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On her deeply moving debut album At Weddings, Sarah Beth Tomberlin writes with the clarity and wisdom of an artist well beyond her years. Immeasurable space circulates within the album's ten songs, which set Tomberlin's searching voice against lush backdrops of piano and guitar. Like Julien Baker and Sufjan Stevens, she has a knack for transforming the personal into parable. Like Grouper, she has a feel for the transcendent within the ordinary.

Born in Jacksonville, Florida, and now based in Louisville, Kentucky, Tomberlin wrote most of At Weddings while living with her family in southern Illinois during her late teens and early twenties. At 16, she finished her homeschooling curriculum and went to college at a private Christian school she describes, only half-jokingly, as a "cult." By 17, she had dropped out of school, returned home, and begun to face a period of difficult transition in her life. The daughter of a Baptist pastor, Tomberlin found herself questioning not only her faith, but her identity, her purpose, and her place in the world.

"I was working, going to school, and experiencing heavy isolation," Tomberlin says of the time when she first began writing the songs on At Weddings. "It felt monotonous, like endless nothingness. It was a means to get through to the next step of life." In songwriting, Tomberlin found relief and lucidity she had trouble articulating otherwise. When she was 19, she wrote "Tornado" on her parents' piano, and began to develop confidence in her music. A year later, she had written enough songs to fill an album.

Throughout At Weddings, Tomberlin's lyrics yearn for stability and belonging, a near-universal desire among young people learning to define themselves on their own terms for the first time. "I am a tornado with big green eyes and a heartbeat," she sings on "Tornado," her voice stretching to the top of her range. Rich, idiosyncratic imagery — a fly killed with a self-help book, brown paper bags slashed violently open, clouds that weep over a lost love — sidle up to profound realizations about learning to be alive in this world. "To be a woman is to be in pain," Tomberlin notes on "I'm Not Scared." On "A Video Game," she muses, "I wish I was a hero with something beautiful to say."

Tomberlin cites the hymns she grew up singing in church as her greatest musical influence, and while At Weddings in many ways documents the unlearning of her childhood faith, it's easy to hear the reverential quality of sacred music in her songs. "A lot of hymns talk about really crazy stuff — being saved from the depths and the mire, judgment. When you actually realize what you're singing, it becomes really overwhelming," Tomberlin says. "I grew up singing in church. I was still helping to lead worship when I started coming to terms with the realization that I didn't know if I believed. I felt nauseous and shaky reading these words I was singing and feeling their intensity. If I did believe this, how could I sing these words without being scared out of my mind That's what's influenced how I write."

At Weddings is laden with reverence for music itself, for the power it has to heal others and help people navigate their lives. It is a record about learning to love oneself and others without reservation, from a place of deep sincerity — a lifelong challenge whose tribulations Tomberlin articulates beautifully. "My number one goal with my music is for honesty and transparency that helps other people find ways to exist," she says. With At Weddings, this remarkable young songwriter offers up comfort and wonder in equal measure.

a1 | Any Other Way
a2 | Untitled 1
a3 | Tornado
a4 | You Are Here
a5 | A Video Game
b1 | I'm Not Scared
b2 | Seventeen
b3 | Self Help
b4 | Untitled 2
b5 | February

Ever since his widely acclaimed debut LP "Migrations" was released in 2006, tone color has always been an important aspect of Emanuele Errante's music. Drawing from both electronic and acoustic sources, his compositions paint impressionistic vignettes with sonic intensities.

His fourth LP "The Evanescence of a Thousand Colors", his second solo release on the Berlin-based Karaoke Kalk label, deals more explicitly with color than before. The album's title plays with the double meaning of term and was inspired by a TEDx Talk by the US-American scientist Pratyusha Pilla on the subject of colorism, i.e. discrimination based solely on skintone. "I felt like I wanted to say something about the shameful racist regurgitation that we are experiencing in almost all the countries that claim to be the champions of civilization," says the Italian composer about the topic that informed his new album. "Pratyusha lit a light in me." In fact, a passage of her lecture is sampled on the album's centerpiece "Beauty", making Pitta a protagonist of the album on which voice can be heard loud and clearly.

