line with those from mavericks from across the world – from the
Ramones to the Sex Pistols to Death. And, though it’s been over two decades since Paul Ngozi’s passing, his voice and vision still
seem exciting, powerful, unique, unvarnished, new.

After the success of Codeine's Frigid Stars LP, the trio of Stephen Immerwahr, John Engle, and Chris Brokaw booked time at Harold Dessau Recording in June 1992 to track an eight-song sophomore album. A few days and a couple of unexplainable high-pitched frequencies later, the record was scrapped, shelved, and forgotten about. Brokaw left the band shortly after, and these songs were re-tracked in various iterations for Codeine's final LP. On its 30th anniversary, Numero has unearthed these recordings, restoring the original White Birch to the band's exacting standards with producer Mike McMackin. A slowcore masterpiece hidden in plain sight.

Nazamba & Dubsetters kicked off this new Finnish Dub & Sound label in a superb style recently and what better way to follow that up than with the reggae master, smoking king and weed aficionado Linval Thompson. This might sound like one of his classic lost cuts from the 70s but it is actually an all new tune from the Jamaican reggae icon. Dubsetters provide the gentle, percussive rhythms which are organic and deep, with Linval's smooth mic work up top adding to the global conversation about the decriminalization of cannabis. Flip it over for an even more mellow and dubbed out sound on the b-side.

The album Symposium Musicum is developed from field recordings, interviews, and observations collected in the villages of Podolínec, Lomnička, Levočské Vrchy, and Kolačkov - all areas of the eastern and north-eastern Slovakia with significant Romani enclaves. The pieces resulting from these interactions encourage the listener to tune in for a delicate negotiation of language, (audible) gesture, and storytelling.

The collaboration with the local participants appears lighthearted and whimsical on the records, but this seeming easiness is clearly a result of devoted fieldwork planning and committed post-production. The curated compositions represent and emphasize not only performative aspects of the acoustic activities but also point attention to seemingly non-productive aspects of creation, such as silence, hesitation, observation, perception, or waiting.

Sound experiment and preservation is not the only goal of the project. Some of the records capturing acoustic activities in peculiar places but also carry an element of social novelty that accompanied their making - according to the locals in Lomnička, the recording visitors were the first non-Romani persons who spent the night in the village.

In many instances, these recordings explore liminal spaces that have lost their original function (a church ruin or an out-of-business grocery store) and became a lively territory for acoustic exploration and playful reciprocity. For instance, in track 7, "Kavka", local children used crackling leaves as percussion devices.

Such moments betray a high level of engagement in the subtle details of the recorded spaces and their social ecologies. According to the creators, their creative processes involve "a social sound practice" as an attitude towards exploring sound in its social setting.

Symposium Musicum leaves behind many aesthetic conventions of sound capture and what is considered "musical", including the usual notions of a linguistic unit, narrative, memoir, and play. Instead, it engages in a self-reflective questioning of the way we listen to the world around us.

This project invites us to experience places outside the divided sociolinguistic provinces, resulting from multigenerational displacement and neglect of the Romani communities from the explored areas. The result is in many ways revelatory and poetically impactful.

Die Blue Flames 7"-Singles sind unter Sammlern und werden von Liebhabern des frühen R&B und des Proto-Mod-Sounds sowie von denen, die ihre Freude am Ska-Beat gesucht. Obwohl sie vor fast einem halben Jahrhundert veröffentlicht wurden, wurden sie tatsächlich bis heute nie wieder auf Vinyl neu aufgelegt. Für Ace schien es eine Selbstverständlichkeit zu sein, sie auf dieser Blue Flames-EP zu kombinieren. Für das Sleeve hat Ace das Titelfoto von Georgie Fame direkt vom original Fotograf Val Wilmer lizenziert. Auch Dean Rudland würdigt in den Liner Notes die Story dieser Georgie Fame-Band. Zu sagen, dass diese vier Tracks großartig klingen, ist untertrieben - diese Blue Flames kochen auf Gas.

Taiwanese label JIN records enters autumn 2022, with a new promising release by South Korea’s Yetsuby. As always searching for gems in the pan-Asian domain, JIN is delighted to have Yetsuby for its latest/6th release.

On this EP, one-half of the ambient duo Salamanda, Yetsuby showcases her expertise in mood setting soundscapes, taking listeners on a sound journey across a wide array of musical spectra.

Opening on A1, Yetsuby reinterprets a traditional Korean folk story of a bear devouring garlic and green onions, transforming the animal into a human being. Aptly named ” Bear Becomes The Human,” she transforms the transformed, turning the bear into a buzzing modern drum & bass-fused energetic tune. It turns out garlic is a powerful source after all.

B1’s “Jelly” showcases Yetsuby’s talent for stripped-back glitch music: With a minimal bass and drum pattern, the track gently muddles along and presents itself as well suited warm-up track for the earlier hours of any party.


For the remix sides, Cleveland delivers a vinyl only remix of “Bear Becomes The Human” with a futuristic house tune filled with jungle like drum pattern and techy yet smooth atmosphere on A2.


