Suche:pai

Classic 1988 'early' house LP reissued on yellow vinyl for the first time for RSD 2025. Made by Royal House aka Todd Terry, the legendary producer & DJ from New York who was a staple for house music and produced under many different aliases throughout his time such as Black Riot, CLS, D'Effect, Dred Stock, Frontline, Frozen Inc., Gypsymen, Hardhouse, House Of Gypsies, Limelife, and amongst many others, Masters At Work (Before he gifted the name to Louie Vega & Kenny Dope). Everybody who was into house and it’s culture in 1988 owned this record, now you have the chance to own this on yellow vinyl for the first time. 'Can you Party' is still played on national radio stations and one of the staples in rave and it’s scenes. Remastered for 2025 in the original 'PAID' designed sleeve but now in transparent yellow vinyl for RSD. Limited edition.

United by the same impetus, Luche and Laton Raver are two producers and DJs based in Nantes, coming from the free-party scene and members of Esprits Sauvages and Chat Manik. For that new Acid Avengers split EP, they deliver four tracks influenced by the acid sounds of their youth : tribe, doom, belgium old-school scene. Here is a dark and electrifying EP, hypnotic and catchy, for those who like dancing for hours with the feet in the mud and the head in the stars !

Colemine Records is excited to put out their first 45 with The Charities, a sweet-soul band out of sunny California. The group's sound is a melting pot of cultures, exhibiting a mix of soul, r&b, rock, and funk. The A-side of this 45, 'Fatal Attraction,' explores just that. In some relationships, the very qualities that draw you in can also lead to your destruction. She's captivating_beautiful, intelligent, and charming_but beneath the surface, she's narcissistic and self-centered, with no regard for the pain she causes. When you're lost in the intensity of love, it's easy to overlook these darker traits. But when the time comes for her to move on, she'll strike without hesitation, delivering a blow that cuts deep. Her words, sharp as a knife, tear through your heart with cold precision. As you bleed out, she offers nothing but a final, indifferent goodbye...."It's Not Our Time," on the B, tells the story of two lovers who find themselves at a crossroads, torn apart by the struggles they face in this chapter of their lives. Perhaps in the future, they'll rekindle their love and spark a new flame_one that burns even brighter then before. It's a bittersweet goodbye, with the belief that the distance and time apart will only strengthen their bond when the moment is right.The tracks are produced by Anthony Masino and were recorded at Penrose Recordings in Riverside, CA.

50th ANNIVERSARY EDITION
Heavyweight Vinyl 45 RPM Cut / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer / 30x30 cm insert with interview to Steve Kuhn by Tony Higgins printed on 250 gram Favini Lanilla Yellow / 20 Pages 21 x 30 cm "Real Book" with transcripts of the songs in the "Real Book" style, handwritten by The Maestro Carlo Spanò with main theme, chords and lyrics printed on 120 gram Shiro Eco paper, 100 gram Favini Crush Alghe. Carlo also edited an introduction with technical analysis of the session, which solves some of the little mysteries around this music gem.

Personnel:
Steve Kuhn - Vocals, Piano
Airto Moreira - Percussions
Billy Cobham - Drums
Ron Carter - Bass
Gary McFarland - Arranged by


Notes:
The album features the group playing Gary McFarland arrangements of Kuhn's compositions, accompanied by a string section on several tracks, with Kuhn delivering stream of consciousness lyrics in an unplanned and largely improvised fashion in the studio. However, that wasn't the only surprising aspect to the session. Airto Moreira's appearance was more by chance than design, he having just popped by the studio, again, unplanned. The 'Steve Kuhn' album is all the stronger for these extemporaneous and serendipitous elements and showcases a band at the top of their game; tight and funky yet relaxed and flowing like molten gold, with stabs and washes of keyboard from Kuhn. Splashes of free playing enter the session, but the band never stray too far from a melodic and harmonious centre of gravity. Kuhn's deft keyboard skills provide melodic embroidery to the impressive rhythmic textures and tonal colours of Carter, Cobham and Moreira. As if the music wasn't enough, the album is given extra significance by the fact that, within a few months of the recording, McFarland would die after being mysteriously poisoned by methadone in a New York bar. In a sense, it is a valedictory album from McFarland, channeled by Kuhn and the band.

