A collaboration of Rob Gee, Buzz Fuzz, & DJ Gizmo together on this one! 30 years later it still sounds great! Just as you would expect from these 3 hardcore legends. This release is the most sought after 12” from Rob Gee with 3 tracks that still stand out on this classic vinyl from 3 decades ago! Drop The Bomb is one of my favourite solo tracks from Rob Gee. Great to have this record out again at a reasonable price for supporters. Comes on a limited edition blue vinyl as well as the standard black 12”
Bambino Recordings is back with the highly anticipated repress of Toka Project's 'Ego Trip’ EP due to overwhelming demand for the vinyl. W&P by Andrew Riley, renowned as one-half of the legendary Inland Knights. Originally released 21 years ago, this timeless classic is now available once again. Secure your fresh copy now before it sells out! The tracks still sound as fresh today as they did 21 years ago, one of the very reasons they have been in constant rotation in many of well known DJ’s sets for years. Expect deep, tough, bumping underground house aimed to liven up any dance floor.
Following the release of SUN, Crackazat’s stellar fourth album, we’re proud to present a limited repress of Evergreen — his debut album on Freerange Records, originally released in 2021. Long sought after by collectors and currently fetching up to £250 on Discogs, the LP is finally available once again — and at a far more reasonable price.
Micro Driver III is here back again, from a large period of such as an hybernation status. As previous targets: the combination and compilation from several electronic music producers are shown in this series to enhance and spread the sonic spectrum of the label.
So we are also proud of this release for a particular reason: A nice moment of having on board two of the greatest veteran electronic music activists from Madrid City, Roberto Gemelin with his aka Groof and Luis Rozalén with his HD Substance moniker gives to this 12" an exclusive meeting to show the most electro side of both producers after their long careers producing and creating full of different electronic music alias and stuff.
In the other hand, sharing the vinyl we are pretty excited by the music of Spectrum Data Forces the Electro alias of the well established techno producer C-System, with his high-energy, powerfull and tigh Electro. And the last but no least track of Emulador with a minimal and futuristic Düsseldorf/Detroit vibes to accomplish this compilation.
This four spanish artists are definately full of talent with four different styles and visions of Electro. Micro Driver is a series compilation from several artists of the Electro community.
This is not a Ben Vida, Booker Stardrum, and Will Epstein record; it’s a Play Time record. That’s a subtle but important distinction, for a couple reasons. One, the sound of Magic Object—a polymetric blend of improv and pulse minimalism for saxophone, drums, and Moog—doesn’t really sound anything like any of their many other ensembles or respective solo projects. And two, it was only while making Magic Object, their debut album, that Play Time realized they were a band at all.
Let’s back up. The roots of the trio date to 2020-21, when Will and then Booker moved to the Hudson Valley, where Ben was already living. The three got into the habit of playing together at Ben’s house, and they soon realized that their hang sessions felt fundamentally different from making music in some falling-down studio in Bushwick. Where those experiences were rushed and cramped, a new sense of time and space now suggested itself. Where once they rat-raced the music, now they relaxed into it.
Early gigs yielded similar revelations. A booking at Tubby’s, the beloved Kingston venue, evolved into a kind of residency. Tubby’s is a small space, fitting around 100 people, with a bar in the front room and a stage in the back. Play Time decided that they didn’t want to play on the stage; they wanted to play in front, among the people in the bar. Rather than hogging the spotlight and overpowering the other voices in the room, they blended with the energy of their surroundings and emerged as a sort of minimalist-jazz-krautrock bar band.
Gradually, they discovered a newfound “elasticity”—Ben’s word—that reshaped the music from inside. “It’s this communal thing,” he says. “It’s vibes. And it’s embedded in the community up here, which feels really vital and nourishing.” They were jamming, but it wasn’t just a free-for-all; they found themselves listening to each other in new ways. “Ben and Booker joke that they’re always playing in different time signatures,” Will says. “We’re all going forward with our own ideas, but we’re open to each others’ as well, and they’re all sort of dancing together.”
“We all have our painterly solo projects,” Will says—where, Booker adds, “we do a lot of studio arranging and thinking and composition that takes shape over a period of time.” Play Time, on the other hand, is all about being in the moment. That spontaneity was key to the process of recording the album. They booked two days in their friend Joey’s studio, a converted wooden barn. “It’s just a live room,” Booker says. “There’s no separation or anything. So we’re all in the space together and it’s got this beautiful, woody sound, and that’s very much the sound of the record.” For two days, they just jammed, for seven or eight hours each day. When it was over, they went through, edited down the portions they liked, and added very judicious overdubs designed to enhance the original recordings without fundamentally altering them, staying true to the spirit of the sessions.
The result is something like a snapshot and a mission statement all rolled into one. “You’re hearing us discover the voice of the band in real time,” Ben says. “We finished those sessions and we were like, ‘Oh, that’s what our band sounds like now.’”
Now, with Magic Object, the rest of us get to find out too.
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Balmat is a label with a cloudy outline. Jointly shepherded by Albert Salinas and Philip Sherburne, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show born almost ten years ago. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.
“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.
In the evolving landscape of modern Southern hip-hop, the pairing of Starlito and Bandplay stands out as a unique bridge between street-level authenticity and refined, calculated musicality. Their collaborative project, Not The Country You Know, functions less like a standard release and more as a manifesto—a masterclass in the chemistry between a seasoned, introspective lyricist and a producer who possesses an intuitive grasp of the region's pulse. It is an exploration of legacy and adaptation, capturing the tension between where they came from and where the culture is currently headed.
Bandplay, long recognized for sculpting the sonic identity of Memphis icons, brings his signature, trunk-rattling 808s to the project, yet he manages to pivot here. The production feels remarkably expansive, masterfully blending the raw, stripped-back aesthetics of classic Tennessee rap with forward-thinking textures that refuse to be confined to a single sub-genre. Complementing this, Starlito operates with his trademark mix of cynical observation and genuine vulnerability. He navigates these beats with the weary grace of an artist who has weathered the music industry's relentless cycles, treating every bar like a necessary piece of a larger, ongoing story.
The album’s title serves as a direct commentary on these shifting tides. Across the tracklist, the duo investigates the growing disparity between the romanticized South and the cold realities of the streets, alongside the inevitable evolution of the music business itself. There is no frantic chasing of streaming-era trends or algorithmic bait here; instead, the project remains a stubborn, confident assertion of artistic identity. By weaving together Starlito’s "voice-of-reason" flow and Bandplay’s evolving, genre-bending sound, Not The Country You Know challenges the listener to abandon their preconceived notions of the region, offering instead a complex, urgent vision of a South that is as haunting as it is vibrant.
Hotshot producer D*v*d J*cks*n heroically revives the legendary Puss label, home to some of the most enticing, scandalous and straight out illegal dance music released across the
last 13 years, all supposedly masterminded by K*rn*l K*v*cs of St*d** B*rnh*s fame. Three reasons for this sudden revival: One trancetastic take on a deep cut from the queen of
Swedish pop, an instantly engaging UKG flip of an eternal dance hymn and, lastly, a rugged faux-Baltimorean nugget for all the Kittenz out there.
This is a bit of a rare gem from the Ellis Dee. Back in 1995 he made the track 'Synthetic Disco' but for some unknown reason (I'll have to ask him and let you know) it was never released and remained a mystical track lost in time. The flipside 'Atmosphere' was only released as part of the Total Science 2 compilation that came out in 1996. Both tracks compliment each other beautifully and are both very much on a similar tip to his Norty But Nice 12" that we put out a few years ago. Deep but rolling drum and bass for the massive!
Like a meteor striking earth, two forces hit each other. Merkelbach and Nathan Homan found each other in a shared vision in music, and this is the reason they’ve started the label Beau Brummel. Combine the two and you get the alias Merkoman. If you were to take a look at both of their agendas, you’d see Thursday crossed off because that’s Brummel Day. After two years of Thursday evening Brummel sessions, a big vault of music has been filled. The result is The Story of Brooks Pipe, a two-part story of a refreshing new sound that only Merkoman can achieve. In Part 1 you’ll find four tracks strictly made for all sorts of dance floors. An additional injection of creative artwork was given by Sjeng Schupp.
We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.
Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.
Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.
The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.
Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.
Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:
“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992
“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.
"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.
Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992
"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.
"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.
"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.
Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.
Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.
The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.
Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.
Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:
“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992
“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.
"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.
Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992
"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.
"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.
"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.
Extinction Burst! is the new invocation in album-form by Guttersnipe, Leeds’ premier and pre-eminent XFCER (XFCER: Xenofeminist crisis-energy rock)* duo. Slamming at full speed to multi-dimensional oblivion, Extinction Burst! is the most full, hidefinition lurid dream-mare yet spewed out by Uroceras Gigas & Tipula Confusa. Engineered and mixed by Ross Halden at Hohm Studio in Bradford and mastered by Rashad Becker, Extinction Burst! follows 2018’s My Mother The Vent, which garnered universal critical adoration. Nevertheless, this long-awaited follow up is more extreme: it is wildness beyond reason, splitting new tears in the reality gauze, ultimate hallucination through sound ecstasy. 2026’s Guttersnipe are evolved, mutated by 8 years of touring together and with the labyrinthine network of groups both Guttersnipe members are involved with - Tristwch Y Fenywod, Nape Neck, Petronn Sphene, Yexxen to name a few. On Extinction Burst!, as with previous material, the duo are heavily augmented with technology. Tipula Confusa's drum kit triggers chasm-causing synth pulses with thumping low end attack.. Strafing from all over the stereo field the constant shatter of the cymbals and toms feel like Sunny Murray or Rashied Ali in full flight during a John Coltrane session in 1967. Uroceras Gigas’s guitar + synth storm is by-now similarly an instantly recognised tool kit in underground music. Switching from screeching guitar atonality to intricate riffs from the black metal/Voivod hinterland to ultra-distorted synth meltdown, it’s an utterly overwhelming, essential and vital pouring-out of the full emotional spectrum. Both artists vocalise, ecstatic and primal, drawn out or yelped in pain or pleasure or panic. Alive On Tuesday begins with some of the only space on Extinction Burst! Digital crackles and tight-delays blow out into a fullthrottled death-dive into sweet opaqueness, offset by the duo’s vocals. There’s a popular believe that Guttersnipe is chaos, but over 9 mins here the group are clinical in their control of the simulated entropy. Mincing while the Maelstrom Churns’s guitar is modulated into jagged atonal atonement, duetting with the virtuoso drum patterns before it thuds into gear at quadruple the speed. Threads Of Radical Unaliveness veers close to the extreme Metal influences with blast beats and guttural vocalisations until the track exhausts itself into unaliveness. Keep Honking summons a demonic digital panic, with the duo reincarnating in real time as haunted versions of themselves, almost translating the lurid, ultra vivid, simultaneous hell+heaven of being alive in this dimension. Primordial Invagination harnesses No Wave’s dissension of normality before the structured collapse of Skra¨ckblandad Fo¨rtjusning, in which Tipula Confusa’s accelerating drums simulate a bouncing barrel of brimstone descending into a primordial gunky ooze, a respite in the middle before the record splutters to a stuttering finale, both members’ vocals out there in the neon realness, alive with crisis energy. There is nothing on this cursed earth like Guttersnipe. For over 10 years they have whirled in a wiggliness both woebegone and wonderstruck on a mission of radical mutant exaltation using rock music weaponry loaded with a queer hysterical ammunition to rupture the fabric of the known Rock universe and unleash a tendril-soft hallucinatory violence; thrumming with the bracing vividness of insect bodies, crazed with alien synaesthetic emotions, harnessing jagged excoriating illogic as a face meltingly snazzy affront to redundant macho mediocrity with the hope to break minds, squeeze hearts, explode pelvises and maybe even reset the parameters of reality. Addendum: xenofeminist : proposing and creating a world defined not only by sexual/gender equality, queer empowerment and the toppling of the racist heteropatriarchal hegemony and it’s tyranny of phallogocentric signifiers, but a philosophy of radical queerness that explodes the basic notion of embodied existence itself beyond even the human, where we see bacteria, invertebrates, reptiles, marine life, animalia in general, inanimate objects, quantum phenomena and as yet inarticulated bodies and minds as social and political equals that may inspire and inform our concepts of self, feeling and meaning as we labour to build a collective reality that doesn’t completely suck!! crisis energy : a term borrowed from the weird fiction author china mieville to describe a type of extreme concentration of power which emerges when a system or organism is pushed to it’s absolute limit; the point of rupture, chaos, entropic overload, just before it all breaks apart. rock : Rock ’n’ Roll, rock music, the devil’s music, sex, guitar, drums, voice, rhythm, riffs!
Selection of IKIGAI Album by Nadia Struiwigh. IKIGAI was born in the quiet space between grief and remembering... Made entirely on hardware, from my living room in Berlin near Hermannplatz (my dad's name is Herman -- the odds), in the months my father passed away. Every sound, every sequence, every texture carries his fingerprint. Not because he made music, but because he made me love gadgets. Circuits, signals, blinking lights. He was the man who opened me up to machines and taught me how, eventually, to listen to them and use them for my craft. The name IKIGAI, a Japanese word for ''reason for being,'' found me when I was at a crossroads. The kind where you ask yourself: Why am I still here? What am I still creating for? What part of me still believes in beauty when everything feels like it's falling apart? These pieces came through slowly, on Japanese gear like Yamaha SEQTRAK, KORG, Roland -- like threads weaving a tapestry I didn't know I was making. Each track is a kind of purge... to him, to myself, to the listeners who find themselves in the in-between. The space where you're not who you were, and not yet who you're becoming. I found myself back into soundscapes and Ambient with a touch of Electronica. I weaved in sounds I captured from daily life, memories -- like the laugh of my sister. I built in silence and let the machines cry for me and let them tell the story I couldn't find the words for. IKIGAI is spacious. It's not trying to impress anyone. It's trying to just be, and hold space for all kinds of emotions. It moves like memory... slow, sacred, shifting. This release needs to be close to home, and will be released on my own imprint Distorted Waves, on the day 11.11 -- which refers to my first album that my dad had hanging up in his shed. For my father. Nadia
Hayter steps up on Hilltown Disco with a razor-sharp vinyl release steeped in acid-tinged electro-wave. A core member of the Clear Memory crew, Hayter has left marks on KRI Records, Clear Memory and a run of self-released EPs, plus a standout contribution to Hilltown Disco’s charity compilation.
This record delivers six original tracks driven by icy electro vocals, machine-funk rhythms and a distinctly intelligent, shadow-leaning mood. Dark, forward-thinking and unapologetic —this is electro for the future.
Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.
They said it could never be done. And with good reason.
We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.
It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.
But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.
With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.
The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."
Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.
You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.
The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.
Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".
Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!
An’archives presents 'sensitive', a new album, and the first solo vinyl release, by Japanese keyboardist and synth player, Mitsuhisa Sakaguchi. A deftly assembled suite of glistening electronic tonalities, 'sensitive' is the latest in a lengthy run of excellent, idiosyncratic albums by Sakaguchi. A low-key yet productive artist, Sakaguchi has released banks of solo titles via his own Bandcamp page, and is also an in-demand improvisor for electronics: see, for example, recent collaborations with Yoshiki Ichihara ('TO(R)RI INFRANTA', 'Ftarri', 2025), Tatsuhisa Yamamoto ('non equal mad', self-released, 2020), and the - trio with Yamamoto and Uchihashi Kazuhisa ('self-titled', Modern Obscure, 2023).
'sensitive' is a startling album for many reasons, not least its rich attention to detail. Sakaguchi’s ear is sensitized to the complexity of electronic sonority, something he’s developed through decades of performance and improvisation, though he’s not limited to that language. “I mainly use multiple synthesizers and process the sounds with effects,” he clarifies, detailing his approach to his music. “I also use a lot of acoustic sounds such as field recordings and percussion; sometimes I also use sounds such as prepared piano.”
Indeed, you can hear this see-sawing balance between the electronic and acoustic written across 'sensitive' – see the activated cymbals that twist and stutter through the first half of “metatoxic”, which are soon replaced by a similar stream of burbling synth-flow. The opening “sensitive rot” folds field recordings into Sakaguchi’s electronic kit to such a degree that the differing forms dissolve into each other; on “green shrine”, the field recordings are more present, yet still poetically framed, taken as they are “from the mountains of my hometown, Yawata City, Kyoto,” Sakaguchi explains.