Errante's music feeds on gentle guitar sounds, classical instrumentation, field recordings, and electronic elements that range from rhythmic ambient to granular noise. The eight tracks at times recall the early works of Oval and Fennesz or even Aphex Twin while showcasing the Italian's trademark approach to electroacoustic minimalism. As a follow-up to Errante's recent collaboration album with Dakota Suite and Dag Rosenqvist on Karaoke Kalk, the sonically rich soundscapes of "The Evanescence of a Thousand Colors" again highlight the importance of listening to one another - they are an almost wordless appeal for a more colorful world.

In The Dust Of Idols is an album exploring mortality, existentialism & the dread one can feel in the face of an apparently meaningless world. The journey you embark on when trying to create meaning where there is perhaps none. These initial senses of dread can be brought about by the insignificance you feel in the face of greatness, where others have seemingly found meaning and purpose in the face of your own wavering path. Other then these can be expressed in grandness and can become historically significant human feats, the fact that they have stood the test of time can become in itself overwhelming when reflecting on your own journey. Whilst these moments in time may hold no specific meaning to you - despite their impressive nature - you are driven into senseless awe. In the Dust of Idols ties in this sense of wonderment coupled with the overarching dread you feel as you contemplate your own existence, where you fit into the significance of society and as Ruth Tallman quotes ' the search for answers in an answerless world'. 'I wanted to create something dense & heavy. When you listen through, it makes you feel like it has the weight of time stitched into it' explains Ives. As well as expanding the range of instrumentation used on this,his second album, Ives also enlisted the talents of Cellist Charlote de Burgh-Holder and experimentalist Joe Summers on the tracks 'The Unread Library' and 'Twisted Necks' which further adds to the dynamic depth and range on this record Clarity was not my main objective, like an old piece of furniture covered in dust, you can tell what it is but the details are obscured,

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, its catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. This latest repress from the vaults is a real biggie - a true NYC underground disco CLASSIC!

High Voltage is one of the more familiar names in the P&P / Queen Constance galaxy. Led by Peter Brown and Patrick Adams right hand man and producer Michael Campbell who presided over some of the biggest and best sides the labels put out. This one is a must, essential, do not sleep business. 11.00 minutes of Disco fury! One is forgiven in thinking that this would've been huge had it have come out on one of the 'bigger' Disco labels, but that hasn't stopped 'Rock, spank, freak' becoming a true blue club anthem. Appearing in the playlists of DJ's and selectors as diverse as Larry Levan, Danny Krivit and Daniele Baldelli. Rough n'ready, unpolished but musically explosive the sounds contained on this here 12" are indeed High Voltage! As with a lot of these jams, this one's been badly bootlegged, so ignore those wack counterfeits that are out there and bag you a fully licensed reissue of this absolute bomb. Dope.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Same track on both sides

French duo Ligovskoi are to release Esam, their second artist album and first on Field Records. It features eight expertly crafted tracks that take the listener on a spacey and hypnotic journey towards inner bliss. Formed by Nikolai Azonov and Valerio Selig in 2010, Ligovskoi once again draw on a sound palette that includes samples, synths, vocals, feedback, guitar and field recordings that merge in a painterly and romantic form of music. It recalls vast landscapes, abstract patterns and poetic movement. The title 'Esam' refers to a small, isolated mountain located on the moon, and the album is a journey to a similarly otherworldly landscape absent of human life. It features free improvisations, repetitive patterns and experimental materials that convey a wide range of emotions and styles from weightless shiny atmospheres to dark, heavy and swarming textures, leading the listener to deep contemplation. 'We spend a lot of time exchanging thoughts and feelings about the experiences we had while creating and listening, like old friends looking at clouds and discussing the shapes they see. By publishing our music, we hope that listeners will recognise their own feelings and that they will understand or feel something in common with us.' From sombre musical landscapes made from lingering drones to more uplifting, light emitting tracks, this is a slow burning but high impact album. Tracks like 'Behaim' suspend you in comforting sound, the title track prompts inward reflection and the likes of 'Cortage' is the sound of being listen to the heavens. Esam is a transportive, thoughtful album that takes you deep into a unique musical world.

What NxT returns with a double pack of fresh tracks, tried and tested by the label head honcho Rich NxT. There are a nice range of cuts on this release with different flavours of groove, depth and attitude on display from these very talented artists.

