Cerca:planet soul

FUMU christens the promising new label Return To Zero (RTZ) with »Funeral Rites on Planet Saturn«, the surrendering sophomore album from Nigerian artist, self-described »negro-producer«, hedonist, and iconoclast LINTD. With production collaboration from Porter Brook and features from Samrai (Swing Ting), Porter Brook, Sam Scott Francis (GOMID), Rizmi, and Imani Jendai.

LINTD’s work emerges as a call and response between the tender, dynamic sounds of Black music across history and the surreal reality of contemporary, vulnerable Black life – a haunting dialogue. These themes are catalysed in the Black Impossible LP Trilogy, reclaiming Black utopia through sound technologies via »Smooch Soundsystem Live at The White Hotel« for Second Born (Kop-Z, Porter Brook), and »DOGTOOTH. And Other Such Tales of the Macabre« on The White Hotel’s HEAD II outlet.

While earlier works engaged with the mania, joy, and paranoia of this impossible experience, »Funeral Rites on Planet Saturn« arrives at a soulful conclusion, allowing grief to tell a truer story. In the vein of Sun Ra, Alice Coltrane, and Octavia Butler, LINTD introduces the speculative planet Saturn as a site where impossible Black being across the world can come and rest: a site for liberation and emancipation.

»This one is an act of care towards myself, and hopefully others like me. I have proven everything I want to prove this year; this one is my elixir from all the lonely grief, a place of rest.«

Pem is a multidisciplinary artist, songwriter, and gardener whose work fuses organic and stylized elements. Her music is rooted in nature, shaped by long days tending gardens and observing seasonal cycles. Initial ideas emerge as “pocket sketches” — spontaneous melodies recorded while gardening — later evolving into full compositions.
Her EP other ways of landing emphasizes textural depth, world-building, and her distinctive vocal agility. Themes of belonging and rootlessness permeate her work, inspired by her transient lifestyle and connection to gardens.
Pem’s sound blends ethereal alt-balladry with soul and folk influences, underpinned by raw singer-songwriter foundations. Her hypnotic tremolo vocal technique adds an uncanny, esoteric quality. Live, she delivers arresting performances marked by stylized detachment and emotional tension, complemented by self-made costumes and lyrical motifs of fabric and fragility.

Influences range from Nick Drake and Vashti Bunyan to Cocteau Twins, Mazzy Star, and Björk. Her music explores cyclicism, mythology, and planetary themes, merging her real-world gardening experience with mystical undertones.

In 1999, on December 23 to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album “Yesterday Was Dramatic – Today Is OK”. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn’t pay attention to some kids selling records on Reykjavík’s high street. Little did those shoppers know.

Thankfully, those 10 tracks weren’t overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: A note-for-note representation of “Smell Memory“ by Kronos Quartet (with additional drums by múm’s Samuli Kosminen), a gentle reinterpretation of “Random Summer” by acclaimed pianist and composer Hauschka and an otherworldly new version of “Ballad Of The Broken String” recorded by label mate Sóley. Additionally, four remixes produced in the early 2000s are made available for the first time ever on vinyl here.

In 1999, electronic music was in full bloom. The dance floors were thriving worldwide.Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random and forgettable. New ideas require new mindsets after all. With “Yesterday Was Dramatic – Today Is OK”, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Listening to the album in 2019 still makes every music lover’s heart jump. Combining Drill-and-Bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock’s boominess, folk music’s soulful brittleness and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize.

Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. How these ideas really came about, though, is not known – the dynamics, the struggles, the qualms, the sudden realization of having achieved something which might actually stick. Maybe that is a good thing. Örvar Smárason remembers that most of the album “was recorded in a tiny, sweaty room in the summer of 1999 with carpenters banging nails around us, but sometimes we put on headphones so we couldn’t hear them.” It is a good thing they did. As is often the case with classics, all one can do is listen closely and let the magic sink in – again and again.

After decades deep in the game, few names carry the same weight as D.I.T.C. veteran O.C. and East New York’s own PF Cuttin, the DJ and producer behind countless underground classics. Long respected for their consistency and craftsmanship, the two finally joined forces for Opium — a nine-track masterclass that channels the essence of true-school hip-hop.