The tender balance achieved by Sakaguchi as he moves between practices, tonalities and temporalities helps manifest the guiding conceptual force behind 'sensitive', where Sakaguchi explores a cleansing reverie. “What I wanted to portray with this album was to create an album of sounds that shattered and reassembled my current ‘sense’ and ‘toxins’,” he nods, “along with the ‘nature’ around me. Electronic sounds, our bodies, the environment around us, and nature all blend.”
From there, Sakaguchi attempts a transformation, or transmutation – an alchemical process of exchange. “I am attempting to explore whether it might be possible for the sounds to come closer to each other,” he concludes, “or perhaps even to interchange places.” On the five pieces that comprise 'sensitive', you can hear this fusing and exchange. Inhabiting similar spaces as the music of Nuno Canavarro, Asmus Tietchens, Omit, and other like-minded visionaries, 'sensitive' traverses curious, quixotic terrain between electronic composition, electro-acoustics, and improvisation.
The long-awaited reissue of Toba makes it clear, once and for all, to fans and industry insiders that disco music produced in Italy between the late 70s and early 80s had no chance of success. What was disparagingly called "spaghetti disco", considered a poor imitation of real American disco music, only good for Japanese cartoons. This was the main reason that prompted Italians to record their songs abroad, as Fratelli La Bionda with their pseudonym D.D.Sound in Munich. Luigi Figini, with "Supercool" and "Percussion Sundance" by Edo Martin and Pino Santapaga (the same as "Step By Step" by Koxo), claimed that Kash was a one-off Swedish disco project, a lie that came to light when an Italian test pressing from the previous year, made by GDB, was posted !!! Amin-Peck followed the trend of passing off their songs as foreign music on the intuition of their Roman producers. So ''Love Disgrace'' was released on 7'' by a label called Connection, which never really existed, created for the purpose by Giancarlo Meo, confident that this would bring success to the Bolognese duo who were already creating 'proto Italo-Disco tracks' with a new-wave trend. To make the whole operation seem real, the London agency Ellie Jay Ltd. was involved, contacting Andy Fernbach of Jacobs Studios Ltd. The vinyl was also produced in the UK, otherwise the deception would have been discovered, then imported to Italy by Best Record. Italo-Disco was officially born after this, in 1982, not before! Everything makes sense now ! Real events that actually happened and purely invented names and anecdotes. Just think, even the image of Tony Balch used for the cover of Toba was taken from Grand Theft's 1978 album "Have You Seen This Band?" and reproduced on the new redesigned cover, as were the heads of the other musicians. The idea of a real band called Toba had finally come to fruition and would lead to a second sensational success the following year. Now it all makes sense! Facts and anecdotes that really happened and names and circumstances that are purely fictional. Finally, everything adds up! Real things and invented names of musicians and collaborators. It's important to clarify what we've said above, but we haven't talked about "Make Your Mind Up" and "Don't Take It" and the two masterful remixes performed by Dave Mathmos. In short: with the original versions we'll make Italo-Disco purists happy, with the remix versions we'll please new younger followers with more modern sounds and versions more in line with today's tastes and trends.
Laputa, a title taken from the fantastical floating island of Gulliver's Travels is aptly named as 'The album that never landed' for, apart from a limited touchdown in Japan, Laputa was never released. This mystical world is a summation of Yokota's journey so far, a complex and at times challenging work but immeasurably rewarding. Beguiling and bewitching in equal measure.
Over fifteen undulating sonic fugue states, he guides listeners round a liminal world, made up of familiar materials but formed in a way defying all laws of perspective and physics. Background murmurings give way to almost uncomfortably foregrounded chattering, and one perceived soundstage segues into another impossible tableau of sonic apparitions, some recognisable in form, but all boldly decontextualised and arranged in expertly cluttered amalgams.
Laputa's obscurity was a prime reason Lo Recordings decided on the Skintone retrospective. Falling as it did between The Boy and the Tree on The Leaf Label and our own debut of Symbol. It was something of an audio crime that the album had never been properly explored and discovered. Lo Recordings hope Laputa can now ascend to its rightful place... hovering above us.
Regular contributor Vick Lavender returns to Cataleya Music for two lengthy stargazing jams. Each clock in at over 10 minutes, taking the listener on an extended musical journey. They combine Spiritual, Soulful and Jazzy House Esthetics with great results. Africanus is a moving composition with mystical melodies, thoughtful instrumentation and percussive layers. No Rhyme, No Reason offers powerful synths, mellow brass and in-step beats. Both Africanus and No Rhyme, No Reason are incredibly engaging pieces of music. The Esthetic EP is Vick Lavender’s most ambitious record on Cataleya Music so far. Listen and be rewarded!
This record contains six tracks by Freephilipp and Robin — two Bremen-based musicians who meet where the void of digital subculture and experimental electronic music opens up. Freephilipp contributes four glitch-driven pieces that move between IDM-tinged ambient, electro, atmospheric broken beats and junglish fragments. Random Chords Memory is one of the reasons this release needed to be carried out into the nexus: it stands on its own, just like the rest of the EP, yet it may be the signature track of Freephilipp’s nocturnal enthusiasm — mixing between night shifts and sharing production skills with the people around him. Robin (zckr rec / ph17) completes the EP on the flipside. Tau-37 and Omega5, named after two star systems, invite you onto a dub-soaked, drifting flight. The Basic Channel- esque impact of Tau-37 rounds out the journey in combination with Omega5, whose drone-laden soundscape slowly opens and dissolves. This music was never meant to be produced for an audience. It is a document of what it sounds like when you say goodbye to the outer world and begin building landscapes in another.
An anthology born out of isolation and deep introspection, Sky Dust Drifter is a cosmic medley of sun-soaked AOR, psychedelic folk, and soft rock. This soundtrack was driven by the lonesome cowboy, a lockdown savior leaving me adrift in desert winds and dimly lit country bars.
Long-distance trades and masked meetups yielded a collection of private press LPs and 45s from ten different artists spanning 1973 to 1980. This seemingly random stack of records revealed songs living entangled in themes of hard luck, heartache, and the inevitable loneliness of existence. Adorned in cracked leather and chrome, this album is an aimless wander from the soil to the stars.
Featuring an unreleased English version of the compilation’s title track “Sky Dust Drifter” (originally released only in Hebrew), the record shifts from laconic afterthoughts to bold proclamations. From Michael Andrews’ blue-eyed soul assertion “Something Bad’s Better Than Nothin’,” to the searing electric guitars and bold synths of Sunburst’s “Special Lady,” Sky Dust Drifter thrives on solitude in a universe of unconditional self-rule where loneliness is not darkness but rather a blazing light of autonomy.
Super Rhythm Trax are proud to present this reissue of one of the most loved, most underground and most sought after Breakbeat Hardcore records from 1991. Raw rugged and authentic, no silly chipmunk vocals or twee piano here, oh no!
Carefully remastered from the original dat tapes, both original versions of Underkut “Both Ends” are now available at a reasonable price after 35 years!!
Since its original release in 1991 it quickly gathered legendary status with it’s super slamming breaks and ‘that’ huge Bassline, it doesn’t get any better than this.
On the DAT tape, we also chanced upon an unreleased, unheard version, and We include this unheard vocal mix as an ‘of it’s time’ artefact for the collectors, as it really accentuates the record’s obvious HipHop leanings and there are parallels to be drawn with the whole Britcore movement of the time, where crews like Hijack, Gunshot, Cash Crew, Demon Boyz and London Posse were flourishing.
Amsterdam-based producer and one half of Cybersex, Stef de Haan, releases his first EP on wax with Ataraxi. Ataraxia is a concept from ancient Greek philosophy describing a state of inner calm, a freedom from anxiety and sorrow, guided by a life of reason.
With this release, Stef de Haan reflects on this idea and ventures into territories beyond his usual sound, moving from a garage stepper to minimal techno, alongside two remixes - all approached with a fresh, modern take on music production.
SEVEN7009LTD is on coloured vinyl and includes a 90cm x 60cm pull out poster of an original Stef de Haan painting. Strictly Limited to 200 copies.
Amsterdam-based producer and one half of Cybersex, Stef de Haan, releases his first EP on wax with Ataraxi. Ataraxia is a concept from ancient Greek philosophy describing a state of inner calm, a freedom from anxiety and sorrow, guided by a life of reason.
With this release, Stef de Haan reflects on this idea and ventures into territories beyond his usual sound, moving from a garage stepper to minimal techno, alongside two remixes - all approached with a fresh, modern take on music production.
SEVEN7009LTD is on coloured vinyl and includes a 90cm x 60cm pull out poster of an original Stef de Haan painting. Strictly Limited to 200 copies.
RAWAX welcomes Silat Beksi to the artist Family!
We are very happy to have this great talent finally on our imprint.
"Curandero EP" will be out in August. Highy recommended!
The Cosmic LP is an album that is fully part of the history of Italian dance music.
First released in 1984, it is a produc*on signed by SANGY, one of the founders of Italo-dance, who was
responsible for the composi*on, arrangement, and performance as a guitarist and mul*-instrumentalist on
most of the tracks.
Crucial to this project was the collabora*on with DJ Daniele Baldelli, who at the *me was the resident DJ of
the legendary Cosmic club in Lazise (Verona) and is s*ll considered one of the most important Italian DJs.
Collaborators also include the names of Sandy Dian, one of the most sought-a2er sound engineers of the*me, and a debutant M&G, who would later co-sign one of the most iconic Italian disco tracks, "When I Let
You Down," also in collabora*on with Sangy.
The sounds of this album were absolutely revolu*onary for the era because they blended funky, jungle,
Brazilian, disco, and fusion influences in a completely unprecedented way.
For these reasons, the Cosmic LP has remained an iconic piece of interna*onal discography, maintaining its
originality and sonic power intact more than 40 years a2er its first release.
American jazz keyboardist Hilton Felton, who also recorded a superb album as The Three of Us which is also being reissued right now, dropped his most classic full length A Man For All Reasons in 1980. It came on his own label and the reason it is so well thought of is that it has become a real staple of the rare groove scene thanks to how much of it get splayed by DJs and how many key collectors have it on their racks. This reissue, with an all new remastering, arrives via P-Vine with gems like the standout jazz funk gem 'Bee Bop Boogie' one of many of its tunes that are still rare groove classics.
A heavyweight library record delivered straight from the Gods; truly, we are all blessed: Dubmaster Dennis Bovell presents cLOUD mUsIc. A miraculous set of loose limbed, slinky funk-forward dub on the A-Side with totally blunted, spaced out trippiness on the grooving versions gracing the flipside.
A pioneer of dub and progenitor of lovers rock, genius producer-arranger Dennis 'Blackbeard' Bovell's prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock, afro-beat to post-punk, disco to pop and beyond.
His production work encompasses such diverse figures as Ryuichi Sakamoto, The Slits, Fela Kuti, Linton Kwesi Johnson, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, I Roy, Maximum Joy, Steel Pulse and more.
cLOUD mUsIc features 8 new, deep, never-heard heaters, initially created for upstart UK library label FOLD. Dennis had written some music under the influence of Cloud-watching and presented it to FOLD with a view to them presenting it as Library Music to be utilised by anyone interested in having music for incidentals, films, TV and advertising etc.
cLOUD mUsIc represents Dennis expressing himself freely and inviting others to join and express themselves. As Dennis explains: "Library music is what makes the difference between creating for specific reasons and creating for your own individual enjoyment. cLOUD mUsIc was created whenever I felt the urge to create music that I wanted to, with no pressure. It was recorded at various times and in various studios around the world with various musicians’ assistance. Much sonic indulgence with many different recording devices."
Over the past decade, East London artist Kojey Radical has cemented himself as one of the most creative and unique voices in British music. His debut album Reason to Smile (2022) was released to critical acclaim, and saw him emerge as one of the defining voices in UK culture. Now, the 32-year-old readies to release his second album Don’t Look Down.
“I wanted to make this album more personal and more honest,” he says, “we have to be able to accept that the messenger has flaws and all.
16-tracks long, Don’t Look Down, set for release on 19th September 2025, is a musically rich and deeply introspective reflection on the shifting tides, lows and joys that have passed through his life since his emergence into the public eye.
Sonically, the album provides the most experimental and eclectic music of his career, with influences ranging from golden age Hip Hop to disco, grime to Indie, Jazz to Ska. Together, these strings combine to give a pertinent insight into Kojey’s inner world, and a timestamp documenting the feelings, emotions and experiences that arise when many reach the milestone of their 30s.
“When you’re younger, certain ages seem so grown,” he says, “you feel like you’re supposed to have your life together and all figured out by 30. Then especially when you're in the spotlight you feel extra pressure to have it figured out because so many people are looking towards you.”
Don’t Look Down follows debut album Reason to Smile (2022). A critical success, it landed at No.11 on the UK Album Charts and was nominated for the Mercury Prize as well as two MOBO Awards. In the following year came a nomination for Best New Artist at 2023 BRIT Awards and Best Contemporary Song at the Ivor Novello Awards. He toured across the UK, as well as hitting the festival circuit.
This sense of growth was not limited to music. Kojey was tapped by the British Fashion Council to host the 2023 and 2024 editions of The Fashion Awards as his stock in music and wider culture continued to rise.
The album he says, is a reflection of “the experiences I’ve had over the past few years. That shaped the direction I took going forward. It’s given me the opportunity to tell new stories from newer perspectives. It was liberating, and it was very necessary to keep me in love with the process and to keep making music.”
The result is his most innovative album yet, a project where a sense of profound personal interrogation and introspection dance in union with the rich musical tapestry. Don’t Look Down is a story of purpose lost and then found, of what happens in the aftermath of achieving your childhood dreams, and the ranging flux of emotions that rise to the surface once the music stop
The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.
Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.
This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.
Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.
Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.
For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.
Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE
· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”
· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”
· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”
· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”
· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”
· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”
· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”
· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”
· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”
· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”
· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”
· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”
· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”
· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”
· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”
· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”
· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”
· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”
On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.
Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.
Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.
“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.
Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.
Six years after Nazamba’s first offering, he delivers his final gift: A Message From Zion.
The journey begins with George ’Nazamba’ and Rico ‘O.B.F’, two kindred spirits connected by sound. Countless cross-ocean visits between Kingston and the French Alps, from enjoying hot beers on the beach to reasonings in snowy mountains. Moments that forged a pure brotherhood.
Out of this friendship grew his first album, the self-titled Nazamba in 2019. Now comes his second, a collaboration between Thompson Sound and Dubquake Records. Together, they unite two generations of reggae powerhouses. Produced by Rico O.B.F, the record reimagines classic Thompson Sound gems. Nazamba’s musical storytelling is accompanied by the Roots Radics, with guest appearances from Linval Thompson & Barrington Levy.
Then came silence. In 2022, Nazamba passed on to Zion. The album project was unfinished, yet full of life. What remains is raw, unpolished and painfully beautiful.
A Message From Zion, a celebration of Nazamba’s universe. His voice, wisdom, poetry, heart and spirit. Forward we ah go. Ah true.
This year, we proudly celebrate 13 years of Artreform. A journey driven by our passion for music, artistry, and the timeless culture of vinyl. Our mission has always been clear - to support the artists we believe in and to present their music in the most cherished way we know - pressed on wax. Over the years, we've released more than 50 musical stories - carefully curated and brought to life on vinyl.
Each release reflects our deep love for sound, rhythm, and the spirit of artistic expression.
We're sincerely grateful to all the incredible artists who've released with us. Thank you for your talent, your trust, and for sharing a piece of yourselves through Artreform. You've helped shape not just our catalog, but our identity. And most importantly - to our followers, friends, and fellow vinyl lovers - Thank you.
You've danced with us, felt with us, and helped shape 13 unforgettable years of sound and soul. You've inspired us through the years - and you continue to do so. Your passion is the reason we keep going. To mark this milestone, we present something special:
Eight artists. Eight tracks. One timeless release.
A double vinyl EP celebrating our legacy - and sounding out our future.
Let the music play. We'll keep pressing what you love.
With love and respect, The Artreform Family!
Mumbai-based musician, producer, and DJ NATE08 returns with his sophomore album Twenty Seven - a luminous fusion of r&b, deep house, and funk-leaning grooves, pressed to a single 140g LP in black vinyl.
Three years on from his acclaimed debut Furaha (which featured the breakout hit “Primrose” with over 7 million streams), NATE08 expands his sonic palette with Twenty Seven: a radiant collection of tracks that balance soul-soaked vocals, late-night basslines, and warm, sun-drenched production.
NATE08, aka Nathan Thomas, has become a central figure in Mumbai’s thriving underground, working as a session bass player, live performer, and genre-spanning DJ, while making an international impact through releases on label Needwant. Twenty Seven captures his full range: both organic and synthetic, smooth yet floor-ready, always driven by heartfelt groove.