DJ Dex aka Nomadico has written and produced 10 new unreleased tracks for this double LP 'The Code Switcha'. It features a range of tempos and sonic dynamics; from the slow burns of 'RTD 60' and '909 Soto Street' to the full on energy of 'Machine Learning for Homeboy' and 'HustLA'. There are also electro funk tracks like 'Still Cruisin', 'Radio 3031323' and 'Backyard Trippin'. Meanwhile, the moods and textures of 'Introversion', 'Innermission' and 'Staring Problem' are for deep listening. All of these are fused together by atmospheric pads, touches of acid and a veteran DJ's sense of rhythm and timing.

The 13th Voodoo Down release is the sophomore EP by label co-founder Sean Phillips aka 12 x 12. The follow-up to 2014's Kobayashi Maru, this four-track EP is the culmination of honed process and techniques over the past several years to produce a more organic groove-based style of techno. Mostly the work of a sampler and some analog synths, the tracks range from warm broken-beat atmospheres to digital sequences.

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Released in 1976, Distinctive Themes / Race To Achievement is legendary arranger Nick Ingman exploring the two distinct ideas of 'impressive themes varying in style from 'Basie to Elgar'' and 'a study in the pressure and rewards of achievement'.Distinctive Themes is a veritable indulgence of variously-tempoed, full orchestra, big band workouts, from relaxed swing to more propulsive themes. The progressively building 'Expanding Markets' is a true highlight, with its rolling pianos, contemplative electric guitar solos and moody horns over skipping beats.
The dramatic 'Against The Odds' is another stand-out.
Race To Achievement is all rugged funk with stabbing chords and strutting horns and it's probably our favourite side. Of course we have to acknowledge the fantastic 'Tense Preparation', sampled by Prince Paul and Dan The Automator for Handsome Boy Modeling School's seminal 'Magnetizing' with Del Tha Funky
Homosapien. But the whole side's range from tense underscores to fast and punchy chase themes makes this is a gem of the KPM catalogue.
As with all ten re-issues, the audio for Distinctive Themes / Race To Achievement comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current
custodian of KPM's brand identity.

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

The seventh volume of Drumcode's annual A-Sides compilation hits with no less than 10 debuts for the label, with Charlotte de Witte, ANNA, B.Traits and Scuba's SCB project, among the collection of topline artists to release their maiden productions on the imprint.

Over two decades into its lifespan, Drumcode keeps evolving and excelling, pushing techno forward while remaining wholly respectful of its roots. This reputation for progression was further fuelled this summer with its inaugural festival at the NDSM Docklands in Amsterdam, featuring a long list of heavyweights including Nicole Moudaber, Joseph Capriati, Amelie Lens and Ida Engberg, among others.

As ever, the A-Sides compilation provides a timely opportunity to showcase the full range of its sonic repertoire, with Adam Beyer scrupulously selecting unreleased tracks that have taken prime position in his sets over recent months.

Formidable duo Dense & Pika kick off part 5 with their powerful composition 'Lemur' renowned for their standout studio output they consistently conjure up a unique take on their distinct sound. Tastemaker's favourite Jel Ford makes a welcome return to the fold as he ushers in techno rhythms with bustling breaks with his track 'Nightshade'.

On the B side resident DJ of the infamous GZG parties in Holland, Man With No Shadow supplies his rave infused twisted cut 'Manilla', where his warped bass combines with shattering breaks & heavy weight drums.

Lastly, Locomatica & Blaukoma present 'Unfold' a brooding techno workout with crisp drum programming that features a euphoric vocal bursting with emotion. Set to cement these two producers as acts to keep your eye on in the near future.

With a string of resonating releases and progressively improvised live-shows, ANNANAN have been expanding and refining their stylistic range across gritty Acid psychedelia, explosive, dark-waving Electro and a raw blend of Techno and House that is as fierce as it is fragile. The duo's first album on their own imprint MACHINE JAZZ does take all of this into account - and yet it's crucially different to everything else they've put out so far. - You' is a captivating electronic pop adventure, an experimental amalgam aligning Anne Ghost's polymorphic lead vocals with Tom Aaron's vast and versatile analogue productions in unexpected ways. Dominated by reduced rhythms and a carefully crafted melodic shape, the result of this dialogic fusion are irresistible, forceful songs that draw from diverse contemporary and traditional sources: you'll even hear Trap fragments, an R&B trained voice, reminiscences of the Knife as well as cinematic synth excursions. While exhibiting a broad set of moods, claims and longings, the LP attains emotive poignancy from beginning to end through its bold openness. Annanan's first album is stripped down, immediate and full of surprises - but don't you worry, there's no lack in bang either!