On B2, New Zealand’s Eden Burns takes an entirely different path on his reinterpretation of Jelly. Embarking from the original pattern, he turns the original into a slow brewing psychedelic trance cracker that seems most suited for the early morning after hours that need an energy boost.

Dry Tears is the latest release from the Bruto Industries label and their first release in 12" format. On this occasion, xKukum, one of the founding members of the label, presents his first EP.

The record, which was recorded in late 2020, traces an emotional journey from the distortion of reality caused by melancholy to the determination to move away from it. The EP consists of four original tracks that guide the listener through this journey, with influences from EBM, Dark Wave, Techno, and more. On side A, we find more introspective and melodic tracks, while side B offers sounds more focused on the dance floor. As a special addition, Colombian artist Filmmaker contributes a remix of the track "No More Dramas," complementing the atmosphere of the album with his characteristic powerful sound.

Like previous releases from the label, this work has been mastered by Dan Böhler, who has provided the EP with a sound quality that will not disappoint genre lovers. The artwork is done by Marcos Abella, who completes the concept with an imagery influenced by manga and cyberpunk aesthetics.

Shinoby is back on the iconic label that launched in the end of 2015. Each side includes one original mix and one remix from a few the most interesting and creative artists of the last years. Mass Prod delivers a sneaky techno banger carachterized by a warm modular feeling. Buttechno & Triš built a techno dub aesthetic track in a quietly perfected formula as in the mid-90’s.

Stimela were a popular and successful South African Afro-fusion outfit led by guitarist, vocalist, songwriter, producer and arranger Ray Phiri. The band was formed under the name ‘The Cannibals’ during the 1970s when Phiri got together with drummer Isaac Mtshali, keyboard player Thabo Lloyd Lelosa and bass player Jabu Sibumbe. They initially started out as instrumentalists, but later evolved to Afro-fusion when they joined forces with vocalist Jacob “Mparanyana” Radebe in 1975. The story of ‘The Cannibals’ ends when Radebe died in 1978 but the ‘Stimela’ story was only just beginning.

In 1979, after a life-changing experience in Mozambique (where they were stranded for three months) the band members had to sell all their belongings to take a train home. This trip was a watershed moment as it was here where they conceived the new name for the band: The Zulu word for “locomotive-train” STIMELA.



Stimela would soon become little short of an institution in their home country of South Africa. With soulful tunes and gripping lyrics, the band has recorded platinum-winning albums such as Fire, Passion and Ecstasy, Shadows, Fear and Pain & Look Listen and Decide. In addition to recording their own material, the group supplied instrumental accompaniment on albums by a lengthy list of legendary artists. Stimela would go on to gain global fame after being featured on Paul Simon’s iconic 1986 ‘Graceland’ album and the mega tour that followed.



Ray Phiri would enter into many successful collaborations with major acts and artists such as Harari, Joan Baez, Willie Nelson and Manu Dibango. In 2017 he was diagnosed with lung cancer and died at the age of 70. Phiri has received many awards in recognition for his contribution in the music industry, one of these is the Order of Ikhamanga awarded to him by the South African president. This was to honor his sterling contribution to the South African music industry and the successful use of arts as an instrument of social transformation.



Stimela is the tale of a South African band who have battled their way through dark days to take their rightful place in the forefront of the South African apartheid-era music invasion. One of their most memorable tracks “Whispers in the Deep” was even restricted from being broadcasted by the old South African Broadcasting Corporation.



On the album we are presenting you today (Fire, Passion and Ecstasy from 1984) the unique sounds of Ray Phiri’s Stimela are fully showcased. Expect infectious hypnotic build-up grooves, cinematic lowdown jazz-funk, Afro-soul, delightful reggae, gospel influences and funky synth-boogie sounds…all with a touch of early eighties new wave and hints of Island disco mixed with sensual bubblegum pop. It comes as no surprise that the album has now become a sought-after item due to its addictive and original-sounding nature, a must-have for any self-respecting record digger!



These recordings completely encapsulate Stimela’s fusion style. They managed to craft a modern South African sound that continues to influence SA musicians to this day. Never in a rush, yet always with a sense of purpose and direction – like the steam train after which they took their name.

Tidal Waves Music now proudly presents the first reissue of this fantastic Afro-fusion classic since 1990 (originally released in 1984 on Gallo Records) & this is also the first time the album is getting a release outside of the African continent. This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork. Also included is a double-sided insert containing rare pictures of the band.

2023 Repress

RAWAX PROUDLY WELCOMES MR. RON TRENT TO THE FAMILY! WE'RE PROUD TO PRESENT YOU THIS MASTERPIECE OF MUSIC - ORIGINALLY RELEASED ON
CLUBHOUSE RECORDS IN 1992

Z Lovecraft AKA Rhythm Section International's Mali Baden-Powell, offers up four originals on the Utopia Club Tracks label that showcase the disco/house end of his varied output. 'Exotic Passage' coasts along serenely with gently slapped bongos and warm electric piano, definitely a weapon to have in one's warm up arsenal. 'Release (The Tension)' ups the heat a little with a busier bassline, filters and disco licks, before B-side opener 'Lust In Denial' comes with more jazz-slanted piano riffs and 'People Get Too Deep' closes proceedings with the most spacious and dubby arrangement of the quartet. Musically refreshing and understated but lively enough to move feet onto dancefloors, this is the business.