From the dreamy opener “You’re The Reason” featuring Mary Ann Alexander’s velvety tones, to the nostalgic glow of lead single “Where Are You Tonight” (feat. Dishaan & Mallika), the album unfolds like a love letter to house music’s emotional core. Highlights include the syrupy r&b/house hybrid “Afterlife” (feat. Dappest), the golden-hour deep house shimmer of “Call Me Back” (feat. Sahirah), and the soul-drenched “What Was It” featuring Jamal Bucanon. Closing track “Stay” wraps it all with soft-focus chords and a bumpy, irresistible groove.
Twenty Seven is a sophisticated and inviting journey across mood, tempo, and texture, showcasing NATE08’s gift for weaving melody, rhythm, and soul into music that speaks equally to the dance floor and the heart.
There are many reasons why summer always feels like the invincible season, and one certainly is its ability to sketch colorful pictures of life rife with options. Now Sebastian Mullaert and Layla Rehana are drawing one themselves. And they use solar paint for it.
Coming from completely different backgrounds - Sebastian, a sound explorer with a history of exploring musical textures and moving dancefloors while the work of vocalist Layla weaves intuitive healing and subconscious reprogramming - they were immediately ready to take creative chances as first improvised sessions already felt like everything is perfectly keeping up with their very own sensibilities.
The resulting LP for Bigamo offers a collection of patient and almost meditative tracks that feel as natural as breathing. Everything is interconnected. Glowing. Soothing. Like a memory, everything is now and then. It’s the equivalent of laying on your back and watching fair weather clouds as they gently transform and eventually disappear. It’s when you realize that love is all there is, is all you know of love. Although we’re slowly but steadily entering the annual phase of shorter and darker days, their sun clearly sets only to rise and shine again.
Three decades on from its original 1995 release, Todd Terry’s 'Devil’s Dance' still burns with the kind of manic, floor-filling energy that defined the early years of Hard Times. Now, Todd and the label return to the track, inviting a trio of today’s most vital club architects to rework one of Todd's most incendiary productions for a new generation of dancers.
Following a year that saw Chris Stussy and Dan Shake breathe new life into 'Bounce to the Beat,' Hard Times closes out 2025 with 'Devil’s Dance (Remixes),’ a collection that bridges old-school grit and new-school heat. Rossi., Demi Riquísimo, and Cinthie each bring their own distinct combustion to Todd’s iconic organ riffs and bulbous bassline, reframing the track through London, Berlin, and Balearic prisms.
Rossi. leans into the city that raised him: “It’s been a real pleasure to remix such an iconic inspiration for me as an artist. Todd is a legend and part of the reason why we have the culture of music we have today. I wanted to bring my remix back to my London roots - a UKG skippy, warpy approach that still carries those iconic chord riffs.”
The Loon EP by Rubinskee unfolds like a lucid dream — a surreal voyage through shifting moods, hidden meanings, and subconscious awakenings. Each track opens a portal into a distinct emotional landscape, weaving hypnotic rhythms with deep introspection. The journey begins with “The Loon” (ft. DJ Raw), a haunting call from the subconscious — disorienting at first, then transformative once you surrender to its pull. Soos’ XTC Mix elevates this awakening into euphoria, turning chaos into clarity in a moment of pure transcendence. With “Zona Roja,” the listener descends into a feverish groove — a jungle where rhythm devours reason. “El Siguiente Paso” pulses with momentum and resolve, a reminder that evolution demands movement. Finally, “Estás Engañada (Niterói Mix)” closes the trip like a cinematic crossing — nostalgic, unrestrained, and beautifully alive in motion.
Amid electric pulses and suspended atmospheres, this record unfolds a journey where shadow meets light.
Droove traces three paths of precise, nocturnal energy, where techno breathes with a synthetic soul and time seems to bend upon itself.
On the reverse side, Alquimic, together with the ethereal voice of Brunella, opens a luminous rift, a chant that drifts between light and mystery, between reason and ecstasy.
Each groove of Light in the Darkness holds a small ceremony: the alchemy of sound transforming darkness into a gleam, rhythm into a spell.
Cody 'Coflo' Ferreira is hyped right now, and for all the right reasons. Spinning all over the world and producing killer tunes on all the right labels (including Local Talk).
But we think he is at his very best when he goes in the studio with US vocalist Lee Wilson. Even though they delivered some great tunes in the past, we can honestly say that this is the best one by far...yet.
The track 'We Can Make It' comes in two versions, one "soulful mix" for all the garage heads, and on the flip, there's a darker and more electronic mix (but still loaded with soul).
A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.
“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.
“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.
The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.
Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.
Updated remixes of two big Balearic classics on Best Record! "Describing Linda Di Franco is no easy task: a reserved, sometimes elusive artist with a career that is difficult to define. From an early age she was interested in various artistic fields. Working as a DJ in clubs, then on the radio, she took the opportunity to record her first musical demo, Stage, obtaining international recognition which quickly took her to England and to the States, where she recorded her first compositions, My Boss and T.V. Scene. The songs are of great value and achieve unexpected success, also included in The Rise Of The Heart, a milestone in the nascent revolution of club culture, a Balearic classic supported by DJs in love with the indefinable sound of Ibiza. But Linda is extraordinarily ahead of her time and despite the enormous fame has gained with her songs she is already oriented towards a career as a music video director. For this reason the Turin singer-songwriter turns out to be one of the least fruitful artists of her time, while her CV in Hollywood is impressive in various roles which she holds, in addition to that of actress and director, that of impeccable sound technique. Intelligent artist, full of good and positive feelings and certainly also ambitious, but extremely scrupulous by subjecting sounds in cinema to careful review. Yes! The "sound" is an investigative tool for her, a way of understanding art. Linda Di Franco is - willy-nilly - still the undisputed queen of the Balearic sound today. So, she decided to produce Redux, a limited edition album published by Best Record, in which her most intrepid and famous songs are re-proposed in the jazz versions edited by her friends from Turin and Los Angeles. Then she had to give in to the boundless passion of Danilo Braca, the Italian DJ based in New York, who deserves credit for the successful combination of refined and ethereal songs with the disco genre. TV. Scene - Epic Remix, TV. Scene - Costa del Sol Mix and My Boss - Remix are Danilo's pearls, created with the help of excellent international musicians who with more defined and current sounds have added their art to that of Linda."
Bruce Springsteen's statewide ode Nebraska '82 is given ample extra space with a new expanded edition, as his 1982 acoustic masterwork is cast in renewed light by its use the forthcoming biopic Deliver Me From Nowhere, which documents the conception of the original album. Now with an extra 17 solo outtakes, including demos of 'Born In the USA' , 'Pink Cadillac', and 'Downbound Train', as well as the fabled Electric Nebraska sessions with the E Street Band, the new dubs illuminate the breadth of Springsteen's vision for a reconciled America, where Springsteen found much inspiration in the folk, literature and short stories of the heartland, particularly in those of Flannery O'Connor, childhood and young-adult memories. Notably, it was deemed by PopMatters to beo one of the first every DIY records made by a major artist, and soon sparked a DIY revolution by folk musicians the globe over.
"Reasons" is a compilation by four Japanese artists. It includes the debut track by Tokyo-based Miki — an energetic house tune with a strong sense of momentum, a sublime peak-time cut by Jori, dubby, atmospheric house from Daisuke Kondo, and a driving bass music track by Yomni, the alternate alias of Jomni.
Unearthed from the Crammed Discs vaults after nearly four decades (Originally recorded in 1987), a hidden gem finally sees the light. Maurice Poto Doudongo’s The Lost Album arrives on vinyl for the first time—limited to 500 copies, with printed inner sleeve featuring release notes and photographs.
Back in the hazy margins of late-’80s Brussels, where boundary-blurring sounds were seeping through the cracks of pop music, a young autodidact named Maurice Poto Doudongo was crafting music that didn’t quite belong to any scene. Born in Kinshasa and growing up in Belgium, Maurice was a sonic nomad—raised on Franco, Miriam Makeba, and Tabu Ley Rochereau, transfixed by James Brown and Prince, and shaped by the fertile collision between African music and experimental electronics occurring all around him.
Leaving school at 16 to concentrate on music full-time, he began recording on borrowed 4-tracks, using cardboard boxes for percussion, and absorbing whatever sounds the airwaves served him: “Music has no frontier,” he says. “You take what you like. Prince, Fela, Papa Wemba—there is no contradiction. It’s all part of the sound.”
The result? A record that’s equal parts analog drum machine funk, homegrown Afro-pop futurism, and new wave R&B-informed synth poetry. Marc Hollander, founder of Crammed Discs, met Maurice through his friend and associate, musician/producer Vincent Kenis and quickly recognized the spark. The two began working in earnest, preparing tracks intended for a full-length release that, for reasons lost to time and memory, never materialized—until now.
Marc remembers: “The album was never completely finished. “Bolingo” was the only track that came out on a Crammed compilation at that time… and the rest sat on the shelf for decades until we started opening the Crammed vaults.”
Maurice recalls the session as being, “like an unstoppable current”. Listening now, the Lost Album feels both of its time and well beyond it. While tracks like “Momo” sound not a million miles away from the slinky and sophisticated Balearic pop ambience of Wally Badarou’s Echoes album, "Passport Train" shakes itself loose of any genre boundaries, veering into free-form Afro-electronica and tough electronic rhythm. Others pulse with a sweet and soulful groove that suggests dance floors dreamed of but never reached.
In decades hence, Maurice never left music, and the music never left him. Now working mainly as an arranger, he describes his job as being like that of a musical psychologist: “Someone comes to me with their sound, and before anything I have to understand their mind and heart,” he explains. That same intuitive fluency can be heard across this entire album—music that listens before it speaks, that absorbs before it asserts.
This reissue is more than a remastering. It’s a second breath. Sourced from cassette roughs and 24-track demos, carefully restored with Maurice’s blessing, and released as a complete album on vinyl for the very first time, The Lost Album isn’t lost anymore.
It just took nearly 40 years to find its way to you. - Editions de Lux
Soulwax 's first new album in 8 years, entitled "All Systems Are Lying" and set for October 17th release. Available on CD & various 2LP fromats . The campaign will kick off July 9th with a double single “All Systems Are Lying / Run Free”, album announcement + pre-order launch. Since 1995, David and Stephen Dewaele have consistently pushed the boundaries of music into new and innovative territory by diversifying into many different guises. They are a band (Soulwax), djs (2manydjs), a record label (DEEWEE) and a sound system (Despacio, created along with James Murphy from LCD Soundsystem).
They are also widely renowned as one of the most innovative remix and producer teams around. They have released 7 studio albums to date, including the critically acclaimed ‘Any Minute Now’ and ‘Nite Versions’. Some of their already cult remix credits include the Grammy nominated “Work It” by Marie Davidson, as well as Peggy Gou, Fontaines DC, Roisin Murphy, Robyn, Arcade Fire, The Rolling Stones, Tame Impala, Metronomy, Daft Punk, The Gossip, Hot Chip, MGMT and Warpaint, among many others.
Stephen and David Dewaele are familiar to millions as 2manydjs, a project which undoubtedly moved the needle for modern DJing. Alongside like-minded allies such as Erol Alkan, Tiga and Jacques lu Cont, 2manydjs swept international dancefloors into delirium, gifting a rock ‘n roll attitude to club culture.
More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.
Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.
No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.
Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.
The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.
“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.
The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.
The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.
“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.
Rocksteady took over Orange Street ,Kingston, Jamaica around 1966,the same time that an extreme heat wave hit the Jamaican Island.
Some say the previous jerky Ska Rhythms proved too strenuous of an activity to partake in during the all night Sound Systems.
So it proved a winning formula to slow the beat down to a more leisurely pace.
Whatever the reasons were this two year period that ran until 1968 would see some of the power escape from the big three producers,Clement 'Coxonne 'Dodd,Prince Buster and Duke Reid...who up to that period ruled the airwaves. It was time to make room for a new wave of up and coming producers that also had something to offer the people.
So sit back and enjoy some Rocksteady straight from the dances of Jamaica...Hope you enjoy the set...............
The return of Sengiley Wax with the second part of the Russian series!
Without too much thought, the choice fell on the representative of the unique Russian producer Konstantin Isaev, better known as Volta Cab. However, here we see a completely different side of him, which he is actively developing at the moment - Rambal Cochet.
Magma Resort is the producer's musical spectrum here and now, ranging from canonical Trance to dips into ambient as well as house music sounds.
Konstantin tells us: "This album was created using a Reason DAW, Korg Minilogue and Korg Electribe. It was inspired by the magical atmosphere (in Krasnodar it's always so), my move from St. Petersburg to Krasnodar, as well as nostalgia for something new, but at the same time so familiar".
1. Magma Resort - inspired primarily by the work of Pavel Yesenin and Yuri Usachev and the group "Guests From the Future", as well as progressive dream trance of the early noughties.
2. Amnesia - Ibiza, 1995, sun, beach, dolphins in the sea.
3. Phuture Extravaganza - is the future anthem of summer 2025 in the truest trance sound !
4. Infect Me - proggy hyper pop vibe with sci-fi illusions.
5. Evolving - you wake up from the first rays of the sun, the light hits your eyes, you're finally home..
6. Spaziotempo - Hot summer 2024, you've been walking around Rome for a week, it's a pity that in the morning the plane home to Krasnodar via Istanbul.
Spiritual Rhythms by Mix’Elle, the fourth release on Portuguese label angel, is particularly special for a couple of reasons: it’s the artist’s first record (a true triumph at that) plus she is a resident at the night series that originated the label itself. It’s truly an all-connected type of affair. This EP taps, in a personal and intentional way, into the very foundations of jungle and drum n bass, taking us on a soulful ride permeated by Mix’Elle’s influences while incorporating her artistic vision, one that was shaped through hours behind the decks in underground drum n bass parties for well over a decade.
The record opens with title track ‘Spiritual Rhythms’, a 174 bpm mantra-like roller clocking in at 6 minutes with the textured pads and the realness you could expect from a Rufige Kru classic. A fat sub underpins it, urgent spoken words remind us what we’re here for: ‘it comes from the drum. and the drum is something spiritual’ as congas play briskly into the groove.
Things slow down significantly for the second track, ‘Angel nights drop tha bass’ - a signature floaty pad and a drum break maintain a steady continuum. A hopeful chord progression is offset by the sharpness of the drums, the bass gluing it all together with the help of an archetypal stretched vocal. Everything is in its right place - a genre veteran is very clearly at work.
‘Touring’ features a mischievous low end, as if a jazzy double bass were played by a dub experimentalist. The funkiness is infectious, with off-tempo string stabs and a mutating filtered breakbeat that feels alive - a vocal pad chants throughout, adding a layer of wide-eyed enchantment.
Percussion never falls short in this record, and the closing track begins with nothing but a shaker, toms and congas - evolving to an elegant, dreamlike yet crisp piece, led by a prominent bassline, its washes and wobbles re-arranging our chakras. Spiritual Rhythms indeed.
angel is a label run out of Lisbon by Violet. A sister label to naive, angel tries to portray the party series of the same name - a bass-led, smoke-drenched celebration where the main room is dedicated to dnb and the second explores adjacent stylistic fringes like dubstep, trip hop, dub or jazz.
Balmat 17 marks both a return and a new frontier. It is the second album on the label from Patricia Wolf, whose 2022 album See-Through is one of the most beloved in Balmat’s catalog; it also marks the first time that Wolf has turned her hand to a film soundtrack. The results are every bit as magical as fans of the Portland, Oregon, composer’s music might expect.
Hrafnamynd—Icelandic for “raven film”—is a new feature-length documentary by experimental filmmaker Edward Pack Davee. Shot on a mix of film and digital formats, and incorporating his father’s Ektachrome slides from the 1970s, the autobiographical film works on multiple levels at once: a reminiscence of his childhood in Iceland, an exploration of landscape and folklore, and a documentary study of the island nation’s ravens—including a talking raven named Krummi.
Wolf is the perfect artist to score such an unusual film. Mixing ambient music and field recording—including extensive experience documenting bird song—Wolf brings an unusually empathic perspective to her music. In the context of Hrafnamynd, her airy melodies, pensive atmospheres, and vivid textures intuitively complement the film’s grainy film stock and blown-out colors. Friends for years, the two artists further bonded when Wolf asked Pack to film music videos for her songs “Woodland Encounter” (from See-Through) and “The Culmination Of” (from I'll Look For You In Others). Pack used Wolf’s previously recorded music as placeholders as he began assembling a rough cut of the film, which made her a natural choice to help him complete his idiosyncratic vision with an all-new, bespoke score.