It's among the hardest of Kuhn's albums to find so this reissue is most welcome. Luxuriate in the glow of Kuhn's Fender Rhodes and the pliant funky bass of Ron Carter; immerse yourself in the percussive interplay of Moreira and Cobham, a pairing that has rarely sounded so good. This is such an exquisite album; you will lose yourself in its delicate power and find yourself coming back to it again and again.

'Intertwined', the first collaborative EP by Paraiso founders Maria Amor & Shcuro, is up next on the decade-old Lisbon label. This pair of syncopated, energized, immersive techno tracks comes with remixes by Tresor residents Fireground and DC's own Black Rave Culture, a trio composed of James Bangura, Amal, and Nativesun. 'Waves of Hope' opens the record in full force with a relentless beat that combines early 90s euphoric energy and jacked-up snares over a fat bassline, soulful pad progressions, technoid bleeps, dubby washes, and Maria Amor's own soothing cut-up vocals, elegantly touching several foundational club music sounds through an inspired lens. On the A2, 'Hotspring Love' brings levitating, airy textures and mixes them with subtle acid arpeggios, pure-hearted vocal melodies, and bouncy percussive accents. The rolling subwoofers of a proper techno party can practically be seen, the fast-paced kick perfectly perforating the bassline. Two remixes can be found on the B-side: first up is Berlin-based duo Fireground, who flip the original 'Waves of Hope' into a more concise take, exploring its dub influences and adding in cinematic, ravey chord progressions to a hypnotizing, ecstatic effect. The italian duo add a distinct dose of Neapolitan techno, carrying the textured intensity of that unmistakable sound. Black Rave Culture pick up 'Hotspring Love' and turn it into an ode to junglism, reappropriating the original pads in a classic DnB workframe with crisp breakbeats and an absolutely nasty bassline that no words can do justice to.

Black Music has always been the main source of inspiration for contemporary music and for the IRMA records label, which turns 37
this year, it is a fundamental part of its musical vision.
In the 80s with the birth of the term Acid Jazz this international scene began to emerge that fished out the Soul Jazz Funk sounds of the
70s and which to this day is a scene alive and well that continuously generates new artists. IRMA records is recognized as one of the
labels that has published several of these artists since the 90s starting with Jestofunk, Bossa Nostra, Gazzara, Man Sueto and many
others.
With this compilation entitled ‘Mondo Groove’ it wanted to highlight the very varied Italian scene today that inevitably undergoes the influences of Dancefloor but also those of Afrobeat, Fusion and World Music.
On the cover one of the artists included in the selection: Alixia Mistral.

Side A’s “Intergalactic Love Song” by the Diddys & featuring Paige Douglas is a vocal version of the Charles Earland's instrumental classic (who also produced the track) & is a disco-tinge jazz-funk groover that you will want in your bag. It glides across the dancefllor with a breezy ease & pulls you in.

B. side
On the flip, we have“Searching The Circle” by Barbara & Ernie from the classic psyche-folk soul album “Prelude To …” (Ctollion - SD 9044), produced by Joel Thorn. It’s a wonderfully weird little record that has a sound that's unlike anything else I can think of.

This trippy early-70s folk-jazz-soul nugget featured here from guitarist Ernie Calabria & singer/keyboardist Barbara Massey (back-up for Cat Stevens, amongst others). Arrangements are by the pair, but Deodato also had a hand in the record too along w/ Grady Tate on drums, Ralph McDonald on percussion, & Sam Brown on guitar.

It holds a righteous groove undercurrent that recalls Richard Evans or Charles Stepney. Massey’s vocals have a flanged-out quality that's clearly overdubbed, creating a double-voiced sound that's almost a bit like Brasil 66! Completely

Mita Gami & EREZ join forces for collaboration ‘Where’s My Voice?’ Uniting the rich sounds of Tel Aviv and NYC via Los Angeles, Mita Gami and EREZ combine again for their latest collaboration, ‘Where’s My Voice?’. Marking their first collaborative appearance on Damian Lazarus’ esteemed Crosstown Rebels, the single follows their previous work together on Borders Of Light while welcoming EREZ to the label for the first time.