Originally released to remind heads of what the real sound of the streets was, Opium plays like a time capsule from the era of block parties, 40s, and cipher sessions on the corner — where bars mattered and the beats hit hard. PF Cuttin’s rugged, sample-driven production perfectly complements O.C.’s sharp lyricism and timeless flow, delivering a record that bridges nostalgia with enduring relevance.

Reissued in 2025 with the same iconic artwork by Scarful, this edition celebrates a collaboration that captures the raw soul of New York hip-hop — pure, uncut, and eternal.

Killer Groove Records proudly presents the debut 45 by Italian cinematic funk trio Atabasca. A syncopated journey where funk, psychedelia, and cinematic groove merge into a timeless narrative suspended between rhythm and vision.


"Cacopoulos" and "Kundela Mawedi" mark the birth of Atabasca's sonic universe: the first two singles from the upcoming self-titled debut album,which will be released on March 27 in limited-edition LP, CD digipack, and digital formats.

On the A-side, "Cacopoulos" is an impetuous, visionary ride that fuses the power of instrumental groove with the evocative imagery of library music and Italian golden-age soundtracks. From the first beat, listeners are drawn into a dry, dusty landscape driven by a primal drum groove and the acid twang of a guitar that evokes the spirit of classic Westerns. Indeed, "Cacopoulos" pays homage to I Quattro dell'Ave Maria (Ace High) and to the legendary Eli Wallach, the sly outlaw who turns deception into revenge, a subtle yet powerful nod that ties the trio's sound to imagery steeped in dust, dreams, and redemption.


On the flip side, the sound of an old lap steel guitar evokes the gentle waves of the sea, opening the doors to "Kundela Mawedi", a dreamy track with exotic tones and heavenly atmospheres. The sonic journey unfolds through hypnotic rhythms and echoes of ancient cultures, where ethereal voices and warm, entrancing bass lines intertwine with psychedelic riffs and evocative guitar melodies, merging into a soundscape rich in warmth and mystery. The chorus, with its unexpected choral chant, adds a spark of magic. An elegant twist that gently stirs the dreamlike mood and transports the listener into a new sonic dimension, steeped in mysticism and tribal vibrations. "Kundela Mawedi" is more than just a song: it's a sensory experience, a musical ritual where tradition meets psychedelia, sand meets sea, and the soul dances upon the waves of time.


Recorded in a single take, the session captures the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer, and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the tracks at Velvet Room Mastering Studio in Brighton.


A killer double-sider, blending psychedelic and funk moods with percussive, jazzy textures. A must-have gem for every groove-loving DJ.


Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment: this is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals), and Valerio Pompei (drums, percussion, vocals). Individually active for over twenty years on both national and international scenes, the three musicians came together in 2023 to create a project that merges experience, experimentation, and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.


Atabasca's sound moves through jazz-funk, world, and cinematic territories, weaving together afrobeat, desert, and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture, and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


Fans of Khruangbin, Surprise Chef, and instrumental psych-funk, take note!

Childhood Intelligence Nineteen by Dan Piu “The Mystic Mind” 2x12 LP

As the vortex of time evolves, Swiss Underground Legacy “Dan Piu” returns to his home planet “Childhood intelligence”. A rare specimen and artifact known for his timeless & intelligent soul-infused music, arises with his 3rd solo album on Childhood. “The Mystic Mind” 2x12 Lp as the trilogy, the sequel of “Tru Time And Ages” and “Inside Universe”.

This Full-Length player is a voyage through yet another unexplored realm of Dan's creativity, where listeners are invited to explore a vast network of emotions. As the album organically unfolds, tales of spooky synth worlds emerge, where hypnotic atmospheres collide with analog technoid elements, guided by classic JUNO chord progressions. Witness the alchemy of vintage ARP, Jupiter, Mono/Poly, and 80s Yamaha sounds as they morph into an elusive journey of electronic mysticism crafted by the otherworldly mind, the “Mystic Mind” of Dan Piu.

Kicking off 2026 in style Pep Jam All Stars Vol 6 is here.

First up, Kiinjo teams with The Patchouli Brothers and Planet B for Love On The Dancefloor – a proper disco-house jam that’s all about love, groove, and good vibes. Then Hungarian duo Soneec & Soultizer hook up with Hazel Fernandes for Get Down, a feel-good floorfiller with soul and energy to spare.

On the flip, Phil Fuldner brings us Afrodesia, a sun-soaked, disco-powered groove that’s been a long time coming. And finally, Lovebirds take us back with The Path 2011, a cheeky classic that still hits just right.