But Wolf’s soundtrack also indisputably stands alone as a full-length album. Largely created using the UDO Super 6 synthesizer, it features a carefully distilled palette of warm, string-like pads and darkly glistening mallets, rounded out with the very occasional introduction of nylon string guitar. Musically and stylistically, the album’s 11 tracks represent both a continuation of the ruminative sound of See-Through and also an extension into new expressive modes. Few musicians, ambient or otherwise, are as skilled at balancing melody with atmosphere, or at finding ways to eke fresh at finding ways to eke fresh, surprising sounds out of an intentionally reduced toolkit. Meditative, immersive, and emotionally generous Wolf’s Hrafnamynd soundtrack evokes a range of ambient classics from decades past while confidently marking out its own verdant patch of ground.
Artist’s Statement:
Edward and I have been friends for years, but we really started to get to know one another better after I hired him to make music videos for my songs “Woodland Encounter” and “The Culmination Of.” For those projects we got to spend a lot of time hiking in various locations around the Pacific Northwest with his camera, very nice lenses, and tripod. Keeping quiet, hidden, and vigilant we searched for wildlife, good light on the trees, meadows, lakes, rivers, and skies. Edward was already an appreciator of my music and I was already in awe of his filmmaking talents so it felt like a great fit. Although we work in different areas of art our styles compliment one another. We both tend toward slow and careful pacing, with a focus on emotion and introspective reflections on life and the landscapes around us. For this reason, Iknew that I could trust Edward to create videos for my music. We saw so many beautiful and unexpected things on our filming days, but I was moved to tears once I saw how magnificent and poetic it all was. His video work from the cinematography, to the editing, and color correction helped bring my inner vision to life.
A few months after that, Edward surprised me with an invitation to work on the soundtrack for his new film, Hrafnamynd. I enthusiastically said yes. I had always wanted to work on a film, and I knew that his filmmaking style would be inspiring to write music for. I had recently acquired an UDO Super 6 synthesizer but hadn't used it much. I decided that this would be the synth that I'd use for the film. It has the ability to sound very modern, but can also sound so warm and fuzzy, like a synth from the 1970s. It turned out to be the perfect instrument for this project as the film itself straddles time from the ’70s to today.
When Edward sent me the rough cut of the film, he used placeholder music to help give me an idea of the emotion and energy that he was hoping to achieve for each scene. For many of the scenes, Edward used music from my albums as temporary tracks. This told me that he trusted my work and style and therefore I should just trust my intuition with how to proceed. I wanted to make sure that everything that I made was a direct reflection of what was happening on screen, a mirror of its emotion and energy so people could really lock into the film psychologically. This process took my composing to unexpected places—like being led by a strange cat or a raven that seemed to have something to show me. I found that the approach made the music so much more dynamic than my usual style. I really enjoyed being influenced by the action and dialog on the screen. Thankfully, Edward was very happy with the work. I made sure to handle this project with the utmost care because this is about his life and his family, and an exploration of the experiences that made him an artist and filmmaker. While watching the film many times over, I found myself thinking about my own family and my early memories with them and how the place where I grew up has influenced who I have become. I found that his film invites the viewer to reflect on their own lives in a similar way. I hope that this music and film can guide others to contemplate on the history of their beingness and the people and places that shaped them.
Another aspect to this project is the splendor and wonder of Iceland itself. I had the opportunity to visit Iceland for the first time in 2023. I got to play a show there for the Extreme Chill Festival and met many friendly and brilliant Icelanders. I also got to collect field recordings that I used in the film. It's a fascinating place and culture that easily captures the hearts and imaginations of anyone who visits. Whether you spend your time in the city immersed in its impressive arts scene, or venture out into the wilderness to behold its wondrous landscape, it will leave a lasting impression. The soundtrack is also a love letter to Iceland itself.
Dom Dolla makes a triumphant return, with 'Take It', a deep, dark, heaving club mix that combines an evocatively catchy vocal, with a deep groove beat to create one hooky production. Off the back of his 2017 ARIA nomination for Best Dance Release for the huge collaboration with Torren Foot on 'Be Randy', Dom has been busy touring the globe, stewing away in the dark corners of clubs, tweaking 'Take It', until it reached tech-house perfection.
"I put the bones of this tune together in a hotel room while road tripping between gigs in Arizona earlier this year, feeling heavily inspired by the west coast club audiences I was playing to. The vocals were written and recorded while sick in bed, using my tour manager's iPhone earbud microphone and a duvet as my vocal booth. At the time I had planned on replacing my recording with a cleaner take when I got home to Australia, but was never able to recreate something I liked as much, so it stayed! It's been slaying it for me ever since.", Dom Dolla had to say on explaining the origins of 'Take It'.
Having received over 20 million streams and consecutive ARIA Club Chart #1s for the former and Define, his 2016 collaboration with Go Freek, it becomes obvious that perfection is a common occurrence for Dom Dolla. Also, giving reason to why Dom has been cherry picked for official remixes by the likes of RUFUS DU SOL, Flight Facilities, Peking Duk, Madison Avenue, Motez and Sneaky Sound System and ongoing festival slots at Beyond The Valley (closing out the festival 4 years running), Splendour In The Grass, EDC Las Vegas and Splash House Palm Springs.
With Chris Lake, Kyle Watson and Billy Kenny already jumping on board, 'Take It' will be sure to garner a solid amount of support from the big-dogs. This goes without saying when Pete Tong is your biggest supporter, playing a spate of Dom Dolla releases across BBC Radio 1, a guest mix on All Gone Pete Tong and chosen as support for Pete Tong's huge orchestrated Ibiza Classics show at Melbourne's Sidney Myer Music Bowl.
After being tried and tested, this track is 100% guaranteed to rip your heart out and 'take it' straight onto the darkest dance floor out there. Australia, hold tight for a tour announce very soon, otherwise you can catch Dom on dance-floors throughout the US from July.
11 million streams across Spotify, SoundCloud + YouTube
#1 ARIA Club Chart
#1 Beatport Overall
Named as Pete Tong's artist to watch for 2019
Dutch edit maestro Pete Blaker debuts on RNT with a pair of extended play summertime heaters!
LOVE AND DEVOTION has been a staple in Harvey’s sets this year, and for good reason; it’s quite simply a disco banger of legendary proportions that reaches peak after peak in the course of its nearly 16 glorious minutes.
On the flip DISOC takes us on a deep and mystical journey, with pulsing bass, shimmery synth and guitar work, swirling strings building to a climactic vocal hook. This 12” is a callback to the early double A-side days of RNT, with a pair of tracks that are worth their 180g weight in dancefloor bliss!
Lars Bartkuhn returns to Rush Hour with “See The Light”, as deep and complex as we have come to expect but as always his ever-present hunt for new inspiration and unique approaches is clearly evident across all 3 mixes of this beautifully deep yet pulsating track!
Originally written as a final foray into house music for the legendary Needs co-founder, this production aimed to “push boundaries within the world of electronic dance music, integrate fresh new elements, bring new compositional perspectives to the listener and to create overall rewarding experiences.”
It’s a deeply personal track, best summarised by the incredible piano solo in the Full Experience Mix. In Lars’ own words, “I am ten million light years away from being a good pianist, but for some reason I NEED to play those kind of things…even if they are raw, primitive and incomplete and lack parameters like elegance, fluidity and wisdom - I need to express myself in that very moment in this exact way.” It’s these unrestrained moments of brilliance that create rich palettes of sound with deep textures, organic rhythms and joyful melodies that keep your ear constantly engaged.
The Full Experience Mix is a near-13 minute trip through lush vocals, complex percussion, deep chords and raw piano solos that guides the listener through the changing motions of “See The Light”. Backed by two dub mixes, Inner Experience hones in on the keys and synths - truly elevating those striking notes. Opening with atmospheric percussion, the Dub Reprise settles into a chugging rhythm that brings the drums to the forefront.
“When a musician/composer really goes ‘all in’ there is almost nothing impossible. If you really pour out your heart and give all the sweat and tears you have you create a kind of zone where everything fits together in mysterious ways.” - Lars Bartkuhn
Tunnel was made in Naples in 1978 by Giorgio Verdelli and Danilo Rustici only on 7inch and it was the theme song for two RAI radio programs. Going through the names of the musicians we begin with the inimitable voice and the splendid guitars of Danilo Rustici, then passing through the saxophones of Enzo Avitabile we arrive at the keyboards of Joe Amoruso, musician-arranger who left a great void with his untimely death. For Joe, who crossed his experience with Premiata Forneria Marconi, Zucchero, Vasco Rossi, Mauro Pagani and was part of that 'dream team' of Pino Daniele - made up of technically extraordinary musicians, but above all gifted with an inimitable sound - this one-off project represented his recording debut. 'Tunnel Lights' and 'Speed Up' have been brought to light by Dario Di Pace and Claudio Casalini, two visionaries who believe that Neapolitan music is a sonic mixture of ancient and modern musical registers even if it sometimes develops a conflict between tradition and modernity as the recovery of popular tradition is strongly opposed to the push for innovation. This therefore is the reason for a 12" reissue in which the evocative original songs - from almost 50 years ago - are reflected in the new versions created by a bevy of talented DJ-arrangers including Massimo Berardi (with the bassist Luca Andreozzi) and by the industrious and passionate Francisco & Malkuth (ed: Francesco De Bellis and Cosimo 'Cosmo' Mandorino in disguise) in turn assisted by other zealous musicians and dee-jays - including the very good and always very collaborative Raffaele Arcella - who took part in a remix of this EP with enormous fervor The 12" reissue of Tunnel was released both on the classic black vinyl and in the very limited red vinyl version, in order to reflect the lips of the extravagant cover, a graphic work by another brilliant and multifaceted artist: Lino Vairetti, legendary singer of the historic prog rock band Osanna. The envelope developed by Best Record is embossed (front and back cover) to further enhance the passion that Neapolitan musicians have always had in knowing how to combine their roots with all the other musical genres of the world.
Athens of the North were delighted when good friend Ben Westbeech approached us to do alternate mixes of tracks from his brilliant new LP (Everything Is Within You) in an Athens of the North Style. We said yes right away, the reason we got into music to work with good people and make great tracks, so it was a no-brainer. Glitterbox were kindly up for it without any reservations, so we wiped a couple of weeks off ...
I turned the page and will never forget what I then saw.
The fountain pen scratched against the paper, whistling like fur on an abandoned tire in the
middle of the night at the centre of the universe in the core of whatever it is I’m trying to believe.
I am a patient human and I live and breathe. I know this for sure.
I read about a whispering stillness of the Stadsnacht as my blood levels gradually even out again. Beneath the ink, the words take shape. This is a secret correspondence with the Book of Change – a dialogue not meant for eyes or ears, but for the soul. Are you still with me?
The Snake Rope tightens, its Coils Dive into the deep well of patience, where waiting is an art, a
dance with the unseen. The Scientists Say we should measure, predict, contain—but here, in
the shadow of the deepest of nights, the only truth is the Celebration of Ignorance. Love is the
force that binds as it untangles the invisible thread that refuses to sever. The next page quotes the mystical figure Daim: “Never Dissever Us.”
There, in the dawning light, the Dageraad reveals the Icequeen in her frigid throne, the Topiary Man standing guard in his sculpted silence. In this quiet landscape, I wait. I continue to wait, for I have good fortune on my very hands.
If You Won’t, I Will.
Can we exhibit the power to possess conformity? Can we redeem the benefits of crossing the water? Yes. The choice, the act of breaking through the barrier of convenience, is both a burden and a liberation.The words swirl, abstract and concrete, like action and inaction. The Book of Change is a paradox to puzzle over.
The evening cool rests its shoulders on my fluffy neck. I inhale as my pen lifts itself from the
paper once more, shedding ink as though it were tears of joy. I know that I have touched the
edge of something vast, something that moves beyond the grasp of reason into the heart of the
I Ching, the ever-turning wheel of change. This is the correct orientation. This is the vivid
imagery of clouds falling from the heavens and into our laps. This was never meant for your
ears. This was meant for you to feast on as the seasons bestow upon us
Synaptic Cliffs is committed to discovering unknown and unreleased music in the future, testing it in the past, and selling it in the present. This is the only way to ensure that art is timeless. The recordings on this cassette, however, were purchased in 2073 from a beautiful woman named pdqb at the Marché aux Puces in Paris for only 0.0000000000000000001 Bitcoin, but on the condition that all the material is distributed on one cassette, namely exactly as described hereinafter: The short tracks from the years 1984 to 1989 are on the A-side, and one of these recordings must be supplemented with vocals by Max Müller, the singer of the infamous Berlin band Mutter. On the B-side, there will be a binaural 16.7-tone music composition from the year 2047. Furthermore, all recordings must be mastered by Mike Grinser. Last but not least, only high-quality chrome tape may be used for production. In August 2027, the music magazine Melody Maker, which will be published again from 2026, will write: " ' Vor dem Punkt ist nach dem Punkt' is a surprisingly singular work with a creative force of near-unprecedented degree. It is one of the most beautiful and best-sounding post-punk albums of the last 40 years, and it is certainly the main reason why we are currently experiencing a huge comeback of post-punk, shoegaze, and goth rock."
Robsoul Recordings launches its 2025 campaign in style with the release of the ‘Make Love' EP, an impressive label debut from Italian producer and MPC virtuoso, Bress Underground.Following a strong 2024, which saw him release on GLB Dom, SNATCH!, Jackies Music, Special Grooves, and Slothboogie, as well as delivering unforgettable sets at iconic venues such as Sisyphos and NYC Downlow (Glastonbury), Bress Underground rolls out a sumptuous four-track selection of impeccable House music.“The EP was created by mixing a variety of production techniques, including the MPC, sampling, and Ableton Live,” explains Bress Underground, real name Andrea. “These were all projects I'd started and, for whatever reason, remained incomplete for some time. Each track started with a specific mood but evolved into something new as I finished them.”A love for all shades of House is evident throughout the EP, from the bumping horns and infectious shuffle of opener ‘Chick House' to the smooth, chiming keys and soulful tones of fellow A-side cut ‘Keep On'. On the flip ‘I Don't Pray' delivers a powerful, sermon-like groove whilst title track, ‘Make Love,' closes the release with its timeless 303 energy and undeniable dancefloor appeal. As Bress Underground himself puts it, this EP is “the perfect musical omelette,” blending textures, moods, and influences into a flavorful collection of House tracks.
Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?
If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.
There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.
In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.
Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.
Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities.
Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation. 7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.
Totoyov is back with a new identity and is pleased to present its fourth vinyl release, featuring four tracks by the talented Brazilian artist, and one of our label heads, Dru.
Giuliano Lomonte and the rising Romanian star Constratti complete the record with their powerful and refined touches on A2 and B2. A perfect combination of meticulously crafted drums, instruments, and groove that will keep you engaged.
“Unlikely Possibilities EP” is a manifestation of powerful moments in life that happen for a reason, when you least expect them.
The record’s artwork is created by the talented Juliette Siraj, a French artist with synesthesia—a rare condition that allows her to see colors and shapes while listening to music. Each of her paintings is a visual translation of the sounds she perceives. For this release, Juliette painted while immersing herself in the EP’s tracks, transforming the sonic experience into a unique and sensory artwork.
Zara is the first album of Parus ethno-ambient project from Belarus that combines pagan songs that are sang by ethnographer and folk singer Hanna Silivonchyk on various dialects of Belarusian language and mixture of synthesizers and field recordings that where reordered in national parks of the country by electroacoustic music composer - Anton Anishchanka. The songs where collected during ethnographic expeditions in remote territories by Belarusian ethnographers in different periods of time
"What I choose to sing from the vast amount of authentic material are songs that
somehow feel like mine for all sorts of reasons, but that I love to be inside." - Hanna Silivonchyk
"Soniejka" is a summer song from the Dnepr river region, which sings about the readiness to meet life in any of its manifestations, about acceptance and love. "Zara" is also from the Dnepr river region, depicting the main Indo-European mythological story of the heavenly love between the Moon and the Dawn and their melting.
"Ruzovyja cviaty" is a lyrical song from Dzvina river region, romantic and touching, which sings about the very beginning of love between two people. And the song "Oj luhom idu" is a spring song from the territory of modern Poland, from Podlasie region, which tells about the life of a married woman, about the fate that may befall her and how it can be experienced. All of them are about one's own feeling of the present time, one's life, about personal life
experience, but at the same time - about universal human contents and meanings that exist outside of time.