Ibiza legend and all round well respected industry man Chris Coco is back with more of his seaside sounds. This time his Mediterranean magic is cast over 'La Guitarra' which as the title hints has Flamenco style acoustics with tropical house drums and heartfelt synths. There is a pair backed and delicious dub also, and then modern disco don Rune Lindbaek comes through with a mesmeric take that is laidback and lush in its design. Last of all is Daniel Braca with a Deep In Brooklyn remix thing brings some fine Latin house styles.

Underground Resistance member James Pennington aka Suburban Knight has his first night strike on EPM with Winds of Fear.

Pennington is known for being one of the producers behind the Inner City hit single "Big Fun", as well as his own solo productions for Transmat with "The Art of Stalking" and numerous tracks on U.R, most notably the 'Nocturbulous Behavior' & 'By Night' EPs.

Fellow past U.R members and Detroit legends in their own right Robert Hood & Eddie Fowlkes step up to edit this masterpiece.

Bonzai Classics is thrilled to announce the highly anticipated release of the 3rd installment of the Bonzai Power Vinyl series. This 2 x 7" vinyl set comes in a stunning orange color and includes Phrenetic System's "Wayfarer," Aqua Contact's "Cinderella," B.W.P Experiments with "Organic," and Cyberdelia with "Deconstruction”.

This vinyl set is essential to any electronic music lover's collection. The tracks have been remastered for optimal sound quality and are presented in a beautiful gatefold sleeve. Be sure to grab your copy and experience the power of the 90s again!

Andrius Arutiunian’s debut album »Seven Common Ways of Disappearing« was first conceived as an installation for the Armenia Pavilion at the Venice Biennale in 2022. The Armenian/Lithuanian artist and composer uses hybrid forms of music, focusing on sonic vernaculars, hypnotic musical forms, and aural cosmologies. Arutiunian is known to work with installations, sound objects, and time-based collaborations with ensembles and performers. The piece on this record was written for two musicians, a retuned piano and analogue electronics, and it borrows an enneagram as its score—the world-ordering model introduced by the controversial Armenian-Greek mystic and composer G.I. Gurdjieff. The result is an album that is both aesthetically and spiritually intoxicating music of the spheres, at once reminiscent of the masterpieces of minimal music and improvised, if not stochastic music. G.I. Gurdjieff was one of the first thinkers and (quite possibly charlatans) to introduce a syncretic idea of Eastern philosophy into the West. His unique way of teaching was based on an esoteric blend of Middle Eastern, Buddhist, and Dervish philosophies, and oscillated between a genuine search for enlightenment and a complex form of trickery. Borrowing from Gurdjieff’s writing on the world ordering and musical tuning, Arutiunian used the enneagram to organise the musical and structural matter of the piece that was originally conceived as a live performance.»Seven Common Ways of Disappearing« is written for a grand piano—the epitome of Western composition and musical production—and follows a simple set of rules: the two musicians have to navigate the topography of the score, rendering the piece in a different configuration each time. In a sense, this gripping recording is thus only one of the potentially infinite versions of how it could be played, but also seems to take on different shapes and forms with each new listen. It documents a truly mystical composition that follows its own logic

The music explores Ekko´s feelings and possibilities, and the unpredictability of the improvisational music is a parallel to an echo that speaks freely. What happens then? «Hva nå, Ekko?» is a commissioned work by Liv Andrea Hauge, written for Festspillene i Helgeland 2022. The ambition behind the work is based on exploring improvisation in a bigger jazz ensemble. Composed by Liv Andrea Hauge, it´s performed by some of the foremost young jazz musicians on the Norwegian stage: Ragnhild Moan, Signe Emmeluth, Torstein Lavik Larsen, Marte Eberson, Fredrik Luhr Diecthricson and Andreas Winther. Drawing on Liv Andrea´s compositions and collective improvisations, the work appears as a collective project colored by tight interaction, and through the hour long work it´s notable how much the musicians enjoy playing with each other. Liv Andrea Hauge is an Oslo based musician, originally from Mosjøen in Northern Norway. She has studied jazz piano at the Norwegian Academy of Music, and despite her young age and carriere she has put a mark on the Norwegian music stage, with bands such as Kongle Trio and Ladybird Orchestra. In 2022 she released the album “Live From St.Hanshaugen” with Liv Andrea Hauge Trio, mentioned as one of 2022’s best Norwegian jazz albums