Four tracks, one 12 inch loads of love for the dancefloor – enjoy!

Juga-Naut, cultural Renaissance man, master of crafts, has done it again. Out of the deepest recesses of Nottingham’s underground caves, in brain-melting stereo and mesmerising technicolor, comes… Bem II.

Following on from 2020’s Bem, while defying the outdated belief that a sequel never outshines its predecessor, this is a lyrically ascendant, sonically euphoric, genre-defying, fever-inducing, hellcat of an album. Built upon the backbone of Juga-Naut’s inimitable production, wry, streetwise and knowing poetics, with hooks so catchy they cause problems when swallowed, Bem II gives listeners more funk, more soul, more grooves, more breaks, and more grit than ever before. The album’s co-stars include incredible artists and collaborators from both sides of the Atlantic, such as Crimeapple, Vandal Savage & Yumah.

Inspired by legendary cinema, each track is filmic in and of itself, a collection of twelve potent and timeless songs that together mean more than a million vapid viral videos. If played in the presence of the planet’s most infamous haters in a darkened theatre on a moonless night, Bem II has the power to unite even the most acrimonious of enemies.

This album is best listened to just before your decide to ask Jugz in 2024 after a decade plus of releases if he is 'still doing his little music thing?'.

Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

Dayseeker wurden in Südkalifornien gegründet und haben sich von Post-Hardcore-Urgesteinen zu einer der emotionalsten und stilistisch beweglichsten Bands der heutigen Heavy-Musik entwickelt. Ihre Songs verarbeiten nicht nur Trauer, Herzschmerz und Traumata - sie verwandeln sie in etwas Magnetisches, Kraftvolles und letztlich Ermächtigendes.
Die Band, bestehend aus Sänger Rory Rodriguez, Gitarrist Gino Sgambelluri, Bassist Ramone Valerio (seit 2017) und Schlagzeuger Zac Mayfield (seit 2022), stellt emotionale Wahrheit über Trends und verbindet authentische Leidenschaft, klangliche Innovation mit lyrischer Verletzlichkeit.
Die tiefe Resonanz, die die Musik der Band bei anderen Außenseitern auf der ganzen Welt hervorruft, zeigt sich in ihren über 600 Millionen Streams. Und sie ist bei jeder Show spürbar, von ausverkauften Headline-Terminen bis hin zu Touren mit Pierce The Veil, Bad Omens oder Ice Nine Kills.
Dieses Gefühl der kreativen Träumerei pulsiert durch Dayseekers sechstes Album, Creature in the Black Night. Produziert von Daniel Braunstein (Spiritbox, Silent Planet) und gemischt von Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), ist das Album Dayseekers bisher eindringlichstes und ambitioniertetes Album - gewaltig, cineastisch und durchzogen von einer dunklen, emotionalen und sexy Strömung.
Fans, die einen traurigen Abstieg in die Depression erwarten, werden überrascht sein - "Creature in the Black Night" hat schärfere Kanten, härtere Riffs und einen neu entdeckten Sinn für Klarheit. Dayseeker haben sich nicht nur weiterentwickelt. Sie haben einen gewaltigen Schritt auf eine neue Ebene gemacht.

Joanna Duda Trio’s new album, 'Delighted' weaves a hypnotic tapestry of sound that immediately captivates the listener. From the very first note, the track invites you into a world where inventive rhythms and melodies dance with a mesmerizing intensity. The crispness of the percussion and the looming intensity of the double bass create a vivid sonic landscape that feels both fresh and accessible, while undeniably complex.

Duda’s composition is one of her strengths, having been sought out to compose the music for the first Polish film for Netflix Originals (Erotica 2022), and she again demonstrates her uncanny ability to blend subtle complexity with melodic piano hooks that ooze playfulness. Beneath the surface a darker, more menacing undertone that keeps the listener on edge.

"This delightful composition was worth the wait" (Twisted Soul Music) "Effortlessly interchanging some mind boggling time signatures, I love their precision" (Soweto Kinch, BBC Radio 3) "To say that Joanna Duda is a jazz pianist is an understatement. The artist transcends musical boundaries, often using jazz as a starting point for broader sonic explorations" (Polskie Radio)

The Trio has an extensive European tour planned to support her album release.