At the heart of this double album, and amid the intense internal struggle between creative instinct an artistic reasoning, Ziggy has identified two key themes: Inspire and Radicalise. It is within this duality that the 15 tracks of this new work, recorded between Berlin and London throughout January 2024, take shape. Throughout its creation, the crew enlisted a familiar pallet of materials, seeking those obscure and vintage music-making machines, meeting a myriad of percussion and drums with the new addition of electric guitar as the band ventures into disco / highlife inspired territories. bring this ambitious project to life, Ziggy enlisted a team of forward thinking musicians across Europe and the UK alongside old friends and collaborators from the grassroots in Melbourne, Australia: Lewis Moody (Energy Exchange Records), Szabolcs Bognar (Abase), Eric Owusu (Jemba Groove), and Tom Varrall (Jamie Cullum) form the core rhythm section alongside a hefty list of guest appearances (from the likes of Oscar Jerome & Tom Driessler) making this truly the most ambitious and diverse incarnation of ZFEX to date.
Synaptic Cliffs is committed to discovering unknown and unreleased music in the future, testing it in the past, and selling it in the present. This is the only way to ensure that art is timeless. The recordings on this cassette, however, were purchased in 2073 from a beautiful woman named pdqb at the Marché aux Puces in Paris for only 0.0000000000000000001 Bitcoin, but on the condition that all the material is distributed on one cassette, namely exactly as described hereinafter: The short tracks from the years 1984 to 1989 are on the A-side, and one of these recordings must be supplemented with vocals by Max Müller, the singer of the infamous Berlin band Mutter. On the B-side, there will be a binaural 16.7-tone music composition from the year 2047. Furthermore, all recordings must be mastered by Mike Grinser. Last but not least, only high-quality chrome tape may be used for production. In August 2027, the music magazine Melody Maker, which will be published again from 2026, will write: " ' Vor dem Punkt ist nach dem Punkt' is a surprisingly singular work with a creative force of near-unprecedented degree. It is one of the most beautiful and best-sounding post-punk albums of the last 40 years, and it is certainly the main reason why we are currently experiencing a huge comeback of post-punk, shoegaze, and goth rock."
Some of these songs first time on LP. The Sound of Big Crown. Gold foil cover art. An amazing listen. Big Crown is proud to present the next volume of Crown Jewels, our various artists compilation series that highlights some of the most popular tunes next to some of the more obscure. Every artist on Big Crown stands on their own two feet with ease, but together, something else becomes apparent. If you discover one artist on the roster and it brings you to the label, it's very likely you will nd more that you enjoy. The Crown Jewels comps are just that, a chance to get a listen to the whole roster in one place. Even though not all BC artists can be found in the same aisle of the record store, after listening to Crown Jewels Vol. 2, it should be clear how they all t on the same record label. When we started Big Crown we wanted to have a label that’s only boundaries were dened by our taste, not by genre. We think that this is a perfect example of that. Thank you to everyone who has supported us thus far and please stay tuned as we have a lot more music on deck
In October 1987, four months after the release of their critically acclaimed Sister LP, Sonic Youth showcased their latest work in a blistering set at Cabaret Metro, Chicago. The concert was introduced by Big Black's Steve Albini (who at the time was banned from the venue) and subsequently released as a semi-official bootleg under the title Hold That Tiger on writer/provocateur Byron Coley's impishly Geffen-baiting label Goofin' (years later the band would use this nom de guerre for their own imprint).
Hold That Tiger's sterling reputation among the Sonic Youth faithful is well deserved. In fact, it isn't a stretch to suggest that the album is to the first handful of SY releases what It's Alive is to the first three Ramones LPs – a feral and liberatory public snapshot of a band's blossoming imperial phase. Indeed, HTT is the sound of a group at the peak of their powers, presenting new songs alongside a handful of older ones with the kind of wild, cathartic enthusiasm common to rock 'n' roll's most revered live albums.
Taking nothing away from Sister – inarguably one of indie rock's first true masterpieces – it is reasonable that many fans prefer the live versions heard on Hold That Tiger to their studio counterparts. On HTT, Sonic Youth is a spiky, pummeling and confident force, alternately mammoth and meditative. Sister and its predecessor EVOL notably added an airy, dreamlike reverie to the band's turbulent doom-lurch, a stylistic evolution that seems to crystallize on HTT. Throughout, Kim Gordon's sinewy, sumptuous bass and Steve Shelley's propulsive, tom-heavy percussion provide the bedrock groove for Thurston Moore and Lee Ranaldo's ferocious barrages of noise-guitar crunch.
By 1987, the band was confidently articulating their dual lexicon of punk-noir dissonance and supernal, psychedelic sonic calligraphy – bending their jagged, streetwise gnarl into balloon animals of dazzling and beautiful songs. This collision of splendor and chaos would become a hallmark of the group's singular alchemy as well as provide a blueprint for the post-SST American underground they would help invent and ultimately nurture.
Hold That Tiger's encore – four songs by the band's beloved Ramones, which Thurston would later astutely compare to "the perfect pudding after a hearty meal" – serves as a reminder that, like any true punks, Sonic Youth never could resist a good, rousing anthem to send the kids home with their ears ringing, their hearts hot-wired.
This first-time reissue with speed-corrected master comes in a gatefold tip-on jacket. Mastered by Bob Weston from the original tapes. Recorded by Aadam Jacobs. Audio repair/editing by Aaron Mullan.
Heavyweight Black Vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.
Colored Vinyl Details:
Heavyweight "A side - B side solid purple + transparent blue" vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.
Peronnel:
Mustafa Abdul Rahman - Tenor Saxophone, Percussion, Producer
Ahmed Abdullah - Trumpet
Malachi Thompson - Drums
Gregory Bufford - Bass
Richard Radu Williams - Piano
Rafik Abdur Rahim
Tony Smith - Guitar
Larry Banks - Synthesizer
Khalil Abdullah - Congas
Babafumi Akunyon - Percussions
Odell Grier Backing Vocals – Fred Harley, Hilda "Asia" Richbow , Linda Hall
Notes:
In the course of our deep research, we sometimes discover a hidden thread that unites musicians, songwriters, artists, and poets linked by music. Mustafa's 'Polygamy' is no exception. Apart from the music - the main reason we decided to work on this first ever re-press, a jewel at the crossroads between jazz funk, spiritual jazz and proto rap - are the many other things that make Mustafa an intriguing and fascinating character. For starters, he was a childhood friend of the Ayler brothers with whom he played in different formations. He also played with other beloved figures such as Noah Howard and Charles Tyler, on a still unreleased album recorded for Amiri Baraka's Jihad label, and worked with The Legendary Master Brotherhood and Steve Reid. This and much more will be revealed in a detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session.
BDQ Records are super happy to finally be releasing this absolute banger, we recorded this 25 years ago but for some reason we never released it, fast forward 25 years and whilst tidying up the studio we found the original tape, which we thought was lost, transferring it from tape was a mission, however we did it and then set about re-recording it. Currently both sides are being played out across the clubs and on radio, we’re getting some seriously good feedback from everyone. Also, it’s been our fastest selling preorder on Bandcamp.
Side one is a cover of the Timebox classic Beggin’ with fabulous vocals from the wonderful Sarah Orpen. its a Banger.
On the flip is Take me for a little While originally penned by Trade Martin, this fantastic slice of pure Northern Soul is getting some amazing reactions from Djs and folk on the dance floor, again Sarah knocked the vocal out of the park.
Released on limited Vinyl 45 this one is gonna be an instant classic.
- Channel Tres releases his debut album Head Rush via RCA Records.
The album, which features the previously-released singles "Berghain" featuring Barney Bones and "Cactus Water" is the culmination of Channel's steady ascent since he first broke through to public consciousness with his cult-classic debut single "Controller." Head Rush features all of the sounds that have come to be hallmarks of Channel Tres songs, but finds him incorporating musical influences not heard in his prior catalog, as evidenced by "Berghain" and other songs from the album including the Ty Dolla $ign-featuring “Holy Moly,” a visualizer for which is out now. The album arrives on the heels of two recent head-turning Channel Tres collaborations as well -- his contribution to KAYTRANADA's "Drip Sweat" and Jay Worthy, DāM FunK & ATrak's "105 West" alongside fellow LA legends Ty Dolla $ignand DJ Quik exemplify his versatility. Head Rush is a richly layered record, but one that feels totally intuitive, without a trace of doubt or self-consciousness.
The way “I’m Him” shimmers is balanced by the Estelle-featuring “We Hungry,” which nearly growls; the spare, percussion-forward Ravyn Lenaeduet “Need U 2 Know” (the stylization of its title a nod to Prince, one of Tres’s major influences) at delightful odds with the easy ride of “Gold Daytonas.” Head Rush shows the staggering array of styles Channel Tres can evoke. But that versatility is not the point in and of itself—the point is that all these component parts can be reassembled into something that feels uniquely personal, and honest. Through his career, Tres has blended recognizable genres, textures, and points of view into a truly singular form all his own. Longtime listeners will recognize in Head Rush the hallmarks of a Channel Tres record: a mastery of rhythm, the rare ability to make songs sinister and fluorescent at once.
But this LP also opens a new sonic world, one rife with unexpected terrain and hairpin turns—see the way “Type” takes what sounds at first to be a simple romantic boundary and stretches it out into an alien landscape. Or take “Berghain,” a song that nods to the kinetic live shows that became must-see events—a crescendo of interest that included his momentous Coachella 2022 performance and culminated, at least symbolically, with his early 2023 set at Berghain, the legendary Berlin club that has long been a musical hub of the Western world. “Berghain” is delirious but thumps almost impossibly hard, in line with the album as a whole—always molting, always ready to turn from the claustrophobic to the communal, as the pivot on “Joyful Noise” accomplishes so seamlessly. Head Rush also features some of Tres’s most deeply felt vocals to date, like the veritable bloodletting on “Two Ways.” And so the record, which also features Ty Dolla $ign, Thundercat, Teezo Touchdown, Watr, Barney Bones and Toro y Moi, marks a new era for Channel Tres, personally as well as artistically. “I’m older now, and the things that I’ve accomplished tell me I’m ready to do this,” he says. “You’ve worked your whole life for this, you’ve been able to do these shows and walk into these rooms and make these songs. There’s no reason you have to live by the same insecurity that you had to use in years past.” Shedding that baggage accomplished exactly what it was meant to—lightening the load so we’re free to get heavier than ever
RE GENESIS is the rebirth of a man, the second origin of the soul.
The reason why everything begins and everything ends.
The journey begins with "first impact" caused by the impact of Lilith's Black moon on the earth
and ends with "The saddest day" the saddest day in the life of a man,
the condition of life itself.
Born out of a summer (and time) most sadly lost forever - this new release on Souvenirs From Imaginary Cities will break your skull open most tenderly, so it's fine particles of audio-dust can mingle with the last rays of sunshine and the bitter storm of this autumn. Track after track, this LP draws you in with a natural flow and a deep-felt pulse - reminiscent of classic slices of raw and sample- based ambient like Susumu Yakota's 'Sakura' and 'Everyone Alive Wants Answers' by Colleen. These tunes are heartfelt and channelling tons of real emotions and other melancholia.
It's a very personal and unique blend of almost nineties chill out zoning with a dubby undertone, rich textured loops, mixing a whole range of crazy acoustic and electronic flavours - stuff that shouldn't work together but are dancing all the way to heaven anyways - with slow burning dusty slabs of melody and yes those deep choral pads ( some Rachmaninov vesper magic in the air ), everything rough around the edges and low slung but so damn precise. A subtle mélange between abstract and more concrete sonic territories, but delivered in an upfront, improvised manner with great intuition and a quite ruff but poetic touch.
Name of this piece of swampy, chopped up but most nicely selected ambient work is La Ho, by Purpurny Dyadya aka Purple Uncle aka Sergey Demitriev, originally residing in St-Petersburg but living now for obvious reasons in Armenia. Sergey has been busy on labels like Echotourist, Hair Del, Nazlo and most recently with fellow traveler Nikita Chepurnoi as Amkarahoi on Patience/Impatience. Using a bunch of old tapes from his childhood times, filled with all kinds of sonic memories and Russian underground hip-hop as sample ground, he loaded up his MPC with magic dust and jammed out the basis of this LP during a summer fest near St-Petersburg before current hell broke loose.
It's the kind of a record that needs some time to really let loose his inherent power, give it some air, let it hop along a bit and those sounds will bloom wide open.
In the late 1980s, three young musicians – Rick and Remon Melsert, along with Paul Nieuwenhuijsen – approached Michiel van der Kuy with a demo titled “She.” Their collaborative project, dubbed Kick The Habit, was poised to blend their talents with Michiel’s signature touch, infused with a hint of early house music. However, for reasons unknown, the project was shelved and remained hidden for over three decades.
Now, 35 years later, thanks to the efforts of Michiel Van Der Kuy, Sergi Elias and Vintage Pleasure Boutique label, this long-lost gem is finally seeing the light of day. The maxi single not only resurrects the original track but also features remixes by the amazing Prospero duo, adding a nostalgic layer of Michiel’s classic 1980s sound. The release includes five stunning versions of “She,” including the original, making this a must-listen for fans of vocal space synth, vocoders, Laser Dance, Michiel van de Kuy talent and vintage synth-driven music.
Mona Lee aka Lissa Callens and WPH label man Red D go a long way back. Red D always knew it was a matter of time before Mona Lee would come up with some music he could not refuse. A gig together and the first notes of ‘The Reason’ and that was that.
Classic house that would make Kerri Chandler proud is the order of the title track. A bright piano melody, a good vocal hook and rough and ready beats in a crisp production that will shake up any dancefloor. Red D himself delivers a dub that focuses on the hooks and makes them shine even more on top of a killer funky bass line. For good U.S. house measure Atlanta’s finest Stefan Ringer steps up to deliver his trademark dusty twist on things. As a bonus you get ‘Spaces & Places’, a delicate organic deep house beauty with Mona Lee scatting ever so subtly to make you go out of your home and out of your head.
It’s house, it’s good and it will make you dance and sing.
Featuring 17 chart-topping hits from the legendary band Earth Wind & Fire, this album is a must for any collector. Earth Wind & Fire's Greatest Hits is perhaps the best collection for both beginners and lifelong fans of the band. Featuring all the hits of the 100 million selling band, this album is bursting with groovy, funky, and soulful music.
With certified classics such as "September", "Let's Groove", "Boogie Wonderland", "After The Love Has Gone", "Fantasy" & "Shining Star", this is a must for anyone with a turntable.
Greatest Hits is available as a limited edition of 3000 individually numbered copies on flaming coloured vinyl, housed in a gatefold sleeve.
ROD MODELL (Deepchord): MUSIC FOR BUS STATIONS BS (Part 2/2)
MUSIC FOR BUS STATIONS is an astonishing work that pours into the soul of those allowing themselves to be transported in a dimension where sound turns into background noise. Sound becomes part of us, of our movements, our thoughts, our looks and our silences. There is no reason for resistance. Let's be silent. The noise around us is quite good.
"Generative sonic backdrop for bus stations. Designed to enhance space and portray a mod of progressiveness, grandeur, and ethereal calm. A slowly shifting static backdrop designed to enhance modern architecture, rather than compete with it. Sounding as if the structure itself was resonanting. Hovering sound-fields that utilizes sonic phenomena proven to induce states of calm. Can be presented as a multichannel, polyrhythmic installation with different components of the composition emanating form different areas within the structure, and elements constantly shifting in relationship to other elements, creating an organic sonic-tapestry that never repeats the same way. In essence, the soundscape becoming a living organism with unpredictable behavior. Inspired by avant-garde bus station designs such as Domitianus Arquitectura's station in Rio Maior, Portugal; Bluck & Morgen's Busbahnhof Poppenbuttel in Hamburg, Germany; and Metaraum Architect's bus station in Pzorzheim, Germany."
Rod Modell, January 2024
Michael Mayer albums don’t come round too often, which is one of many reasons why his fourth collection, The Floor Is Lava, is a genuine event. It’s been eight years since his last one, the collaborative & released on !K7; its predecessors, Mantasy (2012) and Touch (2004), took their sweet time, too. It’s no real surprise, given the many hats Mayer wears – globetrotting DJ, revered remixer, inveterate collaborator, and boss of both Kompakt and Imara – that his solo productions are relatively sparing. But this also speaks to their quality: Mayer’s name on a record sleeve is a sign of quality, of music that’s both looking to the future and calling back to the past, that balances the imperatives of the dancefloor and the loungeroom, that’s as exploratory as it is functional.