A mainstay within Tel Aviv’s thriving scene, Mita Gami returns to Crosstown Rebels following his acclaimed remix of Parallelle & Nicolas Masseyeff’s ‘Renegade’ alongside Adam Ten. With prior releases on labels such as Diynamic, REALM and his own Maccabi House imprint, he continues to showcase his artistry while pushing boundaries. Meanwhile, EREZ, an artist known for seamlessly blending her mesmerising vocals and intricate production, makes her label debut after recent standout material on Get Physical Music and Discotexas.

‘Where’s My Voice?’ is a driving composition that pairs EREZ’s intoxicating vocals with hypnotic rhythms. A journey through tension and release, the track builds a captivating and trippy atmosphere that showcases the duo’s ability to craft evocative trips for the late hours. On the flip, Brussels-based DJ/producer and Sanctuary Music founder Samer Soltan adds his own take and steers the original into deeper territory, guided by commanding stabs, brooding melodies and intricate textures.

Mita Gami’s artistic vision extends far beyond the studio, curating ‘Sunrise Kingdom’ at Midburn Festival and performing on global stages such as The Brooklyn Mirage, Lightning in a Bottle Festival, and Hï Ibiza. Similarly, EREZ’s dynamic live performances—effortlessly transitioning between instruments—have earned her spots at Coachella, Outside Lands, and The Brooklyn Mirage. With ‘Where’s My Voice?’, the pair explore sound, emotion, and rhythm, adding to their places as innovating talents in the electronic music sphere.

Glasgow’s Cloth announce their return with new music by way of a four-track EP and their first release for their new label Rock Action Records. ‘Lucid’ is resplendent yet brooding, offering airy dream-like, haunting vocals over dark guitar riffs and resonating percussion - a perfect moment of minimal alternative rock.

Guitarist Paul Swinton says, “It was the first song we wrote for the EP and it felt like it set a tone for where we should go with the other songs - somewhere darker and bigger. The song is about being wrapped up in a situation you feel you have no control over then realising you do have the ability and agency to change things for the better.” Ice blue coloured 12” vinyl with digital download code. For fans of The xx, Cocteau Twins, Beach House and War Paint.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Canadian go-slow master Eddie C is back with more of his sumptuous and sensuous grooves on the magnificent Funkyjaws Music. This new 12" kicks off with the emotionally intense and gospel-laced vocal sounds of 'Jesus Calling' with a passionate pastor lighting up the airways. 'Show Me The Way' is a more paired down sound this time with a raw soul edge and nice dusty drums, then 'Superior Disco' brings some lavish string stabs and funky basslines to some killer instrumental grooves. 'Loud Minority' closes out with some lovely jazzy organ work over more low-slung and dusty disco beats.

We Play House Recordings label boss Red D is back on his Red Basics solo outlet with more lo fi rawness, this time taking cues from spoken word deep house legends like Blake Baxter and Mike Dunn. Opener ‘The J Principle’ pairs seductive lyrics by the enigmatic Max Erotic with pure electronic house funk to make any soul melt.

After this there’s no time to rest when ‘Raw Shit’ comes along with its wicked off-kilter groove spiced up with dirty lyrics and chord stabs to shake up those late night floors. On the flip side it’s all about Red D’s love for the 313 with a slamming oldskool Detroit techno track aptly called ‘Troisentrois Groove’.

Basics were rarely this fundamental.

Synth-pop duo Marina Zispin return with their highly anticipated album Now You See Me (Now You Don’t), set for release on March 7 via Scenic Route.

Now You See Me, Now You Don't is the continuing journey through the ever evolving sound of Marina Zispin AKA Bianca Scout and Martyn Reid. As with their previous EP - the recurring themes of Life and Death loom heavily over the 10 album tracks. With support from 6 Music, Resident Advisor, Pitchfork, METAL, Dummy, The Line of Best Fit, Boomkat, and more for their recent singles. With Now You See Me (Now You Don’t), Marina Zispin further reinforces their reputation for crafting lush, melancholic soundscapes paired with surreal storytelling and ice-cold synth pop.

Since their formation in 2018, bridging Newcastle and London, Marina Zispin have quickly captivated audiences with their ethereal blend of dreamlike melodies and avant-garde textures. Their 2023 debut 12” on Night School paved the way for a successful UK tour, a BBC 6 Music session, and a memorable performance at Bucharest’s Collisions festival.