Smoke M2D6's boundary-pushing musical production and Jedi-like audio engineering have earned him wide and enthusiastic artistic acclaim, as well as a host of awards. As an MC, Smoke M2D6 has toured the country, performing in all of the lower 48 states, and was one of the original founding members of Northwest super-crew OLDOMINION. Though Smoke M2D6 has not released an album since the 2006 opus Bleed, he has been super-busy creating beats and producing other artists including many of his Oldominion crew mates Onry Ozzborn, Nyqwil, IAME and JFK. The global pandemic finally cleared the deck, allowing Smoke M2D6 to get back to doin' his thing: "When the quarantine started I found an old JFK verse from 2013 where he was talking about a pandemic - 'I've got to build on this,' started cutting it up." We start with an overwhelming feeling of being at the beginning of societal collapse: Quarantine Heart Throb, a mass pak of apocalyptic art. Featured are several NW hip hop legends and mainstays, artists Smoke M2D6 has either "mixed for them, produced for them or is a fan of them." If you are a fan of Smoke M2D6 and have been waiting since 2006 for this album, "You will not be disappointed - - - Quarantine Heart Throb shows my growth as a person, a producer, an engineer and as a rapper." Far out. Smoke M2D6 also appears on (and produced) the K Northwest hip hop compilation All Your friends Friends KLP255.

A double 12" album with brand new music produced in collaboration between DJ Fett Burger and Dama. All produced between April to October 2021.

An explosive creative collaboration between the two artists.
Unfinished sketches by Dama have been reproduced, reworked and remixed in various ways, and new tracks have been created. There have already been released three digital singles on DJFB's Digitalised Planet B, now the double album on vinyl, Emotional Tripper.

A tripped out left field house and techno record, with experimental and ambient elements. Early Italian dance music meets UK and Norwegian percussive house. Techno, electro and minimal elements all in their place. A pure mix of influences mixed and reworked together in a creative, fun and surprising way. Staying true to their original influences and moving towards something new and original.

Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation of bizarre hits taken from the glorious catalog of records released during the 60s and 70s on the Peruvian label Discos MAG. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. “Sabroso Go Go” brings together fourteen musical mixes created in the recording studios of Manuel Antonio Guerrero (MAG), in which music directors combine rhythm with alchemy in a quest to find the philosopher's stone of the dance. Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation. Although this compilation begins in 1957, experiments like this (some more memorable than others) were not new in Peru. The songs on this album were however much more successful hybrids. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. At the end of the fifties, rock music shook the foundations of Peru, and orchestras rushed to cover hit songs and explore the possibilities of mixing them with tropical music. Lucho Macedo's orchestra took up the mantle and reinterpreted a well-known guaracha by Celia Cruz ('Rock and Roll') in mambo style, renaming it 'Rock and roll Mambo'. 'Maestro de Rock and Roll', a hit by the Cuban Conjunto Casino, received similar treatment. Another mix in this vein is the rock tune 'El Rock de los Chinos' by the Mexican Manolo Muñoz (author of 'Speedy González') recorded by the Chilean Choche Mérida for MAG in 1961. The following year, Chubby Checker’s 'The Twist' hit the scene and was immediately fused with guaracha by maestro Nelson Ferreyra. A legendary MAG musician, Carlos Pickling, composed 'La Charanga del Espacio' in 1963. The space sounds are produced by Pickling and his inseparable Hammond. He himself is the one who leads the orchestra that accompanies Benny Del Solar, Lita Branda and Pablo "Melcochita" Villanueva in the tropicalized version of Spanish Rumba, when the beats of the Iberian rumba were still exotic in South America. Around that time, the Chilean Willy Marambio was already living in Lima. In the track included on this album, the go-go style showcases his virtuosity on the trumpet. Another outstanding trumpet player, Roberto "Tito" Chicoma from Chiclayo, played as a session musician with MAG from 1959. A few years later, he became one of the most popular Colombian cumbia players, a talent he demonstrates in the song on this compilation, which blends the fun of go-go with yé-yé beats. 'Batijugando' was a hit from Mexico and was played in all the rhythms played across the Hispanic world since 1967. Inspired by the "Batman" series, it was performed at MAG by the Betico Salas orchestra, with vocals by the Panamanian lady crooner Nallye Fernández. 'Computador Electrónico' is another surprise on this album, performed by Panamanian vocalist Patty Pastel, it is the only known version in Spanish of 'Der Computer Nr. 3', originally sung in German by France Gall. Two other songs feature Edgar Zamudio. The versatility of Zamudio y Los Vikingos (originally a Chilean group) is demonstrated in the guitar-heavy song composed specifically for the late sixties skate fashion ('Go Go en Patines') and in his idiosyncratic protest song ('Día de Pago') performed in beat style. In the mid-seventies, Los Kintos, led by guitarist Francisco Acosta, developed different harmonic ideas in an instrumental track that veers from boogaloo to salsa, the fashionable rhythm of the day. Finally, in 1976, when the bumping hips dance craze swept the continent, Manuel Guerrero was quick to jump onto the bandwagon, composing a Bump song, together with his son Carlos. The Italian musician based in Lima, Luciano Luciani performed the song 'A Bailar Bump' backed by his band of local musicians Los Mulatos.