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Return of the UK producer Allen Saei aka Aubrey on the mighty Barba label is another bold statement in the discography of this well-versed artist. Building on the relationship with the Burek/Barba/Pomalo family established through remixes of Information Ghetto's "Inspiration" track (Burek 2013), DJ Stingray's "Communication System" (Barba 2015) and his solo "Clock Funk EP" (Barba 2017), for this record Aubrey presents us with a continuation of his previous Barba release, simplistically titled "Clock Funk 2" EP. As is to be expected from a guy who's been spending time in the studio for better part of the last three decades, this 12" is pure techno, in the best sense of the word. As mature and consistent as the previous record of the series, we have Aubrey building on that ground and expanding the range into more abrasive and rough on one side, and even more subtle and humane on the other. A1, titled "Clock Funk 2" is among the subtle ones. Beautiful cascading keys, glitchy synth bleeps and lead lines intertwine into a gorgeous composition grounded by a driving bassline and counterpinted with distorted ride cymbals. Uniquely sounding track which draws influences from many corners of the planet. A2, titled "Sel Moulo" sets a point for the other side of the spectrum. The heaviest and roughest, it locks the frame in which this EP works. Direct, abstract and firmly aimed towards the dancefloor, this cut is for the peak moment of the night when its combination of jacking beats and trippy leads will just push the craziness off the edge. B1, the most humane and gentle track on the EP, "Triads" is a perfect match for the A1 cut, although slower and calmer. Again, the similar approach is used, where the perfectly tuned combination of small synth and keys elements form a complex image which will stay ingrained into anyone's mind once you play it in the right moment. Again, it's hard not to reach for the word "beautiful" when describing this one. B2, Ghost Mist, is on the other hand a match for the heavy A2, but also not as intense. A repetitive affair, with abstract synth lines and disharmonic pads serving as an emotion injection just when they're needed. Common thread moving through all four cuts is an infectious groove intertwined with synth lines that would not be misplaced amongst the best examples of space-influenced techno music firmly grounded on the floor. All that, pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by local artist EmaEmaEma.

Move Is The Name Of The Colombian Collective Based In Medellin. After 5 Years Of Hard Work In South American Electronic Scene, Now They Present Their Record Label With 'origen' As It's First Release. Origen It's A Wide Range Of Colorful Electronic Music Created By Some Of The Artists Involved In The Project: Black Propaganda, Retrograde Youth, Merino And Blotketch. A Real And Interesting Sneak Peak Of The Sounds That Are Growing In Latin America.

After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album 'SortLave' on Venetian Snares' Timesig imprint. Recorded between 2016 and 2017 using Richard's custom built Eurorack modular system and two Nord G2 Modular units, SortLave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as 'Revsic' to 'Astra's dazzling juxtaposition of sounds and onto the radiant ambience of the album's closer 'Takara'.

Talking about the album's genesis Devine explains 'I've been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album.' 'I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.' This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. 'I really wanted to break free from timeline-based music creation and do things with my hands on the fly,' he explains. 'So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven't heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I'm very excited to share it with the world.'

Making his debut in 1995, Devine's releases for labels including Schematic, Warp Records and Detroit Underground have established him as one of the leading figures within the electronica community. In addition to his musical productions, Devine has enjoyed a lengthy and successful career in sound design, developing patches for many of the world's leading music technology businesses and working with companies such as Google and Nike.

A girl stands at an arcade machine, her eyes fixed on the glowing screen with her back turned on the world. She seems to be alone, somehow lost and yet at one with herself. The cover art (by Carmen Alt-Chaplin) for Peter Zirbs' debut album as a solo artist conveys escapism - being totally immersed in another reality, in the virtual world. His equally futuristic and retro-futuristic aesthetic is permeated with melancholy. What if we really don't exist

Peter Zirbs himself also knows how to escape: how to hunker down in the studio, hide from the outside and lose himself in the music. He emphasizes that such an escape is healing, leading to the world of the romantic. The Viennese musician and producer has always felt most comfortable straddling genres, whether techno and rock in previous band projects, or now as a solo artist combining post-minimalist dramatic synth/piano ("Firmament") with modern wave pop ("Are You Reality") and poignant ballad-kitsch ("Dreamescape"). Here there are subtle changes in emphasis gracing otherwise repetitive harmonies; there a true appreciation of pop. Ten songs - five with lyrics, five without - some threatening, some heartbreaking, all stirring. They project a world - sometimes concrete, sometimes abstract - in which can be found beauty and disquiet, love and fear, failure and perseverance. A world one is happy to get lost in while the cinema in one's head tells its own stories. (by Manuel Fronhofer)

As part of the Viennese rave and techno scene of the 1990s, multi-instrumentalist and electronic producer Peter Zirbs has released music under several pseudonyms, produced and remixed various artists, and scored a range of experimental films. He has broken down genre boundaries over the years with the variety of his output. The circle closes now. In 2018 Peter Zirbs finally steps into the spotlight as a solo artist.