»What about Love« is MONKyMAN's personal journey through solitude, love and connection: An honest, heart-driven record exploring spirit, romance and community in a chaotic world.

Written over the course of three years and recorded live on analog gear only with no loops or plugins, the album blends warmth, vulnerability, and a message of hope. Produced with Drew Deal at Sundown Studios with guests from all over the planet, it invites you into a space of reflection, belonging and joy.

Genre-defying and soul-centered, the album unites meditative moments and heavy grooves, moving from the question »What about love?« to the simple realization: »I feel better in love.«
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Released by Hegoa Records and Night School Records.
Greatest Heads is the fourth album by the radical Basque- Berlinesque group Al Karpenter. A deconstruction of structured “rock” music, here Al Karpenter re-imagine “the band” to explore the intersection between Free music, afro-beat, the avant garde and gonzo rock.
If Theodore Adorno wrote “To Write Poetry after Auschwitz is Barbaric” in 1949, Al Karpenter attempts to answer the difficult question today; what kind of music can be done in the face of a genocide? Álvaro Matilla, Marta Sainz, Enrique Zaccagnini & Mattin’s response to the planet’s slipping into a vortex of hate is to create a music ecstatic, a music of protest bursting with multiple musical languages and glossaries, full of overlapping histories and thrilling tensions.
Greatest Heads posits a plurality of musics both in opposition and intertwined: Al Karpenter play rock instruments pulled apart in the studio in post-production. Distorted rhythm chunks bit-crushed and dissipated, segments of freedom oppressed by waves of sound invading from every direction. The interplay between the chief instrumentalists and renowned, storied sound artist Mattin creates something akin to ESP freedom-seekers Cro Magnon playing in Miles Davis’ early 70s groups, The Los Angeles Free Music Society tightening up into a clenched fist of plunderphonics and runaway percussion.
We Are All Karpenters opens Greatest Heads with the most straight-forward song refrain of the record accompanied by a band that soon crash into eruption, imagining Sun City Girls in full free rock mode.
The modulating synth sound soon sucks the band into its wake to create a spine-chilling climax of distorted sound, made fully orgasmic with mastering engineer Rashad Becker’s attention to detail. On Izugarrizko Buruak (Greatest Heads), Matilla intones in Basque over a mangled distorto-beat. A Brand New Astraphobia creates a black space for a heavily processed guitar to blow up before falling to earth at night, a gentle figure serenading the coming end.
On Side B, the band begins by being masticated by a brutal phaser, squelching and stretching the music into new territories. The overt message of Stop The Genocide! is besieged by violence before Worm City aggressively samples the ghosts of soul music, mixing in noise bursts, prepared piano and swiping, abstracted sound. Epic closer Perfect Love feels like a beat poetry performance on a burnt world, still grasping for community, for home, for some sort of human love. A Mad love, then; an angry love fuelled by solidarity and collaboration.
The band’s cascading layers of references and polyglottal musics attempt to create the perfect lover, alive with rage and disorientating ecstasy: Al Karpenter.

Limited first pressing on silver vinyl. Flying Horseman returns with their first new album in five years. Experience their renewed but signature sound with a fresh line-up.



Flying Horseman is back! After a five year hiatus and with a new line-up, the band is ready to once again captivate headphone junkies and live audiences alike with Anaesthesia, their seventh album. It's an urgent and passionate work of intelligent rock'n roll, hazy psychedelia and cosmic folk. Anaesthesia is brooding, angry and dark but at the same time full of life, wonder and sophistication. It's an invigorating, fascinating, electric brew.



Flying Horseman is still centered around the intensely personal song writing, singing and guitar playing of Bert Dockx. The band's line-up has changed,with Louis Evrard (Pruillip, Ottla, Grid Ravage) and Maximilian Dobbertin (Calicos, Frankie Fame) replacing drummer Alfredo Bravo and bassist Mattias Cré. Bravo and Cré were long-standing members, beloved by fans and fellow musicians alike, and they have played an important part in establishing Flying Horseman's musical identity. Today Evrard and Dobbertin are adding a fresh and personal twist to the idiosyncratic sound of Flying Horseman: their groove, their intuition and sensibility, their soul.



Then there's Loesje and Martha Maieu, who have been part of the group for almost as long as its frontman has, and who offer essential ingredients to bring about Flying Horseman's signature flavour, their haunting vocals and atmospheric electronics contrasting beautifully with Dockx' more earthy vocal delivery and his restless, fiery plucking of the guitar strings.