Bianca Scout, acclaimed for her solo album Pattern Damage (with praise from The Quietus, DJ Mag, Resident Advisor, Pitchfork, Stereogum, Bandcamp, The Wire, and more) continues to push sonic boundaries with her unique fusion of sound collage, post-punk, and poetic lyricism. Recent shows across Europe, including at Poland’s Unsound Festival, underscore the duo’s expanding influence.

With Now You See Me (Now You Don’t), Marina Zispin invite listeners on a captivating journey through a signature blend of fantasy and reality. The album is now available for vinyl pre-order.

The record captures an expansive performance in Poitiers, France in November 2023. First working together in an unpredictable trio with minimalist legend and eccentric extraordinaire Charlemagne Palestine, Ambarchi and Thielemans quickly established a remarkable musical chemistry that led to an ongoing series of duo concerts, including the performance documented on their LP Double Consciousness (Matière Mémorie, 2023).

Kind Regards finds the duo refining their shared language while continuing to take risks, allowing the music’s gravitational pull to lead them from meditative calm to unexpectedly expressive passages of melodic invention and rhythmic drive.

Recorded in sparkling fidelity and carefully mixed by Ambarchi’s longtime collaborator Joe Talia, the LP contains a single unbroken performance, stretching out for over 45 minutes. Guitar and drums weave together into a symbiotic whole that nevertheless affords us ample opportunity to marvel at the highly personal approaches these two musicians have developed to their chosen instruments through decades of diverse collaboration and prolific performance. The set begins with Thielemans’ hypnotic tom patterns, around which Ambarchi’s wavering, shimmering guitar tones—achieved with the help of the rotating speaker of a Leslie cabinet—flurry and swirl. Thielemans’ drums play subtle tricks with time and perception, adding and dropping beats within repeated patterns to create an effect at once rhythmically insistent and liquified. Growing at first into a rapidly pulsing texture of brushed drums and flickering harmonics, the music builds momentum into an irregular groove over which Ambarchi’s guitar is transformed into haunting, monumental electric organ chords, strikingly recalling the Wurlitzer work of Alice Coltrane, before settling into a section of gentle portamento melody embedded into the tactile clicks and clangs of Thielemans’ percussion.

When Thielemans adopts a more traditional jazz approach to the kit in some of the set’s second half, the results are stunning, demonstrating a feel for shifting accents and sensibility to the touch of the stick on the drum or cymbal that recalls greats like Jack DeJohnette or Billy Hart (one of Thielemans’ mentors). And when Ambarchi turns up the heat, he does so in an unexpected and delightful way, letting loose a swarm of jittering delayed tones straight out of Henry Kaiser’s classic It’s a Wonderful Life, with a more active use of the guitar’s fretboard than his usual approach to the instrument allows. As the performance draws to a close after a climactic episode of distorted harmonic groans and crashing cymbals that manages to be at once thunderous and carefully attuned to detail, it is clearer than ever that, for these two serial collaborators, this is a very special pairing.

Kind Regards shows us the kind of magic that can happen when two masters who have dedicated decades to reimagining their instruments simply begin to play, following the music wherever it goes.

Imagine a nocturnal rendezvous between the lyrical playfulness of Serge Gainsbourg and the infectious yet smooth danceability of Daft Punk. Tormento is a sexy soft disco odyssey that weaves a contemporary fantasy where dilemmas and desires—torments of the heart and flesh—are bathed in the sultry glow of classic erotic cinema.

Recorded in Los Angeles and Paris, the song is a collaborative effort between composer and multi-instrumentalist Louis Fontaine, DJ and music supervisor Alix Brown, and lyricist and writer Margo Fortuny. This sonic tale of longing and uncertainty, ignited by the trio's shared love for 1970s sounds, cinema, and style, draws inspiration from the cinematic soundscapes of François de Roubaix and from French and Italian chanson.

Tormento pairs a haunting, nostalgic melody with a late-70s disco arrangement featuring a mix of vintage synthesizers, driving basslines, and rhythmic percussion. Alix Brown's ethereal vocals convey the electrifying thrill of an immediate, magnetic attraction.There's seduction, mystery, the poetry of a moment, the allure of transgression, indecision, and all the things that happen late at night. When faced with temptation, what do you do? Perhaps, yousurrender to the sweet, intoxicating rhythm of the forbidden.