"What If We Do not Exist" by Peter Zirbs is released on 19th October 2018 by Fabrique Records. Guest vocalists include Monika Heidemann (Heidemann, The Phenomenal Handclap Band, The Juan MacLean / DFA Records), Tom Walkden (Wolventrix) and Gerard McNeice.

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Queen Constance was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Wayne Forde's super heavyweight 'Dance To The Music Freakout' is the second reissue from the label for 2018!

Yet again, not much is known about Wayne Forde, or his band 'Stereo'. Could it be another Peter and Patrick studio project Another selection of local, neighbourhood players and singers Who knows What we do know, however, is that this record is a TOTAL disco bomb. All of what you want from a Queen Constance record is here, it's dripping in funk, raw and soulful. Essential stuff for anyone with even a passing interest in disco or anything funky. These jams are super long, percussive dance-floor melters that will do damage! Super rare, too. You won't find one of these nestled in the racks in your local chazzer, which is exactly why these (legit) represses should be in your cart. Essential.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, lovingly remastered with love by Optimum Mastering, Bristol UK.

Making his first appearance on the label, Argy lays down a three-part heavyweight production for Crosstown Rebels this October. The Greek producer effortlessly showcases his unique style and ability to create music that is sure to create heat on the dance floor.

Title track Worthless opens up the EP with a bouncy groove and sensual, breathy male vocal. Next, La Vida introduces a more percussive-led beat, creating an industrial soundscape. Get Ready closes the EP with its darkly hypnotic beat, lending itself to a more tribal aesthetic.

The word 'diverse' is most definitely one that can be used to describe Argy. Having been in the game for more than a decade, he's released music on Poker Flat, Cocoon, Objektivity, Desolat and Cuttin' Headz. He's worked alongside a range of key figures in the industry including Kerri Chandler and Manuel Göttsching. Argy has proved his prowess as a DJ holding down residencies at Amnesia, Space, Destino and Pacha as well as regular appearances at Berlin's Panorama Bar.

A wide range of artists remixing tracks from Mr. Fingers latest album 'Cerebral Hemispheres' on this three part remix ep series. Remix duties on the second installment go to Mr. Fingers himself, Joey Anderson, Kode 9 and Upsammy. Part 2 of 3!

- Upward Bound' is a long lost, incredibly rare and very expensive classic disco era album! It combines soul, funk with and slick pop appeal into a great cocktail of grooves and melodies! This will drive you to the dancefloor and make you sing along at the same time! The lush arrangements, tight grooves and powerful soul vocals with catchy harmonies make this album an instant evergreen. I'm least surprised that the arrangements should pose a challenge to every rhythm section and that the catchy melodies instantly stick to the listener. The flashing horn arrangements are amazing! The funky bass grooves and guitar riffs weave a cocoon of sound around your soul. The sound is certainly clean but also vivid and the music feels grounded despite it's larger than life expression. The swirling backing vocals in combination with the lead singer are the icing on the cake that already consists of catchy and outstanding songs. This is more funk and soul than simple disco music. There is depth in the arrangements with awesome details as you delve deeper into each single track. You can of course groove along and just enjoy the songs as they are, but be sure to at least be on the lookout for the beautiful ornaments in each song. This music will surely move you, it makes it impossible sit still . In this album you'll find a wide range of funky music, from Slow groovers to fast paced tunes, you will get them all. Some with a deep atmosphere, some energetic, all of them memorable with arrangements that keep your attention going even with the 50th spin on your turntable. To my opinion this album is an unmissable gem of the disco era at it's peak! The original album retails at $ 400 going up, rarely a decent copy could surfaces on the market once a year. So here's a chance for you to grab an affordable copy of this well-deserved and long overdue reissue on vinyl and be enchanted!