‘Hardcore Jollies’ was Funkadelic’s ninth studio album and their debut on Warner Bros Records. Released in October 1976 and dedicated to “the guitar players of the world”, it showed Funkadelic was the heaviest black rock band since Jimi Hendrix’s Band Of Gypsies (even featuring Buddy Miles on one track). With lead guitarists Michael Hampton and Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell’s keyboard wizardry and many more, the album was helmed by the genius of George Clinton. Reaching no.12 on the US R&B chart, the album spawned singles ‘Comin’ Round The Mountain’ (US R&B No.54) and ‘Smokey’ (US R&B No.96) and a live remake of 1973’s ‘Cosmic Slop’ from the album of the same name. Recorded during rehearsals for 1976’s P-Funk Earth Tour, this version features a vocal introduction dropped from the 1973 studio cut. Over 45 years since its original release, ‘Hardcore Jollies’ is among Funkadelic and George Clinton’s best-ever albums and remains a masterful example of their creative genius. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram coloured vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

The new single on Bob Stanley's Measured Mile label is a terrific double-header from Connie Stevens – ‘Tick Tock’ b/w ‘Keep Growing Strong’. A northern soul monster, arranged by the late Philly soul legend Thom Bell, original copies of Tick Tock regularly fetch £250 or more.
It was originally the flip side, as Connie Stevens was handed the very first opportunity to record Thom Bell and Linda Creed's evergreen ‘Betcha By Golly Wow’, later a hit for both the Stylistics and Prince. The record label decided to retitle it ‘Keep Growing Strong’, for unknown reasons - Measured Mile have rescued it from obscurity and made it affordable once again.
A classy orchestrated floor-filler and a timeless Philly ballad. You can't go wrong.

Discover all the gems of Synthwave music in a double vinyl special release! Let yourself be carried along by the return of the 80's wave in a trendy electro style!

Damian Lazarus’ Secret Teachings imprint welcomes a unique project from Malian and French pairing Siraba, unveiling their debut single ‘Ngana Fôlly’ alongside remixes from Philou Louzolo and Peaking Lights. Meaning ‘The Great Path’ in Bambara, Siraba - the duo consisting of Malian hunter Boubacar Samake and Damien Vandesande, one half of French electronic band dOP - are on a path of bringing the traditional sound of the Wassoulou to the world. They met in 2003 when Damien visited Mali to work with local artists and met Boubacar’s father - the legendary Sibiri Samake. Working together on multiple occasions, the two promised to work with one another and Boubacar on a project one day, and 17 years later, the two connected to begin to develop their unique sound and showcase their shared universe.

Inspired by the music of the master hunters from across Mali, the ‘Dozo’, the project transmits values based on justice and righteousness, love and respect for others, moral and spiritual rectitude and protection for everyone. Debuting on Damian Lazarus’ Secret Teachings imprint, an outlet for the Crosstown Rebels boss to delve deeper into musical realms outside of the norm and away from the dance floor, the pair will release their debut album in September, with a series of live performances set to be announced. Their first single arrives in early June with ‘Ngana Fôlly’

A spiritual and hypnotic production rooted within Dozo musical tradition, featuring Boubacar playing the Ngoni while singing in Bambara, ‘Ngana Fôlly’ is a resonant and rich production combining organic textures with warping synths, rich bass and sweeping electronics, capturing the magical essence of Mali across a fascinating journey. Providing the first remix on the package, Dutch DJ/producer and DJ Mag ‘Artist To Watch for 2023’ Philou Louzolo harnesses Boubacar’s vocal and places it at the heart of his soaring remix as stripped-back percussion and a commanding low-ends guide sweeping synths, before handing over to San Francisco husband-and-wife pairing and Dekmantel signees Peaking Lights who tip things down a bright and blissful rabbit hole of soundscapes as vibrant guitar riffs and twisting leads work amongst off-kilter melodies and acid flecked tones for an eight-minute trip.

Detroit’s Eddie Fowlkes returns to Rekids this June with ‘Bahama Man EP’

Hot on the heels of his recently released ‘Forever EP’ on Radio Slave’s evergreen Rekids, Eddie ‘Flashin’ Fowlkes returns to the label with ‘Bahama Man EP’, another four-track EP of red-hot dancefloor cuts. From the swinging opening title track through to the jacking low end of closer ‘Cube’, Eddie’s knack for crafting his unique style of club-friendly cuts is on full display across the record, some of his finest work to date.

As one of Techno’s originators, Eddie Fowlkes has shaped the Techno genre for over 36 years. With his releases on Metroplex, Tresor, Sony, Peacefrog, and his own imprints CityBoy Records and Detroit Wax, Fowlkes' contribution to the blueprint of modern electronic music cannot be overstated.

Death Is Not The End's 333 sub-label drops a much needed reissue of Rupie Dan's My Black Race 12" from 1982. A huge Shaka selection featuring one of the heaviest dubs available from this era of UK roots production. Originally written and produced by Rupie for his Flag Records label, with engineering from Tony Addis (later of Addis Posse and the Warriors Dance label).

"The lyrical idea for My Black Race came about during the 1980/81 social/racial revolution that took place in several cities all over England, including London, Liverpool, Birmingham, Leeds etc. I was living in Bradford, West Yorkshire at the time and was a DJ/Sound System operator on Jah Scorcher International Sound. I also co-hosted a Reggae show on an independent radio station Called Pennine Radio 235. In my regular job I was a youth and community leader with the Bradford education council. I was fully connected and in touch the community.