The whole record is fiery, alternately smouldering and violently burning. These are musical sounds capable of setting the listener's heart and mind ablaze. Anaesthesia is very consciously, a political record born out of Dockx and his friends' bafflement at the state of the world, the new rise of fascism, the onslaught of injustice, barbarism and stupidity which we, inhabitants of planet earth, are witnessing day in day out.



How to guard one's sanity in such a crazy world? How to maintain one's dignity? How to feel useful and joyful when surrounded by confusion and hate? These are the questions Flying Horseman is struggling with, as are so many of us today. But there is joy and purpose in the asking; in the struggling; in staying critical of dominant systems of oppression; in thinking or saying: "I don't agree, this is not how it's supposed to be"; in coming together and connecting, sharing, mourning and dreaming. Joy and purpose; questions and confusion; burning hearts and tarnished dreams: it's allhere, in the transportive sound world of Flying Horseman.



Anaesthesia was recorded in Antwerp by Joris Caluwaerts (keyboardist of the inimitable avant-jazz group .STUFF) and mixed by Yves De Mey (one of Belgium's most prominent & avant-garde electronic wizards), two experienced collaborators who know a thing or two about capturing sound and transforming it into a rewarding listening experience. With their help, Flying Horseman has crafted a tight collection of eight art-rock tunes with a clear identity, a rich sound, an original vision and a joyful purpose in the face of encroaching sinister forces.

Hip Hop Collected will take you on a musical journey through the history of hip hop. This 2LP covers the first 20 years of the genre, showcasing 25 early pioneers who participated in the rise of hip hop. This compilation features music from the new labels that started to rise from the underground scene, like Sugar Hill Records, Profile and of course Def Jam. Including artists that defined a genre, a lifestyle and most of all, artists that inspired millions of young kids with both socially critical lyrics as well as classic party anthems.

This hip hop compilation album is part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest and best names of its genre, combined with forgotten hits and less discovered gems, giving the listener an experience of both nostalgia and uncovering new musical grounds at the same time.

The 2LP features Kurtis Blow “The Breaks”, Grand Master Flash & The Furious Five “The Message”, Beastie Boys “She’s On It”, Rob Base & DJ E-Z Rock “Get On The Dancefloor”, and Eric B. & Rakim “Paid In Full” amongst many others.

Hip Hop Collected is available as a limited edition of 5000 individually numbered copies on red (LP1) and white (LP2) coloured vinyl. The album includes an insert with liner notes, photos and credits.

Planet Trip Records is pleased to present Aqua Terra, the latest EP release from Friedrich Trede and Stephan Braun, the respected Munich-based DJ and production duo better known as Rhode & Brown. Since 2010, they’ve racked up a slew of quality releases through Permanent Vacation, Public Possession, Shall Not Fade, and their own Slam City Jams imprint, while playing well-received DJ sets across Europe. Along the way, the two longtime friends have spent the last fifteen years incorporating influences from electro, italo, synth-pop, breakbeat trance, rave music, and ambient into their blend of uptempo house and techno productions.

Shifting gearspeed, Aqua Terra sees Rhode & Brown trying something completely new and unexpected from them: a record inspired by UK street soul, digi-dub, and transatlantic R&B and boogie from the 1980s and 1990s. Beginning with the Loose Ends slanted synthesiser chords and shuffling machine beat of ‘Heart Attack’ and the glossy new jack swing bounce of ‘Passion Sauce’ (both featuring sultry Berlin-based New York singer Marlena Dae), Aqua Terra quickly reveals itself as a treasure chest of heavy tunes. Steeped in love and lust, ‘Heart Attack’ and ‘Passion Sauce’ are essential sing-along numbers for the warm-up and the warm-down.

The exemplar of a groove that keeps on giving, ‘Aqua Terra (Acid Frog Mix)’ is a note-perfect example of digi-dub redone for the 2020s. Keeping us guessing, Rhode & Brown flip the script on ‘Longo Doggo’ by borrowing elements from sampledelic ‘90s turntablism and blending them with a post-disco/electro beat and a slinky bassline for the ages. From there, ‘Multiflora’ sees our protagonists back in a bassy digi-dub mode, before closing things out with an acid breakbeat slanted demo mix of the title track.