On The Floor Is Lava, Mayer seems to be taking the temperature of both the music that surrounds him (past and present), and the ides of the industry he works within. There’s that iconic album title, for a start. “The album’s mindset,” he says, reflecting on those four words together. For Mayer, it’s partly a critique of the way the industry boxes in both producer and listener, focuses them on genre, on market, on the next new thing: “Being a free minded spirit that transcends genres has become an uphill battle.” A battle worth fighting, though, and with The Floor Is Lava, the result is an album that’s varied, quixotic, idiosyncratic, charming, and deeply, addictively listenable.
Throughout, Mayer finds thrills in exploration and juxtaposition, allowing unexpected things to blossom and giving them their life, their platform, throwing the listener exciting curveballs: “It’s a DJ album by a DJ that’s easily bored.” Either easily bored, or endlessly curious, The Floor Is Lava is rich with ideas. It opens with “The Problem”, which looks back to look forward, embracing the rickety way early house productions threw samples together with gleeful abandon. Mayer mentions Pal Joey, and the scene around Rockers Hi-Fi and their Different Drummer imprint, as reference points, and you can hear that freewheeling spirit throughout.
It’s followed by “Vagus”, a slinky, sensual minimal house number that Mayer describes as his “musical catnip”. The flow of these two opening cuts defines the dynamic of The Floor Is Lava, defining the dialectical drive at its core: thesis and antithesis leads to synthesis, but with a welcome prickliness that means you’re always excited, always engaged. It’s also productive in the way it derives energy from rubbing genres and sounds against each other, in unexpected ways, for maximum musical frisson. There’s psychedelic techno on “Feuerstuhl”, more minimal techno with “Ardor” (Mayer mentions ‘Immer 1’ era 90s minimal as inspiration), slippery, Shepard-tone breakbeat through “Sycophant”, a lovely, lush vocal turn on the poppy “The Solution”.
The album closes with the melancholy “Süßer Schlaf”, where Mayer sets a poem by Goethe to one of his most haunted, moving pieces of music yet, in abstract tribute to a lost friend. It’s one of the most affecting moments on The Floor Is Lava. There’s also an update on 2020’s wild Brainwave Technology EP, with the surrealist glitter-stomp of “Brainwave 2.0” (check out those handclaps!),where Mayer’s thinking about the socio-political precipice of the now: “I’m reading with great interest about this whole complex of how humanity is about to cross so many lines and the implications that the resulting financial and educational inequality will bring.”
That’s The Floor Is Lava: then and now, brainwaves and nerve structures, problems and solutions, genres on fire; the real, the unreal, and the surreal. An album for the easily bored and the endlessly curious. Mayer has the last word, telling us all you need to know about the album’s spirit: “Burning for the cause, being zealous, being addicted to the heat of the night, the exuberant powers of music.”
Michael Mayer veröffentlicht nicht oft Alben, was einer von vielen Gründen ist, warum ‘The Floor Is Lava’ ein echtes Ereignis ist. Es sind acht Jahre vergangen seit seinem letzten Werk, dem Kollaborationsalbum &, das auf !K7 erschien; seine Vorgänger, Mantasy (2012) und Touch (2004), ließen ebenfalls auf sich warten. Es überrascht nicht wirklich, da Mayer viele Rollen gleichzeitig erfüllt – weltreisender DJ, vielbeschäftigter Remixer, unermüdlicher Kollaborateur und Chef von sowohl Kompakt als auch Imara – weshalb seine Solo-Produktionen eher sparsam ausfallen. Doch das spricht auch für deren Qualität: Ein Album mit Mayers Namen auf dem Cover steht für Qualität, für Musik, die sowohl in die Zukunft blickt als auch auf die Vergangenheit verweist, die das Gleichgewicht zwischen den Anforderungen des Dancefloors und des Wohnzimmers hält, die genauso erforschend wie funktional ist.
Auf The Floor Is Lava scheint Mayer sowohl die Musik um ihn herum (vergangen und gegenwärtig) als auch die Strömungen der Branche, in der er arbeitet, zu reflektieren. Da wäre zunächst der ikonische Albumtitel. „Die Grundhaltung des Albums“, sagt er, drückt sich in diesen vier Worte aus. Für Mayer ist es teilweise eine Kritik daran, wie die Industrie sowohl Produzenten als auch Hörer in Schubladen steckt, sie auf Genres, auf den Markt und auf das nächste große Ding fokussiert: „Ein freier Geist zu sein, der Genres überschreitet, ist zu einem steinigen Weg geworden.“ Ein Kampf, der sich jedoch lohnt, und mit The Floor Is Lava ist das Ergebnis ein Album, das vielfältig, eigenwillig, charmant und tiefsinnig, aber auch süchtig machend ist.
Im gesamten Album findet Mayer Freude an der Erforschung und Gegenüberstellung von Stilen, lässt unerwartete Dinge erblühen und gibt ihnen Raum, überrascht den Hörer mit spannenden Wendungen: „Es ist ein DJ-Album von einem DJ, der sich schnell langweilt.“ Entweder langweilt er sich schnell oder er ist unendlich neugierig – The Floor Is Lava ist reich an Ideen. Es beginnt mit „The Problem“, das in die Vergangenheit blickt, um nach vorne zu schauen, und die wilde Art, wie frühe House-Produktionen Samples mit fröhlicher Unbekümmertheit zusammenwarfen, aufgreift. Mayer nennt Pal Joey und die Szene um Rockers Hi-Fi und ihr Label Different Drummer als Referenzpunkte, und dieser freie Geist zieht sich durch das gesamte Album.
Es folgt „Vagus“, eine sinnliche Minimal-House-Nummer, die Mayer als seine „musikalische Katzenminze“ beschreibt. Der Fluss dieser beiden Eröffnungstracks definiert die Dynamik von The Floor Is Lava und den dialektischen Antrieb im Kern: These und Antithese führen zu einer Synthese, jedoch mit einer willkommenen Schärfe, die dafür sorgt, dass man immer aufgeregt und engagiert bleibt. Zudem gewinnt das Album Energie, indem es Genres und Klänge auf unerwartete Weise aneinanderreibt, um maximalen musikalischen Nervenkitzel zu erzeugen. Es gibt psychedelischen Techno in „Feuerstuhl“, mehr Minimal Techno mit „Ardor“ (Mayer erwähnt ‘Immer’ Ära Minimal als Bezugspunkt), gleitenden Shepard-Ton-Breakbeat in „Sycophant“ und einen lieblichen, üppigen Vocal-Auftritt im poppigen „The Solution“.
Das Album schließt mit dem melancholischen „Süßer Schlaf“, in dem Mayer ein Gedicht von Goethe vertont und eine seiner bisher eindringlichsten und bewegendsten musikalischen Kompositionen schafft, als abstrakten Tribut an eine verschiedene Freundin. Es ist einer der ergreifendsten Momente auf The Floor Is Lava. Ebenfalls gibt es ein Update der wilden Brainwave Technology-EP von 2020, mit dem surrealistischen Glitzer-Stampfer „Brainwave 2.0“ (hör dir diese Handclaps an!), in dem Mayer über den sozio-politischen Abgrund der Gegenwart nachdenkt: „Ich lese mit großem Interesse über diesen ganzen Komplex, wie die Menschheit dabei ist, so viele Grenzen zu überschreiten und welche Auswirkungen die daraus resultierende finanzielle und bildungstechnische Ungleichheit haben wird.“
Das ist The Floor Is Lava: Damals und heute, Gehirnwellen und Nervengeflechte, Probleme und Lösungen, brennende Genres; das Reale, das Unreale und das Surreale. Ein Album für die schnell Gelangweilten und die unendlich Neugierigen. Mayer hat das letzte Wort und sagt uns alles, was wir über den Geist des Albums wissen müssen: „Brennen für die Sache, leidenschaftlich sein, süchtig nach der Hitze der Nacht, den überschwänglichen Kräften der Musik.“
FIRST EVER INTERNATIONAL RELEASE OF RYUICHI SAKAMOTO'S LANDMARK 1983 ALBUM "CODA," HIS RENDITION FOR SOLO PIANO OF THE 'MERRY CHRISTMAS MR. LAWRENCE' SOUNDTRACK. FEATURING REMASTERED AUDIO AND NEW LINER NOTES BY ANDY BETA.
Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Coda", issued in Japan in 1983 as a solo piano version of the "Merry Christmas Mr. Lawrence" soundtrack. The album, which was never been released outside of Japan until now, sees Sakamoto on acoustic piano reinterpreting fascinating versions of his famous soundtrack including the classic theme and "Germination," which was later used in the "Call Me By Your Name" soundtrack. This reissue has been remastered by Seigen Ono's Saidera Mastering studio in Tokyo and boasts the original artwork plus a 4-page insert with new liner notes by Andy Beta.
TrioRox is a project born from the meeting of three protagonists of the Italian music scene (and not only): pianist Giovanni Guidi, bassist Joe
Rehmer and electronic musician DJ Rocca (Luca Roccatagliati). Three characters who boast an eclectic and consistent curriculum. Guidi, enfant prodige of Jazz piano, has published several albums for the prestigious ECM label, and has collaborated with the best jazz and electronic musicians, from Enrico Rava to Matthew Herbert, from Joe Lovano to Ricardo Villalobos. Joe Rehmer, an American transplanted to Italy, is one of the most sought-after bass players, sharing stages and recording studios together with authorities such as Bob Mintzer, James Moody and Danny Gottlieb.
DJ Rocca is a DJ and musician active since the nineties, and boasts numerous albums, singles and remixes with, and for key protagonists of the alternative dance scene (Andrew Weatherall, Dimitri From Paris and Howie B), as well as a militancy in the jazz scene with several albums together with Franco D’Andrea.
The music that the trio proposes is a mix of electronic, dance, Jazz and pop, with groove impulses in the field of house and techno music, without neglecting mixes between electro, classical and minimalism. A melting pot of styles between Keith Jarrett and Carl Craig.
Album to be released by IRMA Records in October 2024, with guests Luigi Di Nunzio, Gianluca Petrella, Dan Kinzelman and Jacopo Fagioli.
“Moods” is the debut album of Triorox that represents the photograph of the ‘Here and Now’. All the music was born from a studio session that lasted a few days, in which the mood of the three musicians gave the album its sound imprint. What came out of it became incandescent material to elaborate the musical flow of the entire work, which had three different phases.
The first, in which the tracks were born from the recordings, some developed as creations with a common denominator (the three moments of Mood), some as thematic suggestions (Angels, Corea and Next To Canada), and others as a stylistic challenge (the techno of Space Rain, or the drum and bass of Sax & The City).
The second phase, where the compositions were subjected to the test of live concerts, in which it was understood how the tracks could be better arranged, optimizing them and keeping the best ones. The last phase was the choice and insertion of the guests, reasoning according to the type of suggestion that we wanted to give to the specific song. So we gave free rein to Luigi Di Nunzio, who also participated in phase two, playing with us on stage on some occasions. In the same way, Gianluca Petrella chose the piece where he felt most at ease, also contributing to the arrangement.
Dan Kinzelman, a historic collaborator of both Guidi and Rehmer, was included because we wanted his bass clarinet in a specific suggestive situation. Finally, we wanted Jacopo Fagioli (the Tuscan reincarnation of Don Cherry), we wanted him in a specific episode of Mood, for his particular style, impeccable in determining the mood that the piece needed.
They’re Only Chasing Safety is the fourth studio album by American melodic hardcore band Underoath. It was released on June 15, 2004, through Solid State Records. Following the release of their third studio album, The Changing of Times (2002), half of the band's members were replaced. After finalizing the line-up with vocalist Spencer Chamberlain, the band recorded They're Only Chasing Safety with producer James Paul Wiser (Dashboard Confessional, Further Seems Forever, Paramore). In the heavy and punk music scene, the album is considered a watershed moment.
The blend of heavy metal and hardcore influences with a strong pop/punk sensibility spawned a new branch of heavy music. The sound eventually became synonymous with the scream scene of the mid-2000s. The record went gold in 2011
A full tank of gas, the gentle glow from the radio dial, & stretches of open highway await, Forever Gamblin’ On You meanders through miles of soulful AOR, funky folk, & dusty soft rock obscurities. A follow up to Sky Dust Drifter, this compilation was gleaned from American private press oddities & rarities of the 70s & 80s, all of which are seeing their first official reissues on this album. A celebration of love, rebirth, and exploration radiating like the warmth of a loved one from the passenger seat.
Featuring “Feeling The Fire”, a jazzy, AOR grooving declaration of love and desire taken from the sole release from The Mad Brother. The compilations’ title track “Forever Gamblin On You” by Petroc And Pals, features an echo-laden folk rock recollection of hard feelings delivered with swelling guitar in a mournful soft psychedelia. Angie Pepper’s “Miss You Too Much” dwells on a past love, rolling along with an effortlessly cool rhythm section, while Roy McComas croons of his manifested “angel of love” on the swirling psych folk rocker “Girl Of My Dreams”.
Forever Gamblin’ On You unfolds as a hopeful yet equally melancholic collection of nomadic anthems, primed for a memorable journey along the back roads of familiar American landscapes.
Kniteforce Crew artist and council member Paul Bradley shows off this lighter counterpart to his epic Swamped EP! This killer slice of old skool rave has proper piano vibes, a summer feel and loops to die for. Heavy beats and uplifting vocals are the name of the game, and the game is being played at an expert level!
Waves of Distortion (The Best of Shoegaze 1990-2022) is a superbly curated trip through the genre from the good folks at Two_piers, who have served up similarly excellent collections focussed on everything from French psychedelic pop to garage psych. This serves as both a fine intro and a great retrospective for existing fans that will take you down a rabbit hole and leave you wanting more. Some of the scene's original pioneers feature and there are many a timeless tune here that help to document the subtle evolution of the genre throughout the decades.
Berlin techno talent Regent is next up on Mutual Rytm as he returns with a compelling new five-track 12" titled 'Coral Knife', plus a digital bonus cut.
Regent emerged only in 2020, but has fired out quality tunes on Planet Rhythm Records, Arts Collective and Warg Records since then. His already extensive catalogue of standout releases combines tough and rapid grooves with cerebral qualities and a real depth of writing and sound design, resulting in timeless yet avant-garde material optimised for the dance floor. For that reason, he is one of the new forces emerging from the German capital and why his next EP, 'Coral Knife', sees him find a perfect home on SHDW's Mutual Rytm imprint as he returns with his first 12" on the label following his appearance on the 'Federation Of Rhythm II' compilation earlier this year.
The tight and funky 'Brickyard' opens with a high-speed groove and a taught synth riff darting about the mix to seductive effect, before 'Driftage' gets more raw with rickety percussion over bulky drums. The synths are dubby and liquid as they get smeared about the mix to bring dynamism to the groove. There is then darkness and heaviness to 'Nocta' with weighty kicks and alluring vocal sounds drifting through the late-night airwaves.
Title track 'Coral Knife' cannot fail to sweep dancers off their feet with its fizzing synths and smooth drum loops overlaid with icy hi-hats that get you into a meditative state, while 'Encoder' layers up bleeps and squeaks over a signature linear groove that is detailed with muffled vocals and distant cosmic stars.
As always with Mutual Rytm, the package rounded out with an impressive digital bonus in the form of 'Multiversa' - a driving and thunderous techno cut that closes the show emphatically.
Paolo Rocco delivers his ten-track debut album ‘Life In Pieces’ this April on FUSE.
Born Canadian of Italian descent, Montreal-based DJ and producer Paolo Rocco has emerged as one of the most consistent names within house music over the past decade, with a wealth of material via the likes of Hot Creations, PIV, Berg Audio, Constant Sound, Taverna Tracks, and Rutilance Records showcasing his own take on house, deep house, and minimal territories. Having closed 2020 with fresh music on his own RAWMoments imprint, late-April welcomes the arrival of his biggest project to date as he makes his label debut on London’s FUSE to deliver his eight-rack debut album, ‘Life In Pieces’.
A body of work rich in classy collaborations with artists such as Robert Owens, Alix Alvarez, Kiki & Mavi and slick solo production, ‘Life In Pieces’ delivers a blissful journey through Rocco’s rich sound palette, revealing the most in-depth project of his career while marking his long-awaited debut on FUSE in style.
Death Is Not The End together all three LP volumes of the critically acclaimed If I Had a Pair of Wings LP compilation series for a bundled edition.