Seeing how the media used the events of the social uprising as a weapon to further discriminate against the African & Caribbean community committed me to say and do something to elevate the minds of especially young people who were already demoralised by the rhetoric that brought about the so called "riots" of the time. It was during this time that the lyrical foundation of "My Black Race" was laid. The rhythm came later after hearing Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". In the summer of 1982 I entered into the Addis Ababa recording studio on Harrow Road, Paddington and recorded the song having moved to London the previous year. Musicians featured included Victor Cross on bass and Mark Wright on drums (both from the Ariwa band), Rizzo on guitar, Tan Tan and Bami on Horns (all 3 from Aswad band), Bubblers on Piano/Organ (Undivided Roots/Ruff Cutt Band). Lead vocals were provided by myself, with backing vocals Jenifah Gad and Niomi who was working with David Bowie at the time. The engineers were Bubblers and Tony Addis (later of Addis Posse & the Warriors Dance label).

Jah Shaka was in the studio during the entire recording session. I was aquatinted with him as I was previously involved in a 3 way soundclash with Shaka, Quaker City and my sound at the time Jah Scorcher. Some years later I was in Terry's Dub studio in North Acton cutting some dubs when King Jammys and Bunny Lee walked in and heard the song. Bunny was responsible for the production of Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". Thankfully they were both impressed by the track which delighted me as a young up-and-coming artist/producer. The rest is history as we know it. Jah Shaka was mystically constant hence his attachment and love for the song. Jah bless and guide him."

Reissued on vinyl for the very first time, the third Paragons album, originally released in 1982 on the UK reggae label Starlight. All songs are backed by the Aggrovators, the Bunny Lee’s house band, that includes Sly & Robbie, the Barrett brothers - both also with Bob Marley & the Wailers - Jackie Mittoo, Earl “Chinna” Smith, Winston Wright and many others. Produced by Bunny Lee, mixed by Prince Jammy. “Now” marked the Paragons return to the scene, in a big way. Great vibrations, dreamy melodies, a roots reggae masterpiece.

Jan Kincl, a Croatian artist with music released on BBE, Far Out, and Sonar Kollektiv, is launching his own label Cycle Records with an EP titled "For A Minute". Written and produced at Jan's Cycle Studio in Zagreb, the EP features two original tracks riding a thin line between techno and house, and a remix from Gene Hunt, one of the pioneering artists responsible for shaping the early sound of Chicago - "I loved the way the original had such an old school feel to it, jazzy vibes with a 70's touch. When I was asked to do a remix I was like yesssir! It reminds me of something that Moodymann would make. It contained a '94 vibe, Detroit and Chicago combo. Not to mention it was a totally different vibe for me, and I'm honored to be a part of something new and different." - said Gene about this collaboration.

The definitive reissue of one of rock’s rarest and most sought-after albums – “acid-folk” – equal parts pastoral folk and contemplative psychedelic. The rst time since 1971 that this album has been pressed from the original master tapes, recently discovered in Italy. Lacquered directly from tape in an all-analog transfer by Bernie Grundman. This is the single LP version that we issued after the Now-Again Reserve Edition sold out. Mark Fry was 19 – recently graduated from high school and in Italy studying painting – when he walked barefooted into RCA’s Italian subsidiary, played some songs he’d written on his guitar and was signed to record the album that would become legend. The first recordings he made proved stuff, so he was paired with members of the Scottish band Middle of the Road, who were in Rome while under contract to RCA Italiana. Convening in a basement home studio with two 4-track reel-to-reel record- ers, Mark’s visions coalesced in a dreamy, airy manner – “Nick Drake meets Dr. Strangely Strange with a touch of Lewis Carroll” The Word Magazine would later write. Pressed in small amounts for Vincenzo Micocci’s RCA sub-label It, Alice remained an out of reach masterpiece for many but its creator, who returned to England in 1971 and subsequently traveled the world, playing music, sometimes recording and painting. By the time of its rediscovery, its master tapes were assumed lost. Their rediscovery allows this pristine transfer to reveal nuances not heard on anything but original It pressings.

Higher Octave is a pairing of two guys intrinsic to the UK rave and hardcore scene. David Salvi, owner of Pro-One Records, the label to originally release this record along with a slew of other artists such as Law & Auder, Bay B Kane, Submania, Utomica and DJ Hopa, who is the other half of Higher Octave. David was also half of the group Utomica, whose Rok A Bye track was repressed by Vinyl Fanitiks in 2020 and has long since sold out.

David always credits Hopa as the guy with the ideas… he was out at all the raves and was always on point with how tracks should sound and any new trends that were incoming were hot on his radar. David was the guy with the studio, ready to help make Hopa’s ideas into reality.

A sought after release, originally released in 1992, with ‘Raise The Bones’ being the track that had the most rotations in the clubs and on the pirates back in the day.

Limited pressing on 180g heavyweight black vinyl, presented in a black inner sleeve with a Vinyl Fanatiks 3mm spined housebag.