Adance song for night owls, loners, and romantics, Tormento is out on 7" and digital on February 14th, 2025, courtesy of Four Flies.

Here is our Hot Sauce Volume 5 showcasing some seriously groovy and rare Rocksteady,
Boss and Reggay tracks mixed expertly for yet another thrilling early Reggae experience on vinyl.


Here is the much anticipated volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.
HOT SAUCE volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae (“Reggay”) tracks including rare songs, overlooked gems, hidden treasures and a couple of hits. The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion, Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

The tracks here have been selected according to their musical interest firstly, their rarity, and their complementarity.
These tracks are all outstanding tracks, “killer tracks”, there is no “filler” whatsoever.

Particular attention has been paid to the way the songs are sequenced (or “mixed”) so that the album builds up nicely and gradually, generally starting
with the Rocksteady songs on the A side and the 70s songs on the B side.
The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.
Since the early 70s’ “Tighten Up” and “Club Reggae” series, no compilations have really explored these labels in depth on vinyl.
It might be the last volume of the series as we know it so we wanted to make a splash for volume 5.
It is a nod to self-censored lewd Reggae covers from Trojan and Pama in early 70s. So don't fret,
a collectible yellow sticker has been strategically applied on the shrink-wrap to cover Miss Rocksteady's bottom!!
With its striking cover and its thrilling Reggay selection, volume 5 is bound to become another successful album in the Hot Sauce series...

Throughout the 1980s, Michael Antener, born and raised in Bern, Switzerland, initiated an array of sonic endeavours in the realm of industrial, dark, aggressive music. Of his times as a post-apocalyptic hunter, he says today: I found a musical niche where I could express myself, along with other people who were not afraid of dark themes. It would have been hard to sing about love in my music, so I included sounds and cries of pain taken from horror movies.

It was a fortunate coincidence to come across one of his self released records, the 1986 EP Strangler of the Swamp, which marked the beginning of our quest to find this all but forgotten musician whose work seemed nowhere to be found. Eventually, we got in touch with Michael, who is still living in Bern, and began the process of searching through all his surviving musical and visual material.

The triple vinyl release is all about documenting Michael Anteners adventures during that intense 1980s period. We tried our best to select the most interesting material from his two earliest projects, The Strangler of the Swamp and Bande Berne Crematoire, comprising materials from vinyl records, cassettes, and live recordings, some of it unreleased. The release also includes a deep dive into Michaels visual archive of posters, photos, and sleeve artworks.

The disjointed, tumultuous body of work presented here marks the testament of a fringe musician who was disruptive and confrontational, keen to shock and alarm people (much to our liking), and who could easily have been lost in oblivion.

Gzardin returns to R.A.N.D. Muzik Recordings for their second EP on the label, diving deeper into their unique take on sound design and dance music.

This first Adam Beyer x Eli Brown collaborative release has been feverishly anticipated by fans keeping tabs on their growing friendship and further excited by the pair’s first official B2B at Lisbon’s Brunch Electronik in September. Now ‘Overdose of Bass’ EP is here, a power-packed techno two-tracker enriched by diverse elements, on Beyer’s Drumcode.

It also marks Eli Brown’s welcome return to the label after his massive collaboration this January ‘When I Push’ with Layton Giordani and OFFAIAH following Brown’s 2022 EP ‘Deep Down’. The EP ‘Overdose of Bass’ combines recent developments and past influences of both techno giants.

‘Overdose of Bass’: the title track has rattling snares and a breaksy beat ushering in a spoken vocal layering different levels of processing, for a half sensual, half robotic riff – ‘there it goes/ overdose/of bass’ – with the doppler siren builds, giving a spacey, mysterious call and response. Hypnotic, disturbing, and edgy.

‘Living In The Moment’: an urgent techno beat, a Moroder-esque bass synth, and a recurrent riff like a signal becoming ever more high and desperate, are counterpointed by an ethereal, quavering, sweet female vocal, strengthened by the melodic build in the huge central breakdown. Urgent, demanding, hyper, this is dancefloor heaven.