"...all of the music on this compilation is the result of the forward-thinking artists and producers that realised the worth of local Jamaican artistry during a time when the island's leading political figures had not yet managed to throw off the colonial yolk. These are sounds with a certain innocence and the optimistic promise of better to come, with the influence of American pop ballads and doo-wop looming large, yet already pointing to the innovations of the future. Listen keenly and take in the sounds of the Jamaican music industry at its very beginnings, its singers and players drawing from the popular styles of the island's larger neighbour and already changing those styles into something their own." - David Katz
Lauren Laverne's comp of the week on BBC Radio 6 Music w/c 11th Jan.
"Rumblism is the reason why this beautiful piece of plastic was made in my opinion. Its a fast and furious rushy track with a quick pace, extremely high pitched hands in the air keys, and plenty of chipmonk squeeks saying "Like this". Theres plenty of inspired change ups in the presentation of the main riff to keep you begging for more. Theres nothing to complain about with this track, its just so very good."
Originally released back in 1992, these tracks were written by Krome & Time whilst they were on Suburban Base and before they started Tearin Vinyl. This has been sold out for a very long time but the demand has built up, so we have decided to repress one more time.
After “Matjesfilet” or „Verbrennungsmotor”, the single “Supermarkt” by Berlin producer ACUD, released in 2023, was also very successful. On the radio, on streaming platforms or on the festival stages: the song was present
everywhere! A remix EP was just a formality and is now celebrating its awakening, digitally and on vinyl! Included are the Norwegian disco masters PRINS THOMAS and OST&KJEX, as well as the Mexican MIJO, the
Argentinian ANA HELDER and from Berlin: AMOUNT. There is also a new acid variant from ACUD itself, as well as the original. Reason enough to fill existing gaps in the vinyl case.
Pariter has lined up a trio of classic house reissues for your enjoyment this Spring. They come from Smooth & Simmonds who are famous for managing to smooth out the differences between house, garage and techno and are firm favourites of deep-digging heads for that reason. All of these cuts - which like the other two EPs have been freshly remastered for the occasion - are some 30-odd years old and are textbook examples of timeless grooves. 'Climax' has tight, kinetic drums that punch out an irresistible pattern as swirling pads fishing them off up top in some style.
"Creation" is the debut album by British songwriter, singer & pianist James Sayer and includes the three singles "Living It Up", "Chemistry" and Cherry".
After spending many years playing for others, Sayer says that "writing my own music happened completely by accident. But I'm so glad I recorded that one demo which ultimately spurred me on to create a full album all this time later." Sayer, often called an old soul due to his love of classic song writing and bygone eras comments that although technology has changed the landscape of the musical world today, making a record organically was still a must for him.
Originally from Birmingham, Sayer's fascination and love of music began at a very young age when he learnt all thing rhythm & blues and rock'n'roll from his dad's music collection of artists such as Elton John or Jerry Lee Lewis, later also finding a love of soul artists such as Michael McDonald, Aretha Franklin, Van Morrison and Earth, Wind and Fire. Sayer moved to London in 2012 where he began performing almost every night in piano bars, clubs and pubs; spotted by the likes of Tom Jones whilst holding down a residency at the world-famous American Bar at the Savoy hotel.
About recording "Creation" he says: "I've tried to capture all the styles I love - Soul, Rhythm & Blues, Gospel and classic pop music – but still create a sound that is all mine".
Über drei Jahrzehnte nach ihrer Gründung durch Leslie Mandoki, setzen Mandoki Soulmates mit ihrem Album "A Memory Of Our Future" nicht nur musikalisch neue Maßstäbe, sondern präsentieren ein produktionstechnisches Meisterwerk: Das gesamte Album wurde analog aufgenommen und produziert - vom ersten Ton bis zum fertigen Vinyl. Die Produktion des rund 80-minütigen Konzeptalbums ist ein seltenes Unterfangen in der heutigen Musiklandschaft. Mit durchgehend analoger Signalverarbeitung vom Mikrofon bis zur Vinylpressung ist die Produktion von "A Memory Of Our Future" ein Manifest von Präzision und Leidenschaft, die in jedem Ton des Albums zu spüren ist. Das Mastering des analogen Magnetbandes durch Greg Calbi im renommierten Sterling Sound Studio in New York und der Vinylschnitt in den Emil Berliner Studios sind ein Symbol für die audiophile Exzellenz des Albums. Mit einem Setup, das in der gegenwärtigen Musikproduktion kaum noch zu finden ist, und mit der die Band eine Wärme und Lebendigkeit in ihrer Musik eingefangen hat, die in digitalen Aufnahmen oft verloren geht, haben die Soulmates ein Werk musikalischer Vielfalt geschaffen, das von Prog bis Jazz Rock reicht, und kompositorische Reife, spielerische Leichtigkeit und kunstvolle Solos mit großen Spannungsbögen und tiefgründigen Texten zu gesellschaftspolitischen Themen verbindet. Die generationsübergreifende Supergroup von Rock- und Fusion-Großmeistern mit Ian Anderson (Jethro Tull), Mike Stern, Al di Meola, Randy Brecker, Till Brönner, Bill Evans, John Helliwell (Supertramp), Cory Henry, Richard Bona, Steve Bailey, Simon Phillips (Toto), Leslie Mandoki, Tony Carey (Rainbow), Nick van Eede (Cutting Crew), Jesse Siebenberg und Mark Hart (beide Supertramp) ruft mit dem Album zum Handeln gegen Spaltung und für Menschlichkeit auf. Mit "A Memory Of Our Future" gelingt den Soulmates eine einzigartige Verschmelzung audiophiler Exzellenz und gesellschaftspolitisch relevanter Musik. Dieses Album ist nicht nur für Fans von Prog und Jazz Rock, sondern für alle, die echte Musik zu schätzen wissen.
Long awaited new record YOIONWAXOO9 is finally here!
We've been preparing for it for a really long time.
But there's a reason for that.
First of all, meet a brand new kind of records in our series - printed vinyl! Let's tell you a secret, our distributor made it exclusively for YOI, for which we thank him for such support and faith in our art! Now the incredible artwork made by our boss Alexey Mikheev is even easier, more exciting and fun to watch! So YOI becomes the first and only dance music label who makes printed vinyl with animated artwork.
Secondly, of course, the whole situation in the world cannot go unnoticed, and we cannot and do not want to remain silent about it, because we are as always, as from the very beginning, for unity and art, creation and development, friendship and love, happiness and peace. So this record once again brings together artists from different countries: Mariche from Argentina, Italian Sbruf, label boss Watsche from Russia and Englishman Yogi P, and the artwork reflects our planet, which is spinning thanks to our dancing day and night everywhere where the best house music is played!
Lee, a musician from Clewiston, Florida, gained prominence in the 1990s as part of the hip-hop duo Straight Coffee For George with friend Antonio 'T-Lyfe' Humphrey. He later formed The Square Egg, known for blending hip-hop, funk, jazz, and soul, earning recognition in Miami and New York. As a solo artist, Lee played renowned venues in New York and Buenos Aires, releasing albums like 'Naked' (2010), "Reasons To Buy This Album" (2014), and '2+2=5' (2017). His 2022 album, 'Maybe Now,' was a lush musical journey influenced by his life in Buenos Aires. His latest release, 'The Reprieve,' continues to push musical boundaries.
In 1993, during the incredible years when music, house and techno, were so incredibly big and fresh, IST Records was born as sub label of the hardcore / gabber labe Industrial Strength Records from New York City, Owned by Lenny Dee.
In those years, one of the main man for the italian scene was Andrea Raggi aka Cirillo. With his incredible and legendary sets all over the world, Cirillo was considered as a key and fundamental icon in the techno / hardcore scene.
His long and pure friendship with Lenny dee, started back then, and so, Cirillo was the first one to release on IST Records with the masterpiece “Mr. Chill ’s Back” (Door 1, Door 2 and Door 3) under the alias CYBERIA (in partnership with the studio master Pierluigi Melato).
Cirillo always been an inspiration for us at BAR Musica, we were lucky to grow up next to him and learn a lot from him. We call him “Daddy” for this reason.
In these years we’ve seen this record been played by many, but we were lucky to have the version that nobody ever had, found in old DATs from those years, produced by Cirillo himself.
We are extremely delighted and proud to celebrate the 30th anniversary of this record, releasing the main two original version (Door 1 and Door 3) but also giving the light fir the first time to the unreleased versions, Door 4 and Door 5.
To celebrate, we are also releasing a limited number of t-shirts designed by @lyc.eu
Heels & Souls Recordings roll into reissue number eight with a double dose of early '90s UK street soul magic, splitting the sides between two sought-after cuts from Elaine Vassell and 3rd Zone.
Step back to 1993, house music has hit, UK Soul is in full flow and its rawer, DIY street soul sibling is making its mark across the UK’s underground. Fuelled by accessible, affordable production gear and ignited through enthusiasm and an influx of ideas and sounds, two acts drew inspiration from a melting pot of genres they were exposed to, providing their take on soul as they saw it.
Up first, Elaine Vassell - ‘Never Give Up’. A rough breakbeat-driven, mid-tempo groover from a North West London production triple threat, made up of Longsy D, Pinky and Murray. Utilising Pinky’s home studio with its DX7, Juno 106, LinnDrum and 808, they masterminded a track that sits at the intersection between soulful house, hip hop and R&B. Its crunching drum loop, chest-rattling low-end and serene synth lines, lay the foundation for Elaine’s powerful yet emotive voice to take centre stage. ‘Never Give Up’ should have been a future classic, but never quite found its feet.
On the flip side another 1993 gem, as Sansel Ali and twin brothers Mark and Stephen Anglin joined forces to form 3rd Zone. Conceived in Mark’s makeshift bedroom studio, the trio laid down their first foray into recorded music, ‘You Stole My Heart’. Originally promoed as a limited whitelabel in 1991, it officially landed on the group's one and only EP ‘No Real Reason' in '93.
Armed with a handful of synth modules, a drum machine and a Korg M1, Mark, Stephen and Sansel hit with a tough but tender, underground triumph. Part dance, part romance, layering synth strings, chunky breaks and M1 stabs underneath Sansel’s heartstrung vocals and Stephen’s hip house rap interlude, it provides another perfect example of house seen through the street soul prism.
Two timeless tracks that fly the flag for the fact that big studios and big budgets aren't necessary to create songs that really resonate. Each side also contains an alternate version, with the A housing a beatless reprise of ‘Never Give Up’ and the B a tougher, bassier remix of ‘You Stole My Heart’.
Licensed from Pinky Music and 3rd Zone respectively and remastered from the original DATs by Justin Drake.
Record Kicks presents Keep It To Yourself, the new album by premier Dutch soul band The Tibbs, out next January 26th.
Dutch vintage soul combo The Tibbs are back with their highly anticipated new album Keep It to Yourself, to be released on LP, CD and digital format next January 26th on Milan-based label Record Kicks. Produced by Paul Willemsen (Michelle David) and mastered in Nashville by soul veteran Bob Olhsson, who used to cut vinyl for Motown back in the day, the new album Keep It to Yourself is the band's third Long Play. It contains 12 fresh 'n vibrant tracks that once again will take you back to the golden days of soul music. Prepare to be swept away on a groovy, soulful odyssey with one the most sensational and enchanting soul bands from the Netherlands!
From the very first note, The Tibbs' musical prowess exudes a soulful, funky energy that is nothing short of mind-blowing. Among the 12 new tracks of Keep it To Yourself, we find the first single "Ain't It Funny", a high-energy stomper that sets the tone for the entire album, the New Orleans funk inspired "Can't Teach an Old Dog New Tricks" and "Chicken Bones, "In Orbit", an emotional and heartfelt love ballad that allows the velvety vocals of singer Roxanne to take center stage or the northern soul belter "Give Me A Reason".
Lyrically, Keep It to Yourself is a poetic wonderland, delving into the depths of love, heartache, but also social issues and the need to preserve the world we're in. Roxanne's vocals, rich and velvety, take you on a euphoric journey through the peaks and valleys of human emotion. The harmonious blend of the horn section weaves an exhilarating tapestry of sound that can only be described as a symphonic supernova. The rhythm section is an unstoppable force, driving each track with a pulsating groove that is pure sonic adrenaline. Keep It to Yourself is a true tour de force, a symphony of soul that will leave you awe-inspired, foot-tapping, heart-soaring, and utterly enthralled.
Based around Amsterdam, The Tibbs is a group of seasoned musicians who draw inspiration from the timeless music of the 1960s, channeling the emotional depth and raw authenticity of that era's classics. Led by their charismatic female vocalist and backed by a powerhouse lineup of drums, guitar, bass, organ and a three-piece horn section, they have been wowing audiences with their live performances. They took off in 2012 working right from the start with producer Paul Willemsen (Beans & Fatback, Lefties Soul Connection, Michelle David & The Gospel Sessions). In 2016, their first LP Takin' Over marked their debut with Milan-based imprint Record Kicks. In late 2018, singer Elsa Bekman decided to focus on a solo career and The Tibbs duly began their search for a truly worthy successor, bringing astonishing vocalist Roxanne Hartog and the band together for the first time with their sophomore album Another Shot Fired, released in November 2020. Now, with their third album Keep It to Yourself, a testament to their dedication to keeping the soulful spirit alive, The Tibbs are once more ready for lift off.
Issued on his crescive Afroterraneo imprint, Kiko Navarro reunites with longtime collaborator and friend, Latin-Grammy award winning vocalist Buika, for new single ‘El Silencio’.
First meeting back in 1997 on their native island of Mallorca, Navarro and Buika most recently worked together for the heart-rending Latin House song ‘Lo Siento’, one of the highlights of Navarro’s 2017 album ‘Everything Happens For a Reason’, as well the 2006’s ‘Soñando Contigo’ on Pacha Recordings, which remains an enduring classic.
Originally written in 2010 but never released at that time, ‘El Silencio’ comes complete with a brand new club version, for which Buika has recorded fresh vocals. When the pair returned to the studio in September 2023, it was as if they’d never been apart. “It was like the time didn’t really pass” says Kiko. “We have this connection that doesn’t go anywhere. We know each other so well, and we know what we want. Working with her has brought me many good things, and I’m so excited to share the new music we’ve made together with the World.”
‘El Silencio’ (‘The Silence’) is a slinky, mid tempo groover with subtle jazz-funk touches, accompanying a universal song about love. “It’s about a couple who have loved each other through hard times, and a desire to be together still. There’s a message of hope here, saying ‘let’s try’. No drama, no anger, just love” says Kiko.
Utopia is an unimaginable alter world that is created by Mastering Black’s universe of sonic escapism.
When I have been overwhelmed with the amount of work that I've been doing in the past years, I have decided that I needed a certain get away - a certain sacred space for me to pursue the reason why I actually signed up for this in the beginning. Music composing that love is!
Earlier this year , during a trip in African island group Cabo Verde, we went to this night excursion to the Viana desert. We have taken some random photos shot some videos of the Moon thru a telescope. That didn’t struck me as an amazing experience yet I was there many distorted feelings in my mind trying to enjoy and forcing myself trying to be in the moment.
So when I have looked at these pictures back on a calmer state when I was home In NL , I've seen the vast amount of breather - a space - enough that is needed in life to let the blood flow in vein the way it’s suppose to flow. Envisioning your life from moon to create clarity - looking to life on earth - to understand what our mistakes are as human beings - or learning from 8 years old’s pure heart - that’s when my 8 year old daughter collaborated with the fist opening track to summarize the main purpose of our life - love or so called Utopia!
- Īlker (October 2023)
Soms is haat het enige waar je over hoort, maar er is in deze wereld meer liefde dan je je ooit kunt voorstellen.
There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.
Both have special insert inside with the bands bio and photos.
Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.
For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.
The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.
Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.
And here are the bands from the album:
1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.
The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.
The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.
The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.
The trio has performed its original material at many venues and festivals around Europe and Asia.
2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.
3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.
Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.
The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.
Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.
4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.
Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.
5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.
Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.
6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.
Fresh from their celebrated UK tour, featuring a stand-out performance at London Jazz Festival, Ishmael Ensemble return with ‘Reasons’ the lead single from their forthcoming EP ‘New Era’, a collaborative project with lyricist and MC Rider Shafique.
Ishmael Ensemble’s Pete Cunningham says: “I first came across Rider Shafique about 6 years ago after I heard his piece “I-Dentity” via Bristol’s Young Echo collective & was immediately struck by his powerful way with words. A true master of his craft.This record was an opportunity to lean into the more bass-heavy side of my music taste. I’ve always been a massive fan of dub in all its forms & producers like King Tubby, Adrian Sherwood & Pinch have been a constant source of inspiration over the years. This sound palette coupled with a voice like Rider’s is something I’ve always wanted to make so I’m super happy with what we’ve produced here.
Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.
Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.
For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.
So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.
Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.
Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).
Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.
Youcef Debbihi continues to impress and surprise after already his 3rd volume as Sea of Disillusions. This 4 tracker extends what was already started and established in the previous volumes, expanding his studio excellence into more break beat oriented directions, either at high speed in the form of almost Drum'n'Bass with "K2" or slowed down as a more trip-hop tempo with "Break Whale".
B-side slows down to upper 90BPM range of driving rhythm under atmospheric dubby hints of humidity "5deF", and, finalizing with a beatless Ambient mix of "Loon River" which sounds like the slow motion intro to an epic trance anthem that never fully takes off, setting the stage for something heavy to be mixed in. Essential for any reasonable DJ record bag.
"BASELINE CAVI" is a collaboration album between Inland Empire/Los Angeles rapper Trizz and producer MIKE SUMMERS (aka Seven) from Kansas City. The album has that classic Westcoast Hip-Hop sound and the intro track gives that feeling right away. Guest features on the album are from Bino Rideaux, XV, T.F, ICECOLDBISHOP, John Givez and Bale.
Though fans may not know it, this collaboration between Inland Empire California emcee Trizz and Kansas City production ace MIKE SUMMERS has been brewing for close to a decade. Back in 2013 SUMMERS (then known as Seven) was already a prolific producer signed to Tech N9ne's Strange Music label and Trizz was part of horrorcore legend Brotha Lynch Hung's Madesicc Muzic roster. The two connected while working on Lynch Hung's "Mannibalector" album and a spark for future work was laid.
Linking up in spring of last year, the two creatively fed off each-other with the resulting album evoking classic West Coast melodicism and car-rattling thump. As Trizz states "this sh*t is so f*ckin authentic. It got bounce, it's swangin' and bangin! When you hear this album, you can feel it and damn near smell the palm trees and bomb ass weed."
As SUMMERS relayed "It's probably different for a lot of my fans to hear a more classic West Coast style of production from me, but that style of production has always been embedded in my sound. I grew up on 90's West Coast Hip-Hops studying producers like DJ Quik and Dr. Dre. The only reason I started using lots of live musicians on my tracks was because I watched Quik do it. BASELINE CAVI really let me dig into that classic L.A. sound that I've always wanted to build with.
Lyrically Trizz's immediately distinctive flow and storytelling abilities are at a new plateau with the emcee admitting "The lyrics on this album are probably more refined and defined because I just turned 30 and I have no more time to waste."
Inherently dark but aflush with pop sensibility, Constellations is the 2014 full-length debut from synthpop duo Dead Astronauts (Jared Kyle and Hayley Stewart). The follow-up to 2013’s eponymous EP, it’s an album full of post-punk and new wave inspiration, sure to please fans of Joy Division, Echo and the Bunnymen, and Depeche Mode.
Midnight Mannequin Records is proud to present this deluxe reissue of Constellations, on vinyl for the very first time. A nearly decade-old synthwave classic is now poised to become a modern darkwave hit. Dead Astronauts has always had one foot firmly on synthwave ground, but the band’s willingness to eschew genre limitations and explore the vast spaces of darkwave, goth and everything in between is one of the main reasons Constellations still feels so fresh and unique. An album way ahead of its time. An album that sees two artists at the top of their game who complement each other perfectly. When Kyle’s deep baritone meets Stewart’s ethereal, subdued delivery, the results are magic. A timeless album now in a timeless format; that magic captured and preserved, tactile and eternal
Limited edition on 2xLP transparent neon pink vinyl, housed in a gatefold jacket. Includes OBI strip.
Having released several solo projects, numerous collaborations and a series of LP's, EP's and singles with his band Ruby Rushton that centred on original compositions, he wanted to take a moment to focus his energy on exploring the classic jazz material that has inspired him over the years.
Players like Jackie McLean, Duke Pearson, Clifford Jordan and Wayne Shorter have all played significant roles in Tenderlonious' life and provide a constant source of inspiration for his development as a musician and composer. 'You Know I Care' is a tribute to those musicians and for this reason a landmark album - his first recording that purely delves into the American jazz songbook. Plus it's a way of encouraging a new generation of jazz listeners to explore some of the most significant contributors, and in some cases unsung heroes, to this everevolving genre.
This long player clearly follows in the footsteps of Tenderlonious' spiritual jazz hero's, paying particular attention to the original performers of these six masterpieces - Jackie McClean, Clifford Jordan, Wayne Shorter and Duke Pearson. This is also the first time that Tenderlonious has recorded on alto saxophone, a more recent love affair for this talented multi-instrumentalist, and hopefully the first of many.
There is something for everyone on this album, from brooding ballads to fullsteam ahead modal delights - and an opportunity to enjoy a fresh take on these timeless compositions.
Tenderlonious: alto saxophone, flutes
Hamish Balfour: piano
Pete Martin: bass
Tim Carnegie: drums
David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.
Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).
Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.
Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.
The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”
David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).
Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.
Last summer saw youANDmedelivered his “Diva 2022” mix of "PPPPP" a track that would ignite dancefloors across Ibiza and become one of the smashes of the summer in the process. The label was always certain the record was a hit and the response that followed justified their faith.
The track went on to be championed across the globe by the likes of Ame, Dixon, Matthias Tanzman and Pete Tong (Radio 1) leaving a succession of dancefloors demolished in its wake. Fast forward to 2023 and the Cult brings in a smorgasbord of house music’sfinest to breathe fresh verve into what is rapidly becoming a future house classic.First, comes the unmistakable dancefloor call of the “Diva” mix, with its fierce retro vocal and contagiously looping house sound. Its raw undeniable groove shook dancefloors for a reason the first time around and here it is to do the damage all over again. Next, house music legend Ian Pooley hops on board to serve up a delicious slab of fat analogue deepness.
A rework for the real house heads, it drenches the original vocals in reverb and creates a tough sub-laden groove bound to work deeper floors. House music’s producer of the moment Cinthie delivers a red-hot reinterpretation that ups the bpm count and zones in on the drums. The Berlin-based producer creates a colossal house-breaks crossover that is bound to tear apart dancefloors. Reese subs fill out the lows while organs deliver the original rave flavour and take the track into orbit.
Finally, Tel Aviv’s Yotam Avni turns out a remix that delivers shades of the pure old-school house with piano stabs sitting alongside deep chords before he puts his tougher-edged modern techno stamp onto it. Rhythm Cult is on a roll now returning with one of the most hyped tracks of 2022. This package delivers the goods with fresh remixes for 2023 from some of the best in the industry who are now added to the label's impressive roster.
Bobby's 2019 tour ended in New York City and he had two days off before flying home to Finland. Leon invited him to the Diamond Mine to record some music. Bobby had been talking about wanting to stretch out lyrically and write about more esoteric subject matter, Leon was game. They recorded "Reasons" in one session which put the chemistry between the two on the world stage and sparked the idea of doing a full length album together. More than halfway through the recording process, they have decided to treat us to another two-sider of the new material. On the A side, "Whatcha Know" Bobby explores death and the human experience, putting his philosophical ponderings into his music. Michels' production and overall ethos is the perfect compliment to Bobby's desire to stretch out his sound. EMA provides a gorgeous backing track that compliments Bobby's style and simultaneously broadens its scope. The B side "Losing It" is a dramatic and moving number that Bobby sings in Spanish and English. A gorgeous guitar riff is countered with eerie sound effects that crescendo when the drums come in. Bobby professes he's "Losing It" over a love too strong and El Michels Affair's production turns the whole affair into a saga that thunders through speakers.
We couldn't be happier to announce the first Mapache Records compilation after all these years. ONE MILE FROM HEAVEN is a dreamy travel through the 70's and beyond private singer songwriters scene.
There have always been privately-pressed records. Such a "private" LP is an album that has been composed, performed, recorded and edited usually very-DIY style by the very artist or by an amateur label. A private press record is, above all, an act of the artistic urge. It's an act that takes place outiside of the industry out of need, out of a lack of knowledge, out of love, out of a drive, out of ambition... you can choose among the many reasons.
Depending on their genre, origins, time, and above all, quality, some of these efforts have become valuable pieces for the music collector. Having been created behind the "canonical history of music" written by the industry, every now and then an archaeologist will bring to the surface an artifact they have found in some basement or flea market, or that was kept covered in dust in the shell of some old recording studio soon to be torn down.
All these records have their own story, and some are still especially relevant, and others are but small footnotes in the encyclopedia of music that made their way into the margins of the mainstream world. These are the most limited of editions (and mostly locally made ones) of largely unsociable and mostly unobtainable records--and when found, they are often exorbitantly priced. Many of these marginalized and onscure artists have stayed alive only through the wonderful work of tireless song rescuers, music lovers, vocational archivists, collectors, and record labels with an idealistic drive. These romantics have been rescuing and indexing a form of music that very few have showed interest in until recent years. This record is a tribute to all of those who managed to make these songs not be lost to time. Above all, this release is a tribute to all those artists who recorded their songs on their own, mostly because they couldn't keep the music inside themselves.
As a part of our 5th anniversary special edition, we have Sololust – Too much Days on a Row, originally released in 2020. For many reasons this track was on loop since then, now Rude66, made a new rework on this emotive song.
Dam-based don Retromigration steps into the big leagues letting loose his debut album on WOLF Music. An LP that has long been in the works and for good reason too. Fourteen expertly executed tracks that range from hazy beats and jazz-tinged broken rhythms to club-ready groovers, deep excursions, soulful footwork and even some jungle energy. A flavour for every occasion and damn it tastes good.
With an envious run of releases on the likes of Handy, Healthy Scratch, wewillalwaysbealovesong and WOLF in a relatively short space – Retormigration is hot property and it’s clear to see why. A distinctive style and energy permeate his tracks with a breadth of influences on offer, from hip hop, to jazz, soul to funk. You just know a long player from this player is going to cover all bases.
His debut LP, Straight Foxin’, is a carefully curated and crafted journey showcasing the creative explosions firing off in Retromigration’s brain. Joining the dots between genres, taking elements from here, ideas from there – twisting and turning yet never out of place. Take the opening three tracks, all tied together by a deep fondness for jazz but served up in different styles, ‘Kunta’ with that hazy beatsy blend, ‘Formant’ leaning into the realms of broken beat and DnB and ‘Be Someone’ cruising with the off-kilter house.
Elsewhere there’s prime examples of Retromigration’s signature sample-laden house with deeper cuts like ‘Mada’ and ‘Bouncer’, sitting side by side with more soulful explorations such as ‘New Cribs’ and ‘ITWT’.
Not one to be pigeonholed, another course of Retromigration’s expansive taste gets served up with four high energy hits. The bouncing footwork flavours of ‘Kush Love’ ft. Passion Deez and ethereal excursion ‘What If’ lead into a captivating nod to the heydays of jungle and DnB on ‘Mild Fever’ and ‘Bad Knees’ respectively.
Straight Foxin’, mad flexin’ – Retromigration has laid down the law with this LP, a debut album done right.
Madrileans Ribé & Roll Dann debut on Klockworks with a massive four-tracker ready for the dance floor. After leaving their signature on labels such as Semantica, Soma and Mord the duo now delivers a sublime collaborative EP of fast paced yet truly minimalistic techno on Berlin’s legendary imprint.
On A-Side ‘Preludio’ is an effortless frenetic groover, offering mighty drops to stir any dance floor and it has been Ben Klock’s secret weapon for a reason. It is followed by the classy, moody cut ‘El Vinculo’ which showcases Ribé & Roll Dann’s connection and their production chemistry. On the flip side ‘Pugna’ is a raw and elegant, atmospheric cut, while ‘Delirio’ delivers precisely what the title promises.
A lost MPB gem from rural Finland! We Jazz presents the first ever reissue of this rare 1990 local release by Brazilian duo Rosanna & Zelia. 7" EP with inside out 3mm spine sleeve. RIYL: Gilberto Gil, Joyce, Musica Popular Brasileira, bossa nova, bossa jazz
Liner notes by Mikko Mattlar:
"Rosanna & Zélia were a Brazilian duo of singers and musicians Rosanna Guimarães Tavares and Zélia Nogueira da Fonseca. They moved from Minas Gerais, Brazil to Europe in 1988, released five albums in Germany between 1993–2004 and featured vocals on an Ian Pooley house track Coração Tambor before Rosanna died of cancer in 2006. Zélia still continues her career in Germany, touring actively and releasing new music.
The duo's journey from Brazil to Germany also included two brief visits to Finland. In the years 1989–1990, they spent time in the small town of Seinäjoki in Ostrobothnia. Rosanna & Zélia performed Brazilian music in Finnish clubs and festivals and recorded a 7" EP for local label Maumau Music. The record was distributed mostly in the Seinäjoki area, but the three songs are well-performed and authentic Brazilian MPB, so the largely unknown record now gets its first reissue for a wider audience on We Jazz Records.
But how did two Brazilian women find their way to a small Finnish town to record an EP? The main reason for this was music journalist and promoter Risto Vuorinen, who was on a holiday in Albufeira, Portugal, where a friend of his lived. The streets were almost empty that evening, but Vuorinen and his friend heard fine guitar playing and singing from a bar. There were Rosanna and Zélia performing on a small stage, and the two Finnish men happened to be the only customers. When the artists ended their performance, Vuorinen's friend, who spoke Portuguese, went to talk to them. Rosanna and Zélia told him they had recently come from Brazil and are trying to gain ground in Europe with their music.
Because Rosanna and Zélia didn't know where they would head next, and because Vuorinen liked their music, he thought of bringing the duo to his hometown, Seinäjoki. They immediately liked the idea, and in the autumn of 1989 they arrived in Finland. The national Finnish jazz festival was held in Seinäjoki, and Vuorinen thought Rosanna & Zélia's Brazilian music would fit right in. They performed at the festival and in November 1989, also made recordings in a local studio with backing musicians from Seinäjoki.
Music enthusiast Pertti Hakala had a record shop and label Maumau Music in Seinäjoki releasing music from local artists. He released a three-track EP from the sessions. with two tracks written by Rosanna & Zelia themselves and their cover version of Extra (Brazilian Reggae), written and originally performed by Gilberto Gil in 1983. A small pressing was made for the Finnish market, and Hakala also sent a box of records to Brazil, but for some reason it was sent back.
After their first visit to Finland, Rosanna & Zélia headed back to central Europe, but Vuorinen decided to organize more performances for them for the next summer. Maybe he also wanted to show them the beautiful Finnish summer, as Rosanna and Zélia had so far seen the country only during the darkest autumn. The duo came back to Finland for the summer of 1990 and performed at the Womad world music festival organized as a part of local Provinssirock. They also played in Nummirock and Puistoblues, both respected music festivals, and performed on TV in Helsinki.
Rosanna and Zélia lived in a small apartment in Seinäjoki and played two to three gigs per week all summer. Because there were only two of them, even small pubs could afford to book them, and in 1990 the economic situation in Finland was good. It was before a major economic depression hit the country. The duo travelled by bus or train, and because they were an acoustic duo, they could easily carry their instruments in public transport. Vuorinen got excellent feedback from organizers. Rosanna and Zélia were good performers, but also really nice people.
With the income from their summer gigs, Rosanna and Zélia could buy a PA mixer and other musical equipment. When the summer 1990 turned to autumn, they continued their journey from Seinäjoki to Germany where they settled down."
Omar Apollo veröffentlicht offiziell sein mit Spannung erwartetes Debütalbum IVORY.
IVORY bringt Omar Apollos Songwriting auf die nächste Stufe - es überwindet Genregrenzen und Sprachbarrieren, während es eine noch größere musikalische Vielfalt des aufstrebenden Superstars zeigt.
Das neue Album enthält die zuvor veröffentlichten Singles "Tamagotchi", produziert von Pharrell Williams und Chad Hugo, "Killing Me", das mit einem Fernsehauftritt in der Tonight Show mit Jimmy Fallon debütierte, und "Invincible" mit Daniel Caesar.
Darüber hinaus enthält das Album die von Teo Halm produzierte gemeinsame Single "Bad Life" mit Kali Uchis und "Go Away", das von Omar selbst zusammen mit Carter Lang und Chromeo produziert wurde.
In nur wenigen Jahren entwickelte sich der in Indiana aufgewachsene, mexikanisch-amerikanische Singer-Songwriter vom Teenager-Strummer zu einem der heißesten R&B-Künstler seiner Generation.