Australian pop duo featuring Darren Hayes (vocals) and Daniel Jones (guitar/keys) were inescapable throughout the late 1990’s and early 2000’s. This self titled debut album sold over 15 million copies globally and produced singles ‘Truly Madly Deeply’ as well as ‘I Want You,’ ‘To The Moon And Back’ and more. This iconic album is now available on vinyl for the first time ever and released in it's original Australian form, complete with original track listing and sequence. Formatted as 2 LP’s in striking white vinyl this celebrates the recent 25th anniversary of one of pop music’s most successful debut albums. Marketing activity.

Vinyl Only

We are happy to announce another quality release from Polish label Kooky Records. This time you get a really diverse 4-tracker, with tunes from 2 legendary producers Jurek Przezdziecki (Poland) and Iuly B (Romania), as well as 2 tracks from label's founders, Schrill and Gogan. Side A is definitely more house-oriented, whereas side B sounds more like a deep insight into minimal trends, but always with a forward-thinking approach, where old meets new and experience of producers goes well with what is currently fresh in minimal/house vibes. To cut it short, a record not to be overlooked!

New Land präsentiert mit Stolz das erste Box-Set mit mehreren LPs von Dorothy Ashby - einer der am meisten übersehenen Künstlerinnen der Jazzgeschichte. Die 6 LPs, die in diesem aufwendigen Box-Set enthalten sind, geben einen längst überfälligen Rückblick auf ihre frühen Werke: 'The Jazz Harpist', 'Hip Harp' mit Frank Wess, 'In A Minor Groove' mit Frank Wess, 'Soft Winds: The Swinging Harp Of Dorothy Ashby', 'Dorothy Ashby' und 'The Fantastic Harp Of Dorothy Ashby' wurden mit der vollen Unterstützung des Nachlasses von Dorothy Ashby offiziell lizenziert.

Alle Alben, mit Ausnahme von 'The Jazz Harpist' und 'Dorothy Ashby', wurden von Kevin Gray direkt von den analogen Originalbändern neu gemastert und im Lackschnittverfahren auf schwarze 180g-Vinyle gepresst.

Das Herzstück dieses Box-Sets ist allerdings das umfangreiche 44-seitige Buch mit einem Vorwort der Grammy-nominierten Harfenistin Brandee Younger, ausführlichen Linernotes von Shannon J. Effinger und bisher unveröffentlichten Fotos und Interviews mit denjenigen, die sie am besten kannten. Das Box-Set ist weltweit auf 1000 Stück limitiert.

Assured UK house producer Andy Ash takes care of the next EP on SAFTX while the equally esteemed Mark E steps up to remix.

For well over a decade now, Andy Ash has been turning out high-quality house music on a range of labels. Last year he served up a tasteful full-length on Quintessentials, the year before he dropped a double 12" on Still Music and he is also a regular at the likes of Delusions Of Grandeur. From deep and dusty to disco-tinged and dynamic, he has a stylish sound that is well-versed in the classics but always his own twist. He shows that again here with four fresh tunes which cannot fail to make you feel good.

Opener 'You:Me' features Faber and os brilliantly warm house groove. The drums and hi-hats are prefectly designed, the vamping chords bring a playful funk and swirling pads add diffuse late-night energy. It's timeless cut with nods to the US midwest and subtle vocal sounds.

Remixer and Merc label boss Mark E has a rich history of edits and originals on the likes of Running Back, Delusions Of Grandeur and Studio Barnhus. On this version, he lays down hazy, heavy kicks for a beatdown workout that comes alive with gorgeous synt work akin to all the best Detroit dons.

Ash's 'Momentary Days' is a slow and roomy, dubbed-out house swinger. Well-placed samples - vocal coos, guitar riffs, jazzy chords - all peel off the loose drums and can't fail to get you moving. 'Reach' is another humid house cut for cosy back rooms and basements. The Scruffy drums have frayed edges while dreamy melodies loop up top. It's a heartfelt sound that slowly turns you to deep inward reflection.

Last of all is 'Rico! Rico!', a downtempo jazz-funk jam with crisp broken beats, keys that take you to the Riviera and strings so lush you can almost feel the sun on your face.

This deep house music as it should be - raw, expressive and full of human soul.

Ruhig verlief die Karriere von Sieges Even nicht. Nach den ersten beiden Alben verzeichneten sie den ersten Besetzungswechsel auf der Sängerposition, auf den Album „Sophisticated“ (1995) und „Uneven“ (1997) betrieben die Holzwarth Brüder (Bass und Drums) die Band weiter.
Doch man fand sich wieder mit Gitarrist Markus Steffen zusammen
und rekrutierte den Ausnahmesänger Arno Menses, der zuvor als Schlagzeuger aktiv war. Mit diesem Line Up eroberte man die Herzen der Progfans, aber auch die von anspruchsvollen Metalheads. Erneut waren Sieges Even zum richtigen Zeitpunkt am richtigen Ort.

„The Art Of Navigating By The Stars“ wurde in dem Black Solaris Studio von Uwe Lulis (heute auch bekannt als Gitarrist von Accept) aufgenommen und erschien bei InsideOut Music, damals im SPV Vertrieb. Es folgten traumhafte Kritiken, auch für die im Anschluss stattfindende Tournee.

Natürlich war 2005 nicht an Vinyl zu denken, so dass diese Wiederveröffentlichung bereits von vielen Fans erwartet wird.
Aber auch die CD ist seit einigen Jahren „out of print“, so dass auch hier Handlungsbedarf bestand. Die Grafiken der Doppel-LP im Gatefold wurde vom Originalkünstler Thomas Ewerhard erstellt und das Audiomaterial getrennt für Vinyl und CD remastert.

Das Konzept rund um „The Art Of Navigating By The Stars“ begeistert heute noch ebenso wie die sowohl vertrackte und harte, aber eben auch gefühlvolle Musik. Hier waren Sieges Even einfach die deutschen Großmeister.

Sieges Even‘s career has not been quiet. After the first two albums, the band had its first change of singer. On the albums „Sophisticated“ (1995) and „Uneven“ (1997), the Holzwarth brothers (bass and drums) kept the band going. But they ended up with the guitarist Markus Steffen and recruited the outstanding singer Arno Menses, who was previously active as a drummer. With this line up, the band has won the hearts of prog fans, but also of demanding metalheads. Once again, Sieges Even was in the right place at the right time.

„The Art Of Navigating By The Stars“ was recorded in the Black Solaris studio by Uwe Lulis (also known today as Accept‘s guitarist) and released by InsideOut Music, then distributed by SPV. This was followed by dream reviews, also for the tour that followed.

Of course, there was no question of releasing a vinyl in 2005, so this reissue is already expected by many fans. But the CD has also been „out of print“ for a few years, so it was also necessary to act in this context. The graphics of the double LP in gatefold were made by the original artist Thomas Ewerhard and the audio material was remastered separately for the vinyl and the CD.

The concept of „The Art Of Navigating By The Stars“ is still exciting today, as is the music, which is both complicated and hard, but also full of emotion. In this sense, Sieges Even were simply the great German masters.

French producer Timothee Milton debuts on Local Talk with an EP that fumes of soulfulness in every direction.

Written by Angela Johnson, the original is a big vocal deep house jam that got some hints of the 90s Jersey sound..but not too retro ;).

To give the package an extra edge we enlisted deep house connoisseur Hugo LX and boogie-house maestro Art Of Tones for the remixes, and our boys really delivered the goods.

Hugo's mix is a classy as it gets, supa bumpy deep house where everything little production detail is delivered with good taste.
The Art Of Tones remix is equally strong but goes for a more uplifting approach and puts the funk, boogie and soul front & centre.

After a ten year pursuit, Efficient Space finally presents Late, Late Show, the last recordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-’80s, these charmingly unvarnished sessions pare the combo back to their core, producing blue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-disco of ‘Mr President’ to the effortless pop perfection of ‘Fool’s House’, the six tracks reveal a creatively open and well-oiled pel mel before they inevitably disbanded.

Formed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel were inspired by New York and UK’s post-punk imports. Cutting their teeth speeding through originals and Joy Division, Wire and The Buzzcocks covers every Friday night to a regular turnout of dole bludgers, students and the under-age, the band would also cross-pollinate with electronic-leaning support act The Limp. In 1980, they decamped to Sydney to join the city’s flourishing alternative music scene alongside the likes of Laughing Clowns, Tactics, The Reels, Wild West and the M Squared crew, making an indelible mark with two albums and several singles as the only domestic signee of Factory’s Australasian licensee GAP Records. Catchy and intelligently experimental without being noisy, their musicianship and enduring legacy continues to be lauded by peers.

Undoubtedly some of their strongest output, this previously unreleased demo suite documents pel mel free from the pressures of a commercial outcome, naturally elevating them to a class alongside Orange Juice, Antena and Young Marble Giants.

Hatıralar was Anadol's second album, originally composed between Berlin and Istanbul around 2012 and released years later only in digital form on the Istanbul based label Inverted Spectrum. The title Hatıralar ("Memories") turns out to be a self-fulfilling prophecy. Anadol recalled and revisited the music in 2023, gently editing and mixing the compositions for the newly mastered LP format in which they now see the light of day. Hatıralar represents an early version of the melodic, instrumental synth-pop that Anadol refined on her album Uzun Havalar (2019) before exploring the more free, krautrock-inspired musique concrète of her last album Felicita (2021). Here is the text that accompanied the original 2017 release:

Anadol, named after an old-fashioned Turkish automobile brand, is an instrumental synth-pop project by Gözen Atila, an artist, dj and keyboard player. She records with mini organs manufactured during the 70s and 80s, the built-in rhythms and arpeggios of these machines provide the backbone of her sound, and her melodies are influenced by pop music and soundtracks from France, Italy and Turkey from the same period. The music is awash with allusions to the moods of old Turkish and European cinema, from the erotic to the melodramatic, and with a reminiscence of the sound and spirit of so-called "tavern music" popular in Turkey's urban nightlife in the 1980s, a flexible pop style usually performed by a solo keyboardist-singer. Anadol is a continuation of the tradition of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, and of the keyboardists pushing the boundaries of minimal equipment to entertain middle aged drunk couples in pubs and wedding parties of Istanbul.